R.H. Quaytman

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R. H. Quaytman
Spine

Published in 2011, “Spine” quickly went out of print and became very collectable. This comprehensive volume resembles a catalogue raisonné of R. H. Quaytman’s work produced since 2001, the year the artist began organizing paintings in what are called “Chapters.” Conceived and written by Quaytman, this more than 400-page volume presents a full decade’s output, from “The Sun, Chapter 1” to “Spine, Chapter 20,” the latest series which revisits motifs elaborated in the preceding nineteen chapters. A text articulating the artist’s systematic pictorial practice, executed on Golden Section wood panels, is printed on the book’s unfolding dust jacket.

A vital document for anyone interested in the work of R. H. Quaytman. Highly recommended!

* Condition: Very Good-Fine (some light corner bumping, but overall a tight and clean copy, almost like-new in original dust-jacket) – All care is taken to provide accurate condition details of used books, photos available on request.

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Painting 2.0
Expression in the Information Age

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.

Artists include:
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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TEXTE ZUR KUNST #100
December 2015 "The Canon"


ISSUE NO. 100
DECEMBER 2015
„THE CANON“

“Our 100th issue is dedicated to the question of the “canon.” We take up this theme with an interest in reflecting on the journal’s own role in the field of contemporary art — one that, when first initiated in 1990, was markedly counter-canonical, vigorously contesting certain methods of critique while supporting others. And yet, we pause here to acknowledge that after 25 years, we have also doubtlessly played a crucial part in shaping a particular discourse, even normativizing it to some degree. Could it even be said that TzK has established a canon in its own right? With this issue, we now take stock of what TzK’s relationship to the canon might be, and moreover, what the notion of canonicity in 2015 might now represent.”

– Texte Zur Kunst

ISSUE NO. 100 / DECEMBER 2015 “THE CANON”

TABLE OF CONTENTS

PREFACE

TOM HOLERT
IN PRAISE OF PRESUMPTUOUSNESS: “KANON-POLITIK ” (1992) REVISITED

DIEDRICH DIEDERICHSEN
MIKE KELLEY

SABETH BUCHMANN
MEDIAL (SELF-)MOVEMENT

ISABELLE GRAW
CANON AND CRITIQUE: AN INTERPLAY / Heimo Zobernig

JULIANE REBENTISCH
25 ARTISTS FROM 1990 TO 2015 / And 25 reasons why each belongs in the Texte zur Kunst canon

GERTRUD KOCH
POLYPHONY OR DISSONANCE / Are there artists lost in the canon?

KERSTIN STAKEMEIER
MORE MANNERISM / Ruth May and Jan Molzberger

GUNTER RESKI
EMBEDDED NUDES / Arno Rink

ALEXANDER GARCÍA DÜTTMANN
OLD WOMEN / Maria Lassnig’s “Du oder ich” (You or me), 2005

BEATE SÖNTGEN
ROSEMARIE TROCKEL

NICK MAUSS
IAN WHITE

TESS EDMONSON
DIS

HANNA MAGAUER
POST-INTERNET: THE NEW ORDER

JOSEPHINE PRYDE
THE INDIVIDUAL

CAROLINE BUSTA
BAD CANON

SIMON DENNY
DISRUPT

KEN OKIISHI
CITIZENSHIP

VALENTINA LIERNUR
SELF-REFLECTIVE SUBJECTS

JUTTA KOETHER
FIGURE OF PAINT: ON THE INCONTROVERTIBLE!

ALICE CREISCHER AND ANDREAS SIEKMANN
TUCUMÁN ARDE

PAMELA M. LEE
GROUP MATERIAL

FELIX VOGEL
MARTIN BECK

SVEN BECKSTETTE
STURTEVANT

CLAIRE FONTAINE
TOWARD A CANONIC FREEDOM

SVEN LÜTTICKEN
FALLING APART, TOGETHER

ROBERT KULISEK AND DAVID LIESKE
HUSBANDS HAVE GOT TO DIE! / A conversation about Taryn Simon

BRIGITTE WEINGART
GREAT & SMALL

HELMUT DRAXLER
CANON OF EXISTENCE, ETHICS OF THE BREAK

ROTATION

ELECTROCONVULSIVE LIT / John Kelsey on Sylvère Lotringer’s “Mad Like Artaud”

REVIEWS

VERWISCHTE GRENZEN / Robert Müller über „Radikal Modern. Planen und Bauen im Berlin der 1960er-Jahre“ in der Berlinischen Galerie

AGING INTO NEW WORLDS: DEUTSCH-AMERIKANISCHE FREUNDSCHAFT / Bettina Funcke surveys five fall 2015 shows in New York

ANGEWANDTER HISTOMAT / Ariane Müller über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien

ENIGMA IN THE MIRROR / Luis Felipe Fabre on “In Girum Imus Nocte et Consumimur Igni” at Museo Jumex, Mexico City

WHERE ANGELS FEAR TO TREAD / Nuit Banai on R. H. Quaytman at the Tel Aviv Museum of Art

IST KUNST EIN SEXUALPROBLEM? / Eva Birkenstock über Lea Lublin im Lenbachhaus, München

HERE’S NOT HERE / Damon Sfetsios and Elise Duryee-Browner on Stephan Dillemuth at Reena Spaulings Fine Art, New York

WEAK LOCAL LINEAMENTS / Gareth James on Sam Lewitt at the CCA Wattis Institute for Contemporary Arts, San Francisco

OBITUARIES

PETER SCHEIFFELE (1971–2015)
by Ilka Becker
CHANTAL AKERMAN (1950–2015)
by Tim Griffin

EDITION

JOHN BALDESSARI
NHU DUONG
PETER FISCHLI/DAVID WEISS
WADE GUYTON
RACHEL HARRISON
SARAH MORRIS
ALBERT OEHLEN
RICHARD PHILLIPS
SETH PRICE
GERHARD RICHTER
ROSEMARIE TROCKEL

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R.H. Quaytman
Dalet, Chapter 24






ך  , Chapter 24 illustrates 61paintings from the exhibition of the same name at the Museum Abteiberg in Mönchengladbach, Germany, June 3 – November 4, 2012. This latest chapter employs a variety of images directly related to Museum Abteiberg and Mönchengladbach.  Many of the paintings are made from the museum’s image archive, and photographs taken by the artist of works in the permanent collection. These images are presented alongside several small portraits of their custodian, chief curator Hannelore Kersting. In addition, Quaytman utilized in the gesso ground compositions and various paper patterns for shirt collars and cuffs provided by the Van Laack headquarters in Mönchengladbach. The title   ך   is the Hebrew letter Dalet or D. It also symbolizes the number 4, which in turn is the number of the square, the chosen ratio for the works in this chapter.
The boxed set of 61 cards depicts each painting accompanied by corresponding notes written by the artist about each image. Additionally, the box includes an essay on Chapter 24 by Mark Godfrey, a facsimile of Yve-Alain Bois’ early essay The Tree and the Square, plus the original 1977 version L’arbre et le carré, and a new German translation. The box format is a direct reference to the famous catalogues published by the Museum in Mönchengladbach under the direction of Johannes Cladders.

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