Art April 2017
Art April 2017
Art April 2017
'Inverted Commas' is the title of a set of 16 postcards containing quotes on books, paper and the
print world. The pithy, humorous, and poignant quotes are selected from a wide range of famous
and lesser known international sources. The postcards are printed in letterpress on embossed
and duplexed design paper and feature a digitally reproduced 17th century font. The booklet
format allows for both a compact overview as well as easy removal. The postcards speak to the
hearts of bibliophiles: they are suitable as quotes to hang on the wall, to post with a memorable
note along with a gift of a book, or simply to keep on a shelf and read for inspiration.
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Vol. 8 of the Cy Twombly Catalogue Raisonn completes the edition of the artists graphic works.
Starting with extraordinary pencil drawings at Black Mountain College, Twomblys artistic
activities evolved into an enormous and unparalleled uvre that also includes paintings,
sculptures, and photographs. His graphic work, though, continued to be the primal ground of his
creativity that constitutes one of the essential contributions to the human condition in the 20th
century.
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Demonstrating unassuming techniques that emphasize the simplicity of form, enhanced by bright
colours, Ellsworth Kellys beautiful and surprisingly delicate drawings of plants, flowers, and
leaves are now available again.
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Guatemalan-born sculptor Daro Escobar (born 1971) is a contemporary master of the kind of
aesthetic object that also doubles as a revealing critique of globalization. Since the late 1990s he
has mobilized armies of everyday industrial and consumer products--McDonalds cups, cereal
boxes, vulcanized rubber, car bumpers and sports equipment of various types--in order to
construct an ongoing dialogue with the reality of global consumerism. That dialogue, invariably,
has also incorporated an extensive dialogue with modern and contemporary art.
This book covers two decades of this singular artists work, while highlighting profound insights
into the nature of found objects, commodity culture and contemporary arts increasing
identification with the myths and realities of globalization.
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Drawing into Painting is a survey of works by Joan Mitchell (192592) on canvas and paper from
1958 through 1992, the year of her death. For Mitchell, drawing and painting were related but
autonomous activities. Her pastels can be as dense as oil paintings, and her oil paintings can be
as light and airy as watercolours. The book includes art from each decade of her career, with a
formal range spanning flurried strokes and gestural lines of rhapsodic colour, to darkly massed
forms and complex, multi-panel formats. Mitchells move to France in 1959, as Mark Rosenthal
writes in his essay, suggests an aesthetic choice whereby she submerged American artistic
developments within a profound embrace of French Impressionism. This decision represented a
departure from the influences and goals of her colleagues in the New York School, and harked
back to her student days at the School of the Art Institute of Chicago.
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Situational Diagram
Dominique Levy Gallery 2017 ISBN 9781944379094 Acqn 26975
Pb 17x24cm 262pp 39ills 30col 31.50
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How do 'witchery' phenomena and practices manifest within cultural, economical, political,
religious and scientific spaces in Africa and beyond? This publication is a compendium to the
exhibition project and public programme The Incantation of the Disquieting Muse... curated by
Bonaventure Soh Bejeng Ndikung and Elena Agudio at SAVVY Contemporary, Berlin and in
collaboration with the Goethe-Institut South Africa in the framework of the project African Futures.
Through an exhibition and a series of 'Invocations, the project considered 'witchery' as an
epistemological space and a medium of continuities between the African continent and its
Diaspora. The publication includes essays by Erna Brodber, Seloua Luste Boulbina, Vladimir
Lucien, Percy Mabandu, and Greg Tate a.o, and visual contributions by artists Georges Adagbo,
Haris Epaminonda, Kiluanji Kia Henda, Emeka Ogboh, Priscilla Rezende and Minnette Vari
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Radical post-war artists group Cobra (1948-1951) caused a revolution in modern art that affects
the ideas and expressions of art to this day. Creative freedom, experimentation and social
engagement were the motives of this movement. In this fully updated standard work from 1974,
Willemijn Stokvis presents the history of this influential international avant-garde movement,
which included artists such as Asger Jorn, Pierre Alechinsky, Karel Appel, Constant and
Corneille. Her study is based on numerous documents, conversations and correspondence with
both the artists themselves and many eyewitnesses.
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Few artists have reinvented themselves as often as Piet Mondrian (1872-1944). He embraced the
dynamic life in Amsterdam, Paris, and New York with boundless curiosity for the new and
innovative, translating this in his paintings. This book explores Mondrian's life and work in depth,
using the collection of the Gemeentemuseum The Hague as its basis. The museum has the
largest Mondrian collection in the world, with around 300 works which cover every phase of the
artist's impressive career.
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Edge is an exhibition of new paintings and sculpture by Maggi Hambling, widely regarded as one
of Britains most significant and controversial artists. The exhibition follows Maggi Hambling
Touch: works on paper, a retrospective at the British Museum. Hambling has exhibited with
Marlborough for 20 years and this is her eighth solo exhibition with the gallery.
Hamblings work offers a counterweight to the careful irony and self-conscious allusion of much
contemporary art, demanding a direct and unmediated encounter with the viewer. These new
works succeed in in convincing us that we are present at, and indeed become part of, their
making. We are on the edge, confronted by the fragility of existence, both ours and that of the
planet.
The artist has never been afraid of addressing big themes and delivers simultaneous presence of
life and death in her work. In this new series, polar icecaps melt, a trafficker drifts, Aleppo and its
inhabitants fall, ghosts hover and Hamlet questions. Human vulnerability is continually and
viscerally expressed.
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Artist duo Nathalie Djurberg and Hans Berg create psychologically charged scenarios dealing
with human and animalistic desires through a mix of animation, sculpture, and sound. Djurbergs
film-making uses clay animation to dramatize the basest of human instincts, from jealousy,
revenge and greed, to submission and lust. Taking cues from allegorical myths, narratives
emerge that are rich in symbolic meaning and nightmarish visions. Berg, an electronic musician
and composer, provides the atmospheric and evocative music for the immersive films and
installations. This book is published on the occasion of their first survey exhibition at the
Australian Centre for Contemporary Art.
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Hugh Steers: The Complete Paintings is the first publication on the career of American figurative
painter Hugh Steers (196295), who died of AIDS at the age of 32. Committed to figurative
painting at a time when it had fallen out of favour, Steers painted expressionist-realist narratives
of a life shadowed by isolation and mortality, yet infused with wry humour, camp and what Steers
himself called a gorgeous bleakness. Steers consciously merged AIDS, intimacy and the body
into the traditional vocabulary of painting. With his vulnerable subjects depicted in hospital rooms,
bedrooms and bathrooms, Steers engaged with radical ideas about male intimacy, queer politics,
fragility and health care at the height of the AIDS crisis. Featuring more than 600 full-colour
images of Steers paintings on canvas and paper, this volume provides a long-overdue,
expansive view of the artists career and impact.
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Artists on Hanne Darboven is the first installment in a series culled from Dia Art Foundations
Artists on Artists lectures, focused on German conceptual artist Hanne Darboven (19412009).
Established in 2001, the lecture series highlights the work of modern and contemporary artists
from the perspective of their colleagues and peers.
The inaugural Artists on Artists title is published in conjunction with the opening of Darbovens
198083 installation Kulturgeschichte 18801983 (Cultural History 18801983) at Dia:Chelsea
in New York City, the first time Darbovens magnum opus has been on view in the United States
for over a decade. It features contributions from Gregg Bordowitz, Sam Lewitt, Josephine
Meckseper and Matt Mullican.
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Salmon Eye marks Brooklyn-based artist Eddie Martinezs (born 1977) first solo exhibition with
Mitchell-Innes & Nash. Known for large-scale, energetic oil and enamel paintings, Martinezs work
in Salmon Eye synthesizes classical formal composition with a speed bordering on stream of
consciousness.
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South African artist William Kentridge can become many things: painter, sculptor, engraver,
decorator, theatre and film director, actor, and more. His primary subjects of engagement are
apartheid, post-colonialism, history, and the passage of time. This limited edition notebook
consists of drawings and writings with inserted typescripts, plus an original work, numbered and
signed by the artist, and is printed on various formats. Within, Kentridge divulges the codes that
drive his body of work, such as palimpsest and repetition, forming an analogy between a book
and the tree as the source of creation, wherein his fountain pen freely wanders between various
images and associations.
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Second DVD in the Works & Process series to be dedicated to Daniel Buren's work, this new
collection of films offers various documentary approaches of this major artist's work in a 3-hour
program.
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Kimsooja is a South Korean multi-disciplinary conceptual artist; this catalogue marks the occasion
of her site-specific installation and exhibition at CAC Mlaga. Considering her countrys rapid
transformation into a modern economic powerhouse, Kimsoojas work addresses complex
questions of human existence in this process: essential, fragile aspects of life, such as ritual and
ceremony, that are interrupted or sacrificed. In her oeuvre individualism and the role of women
point to themes of respect for others and a sense of (global) humanity as she generates
convergences that stress human emotions without taking borders or places of origin into account.
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Joan Mir considered materiality to be the foundation of his artistic practice. This catalogue,
edited by Robert Lubar Messeri, a renowned Mir scholar, is published on the occasion of an
exhibition of works by Mir organised by the Serralves Museum of Contemporary Art. Richly
illustrated with numerous artworks and preparatory sketches by the artist, it surveys his output
over six decades and across different media, which included painting, sculpture, and ceramics. It
reveals the way his continued exploration of materiality and innovative language of visual signs
expanded the boundaries of artistic production in the 20th century and beyond, impacting
numerous artists since.
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The second volume in a series, this book is published on the occasion of the exhibition Choses
tues (things killed) by gerlach en koop at Temporary Gallery, Cologne. The first volume
appeared when the same but not quite the same exhibition was presented at de Appel arts
centre in Amsterdam. Designed by Louis Lthi, the book features exhibition views and several
texts by a number of contributors. Regina Barunke, for instance, writes, Aside from its poetical
effect the title is simultaneously a decisive moment in accessing the works and their thematic
occupation. [] Its ambivalence allows killed things to emerge from silent things in blunt and
subtle casualness.
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1100-1600 Rijksmuseum
Rijksmuseum 2017 ISBN 9789071450907 Acqn 27153
Hb 20x25cm 288pp 250ills 200col 42.75
In the late Middle Ages and the Renaissance a period of unprecedented cultural vitality in Europe,
spurred by a growing interest in classical antiquity and the discovery of distant continents,
precipitated a shift from religious art to that which reflected different ideas about mankind, society,
and belief. People became more mobile, independent, and prosperous, while artists grew more
self-assured, able to develop their own styles. This book presents many aspects of this
transformative European experience through its artworks, with more than 100 highlights from the
lesser-known collections of Amsterdams Rijksmuseum, a wide-ranging overview of five centuries
of flourishing culture.
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'Japan Modern' presents an overview of Japanese printing in the first half of the twentieth century.
Japan was flourishing in the years after 1900. Modern city culture offered plenty of opportunities,
the landscape changed, the position of women improved, and optimism abounded. At the same
time, the many changes produced feelings of nostalgia. Prints made in this period portray the
turbulent times unlike anything else. Using an ancient wood-carving technique, artists show us
modern life: streets scenes with high-rise buildings, cars, railroads, factories and Japanese
women with modern hairdos dancing and drinking cocktails.
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Jacob Dahlgrens work is concerned with a dialogue between the authoritative singularity of pure
formal abstraction and its position within a variable, complex, and social shared culture. He
devises performative formats that, for a limited time and within a defined space, turn people into
carriers of abstract art, lending it a new symbolic potential through the contradictory facets of
urban culture. This encyclopaedia of sorts presents the breadth and diversity of his oeuvre, with
one or multiple projects represented by each letter of the alphabet. Interspersed in this selection
are critical essays that serve to illuminate the concepts and motivations behind Dahlgrens prolific
output.
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Hercules Segers may be art history's greatest unknown artist. Active in early 17th-century
Holland just before Rembrandt, he created otherworldly landscapes of astonishing originality
which today are viewed as radical anticipations of modernism. Using an array of innovative
techniques that still puzzle scholars (including his famous sugar lift etching method), Segers
created extraordinarily resonant, melancholic landscapes characterized by luscious, soft lines,
that resemble nothing by his contemporaries and little that has followed since.
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Second volume of a major work in five volumes that offers, for the first time, the complete
catalogue of the sculptures by the Basque artist Eduardo Chillida (1924-2002). The catalogue is a
painstakingly designed publication under the scientific direction of the owners and curators of the
Chillida-Leku Museum. The product of arduous and extensive documentation and analysis, this
publication identifies 274 of Chillidas sculptures between 1948 and 1973. Each piece includes
detailed information on materials, owners, exhibitions and further reading, and is illustrated with
one or more photographs.
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This catalogue is published on the occasion of an exposition at Museums of Belfort and Espace
multimedia Gantner and examines the notion of Art Brut, or outsider art, in our modern age of
rapidly shifting technologies. It explores new avenues of research, linking the industrial region of
Belfort with topical debates on the subject. Besides an extensive selection of essays by various
specialists, the richly illustrated book introduces works by the 28 participating international artists.
Among these iconic, emerging, or yet obscure names are Miroslav Tich, scar Morales, Melvin
Way, Pepe Gaitn, Zdenek Koek, Dan Miller, Hans Krsi, and others. With an introduction by
Christian Berst.
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This monograph, published in conjunction with exhibitions in Utrecht and Lugano, presents new
artworks by British artist Craigie Horsfield. Each city provides the context for the artists new work,
as the museums collections share a deep interest in paintings belonging to the Northern
European tradition, something that connects in unique ways with the physical manifestation of
Horsfields oeuvre, where he assumes the role of messenger or guide, one who questions the
truth of reality and seeks to look beyond that which unites us to the phenomenal world and to one
another. With a foreword by the artist, plus critical analyses by Nancy Princenthal and Bruno
Fornari.
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