Xylor Jane: Notebooks
Text by Em Rooney, John Yau.
Published by parrasch heijnen / CANADA, 2019
This is a hybrid artist’s book and drawing monograph by the Massachusetts–based painter Xylor Jane (born 1963), whose works based on or derived from numbers and other systems of order have found critical acclaim among curators and artists internationally.
Her often brightly colored, immaculately constructed and executed paintings run parallel to, and are informed by, a drawing activity that is much about notating her daily life as it is comprehending the role of numbers and their history.
This book is the first to focus on her drawings and notes, sequenced by the artist herself. This sequence, which includes work from the mid-2000s to the present, is accompanied by essays on her drawings by John Yau and Em Rooney.
Tony Delap: A Retrospective
Forward by Malcolm Warner. Essay by curator and art critic Peter Frank.
Published by Laguna Art Museum, 2018
This catalogue accompanies the 2018 career-spanning exhibition Tony DeLap: A Retrospective at the Laguna Art Museum which took place between February 25 – May 28, 2018.
Tony DeLap is Orange County’s foremost living artist. He has been at the nexus of significant art movements throughout his career. A leading practitioner of Southern California minimalism and “finish/fetish,” he also played a part in the development of op art, hard-edge painting, the California Light and Space movement, and site-specific installation. For years he has played with the concept of an artwork’s edge and explored the point where painting and sculpture intersect. His expertise and interest in magic have led him to make objects “float” and otherwise defy explanation. He was the first art professor to be hired at the University of California, Irvine, and taught there for thirty years, influencing generations of young artists.
LAM’s 2018 retrospective of DeLap’s work will include approximately eighty paintings, sculptures, and drawings, and the accompanying catalogue will survey DeLap’s career and influence, from his first exhibition at the Oakland Museum of California in 1960 to the present, taking a critical look at his role in various movements as well as the decidedly non-linear development of his body of work.
Text by Franciska Zólyom
Published by White Cube, 2012
In Turner’s work there is an inventive and physical use of industrial materials – from kerosene, charcoal, soot and rust; the raw products of burning, oxidization and corrosion.
Turner captures a transformative process in a series of 'paintings' entitled ‘5150’. These wall-based works, encase bitumen emulsion between two sheets of transparent vinyl mounted onto wood. The vinyl seals the bitument inside so that the liquid never fully solidifies, creating a sense of perpetual movement within the work. Turner uses tar or Bitumen, both black oils and viscous, since they are a naturally occurring by-product of decomposed organic material and have been employed for centuries in diverse uses ranging from sealants for buildings to medical ointments for skin.
Text by David A. Ross, Richard Armstrong and Amy Gerstler
Published by the Whitney Museum of American Art and Rizzoli.
Working from inside American popular culture, Alexis Smith makes direct use of our shared values, fears, and aspirations to create and art that is both extremely private and remarkably plain-speaking. Inspired by found texts as well as found images, Smith evokes a state between idea and sensation.
This catalogue was published in conjunction with the exhibition Alexis Smith which took place at the Whitney Museum of American Art, New York November 22, 1991 through February 29, 1992. The exhibition traveled to the Museum of Contemporary Art, Los Angeles spring of 1992.
Deborah Remington: A Life in Drawing
Introduction by Margaret Mathews-Berenson. Text by John Mendelsohn, Lilly Wei.
Published by Deborah Remington Charitable Trust for the Visual Arts, 2016
Deborah Remington (1930– 2010) emerged as an Abstract Expressionist in the late 1940s and ‘50s while attending the California School of Fine Arts where she studied with Clyfford Still, David Park and Elmer Bischoff. Following a sojourn in Japan to immerse herself in the study of calligraphy, she moved to New York in 1965, joining a thriving art scene that included Chuck Close, Brice Marden, Dorothea Rockburne and others.
Drawing was a constant throughout her career, as it shifted from gestural abstraction to the more tightly structured geometric compositions that are her signature style. Her abstract language, with its luminous spatial permutations, bordering on the surreal, defies easy categorization. Today, with the general public accustomed to the disconcerting visual effects made possible by digital technology, this is an ideal moment to reconsider her work with its myriad complexities.
Forrest Bess: Seeing Things Invisible
Text by Clare Elliott, with a contribution by Robert Gober
Published by the Menil Collection, 2013
Self-described visionary artist Forrest Bess (1911–1977) spent most of his life on the Texas coast in a bait camp accessible only by boat. By day he eked out a meager living fishing, but at night and during the off-season he painted prolifically, creating an extraordinary body of mostly small-scale canvases rich with a enigmatic symbols transcribing the visions that he’d experienced since early childhood. Despite his isolation, these works captured the attention of a number of his contemporaries in the art world and were shown in New York from 1949 to the mid-’60s. An artist’s artist, he has since been periodically rediscovered by the public.
This is the first publication in more than 20 years to present a representative sample of this compelling painter’s artwork. Includes a comprehensive exhibition history and bibliography.
With an introduction by Norman Kleeblatt.
Published by Hayden Herrera, 2006
The engaging paintings of Joan Snyder have never been easily categorized. Though often placed under various art-movement umbrellas-Abstract Expressionism, lyrical abstractionism, or feminism-it is the changing nature of her work that has kept her in the spotlight since she first rose to prominence in the 1970s.
In the first major book on this influential feminist artist, art historian Hayden Herrera explores Snyder's beautiful mixed-medium works and their fascinating combination of personal iconography, female imagery, aggressive brushstrokes, and accomplished formalism. Gorgeously illustrated with 140 images, this lush volume includes decades of Snyder's most important work, including Vanishing Theatre/The Cut, Moonfield, Oratorio, Should You Wonder, and Women Make Lists. This rich collection is sure to become the definitive look at an artist whose unique vision has inspired art lovers for decades. The release of this book accompanies a traveling retrospective exhibition of Snyder's work that is scheduled to open at The Jewish Museum in New York in August 2005.
Text by Stephanie Barron, Frank O. Gehry, Dave Hickey, Phyllis Tuchman and MaLin Wilson-Powell. Photographs by Fredrik Nilsen.
Published by Delmonico Books / Prestel.
For more than 50 years, Ken Price (1935-2012) challenged traditional practice with his consistently innovative work. Price's sculpture traces a unique arc within contemporary art, from the luminously glazed ovoid forms of the 1960s, through the highly polished geometric sculptures and the provocative "blobs" with their mysterious voids, to his final decade's molten-like "slumps" in arresting, stippled colors.
This definitive catalogue, published in conjunction with the exhibition Ken Price Sculpture: A Retrospective, organized by LACMA, features more than 100 works. Superbly reproduced color photography, including stunning detail shots and multiple views, makes this book a remarkable visual record of Price's mostly small-scale sculpture. The essays provide a lively commentary on the intimate yet dramatic appeal of Price's sculpture. A fascinating compilation of interviews with Price by MaLin Wilson-Powell, along with a fully illustrated checklist and chronology, round out this richly detailed summation of Price's quietly daring career. His mastery of the unity of color, form, and surface has resulted in an unparalleled body of work, one that will assuredly encourage a new generation of artists to expand the possibilities of sculpture.
Stephanie Barron is Senior Curator of Modern Art at LACMA. Lauren Bergman is Assistant Curator of Modern Art at LACMA.
Billy Al Bengston: Dentos
Text by Ed Ruscha.
Published by parrasch heijnen, 2018
Between 1965 and 1970, Los Angeles painter Billy Al Bengston (born 1934) challenged the limitations of painting through his famous Dentos series, using automobile lacquers and polyurethane sprayed on dented, punctured aluminum sheets.
Bengston first began using automobile lacquers on dented and/or punctured aluminum in 1965 to challenge the limitations of painting. He initially called these works "Canto Indentos", which he later shortened to "Dentos". Channeling the "no rules, no rules" mantra of Bengston’s friend and mentor Peter Voulkos, the “Dentos” expanded the potential of the picture plane. This book documents the series and is accompanied by text from Bengston’s close friend, Ed Ruscha.
Charles Ross: the substance of light
Essays by Thomas McEvilley and Klaus Ottmann. Interview between Loïc Malle and Charles Ross. Historical texts by Virginia Dwan, Anna Halprin, Michael Heizer, Steve Katz, Donald Kuspit, Ed Ranney, and Jean-Hubert Martin.
Published by Radius Books, 2012
Charles Ross’ fascination with light, time, and the space of the stars has given life to a rich artistic career that includes a major earthwork, large-scale prism installations, sculpture, and painting with dynamite. From Star Axis, a vast architectonic earth/star work in the New Mexican desert, to his Solar Burns series made by burning woodpanel monochromes with focused rays of the sun, Ross allows the natural patterns and forces of the cosmos to inform his work. Charles Ross: The Substance of Light is a comprehensive volume that covers over four decades of work and features full-color illustrations of his Solar Spectrum artworks, Star Axis, and his Solar Burns, Star Maps, Dynamite Paintings and Drawings, along with early work and selected architectural commissions, including solar spectrum for the Dwan Light Sanctuary.
Peter Alexander: In This Light
Published by Orange County Museum of Art
This is the first book on a quintessential California artist, Peter Alexander, who for over three decades has been an active force in shaping the art and culture of the West, from cast-resin sculpture, through sunset, ocean and airport images, to recent Las Vegas paintings.
Published on the occasion of the exhibition of the same name originated by the Orange County Museum of Art, Newport Beach, California, and on view there from May 22 through September 12, 1999. The exhibition will toured to the Donna Beam Fine Art Gallery, University of Nevada, Las Vegas, from October 9 through November 21, 1999.