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JESSICA WARBOYS

Vanelephant

Margareta von Oswald (Ed.)

In the fall of 2010, Jessica Warboys discovered photographic portraits of surrealist dancer Hélène Vanel in the dis-used Bibliothèque Smith-Lesouëf, in the Parisian suburb of Nogent-sur-Marne. Among these photographs were images of Vanel performing L’Acte  manqué at the opening night of the Exposition Internationale du Surréalisme, Paris, 1938. Soon after, an unpublished manuscript by Vanel came to light in the adjoining archives of the Maison nationale des artistes, a retirement home for elderly artists. Vanelephant contains an overview of ten chapters of Vanel’s memoirs, written between 1984 and 1985, alongside self- portraits and a selection of attributed images and text. Warboys translated the texts herself and condensed the drama, and thus Vanel’s role has shifted from manuscript to script. Texts by Curzio Malaparte and André Parinaud, Hélène Vanel and Jessica Warboys.

STERNBERG PRESS, BERLIN
January 2013/ French & English
Softcover w/ postcard / 8 1/3 x 10 1/2 inches
104 pp / 7 b&w, 15 color
ISBN: 978-3-943365-12-2 · Retail Price: $22.00

WAR AS EVER!

Tracy Mackenna & Edwin Janssen

What is the relationship between conflict, looking and art? Derived from an exhibition at the Nederlands Fotomuseum, Scottish artists Tracy Mackenna and Edwin Janssen investigate the relationship between the historical visual culture of war and contemporary media. This Chinese-folded book is separated into five distinct sections: in the first, appropriated images ranging from from medieval etchings to newspaper clippings document an artist’s projection, alongside text from Susan Sontag’s noted book Regarding the Pain of Others. An essay from Frits Gierstberg discusses and documents the exhibition itself, while Lina van der Wolde explores the project’s starting point—the historic Van Kittensteyn album (1613) from the Dutch War of Independence. A reproduction of the artists’ handwritten manifesto works to critique our lingering culture of violence. Mackenna and Janssen have collaborated since participating in Manifesta 1 (1997) and teach at the University of Dundee, Scotland.

ONOMATOPEE, THE NETHERLANDS
2014 / Exhibition catalog
Softcover / 7 x 9 1/2 inches
128 pages / 100 color
ISBN: 978-94-91677-07-6 · Retail Price: $28.00

WE WOULD LIKE TO LEARN, AND WE ARE WORKING ON A BOOK

This Book Is A Classroom

Lucie Kolb, Romy Rüegger & HIT (Eds.)

What does the process of publishing really mean for knowledge exchange? This publication engages the form of the book as the site for poly-vocal and experimental research on art, language, and the economies within and between institutions. A conceptual project offering all the physical trappings of a true academic text: an unusual binding, jacket, title page, preface, postface, table of contents, captions, cross headings, annotations, editorial notes, appendix plus various additional accessories while presenting new ideas around the structure. A must-read for those fascinated by classic Fluxus book projects, We  Would  Like   to  Learn questions the mediating role of the publication on contemporary art practice, constructed by its contributions, modeled by the filling of its structural scaffolding. Contributors include Ellen Blumenstein, Elke Krasny, Dani Gal, Egija Inzule, Karl Larsson; Falke Pisano, Simone Schardt, Andrea Thal, Danna Vajda, and Jacob Wren.

PASSENGER BOOKS, BERLIN
March 2013/ Spiral-bound/ 11 1 3 x 8 1/2 inches/ 80 pp, 180 color
ISBN: 978-3-940215-15-4 · Retail Price: $25.00

WE ARE LIVING ON A STAR

Tone Hansen & Marit Paasche (Eds.)

On July 22, 2011, a politically motivated explosion took place in Oslo’s government “High-Rise” building and Hannah Ryggen’s tapestry We Are Living on a Star (1958) was partially destroyed. Only a slight scar remains after its meticulous reconstruction but the wound testifies to a brutal rent in the fabric of Norwegian society of recent terrorist actions. Ryggen’s tapestry serves as centerpiece for this compelling exhibition catalog curated by Henie Onstad Kunstsenter (HOK) in which participating artists engaged public discourse on the nature of the normal and predictable—the normal being no longer familiar, and the abnormal no longer associated with the foreign. With ample color and black-and-white illustrations, introduction by art historian Marit Paasche and forword by theorist Tone Hansen, this evocative publication presents the work of 24 artists and writers contending with the interface of politics, art and the everyday.

STERNBERG PRESS, BERLIN
HENIE ONSTAD KUNSTSENTER, norway
January 2015 / Exhibition catalog
Softcover / 8 x 10 1/4 inches
192 pp / 16 b&w and 76 color
ISBN: 978-3-95679-047-8 · Retail Price: $40.00

We Love Artists

Artist Residencies Around the World

The one reference book that every artist needs: a listing of the best 90 Artist-in-Residence (AIR) programs in the world! And there’s more in this cool, copiously illustrated book: details of more than 100 artists who are in AIR. Color-coded by region of the globe (Asia, Oceania, Europe, North/South America, Africa/Middle East), the book includes photos of artists’ residences, studios and work they have done; descriptions of each program, including interviews with artists who have been there; and selection criteria. Of course, there’s complete contact information for all. You will find the latest news from the programs where Gauguin, Donald Judd, Takashi Murakami, Makoto Aida and others have stayed and made great art. Includes a comprehensive list of 520 AIRs.

BNN, Inc., Japan
2010 / English & Japanese / Softcover
7 1/2 x 10 1/2 inches / 386 pp / Full color
ISBN: 978-4-86100-669-2 · Retail Price: $59.95

GILLIAN WEARING

British conceptual artist Gillian Wearing won the Turner Prize in 1997 (while still in her mid-30s). This comprehensive, copiously illustrated exhibition catalog documents the first major retrospective of her video and photography-based works. One of the Young British Artists, Wearing is represented in important collections ranging from the Tate Modern to the Guggenheim and the Hammer Museum. “The key to unlocking the work of Gillian Wearing is found not in art history but in reality television,” writes Ben Luke in the London Evening Standard. “Not so much the tabloid fodder of the 21st century but the tough stuff from the Sixties and Seventies…Always at the grittier end of the Young British Artists spectrum, she is in essence a documentary film-maker and photographer, her work weaving around the line that documentary treads between fact and fiction.” Wearing is known for delving into questions of identity—of herself and others—and for getting members of the public to reveal their innermost secrets, often at uncomfortable levels of intimacy and emotional charge. She often masks her subjects or herself, a strategy that, paradoxically, seems to reveal more than it hides. The retrospective goes back to Wearing’s first important work, the 1992-93 Signs that Say What You Want Them to Say and Not Signs that Say What Someone Else Wants You to Say, in which she asked people on the street to write a personal sign and then hold it up for a photo. During the 1990s, she used dramatized scenes to explore edgy relationship issues between parents and children. In her 2010 video Bully a young adult orchestrates actors to re-create a bullying incident in which he was the victim. With over 100 illustrations and insightful essays, this catalog presents Wearing as an important mid-career artist who finds new ways to explore human emotions in the age of social media.

RIDINGHOUSE, LONDON WHITECHAPEL GALLERY, LONDON KUNSTSAMMLUNG NORDRHEIN-WESTFALLEN, GERMANY
August 2012/ Softcover/ 9 x12 1/2 inches 232 pp/ 120 color
ISBN: 978-1-905464-52-4 · Retail Price: $49.95

KLAUS WEBER

Secession

Klaus Weber’s work presents the natural world being made to behave in unusual ways: a cloudburst follows a moving car on a sunny day; an ordinary vacuum cleaner summons a small tornado; mushrooms push up through tarmac. This slim but comprehensive catalog documents for the first time Austrian installation artist’s body of work and reveals an intervention in the spaces that dominate our “advanced” cities. Includes color and black-and-white photographs; texts by András Pálffy, Alex Farquharson, Clemens Krümmel, and the artist; and a pull-out insert to illustrate the spectacular effect of a heliostatic (sun-gathering) mirror that Weber installed at the 2008 Vienna Secession exhibit.

Sternberg Press, Berlin/Germany
2009 / English & German / Exhibition catalog / Softcover / 8 x 10 1/4 inches / 88 pp / 23 b&w and color
ISBN: 978-1-933128-64-1 · Retail Price: $29.95

Heinrich Weid

Model Book

At first glance, Heinrich Weid’s work reeks of conventional domestic design. But wait for the double-take, when you realize that his wild strain of thinking, camouflaged as an armchair or a vase, has turned home-sweet-home into Salvador Dali’s dollhouse, or Andy Warhol’s stage set. Weid plunges into the chaos of postmodern life, mixing forms and styles, utility and randomness, into a muscular type of design that will leave you questioning plenty of supposedly ordinary decisions about home décor. Weid wittily and wickedly brings together conflicting elements to create a memorable but not necessarily peaceful synthesis: vases made from toy cars, armchairs from car silhouettes, brick-patterned wallpaper with traffic symbols. Includes 7 sewn wallpapers: exquisite, but you’re not likely to be hanging them in the powder room.

Snoeck, Germany
January 2010 / Exhibition catalog / Hardcover
11 x 7 3/4 inches / 96 pp / 70 color
ISBN: 978-3-940953-15-5 · Retail Price: $39.95

MARKUS WEISBECK

Surface

Featured for the first time in the noted Sternberg Black Pocket Book series is a selection of seminal graphic-design projects developed by Markus Weisbeck’s German studio Surface over the last ten years. This paradigm-shifting firm has redefined the client-designer relationship, challenging what constitutes a graphic design practice today. Whether Surface collaborates closely with artists, like Liam Gillick or Isa Genzken, to create the posters for the German Pavilion at the Venice Biennale or takes the liberty to insert subtle interventions into monthly issues of a magazine, its designs skillfully inform the content at hand. Includes projects as diverse as virtual audio artwork by artist Michaela Melián, numeerous artists’ catalogues and key visuals for Manifesta 7. Also featured is a conversation between Christoph Keller and Markus Weisbeck.

STERNBERG PRESS, BERLIN / NEW YORK
2011 / Series 021 / Softcover
4.25 x 6.75 inches / 150 pp / 48 color
ISBN: 978-1-934105-32-0 · Retail Price: $19.95

MATTHIAS WEISCHER

Thicket

This book features new “pulp” paintings by Matthias Weischer, one of the most talented members of the New Leipzig School of German painters, whose work has been compared to that of David Hockney. He creates pastose oil paintings using cotton-fiber papier-mâché, the dominant material for large, semi-ornamental scenes of parks and gardens or interiors. “The manual and visual experiments with colored paper pulp came as no surprise in the work of an artist who has always been keen of exploring handcrafts and techniques, giving him a very special profile in the younger generation of German painters who started their careers after the nation’s reunion,” writes critic Walter Grasskamp in his brilliant essay “Pulp Fiction.” Weischer’s new works are a mix of the artificial landscape and staged interiors—by letting the outside in, he has opened up painting once again.

SNOECK, GERMANY
2014 / Exhibition catalog
Softcover / 8 1/4 x 10 1/2 inches
96 pp / 55 color
ISBN: 978-3-86442-067-2 · Retail Price: $39.95