Trisha Donnelly

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Martin Herbert
Tell Them I Said No


This collection of essays by Martin Herbert considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms. A large part of the artist’s role in today’s professionalized art system is being present. Providing a counterargument to this concept of self-marketing, Herbert examines the nature of retreat, whether in protest, as a deliberate conceptual act, or out of necessity. By illuminating these motives, Tell Them I Said No offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge. Essays on Lutz Bacher, Stanley Brouwn, Christopher D’Arcangelo, Trisha Donnelly, David Hammons, Agnes Martin, Cady Noland, Laurie Parsons, Charlotte Posenenske, and Albert York.

Martin Herbert is a writer and critic living in Berlin. He is associate editor of ArtReview and writes for international art journals. Previous books include The Uncertainty Principle (2014) and Mark Wallinger (2011).

Design by Fraser Muggeridge studio

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Trisha Donnelly
Wolfgang-Hahn-Preis 2017

Catalogue published on the occasion of Trisha Donnelly’s 2017 solo exhibition at Cologne’s Ludwig Museum (organised by Suzanne Cotter) and her award of the Wolfgang-Hahn-Preis.

Trisha Donnelly was born in 1974 in San Francisco, California. She completed the Bachelor of Fine Arts at the University of California in 1995 and the Master of Fine Arts at the Yale University School of Art in 2000. Since 1999, she has participated in exhibitions, having held several institutional exhibitions at Villa Serralves in Porto (2016), the Serpentine Gallery in London (2014), the San Francisco Museum of Modern Art (2013), Portico, Frankfurt (2010), the Museo d’Arte Moderna di Bologna (2009), the Renaissance Society of the University of Chicago and the Institute of Contemporary Art in Philadelphia (both in 2008), the Modern Art Oxford (2007) 2005). In the last ten years, she has appeared in numerous group exhibitions, including at the 54th and 55th Venice Biennale (2011 and 2013), at dOCUMENTA (13) (2012), in The Quick and the Dead at the Walker Art Center (2009) and Il Tempo del Postino (2007 in Manchester, 2009 in Basel). In Germany, Donnelly had her first institutional solo exhibition in 2005 at the Kölnischer Kunstverein within the framework of the Central Art Prize awarded to her in 2004. In 2015 the Julia Stoschek Collection showed Trisha Donnelly’s work as an exhibition number ten. Early exhibitions took place, among others, at her Galerie Air de Paris in Paris, Galerie Eva Presenhuber, Zurich, and Casey Kaplan in New York. There she caught the eye in 2002 with her performance, When she dressed as a messenger of Napoleon on a horse, she rode before Casey Kaplan’s gallery and read a mysterious message. An action that was repeated in the Cologne Kunstverein in 2005, in that a black horse was supposed to have been guided through the exhibition hall – an event whose facticity the artist likes to leave open.

This play with the unknown and the production of situations in which the viewer is completely thrown back to his own individual perception without a reference frame may be one of the most important features of Trisha Donnelly’s work. An approach to their partly also immaterial work can ultimately only happen if one encounters them. Donnelly’s avoidance of the public, explanatory texts, or title-bearing titles points to a strategy that is not oriented towards events and spectacles. It is rather the inexplicable, rumorous experiences or experiences that Donnelly tries to make experience in her works. In an interview with Cathrin Lorch in 2005 (Kunstbulletin, September, 2005), Donnelly once mentioned that they are trying to condense things. Each piece of work was created in an attempt to search for patterns that created a “mental sculpture”. In addition to the already mentioned Central Art Prize, Donnelly received the Rob Pruitt’s Art Award, the Prix de la Fondation Luma in Arles in 2010, the 10th Prize of the Sharjah Biennial in 2011 and the International Faber-Castell Prize for Drawing in 2012. In 2011 she was among the finalists for the Hugo Boss Prize 2012, awarded by the Solomon R. Guggenheim Foundation. In addition to the already mentioned Central Art Prize, Donnelly received the Rob Pruitt’s Art Award, the Prix de la Fondation Luma in Arles in 2010, the 10th Prize of the Sharjah Biennial in 2011 and the International Faber-Castell Prize for Drawing in 2012. In 2011 she was among the finalists for the Hugo Boss Prize 2012, awarded by the Solomon R. Guggenheim Foundation. In addition to the already mentioned Central Art Prize, Donnelly received the Rob Pruitt’s Art Award, the Prix de la Fondation Luma in Arles in 2010, the 10th Prize of the Sharjah Biennial in 2011 and the International Faber-Castell Prize for Drawing in 2012. In 2011 she was among the finalists for the Hugo Boss Prize 2012, awarded by the Solomon R. Guggenheim Foundation.

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Invisible Adversaries
edited by Lauren Cornell

‘Invisible Adversaries’ was a major exhibition curated by Lauren Cornell and Tom Eccles inspired by the 1976 feature film by the radical Austrian artist Valie Export. The film presents a woman’s struggle to retain her sense of self against hostile alien forces that appear increasingly ubiquitous, colonizing the minds of all those around her. Motifs from the film – among them, architecture’s influence on identity; feminist critique; and the power of political fantasy – operate as filters through which to consider significant pieces from the Marieluise Hessel Collection.

With works by over 50 artists including Eija-Liisa Ahtila, Chantal Akerman, Kai Althoff, Janine Antoni, Ida Applebroog, Phyllida Barlow, Lynda Benglis, Barbara Bloom, Paul Chan, Patty Chang, Anne Collier, Rineke Dijkstra, Trisha Donnelly, VALIE EXPORT, Hans-Peter Feldmann, Isa Genzken, Liam Gillick, K8 Hardy, Rachel Harrison, Mona Hatoum, Roni Horn, Emily Jacir, Annette Kelm, Leigh Ledare, Nikki S. Lee, Sarah Lucas, Tala Madani, Christian Marclay, Helen Marten, Ulrike Müller, Bruce Nauman, Tony Oursler, Philippe Parreno, William Pope.L, Seth Price, Magali Reus, Rachel Rose, Thomas Ruff, Ilene Segalove, Cindy Sherman, Stephen Shore, Diane Simpson, Lorna Simpson, Jo Spence, Hito Steyerl, Tunga, Gillian Wearing, Martha Wilson, and Krzysztof Wodiczko, amongst others.

This 300-page publication designed by Zak Group with original essays by nine influential writers, scholars and artists: Zach Blas, Johanna Fateman, Nav Haq, Vít Havránek, J. Hoberman, Alex Kitnick, Tavia Nyong’O, Lauren O’Neill-Butler, and Julian Rose. The catalogue also includes original interviews with VALIE EXPORT, Trevor Paglen, and Hito Steyerl.

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The Dept. of Corrections
Bob Nickas Collected Writings 2007-2015


This volume is comprised of years of recent writing by the influential New York–based critic and curator Bob Nickas, widely considered one of the few independent voices still at work today. The 50 essays and interviews, written since 2007, are spread across five chapters, touching on encounters with artists from the 1960s to the ’80s to the present – among them, Jack Smith, Andy Warhol, Frank Stella, On Kawara, Isa Genzken, Steven Parrino, Jean-Michel Basquiat, Kara Walker, Wolfgang Tillmans, Kelley Walker and Pierre Huyghe.

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