JRP Ringier, Zürich

Jay DeFeo
Chiaroscuro

In this major monograph on Jay DeFeo, John Yau looks at the breadth of the artist’s work and her broad range of interests and influences, while the book focuses on her late work, paintings of the 1980s as well as the exceptional corpus of drawings of the 1980s and her photographic oeuvre of the 1970s.

Jay DeFeo (1929-1989) was part of a vibrant community of avant-garde artists, poets, and musicians in San Francisco during the 1950s and 1960s. Her circle included Wallace Berman, Joan Brown, Bruce Conner, Wally Hedrick, Edward Kienholz, and Michael McClure. Although best known for her monumental painting “The Rose” (1958-1966), DeFeo worked in a wide range of media and produced an astoundingly diverse and compelling body of work over four decades. DeFeo’s unconventional approach to materials and her intensive, physical method make her a unique figure in postwar American art.

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Jay DeFeo - Chiaroscuro
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Guy de Cointet

The book, written by Marie de Brugerolle and published with the Estate of Guy de Cointet, is the first to offer an overview of Cointet’s enigmatic and influential oeuvre.

Guy de Cointet (American, b. France. 1934–1983) was fascinated with language, which he explored primarily through performance and drawing. His practice involved collecting random phrases, words, and even single letters from popular culture and literary sources—he often cited Raymond Roussel’s novel “Impressions of Africa” as influential—and working these elements into non-linear narratives, which were presented as plays to his audience.
Paintings and works on paper would then figure prominently within these performances. In his play “At Sunrise . . . A Cry Was Heard” (1976), a large painting depicting letters bisected by a white sash served as a main subject and prop, with the lead actress continuously referring to it and reading its jumble of letters as if it were an ordinary script. His drawings likewise are almost readable but just beyond comprehension.
De Cointet is recognized as one of the major figures in the Conceptual art movement that emerged in Los Angeles in the 1970s, having strongly influenced a number of prominent artists working in southern California today, including Paul McCarthy and Mike Kelley, for whom both drawing and performance figure significantly in their artistic practices.

Edited by Clément Dirié.
Text by Larry Bell, Marie de Brugerolle, Gérard Wajcman.

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Guy de Cointet
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General Idea
A Retrospective (1969–1994)

This volume presents an overview of the Canadian collective oeuvre—an oeuvre still haunted by Miss General Idea, a fictive character who was at once muse and object, image and concept. Founded in Toronto in 1969 by Felix Partz, Jorge Zontal—both disappeared in 1994—and AA Bronson, the trio adopted a generic identity that “freed it from the tyranny of individual genius.” Their complex intermingling of reality and fiction took the form of a transgressive and often parodic take on art and society. Treating the image as a virus infiltrating every aspect of the real world, General Idea set out to colonize it, modify its content and so come up with an alternative version of reality.

Paintings, installations, sculptures, photographs, videos, magazines, and TV programs: General Idea’s is an authentically multimedia oeuvre, that has lost nothing of its freshness and can now be seen as anticipating certain aspects of a current art scene undergoing radical transformation. The book covers the collective’s main areas of concern and themes, such as the artist and the creative process, glamour as a creative tool, art’s links with the media and mass culture, architecture and archaeology, sexuality and AIDS, etc. Including newly commissioned essays and republished texts, it is richly illustrated with documents and reproductions of the most important projects realized by General Idea from 1969 to 1994.

Published with the Musée d’art moderne de la Ville de Paris and the Art Gallery of Ontario, Toronto. French edition by Paris Musées.

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General Idea - A Retrospective (1969–1994)
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Piero Gilardi

Piero Gilardi is a pioneer of Arte Povera and a proud advocate of an ecological-concerned undertaking in visual arts. He is a peripatetic artist who gathered information about experimental art and creators in the 1960s, promoting the work of Richard Long or Jan Dibbets, and introducing Bruce Nauman or Eva Hesse into Europe. He is also a political activist who marched with FIAT workers in the 1970s, and who founded, in the 2000s the Living Art Park, commissioning earthworks to contemporary artists such as Dominique Gonzalez-Foerster or Lara Almarcegui. For all this and for much more—his design and fashion creations, his social endeavors, etc.—Piero Gilardi is emblematic of the evolutions of art and society of the last five decades. He is an artist whose works and theoretical researches are still relevant to map what art could achieve and how art could be useful in the “real world.”

Published with Castello di Rivoli, Turin, Van Abbemuseum, Eindhoven and Nottingham Contemporary.

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Piero Gilardi
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