The resurgent interest in contemporary painting in recent years has coincided with an explosion of new digital media and technologies. Contrary to canonical accounts premised on medium-specificity, painting’s most advanced positions since the 1960s have developed in productive friction with contemporaneous forms of mass media and culture. From the rise of television and computers to the Internet revolution, painting has assimilated precisely those cultural and technological developments that were held responsible for its presumed “death.” Moving far beyond its technical definition as “oil on canvas,” painting during the information age has consistently offered a site for negotiating the challenges of a mediated life-world.
Featuring over 230 works by 107 artists, Painting 2.0 is one of the largest and most comprehensive exhibitions of contemporary painting in recent years.
Kai Althoff, Ei Arakawa/Shimon Minamikawa, Monika Baer, Nairy Baghramian, Georg Baselitz, Jean-Michel Basquiat, Lynda Benglis, Sadie Benning, Judith Bernstein, Joseph Beuys, Ashley Bickerton, Cosima von Bonin, KAYA (Debo Eilers & Kerstin Brätsch), Günter Brus, Daniel Buren, Merlin Carpenter, Leidy Churchman, William Copley, René Daniëls, Guy Debord/Asger Jorn, Carroll Dunham, Mary Beth Edelson, Thomas Eggerer, Michaela Eichwald, Nicole Eisenman, Jana Euler, Louise Fishman, Andrea Fraser, Isa Genzken, Mary Grigoriadis, Philip Guston, Wade Guyton, GuytonWalker, Raymond Hains, Harmony Hammond, David Hammons, Keith Haring, Rachel Harrison, Mary Heilmann, Eva Hesse, Charline von Heyl, Ull Hohn, Jacqueline Humphries, Jörg Immendorff, Jasper Johns, Joan Jonas, Mike Kelley, Martin Kippenberger, Yves Klein, Jutta Koether, Michael Krebber, Manfred Kuttner, Maria Lassnig, Sherrie Levine, Glenn Ligon, Lee Lozano, Konrad Lueg, Michel Majerus, Piero Manzoni, Kerry James Marshall, Hans-Jörg Mayer, John Miller, Joan Mitchell, Ree Morton, Ulrike Müller, Matt Mullican, Elisabeth Murray, Cady Noland, Hilka Nordhausen, Albert Oehlen, Laura Owens, Steven Parrino, Ed Paschke, Howardena Pindell, Sigmar Polke, Seth Price, Stephen Prina, R.H. Quaytman, Robert Rauschenberg, David Reed, Gerhard Richter, Mimmo Rotella, Niki de Saint Phalle, Mario Schifano, Amy Sillman, Sylvia Sleigh, Josh Smith, Joan Snyder, Reena Spaulings, Nancy Spero, Gruppe SPUR, Frank Stella, Walter Swennen, Paul Thek, Rosemarie Trockel, Cy Twombly, Jacques de la Villeglé, Kelley Walker, Andy Warhol, Sue Williams, Karl Wirsum, Martin Wong, Christopher Wool, Heimo Zobernig, u.a.
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Piper Marshall (Ed.)
Descartes’ Daughter, edited by Piper Marshall, former curator of the Swiss Institute in New York, documents the critically lauded 2013 exhibition of the same name as well as continuing its ideas. Taking the historical account of philosopher René Descartes’ creation of an animatronic effigy of his deceased young daughter as its foundation, the exhibition explored the traditional divide between conceptual and expressive works, those dealing with either the mind or the body.
The reader includes five essays that explore the room in between this divide, both within the works exhibited and beyond. Fionn Meade, curator at the Walker Art Center, submits a poetic elegy to René Descartes, placing his ideas and the discussion around them at the center of this book. Jenny Jaskey, director and curator of the Artists’s Institute, writes on scale and the subjective, metabolic qualities of “human.” Piper Marshall asks how one can curate a feminist art exhibition, firmly merging the discussion.
Copublished with Swiss Institute following the exhibition“Descartes’ Daughter” (September 20–November 3, 2014), with works by Malin Arnell, Miriam Cahn, John Chamberlain, Hanne Darboven, Melanie Gilligan, Rochelle Goldberg, Nicolás Guagnini/Jeff Preiss, Rachel Harrison, Charline von Heyl, Lucas Knipscher, Jason Loebs, Ulrike Müller, Pamela Rosenkranz, Karin Schneider, and Sergei Tcherepnin.
Design by Li Inc., New York
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Rich Texts: Selected Writing for Art
Edited by Daniel Birnbaum, Isabelle Graw, Institut für Kunstkritik, Frankfurt am Main Compiled for the first time here, the critic, artist, gallerist, dealer, translator John Kelsey’s selected essays gamesomely convey some of the most poignant challenges in the art world and in the many social roles it creates. “When the critic chooses to become a smuggler, a hack, a cook, or an artist,” Kelsey said at a 2007 conference at the Städelschule in Frankfurt am Main, “it’s maybe because criticism as such remains tied to an outmoded social relation.” It is precisely this relation that Kelsey intends to not only critique but also to surpass. In this way, Kelsey’s “Rich Texts” play the double role of explaining the art world and actively participating in it; they close the distance between the work of art and how we talk about it. “With a keen sense of the way objects and subjects appear in the spaces we share, and how we inhabit our bodies, John Kelsey writes texts at once playful and true to the situations under observation. He does not write from an imaginary critical distance, but as someone fully aware of being immersed in the commercial world, commodified and for hire—i.e., as a ‘hack’—yet constantly searching for new forms of experimentation.” —Daniel Birnbaum and Isabelle Graw Originally published in Artforum—where Kelsey is a contributing editor—Texte zur Kunst, Parkett, and various artists’ catalogues, the essays compiled in Rich Texts have all been written over the last decade, and therefore embody a timeliness that strikes at the core of the contemporary art world and the crises that have come to define it. Design by Surface, Frankfurt am Main/Berlin
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