Aspen Art Museum, Aspen

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Hayley Tompkins

 

Conversation between Hayley Tompkins and Heidi Zuckerman, Aspen, 2013. In an episode from May 2012 of the National Public Radio program “Radiolab,” linguist Guy Deutscher noted the seeming opposition between the absence in most ancient languages of a word for the color blue—it does not appear in the poetry of Homer, for instance—and “Why is the sky blue?,” is one of the first questions that all children ask. To better understand this odd contradiction, Deutscher undertook a personal experiment that included asking his wife to never tell their young daughter that the sky was blue. They introduced her to many colored objects, including blue ones, but when he eventually pointed to the sky and asked her what color it was, his query met with incomprehension. Although she eventually came to the conventional association of the word blue with the color of the sky, her initial uncertainty highlighted the difficulty in describing something that is essentially objectless. The poignancy of this initial moment when the sky could be any color led “Radiolab” cohost Robert Krulwich to posit that, in a way, assigning a specific color “… is a loss of innocence; having something fixed that is, for a while, just between you and your frenzied heart.” This linguistic experiment seems a fitting and beautiful metaphor for the work of Glasgow-based artist Hayley Tompkins.

This monograph presents five of Glaswegian artist Hayley Tompkins’ (born 1971) major exhibitions from 2011 to 2013, including ‘Scotland + Venice’ and her show at Aspen Art Museum (both 2013), alongside recent works in her ‘Digital Light Pool’ series.

In her paintings and painted objects, Hayley Tompkins emphasizes the energy found in small things and economical gestures. From sticks and scraps of wood to spoons and mobile phone casings, her choice of support insistently draws attention to the boundary between painting and reality. Organized in suggestive and deceptively informal arrangements, Tompkins’s minimal, lo-fi objects highlight the acts of looking, touching, and experiencing space. In so doing, Tompkins prompts us to slow down and attend to our surroundings in a concentrated way that is decidedly at odds with the pace of contemporary life. Her exhibition at the AAM is her first solo presentation in a North American institution.

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Hayley Tompkins
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Gabriel Kuri
With Personal Thanks To Their Contractual Thingness



Using familiar materials such as receipts, newspaper and plastic bags, Mexican-born, Los Angeles–based artist Gabriel Kuri (born 1970) is interested in the way that money mediates almost all human relationships.

This large publication accompanies his Aspen Art Museum exhibition, comprising an extensive selection of works that center on Kuri’s interest in the transactional residue of daily life and broad-based ideas of tracking systems in economics, politics, consumption and production. The catalogue also features essays by Daniel McClean and Heidi Zuckerman, as well as an interview between Kuri and Sofia Hernández Chong Cuy.

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Gabriel Kuri: With Personal Thanks To Their Contractual Thingness
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Lucio Fontana
Sculpture

This catalogue was produced to accompany the exhibition Lucio Fontana “Ceramics” at the Aspen Art Museum, July 27 – October 7, 2012.

Best known for the slashed and cut canvases of the Concetti spaziali that he created primarily in the 1950s and 60s, Argentine–Italian artist Lucio Fontana (1899–1968) used ceramics and clay modeling to explore larger problems in sculpture and painting. ‘Lucio Fontana: Sculpture’ is published in conjunction with the first U.S. museum exhibition dedicated solely to the artist’s groundbreaking ceramic work, and explores the innovative and often contrarian ways in which Fontana made use of the medium.

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AMELIE VON WULFFEN

Published on the occasion of her Aspen Art Museum exhibition, the artist’s first solo presentation in an American museum, this catalogue focuses on Amelie von Wulffen’s recent work. The artist deploys a host of painterly techniques that – while departing from the photographic collage practice for which she is best known – remain deeply referential, wryly revisiting and reprocessing tactics and tropes of modern painting from European Romanticism onward.

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AMELIE VON WULFFEN - Aspen Art Museum
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