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Richard Tuttle
Prints

Since the 1970s, in collaboration with renowned printers and publishers, Richard Tuttle has created a diverse printed oeuvre. In sensitively exploiting the unique possibilities of printmaking to make process, materials and actions visible, Tuttle explores the complexity of printmaking processes. “Prints” is the first monograph on Tuttle’s printmaking. Edited by Christina von Rotenhan this publication introduces not only the artist’s unique approach to printmaking with profound scholarly essays and catalogue entries for selected prints between 1973 and 2013, but also reveals Tuttle’s deep interest in the collaborative nature of printmaking.

The timing of the publication is important as Richard Tuttle has also been invited to realize an installation in the Tate’s Turbine Hall. The large-scale installation will provide a powerful counterpoint to the more intimate works from his printed oeuvre.

Published with Bowdoin College Museum of Art, Brunswick.

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Richard Tuttle
Selected Works 1964-1994


First edition of this fantastic, and very scarce Richard Tuttle catalogue. Published on the occasion of the solo exhibition of Richard Tuttle, September 7 – October 10, 1995 at Sezon Museum of Art, Tokyo, this fine and densely-packed book, documents many great sculptural works, work with fabric, on paper, reliefs and paintings, made by Tuttle between 1964 and 1994. Features an essay by Richard Tuttle alongside texts by Gerhard Mack and Shigemi Oka, the exhibition curator. All texts in both Japanese and English.
A great and rare Japanese book on the work of American artist, Richard Tuttle.

* Condition: Very Good (a clean, tight, near fine copy throughout) – All care is taken to provide accurate condition details of used books, photos available on request.

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Ken Price
The Large Sculptures

For over five decades, Ken Price (1935–2012) produced small-scale ceramic sculptures with brightly colored finishes that achieved a balance between form and surface. Then, in the last years of his life, he initiated a dramatic shift in scale and finish. Ken Price: The Large Sculptures unveils this final body of work in its entirety. With dimensions that echo those of the human body, these sculptures speak directly to the viewer’s corporeality. Cast in bronze composite and painted with color-shifting automotive paint, the large sculptures are in one sense the culmination of Price’s long career and in another the beginning of a new path cut tragically short. This large-format book includes a detailed essay by Alex Kitnick that situates these works in the history of modern sculpture. The plates section features multiple views of the works’ seemingly ever-shifting forms. Completing the book are numerous unpublished photographs of the fabrication process at Price’s studio.

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MAY #13

MAY #13 features:

Preface
– MAY

καταστροφή: the end and the beginning
– DEBORAH DANOWSKI

Man of the Anthropocene (as portrayed in the movie “Gravity”)
– STEPHANIE WAKEFIELD

What is “political” in the Anthropocene? A conversation between STEPHANIE WAKEFIELD and ANTEK WALCZAK
– MAY

DIY or DIE: a pastoral Selfie
– JENNA BLISS, ELISE DURYEE-BROWNER, DAMON SFETSIOS

Two stories
– ALEJANDRA RIERA

Insert: Dustin
– VALENTIN BOURÉ & MELANIE MATRANGA

REPORTS
Mirror, mirror on the wall … STEWART UOO at Buchholz Gallery, Berlin
– DANIEL HORN

Garden graft. On the exhibition “Your portrait”: a retrospective on TETSUMI KUDO at the National Museum of Modern Art, Tokyo
– JOHN BEESON

Kiss me, kiss me, love my body covers
– KARL HOLMQVIST

True Romance. Camille Blatrix at Balice Hertling, Paris
– EDWARD MONTASSUT

The affect impersonal. Anne Imhof at Deborah Schamoni gallery, Munich
– KERSTIN STAKEMEIER

Dorothy Iannone This timeless sweetness at the Migros Museum für Gegenwartkunst, Zürich
– KARL HOLMQVIST

“Species of notes.” On the book Dubuffet typographer Pierre Leguillon
– MICA GHERGHESCU

Exposure Charles James: beyond fashion at the MET, New York
– JASON SIMON

About MAY Revue:

Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.

Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.

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MAY #13
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