Diedrich Diederichsen

Bankleer's works and projects are distinguished by the use of an exceptionally wide range of media and formats and the employment of different formal languages. The group's activities defy easy classification and assignment: performances in public spaces, video installations, sculptures, drawings, editorial and curatorial projects. Almost all their works share an immediate reference to political and social developments, addressing current issues from a perspective defined by bankleer's anti-capitalist views and their critique of economic structures. This monograph features in depth essays on their work as well as an annotated image section, highlighting recent projects and deployments.

Isa Genzken is one of the most important, multifaceted, always surprising artists working anywhere worldwide. This is evidenced not only by her largescale exhibitions of recent years, but also by her repeated participation in the documenta in Kassel, the Biennale in Venice or Skulptur Projekte in Mu?nster. She is known for her enormous creative energy and the ability, implicit in her work, to repeatedly reposition herself with artistic curiosity. Her realized and unrealized outdoor sculptures and projects for the public space show the artist?s interest in space and the (in this case architectural) environment. Operating in the ?eld of tension between architecture and art, she questions principles of proportions and the relationship between object and viewer, and examines the ways in which perceptions of public space inform and condition our consciousness.00Exhibition: Galerie Buchholz, Berlin, Germany (2019).

Catalog of an exhibition with the same title, held Feb 9-April 29, 2007 at the Mildred Lane Kemper Art Museum, Washington University, St. Louis, Mo., and May20-Sept.2, 2007 at the Opelvillen, Russelsheim, Germany.

"As a new movement that arose in the 1950s and 1960s, Minimalism challenged traditional ideas about art-making and the art object. A Minimal Future? Art As Object 1958-1968, which accompanies a major exhibition at The Museum of Contemporary Art in Los Angeles, offers a redefinition of Minimalism by situating it in the context of the concurrent aesthetics of modernist abstraction, pop art, and nascent ideas of conceptual art. Minimalism is presented as a range of strategies that propelled new definitions of the structure, form, material, image, and production of the art object and renegotiated its relationship to space and to the spectator.Focusing on the years 1958-1968, A Minimal Future? presents key works within the framework of a scholarly re-examination of minimal art's emergence and historical context. It reflects the early transitional period that begins in the late 1950s, through the so-called "canonization" of Minimalism by 1968, with an emphasis on work produced in the mid-to-late 1960s. The book includes works from the late 1950s through the late 1960s by 40 artists, including Carl Andre, Richard Artschwager, Jo Baer, Larry Bell, Mel Bochner, Judy Chicago, Dan Flavin, Robert Grosvenor, Eva Hesse, Donald Judd, Sol LeWitt, Agnes Martin, John McCracken, Robert Ryman, Frank Stella, Anne Truitt, and Lawrence Weiner that reflect the shifting object status of painting and sculpture.The text features original essays by prominent art historians and scholars. Diedrich Diedrichsen addresses the relationship between minimal art and music; Jonathan Flatley focuses on Donald Judd and Andy Warhol; Timothy Martin considers performance in relation to minimal art; James Meyer examines East and West Coast practices of Minimalism; and Anne Rorimer discusses the relationship of minimal to conceptual art. Exhibition curator Ann Goldstein contributes an introduction. Also included are individual entries on each of the artists, an extensive bibliography, and an exhibition chronology. The 400-page book includes 300 images, most in color." -- Publisher's description

"The conditions of being art examines the activities of innovating contemporary art galleries Pat Hearn Gallery and American Fine Arts, Co., and the transnational milieu of artists, dealers, and critics that surrounded them. Drawing on the archives of Pat Hearn and Colin de Land--both independently important figures on the New York art scene of the 1980s and 1990s--and interviews with their peers, this publication illustrates the dealers' distinctive practices, significant exhibitions, events, and daily business. ... Featuring commissioned essays, archival materials and exhibition timelines for both galleries, this publication is the first book-length critical account of 1990s commercial gallery practices and vibrantly documents how Hearn and de Land tested notions of what an art gallery could be"--Page 4 of cover.

As the most influential art movement of the postwar era, Pop art continues to shape our visual culture today. A central preoccupation of Pop was its dialogue with design, extensively investigated for the first time in this volume, published in conjunction with Vitra Design Museum's exhibition of the same name. Here, key works of Pop art by Robert Indiana, Jasper Johns, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Niki de Saint Phalle and Andy Warhol are juxtaposed with design objects from the same period by the likes of Charles and Ray Eames, Alexander Girard, Gruppo Strum, George Nelson, Verner Panton, Studio 65 and Ettore Sottsass. These works are buttressed with a wealth of illustrations from everyday culture, interior design and contemporary history, while opulent image spreads are accompanied by comprehensive essays from renowned experts and scholars.