Bøger udgivet af Hauser & Wirth Publishers

Philip Guston paintings?particularly the liberated and instinctual forms of his late work?continue to exert a powerful influence on younger generations of contemporary painters. His daughter, Musa Mayer, manages the estate of Philip Guston and is president of The Guston Foundation. She has curated exhibitions of Guston's work and written books including the memoir Night Studio, first published by Alfred A. Knopf in 1988. In 2022 the Metropolitan Museum of Art announced that more than two hundred Guston works from her collection would be gifted to the museum.

Art therapist Sigríður Björnsdóttir provides a rare testimony of her marriage to Dieter Roth as well as their artistic collaborationsSigríður Björnsdóttir met 22-year-old Dieter Roth in Copenhagen in 1952. A year later, Roth joined her in Reykjavík, and in 1957 they married. 50 years later, Björnsdóttir recounts their meeting, the ups and downs of their marriage, their life with their children and their eventual separation. Beyond her own artistic activities, Björnsdóttir describes her collaborative and experimental work with Roth, their encounters with friends and peers within the tightly woven Icelandic creative community and the beginnings of Roth's multifaceted practice. Dieter Roth in My Life is an honest and personal account of a period in Björnsdóttir's life, shared with a man she describes as the love of her life who went on to become a successful and highly influential artist.Sigríður Björnsdóttir (born 1929) is an art therapist and artist living in Reykjavík. She graduated from the Icelandic College of Arts and Crafts in 1952 and went on to become a pioneer in art therapy, practicing in Iceland and lecturing worldwide.

An expansive volume featuring over two decades of incisive reflections on race, art and pop culture by one of the greatest artists working todayThis long-awaited and essential volume collects writings and interviews by Glenn Ligon, whose canonical paintings, neons and installations have been delivering a cutting examination of race, history, sexuality and culture in America since his emergence in the late 1980s. No stranger to text, the artist has routinely utilized writings from James Baldwin, Zora Neale Hurston, Richard Pryor, Gertrude Stein and others to construct work that centers Blackness within the historically white backdrop of the art world and culture writ large. Ligon began writing in the early 2000s, engaging deeply with the work of peers such as Julie Mehretu, Chris Ofili and Lorna Simpson, as well as with artists who came before him, among them Philip Guston, David Hammons and Andy Warhol. Interweaving a singular voice and a magical knack for storytelling with an astute view of art history and broader cultural shifts, this collection cements Ligon's status as one of the great chroniclers of our time.Glenn Ligon was born in the Bronx in 1960. He began as an abstract painter but shifted to text-based works which often incorporate quotes from Black authors. His work can be found in the collections of the Art Institute of Chicago, the Baltimore Museum of Art and the Museum of Modern Art, New York.

Fifteen museum curators chronicle Hesse's landmark exhibitions over the yearsGerman-born American artist Eva Hesse (1936-70) was a pioneering figure in Postminimalism, known for her use of materials such as latex and fiberglass to evoke fleshy, organic forms. This volume provides a historical account of Hesse's landmark institutional exhibitions following her death, from 1972 to the present. Contributions from the museum curators involved in organizing these shows reflect the personal dimension of crafting an exhibition, such as intent and reception. Extensive installation views are included throughout, along with exhibition-related ephemera, lending historical texture to the curators' essays.Curators and corresponding exhibitions include: Linda Shearer (Guggenheim Museum, New York, 1972); Nicholas Serota (Whitechapel Gallery, London, 1979); Ellen Johnson (Allen Memorial Art Museum, Oberlin College, Ohio, 1982); Helen Cooper (Yale University Art Gallery, New Haven, 1992); Elisabeth Sussman (San Francisco Museum of Modern Art, 2002); Renate Petzinger (Museum Wiesbaden, Germany, 2002); Sabine Folie (Kunsthalle Wien, Vienna, 2004); Fred Wasserman (Jewish Museum, New York, 2006); Catherine de Zegher (Drawing Center, New York, 2006); Briony Fer (Fruitmarket Gallery, Edinburgh, 2009); Luanne McKinnon (University of New Mexico Art Museum, Albuquerque, 2011); Brigitte Kölle and Petra Roettig (Hamburger Kunsthalle, Hamburg, Germany, 2013-14); Andrea Gyorody (Allen Memorial Art Museum, Oberlin College, Ohio, 2019/22); Lena Stringari (Guggenheim Museum, New York, 2022).

A social practice art project expanding skill-based employment opportunities for the incarceratedIn 2017, American multidisciplinary artist Mark Bradford (born 1961) initiated a partnership with Rio Terà dei Pensieri, an Italian nonprofit working with two Venetian prisons. Through this collaboration, Process Collettivo was formed: an ongoing project that aims to increase employment opportunities within prisons and the city of Venice as a whole, while raising awareness about the political and environmental conditions that disproportionately affect marginalized populations. This eponymous volume provides extensive documentation of the project, including photos, testimonials by incarcerated people, and additional information about carceral systems and the people impacted by them.Edited and with an introductory text by scholar Nicole Fleetwood, the book includes essays that contextualize Bradford's project through analyses of Italian and American prisons, a reflection of creativity as an outlet for the incarcerated and a discussion of the history of social practice art. Process Collettivo also features a conversation between Bradford and former Rio Terà president Liri Longo, in which they reflect on the obstacles and successes of their joint venture.

Seven contemporary artists build upon Mike Kelley's titular concept, producing works that comment on lived experience within built environmentsNonmemory brings together works by Mike Kelley and a group of artists--Kelly Akashi, Meriem Bennani, Beatriz Cortez, Raúl de Nieves, Olivia Erlanger, Lauren Halsey and Max Hooper Schneider--whose work similarly engages Kelley's titular concept: the 'non-memory' of the various institutional spaces or built environments he encountered in his life. Documenting the eponymous exhibition at Hauser & Wirth Los Angeles in 2023-24, the book also features reproductions of important works by Kelley, his foundational essay, 'Architectural Non-memory Replaced with Psychic Reality, ' conversations with each artist, and a new text by exhibition curator and editor of the publication Jay Ezra Nayssan.

The publication contains poems by Cheryl Johnson-Odim, Rashid Johnson's mother, which are accompanied here by a selection of Johnson's drawings and a conversation between mother and son.The conversation is about the culture in which he grew up, with personal anecdotes e.g. about his teenage years as a graffiti writer, and their reflections on their lives and cultural shifts.

"Engadin" delves into the artist's deep relationship with the Engadin region in the Swiss Alps, which he first visited in the late eighties. In an insightful essay by Dieter Schwarz works  are discussed to explore the Alpine landscapes' impact on the artist. With eighty color illustrations, the book features paintings, overpainted photographs, and archival images, with some materials available to see published for the first time.

Comprising of Anj Smith¿s most recent body of work, catalogue features a conversation between the artist and psychologist Orna Guralnik and a poetic intervention by author Claire-Louise Bennett. Beautifully designed book with detail responding to her work such as the lizard-like cover (animal world, shedding skin, transformation...) or the golden reflective paper (play with light and reflection, luminosity of paintings...) while the fold-outs in the book allow for reader to experience scale of work (the bigger works are 3 meters across).

Nothing and Everything examines the synergistic relationship between artists and composers living in New York City between the end of World War II and the early 1960s. It features seven artists and composers--Louise Bourgeois, John Cage, Morton Feldman, Philip Guston, Franz Kline, Joan Mitchell and David Smith--all of whom pushed the boundaries of their respective mediums to new realms of abstraction. Part of a larger coterie of creative individuals who shared an ethos, they naturally sought each other out, socializing, exhibiting and supporting each other's ideas despite negative press and public indifference. Paintings, sculptures, prints and drawings by the artists are contextualized by a selection of musical scores and ephemera: Cage's "Lecture on Nothing," his sketches for Williams Mix, Music for Piano and Aria; and Feldman's finished scores for Projection I, Intersection 4 and Extension 4.

Five years in the making, a massive career-spanning celebration of Los Angeles artist Richard Jackson's irreverent, colorful and joyful "action installation" paintingsFrom the early 1970s on, the Wall Paintings, Stacks and Room installations of Sierra Madre-based artist Richard Jackson (born 1939) produced a series of landmark innovations in painting, sculpture, performance, installation and the relations between them. This massive appraisal of Jackson's art, authored by art historian John C. Welchman and featuring an in-depth illustrated chronology by Dagny Corcoran, combines critical analysis of Jackson's work with reflections by the artist himself, drawn from extensive interviews and placed alongside new materials from Jackson's archive. Layering history and analysis with the ready wit and succinct wisdom of the artist, Welchman's text promises to be the primary resource on the career of one of America's major contemporary artists. Corcoran's chronology--pulling from extensive new research and interviews with figures such as Paul McCarthy, Bruce Nauman and Rosamund Felsen--traces the important events in Jackson's life.

Authors from Hannah Black to Sheila Heti explore the resonances of Eisenman's enigmatic sculptural ensembleAt the center of New York-based artist Nicole Eisenman's (born 1965) sculpture Maker's Muck, an outsize plaster figure sits hunched over a potter's wheel, on which a mound of ersatz clay interminably spins. The floor teems with sculptures. Some of the pieces are fully rendered and recognizable: an owl, a ketchup bottle. For this publication, Eisenman has invited 15 authors to follow the trajectories of Maker's Muck's various objects in essays, metafictional reflections and other experiments in interpretation.Authors include: hannah baer, Hannah Black, Durga Chew-Bose, Sheila Heti, Alhena Katsof, Shiv Kotecha, Matt Longabucco, Sam McKinniss, Ryan McNamara, Tess Pollok, Sam Roeck, Jasmine Sanders, Cyrus Dunham, Lynne Tillman and Janique Vigier.

A founding member of Brazil's Neo-Concrete movement, Lygia Pape (1927-2004) made art that favored the primacy of the viewer's sensorial experience. Pape's geometric abstractions explore rich territory through sculpture, drawing, engraving, filmmaking and installation. This publication brings together works spanning 1955 to 2001. The precise incised lines of Pape's Tecelares woodcut prints and drawings of the 1950s and '60s marry pure geometry with organic patterns. Her subsequent Ttéia installations (begun in the late 1970s and continued throughout her career) present captivating explorations of geometry, space and materiality. Installation views and detail shots of these works complement texts by Briony Fer and Daniel Birnbaum, two ardent followers of Pape's work.

Exploring nature's central role in establishing the singular voice of a pioneering figure in abstract expressionismArdent Nature: Arshile Gorky Landscapes, 1943-47 is the first book to explore nature's central role in establishing the singular voice of this truly pioneering figure in abstract expressionism. In the early 1940s, Gorky turned to nature as a primary subject matter, inspired by his summers spent in Connecticut and rural Virginia. The resulting works from this career-defining period, filled with a bold use of color, line and composition, and infused with an explosive expressive freedom, are some of the most evocative works of Gorky's career. Featuring over 50 landscapes from this period, including paintings and works on paper, the book opens with a personal foreword from the artist's granddaughter (and the show's curator). The book continues with an essay from Edith Devaney, curator of the celebrated 2016 Abstract Expressionism show at the Royal Academy of Art in London, which traces the development of the Armenian-American artist's passion and instinct for art along the arc of his career, highlighting key links to Cubism, Surrealism and Abstract Expressionism.

"Guston's Richard Nixon drawings are nasty, scabrous, witty, grossly unfair and one of the juster verdicts handed down on our 37th president, the only one to resign from office." -William Corbett, The Brooklyn Rail Philip Guston: Nixon Drawings is the first comprehensive collection of Guston's legendary satirical caricatures of the 37th President of the United States, Richard Nixon. Expanding on Poor Richard (University of Chicago Press, 2001, now out of print and rare), it features some 180 works depicting Nixon and his cronies from 1971 and 1975. The book opens with an introduction by Philip Guston's daughter, Musa Mayer, and also includes the transcript of a panel discussion moderated by Phong Bui with William Corbett, Irving Sandler, Lisa Yuskavage, Bob Mankoff and Katy Siegel.These trenchant works were created in the tumultuous political climate of the early 1970s; the US was reeling from the assassinations of Martin Luther King Jr. and Senator Robert F. Kennedy, the chaos of the 1968 presidential election and the enduring violence of the Vietnam War. The publication of the Pentagon Papers, and Nixon's unsuccessful attempts to prevent their disclosure, made the president look both amoral and somewhat hapless. This is the "Poor Richard," a slyly political little sneak, that appears in Guston's cartoons from the period.A contemporary of Jackson Pollock and Willem de Kooning, Philip Guston (1913-80) first came to fame as an Abstract Expressionist. He began reintroducing figurative elements--clumsy hands, cigarettes, light bulbs--into his work in the late 1960s. These late paintings were first exhibited, to savage critical reception, in 1970; Guston began his Nixon drawings at precisely this point in his career. Caricaturing Nixon, Guston began to refine a pictorial language equally sensitive to inner pathos and the turmoil of the public world.

Calder: Nonspace takes its title from a 1963 essay by American novelist James Jones, written after his encounter with a series of large-scale sculptures at Alexander Calder's studio in Saché, France. In his essay, reprinted in this book, Jones astutely describes Calder's deep understanding of architectural and natural environments, which enabled him to reorder a viewer's perception of the world surrounding his sculptures. This catalog explores this angle on Calder's monumental vision by documenting an installation at Hauser & Wirth Los Angeles. It consists of more than 30 stabiles, mobiles and standing mobiles woven through a specially designed environment created by New York architectural designer Stephanie Goto (whose projects include the New York restaurant Piora and the apartment of chef Daniel Boulud), along with five large-scale works set outdoors. Goto also contributes an essay that explores the transformation of a classical gallery into a unified experience, and an essay by Andrew Berardini looks at the moments in Calder's work where space is transformed by art.

Accidental Records includes new paintings and drawings by Ellen Gallagher (born 1965) that continue her exploration of the complex histories of the Black Atlantic and the afterlives of the Middle Passage. Widely associated with a resurgence in this diasporic critical space, Gallagher has developed her own genre of history painting which makes us question our geographies. The slowly layered surfaces of her work become a kind of reckoning, the way sailors mark their locations at sea, determined to return. Alongside views of Gallagher's artworks and portraits of the artist working in her studio, texts are included by Adrienne Edwards, curator at Performa and the Walker Art Center, and Philip Hoare, a writer whose books include Leviathan or, The Whale and The Sea Inside. The book accompanies Gallagher's solo show at Hauser & Wirth Los Angeles.

In 2009, a box of forgotten notebooks was rediscovered in the basement of Ida Applebroog's studio--Strathmore drawing tablets, with the words "Vagina Drawings" scrawled on the cover. Forty years prior, Applebroog took sanctuary from the pressures of the home in an evening bath. Her nightly soak offered her moments of meditation and, equipped with her drawing pad, she began drawing portraits of her crotch. Applebroog's newest body of work, Monalisa, is in many ways an extension of that ritual. The centerpiece of this project is a room-sized wooden structure covered with more than 100 new vagina drawings--reappropriations of the 1969 originals. In the catalogue essay, Julia Bryan-Wilson contends that the installation, "with its signature figural obsessions and urgent feminist force, feels like an epic culmination of [Applebroog's] entire oeuvre." Monalisa offers new insight into Applebroog's work with full-color reproductions of the never-before-seen 2009 drawings, images of the installation and an essay by Julia Bryan-Wilson.

Hauser & Wirth opened its first US gallery with a presentation of Allan Kaprow's (1927-2006) seminal Environment Yard: a mountain of black rubber auto tires and tarpaper-wrapped forms through which visitors jumped and crawled, first made by the artist in 1961 and reinterpreted in other locations. This volume documents a reinvention of Yard by William Pope.L at the site of the work's original creation.

?Ed Clark: The Big Sweep, Chronicles of a Life, 1926-2019' offers a vivid portrait of the artist through never-before-seen photos, letters, and ephemera, along with reprints of historical texts and interviews. Exploring Clark's under-examined place in prevailing narratives of art history, the publication will demonstrate the central role he played in the pivotal developments of American abstraction.

This catalogue accompanies the exhibition Frank Bowling: Landscape at Hauser & Wirth West Hollywood. The book is lavishly illustrated and includes foldouts of artwork details. It features an essay from art historian Dorothy Price, which focuses on the dialogue between Bowling's and Turner's work. Price notes that "gestural sweeps and vast horizon lines bind these artists across time.? Bowling's invention of "a new sublime? is subsequently explored through the link between Blackness and the sublime that has existed since the eighteenth century. She also notes that the incorporation of found objects?plastic spiders, hospital equipment, and the nozzle from a spray can among them?plays a key role in Bowling's dialogue with the history of abstraction.

Our book contains coloring pages from The Flying Torah storybook, a maze, word find, and fun writing activities. Let's reduce prejudice and anti-Jewish thoughts by educating everyone about shared religious traditions.

Hauser & Wirth's quarterly magazine returns from a pandemic hiatus with its largest and most wide-ranging issue since launching in 2018 The latest issue of Ursula features a cover portrait by Henry Taylor of fellow artist Sheree Hovsepian plus interviews, articles, drawings and new fiction from Alissa Bennett, Gary Indiana, Alison Saar, Peter T. McGough, Bob Nickas and many more.

Ty Magnum gets out of prison after 19 long years ready to explore the great state of Texas and then maybe the world. Outside the parking lot, a beautiful Mexican girl is crying. She tells Mag her story. He believes her.

"Just Words" is a self-help/inspirational book geared towards challenging and/while encouraging women to elevate the way they think about, talk about, and see: God, relationships, the world, their lifestyles, and ultimately themselves.

This is a book about emotions...Ours...theirs...yours...but without a doubt, Cornell Hurley Jr.'s emotions. Sentenced to twenty-five-years in prison but not willing to accept defeat, he found a way to rehabilitate himself, he began to write.