Moderna Museet, Stockholm

Lee Lozano


ext by Iris Müller-Westermann, Jo Applin, Lucy R. Lippard, Benjamin Meyer-Krahmer.

Mystery shrouds the American avant-garde artist Lee Lozano (1930–1999), and yet at the same time she is one of the least-known great artists of theNew York art scene of the sixties and early seventies. Working during the transition from Pop Art to Minimalism and Conceptual Art, Lozano created a radical, frequently obscene, and extremely provocative body of work in a world dominated by her male counterparts. Her brief career ended in the early seventies when she withdrew from the New York art scene, a move she presented in her Dropout Piece.

Only recently has there been more interest in Lozano’s art, as the presence of her work at the documenta 12 and elsewhere demonstrates. The publication of this volume coincides with a retrospective of her works and undertakes a new presentation of Lozano’s multifaceted oeuvre, ranging as it does from surreal pictorial worlds and large-format minimalist paintings to conceptual works from the late sixties.

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Lee Lozano
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Edward Kienholz
11+11 Tableaux

First printing of the great “11+11 Tableaux” monographic book on the work of Edward Kienholz, published by the Moderna Museet in 1970 on the occasion of a gigantic travelling exhibition in 1970. Brought out the same year as Kienholz’s “1960 -1970” (Dusseldorf), which roughly shares the same content as this book, “11+11 Tableaux” functions as a sort-of bound archive/artist’s book of Kienholz’s major sculptural “Tableaux” works and installations throughout the 1960’s, each work illustrated through colour fold-out gloss pages and multiple black and white images, accompanied by introductory texts in English and Swedish. Also features a biography and bibliography. An incredible book on Kienholz and an enormously valuable reference source on the artist’s amazing early works. First edition.

Edward Kienholz (October 23, 1927 – June 10, 1994) was an American installation artist and assemblage sculptor whose work was highly critical of aspects of modern life. From 1972 onwards, he assembled much of his artwork in close collaboration with his artistic partner and fifth wife, Nancy Reddin Kienholz. Throughout much of their career, the work of the Kienholzes was more appreciated in Europe than in their native United States, though American museums have featured their art more prominently since the 1990s.

Art critic Brian Sewell called Edward Kienholz “the least known, most neglected and forgotten American artist of Jack Kerouac’s Beat Generation of the 1950s, a contemporary of the writers Allen Ginsberg, William Burroughs and Norman Mailer, his visual imagery at least as grim, gritty, sordid and depressing as their literary vocabulary”.

* Condition: Good (wear/light creasing to cover and small pencil drawing to back cover, otherwise clean good copy throughout) – All care is taken to provide accurate condition details of used books, photos available on request.

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Life on Sirius : The Situationist International and the Exhibition after Art
Daniel Birnbaum, Kim West (ed.)

How did art escape the deadlock of the Situationists’ anti-art refusal? Did the relational artists, with their repetitions of Situationist slogans and techniques, outline a sustainable, micro-political alternative to Guy Debord’s dream of surpassing art and realizing philosophy? Looking back at some of the Situationists’ confrontations with the museum, this book traces a path beyond the tragedy of negativity and the litany of recuperation. At the center is the concept of play; originally adopted as the principle of reconciled life, it returns as the lever of instrumentalization. But in the extraterrestial wasteland of the present, spaces of ludic coexistence and experimentation may remain possible, provided that pessimism can be adequately organized.

part of the All the King’s Horses Series, edited by Daniel Birnbaum and
Kim West
Copublished between Sternberg Press and Moderna Museet, Stockholm
Design by Studio Christopher West

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hilma-af-klint-spread

The Legacy of Hilma of Klint
Nine Contemporary Responses

Hilma af Klint (1862–1944) was an abstract pioneer who eschewed representational painting as early as 1906. Her radical spiritual imagery strives to provide insights into the different dimensions of existence.

Besides Hilma af Klint’s important and radical abstract paintings, she left behind a plethora of notebooks and drawings. Taking one of these, A Work on Flowers, Mosses and Lichen, as a starting point, nine contemporary artists were invited to respond to Hilma af Klint and her legacy. Hilma af Klint did not want her works to be seen until several decades after her death.
The artists included in this book are Amy Sillman, Cecilia Edefalk, Christine Ödlund, Eva Löfdahl, Fredrik Söderberg, Helen Mirra, Karl Holmqvist, Rebecca Quaytman, Sophie Tottie.

Published alongside an exhibition at Moderna Museet, Stockholm, 16 February – 26 May 2013.

English and German text.

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