Bound and Unbound Judith Scott

Published by Prestel, New York, 2014, 128 pages (colour & b/w ill.), 24.8 × 28 cm, English

Price: €28

Judith Scott’s work is celebrated for its astonishing visual complexity. In a career spanning just seventeen years, Scott developed a unique and idiosyncratic method to produce a body of work of remarkable originality. Often working for weeks or months on individual pieces, she used yarn, thread, fabric, and other fibers to envelop found objects into fastidiously woven, wrapped, and bundled structures.

Born in Columbus, Ohio, with Down syndrome, Scott (1943–2005) was also largely deaf and did not speak. After thirty-five years living within an institutional setting for people with disabilities, she was introduced in 1987 to Creative Growth Art Center—a visionary studio art program founded more than forty years ago in Oakland, California, to foster and serve a community of artists with developmental and physical disabilities.

#2014 #judithscott
Biegen Leon Filter

Published by August Verlag, Berlin, 2014, 134 pages (b/w ill.), 10 × 16 cm, German

Price: €9

Biegen is an artist book in which the author researches the centuries-old cultural technique of „Bäume-biegen“ (Tree bending), which was used as a material education in shipbuilding and agriculture for the  production of tools and complex components. Researching European forests, archives and libraries produced a collection of sketches, photographs, notes, historical illustrations and drawings presented here in the form of a journal.

With an essay by Helmut Draxler. In cooperation with the Merz Akademie

#2014 #helmutdraxler #leonfilter
Prosthetic Nord Shahryar Nashat

Published by Städtische Galerie, Nordhorn, 2014, 48 pages (colour & b/w ill.), 20 × 30 cm, English/German

Price: €10

Produced on the occasion of Shahryar Nashat’s exhibition Prosthetic Nord, Kunstpreis der Stadt Nordhorn 2013, December 7, 2013 to February 9, 2014

With texts by Thomas Niemeyer and Kathleen Rahn.

#2014 #shahryarnashat
Too Much World The Films of Hito Steyerl

Published by Sternberg Press, Berlin, 2014, 244 pages (colour & b/w ill.), 12.6 × 21.6 cm, English

Price: €25

Hito Steyerl is rightly considered one of the most exciting artists working today who speculates on the impact of the Internet and digitization on the fabric of our everyday lives. Her films and writings offer an astute, provocative, and often funny analysis of the dizzying speed with which images and data are reconfigured, altered, and dispersed, many times over, accelerating into infinity or crashing into oblivion.

Published to accompany the artist’s survey exhibitions at the Van Abbemuseum, Eindhoven, and the Institute of Modern Art, Brisbane, Too Much World gathers a series of essays and close readings of Steyerl’s films from the past ten years. Newly commissioned texts by Sven Lütticken, Karen Archey, Ana Teixeira Pinto, and Nick Aikens, alongside writings by Thomas Elsaesser, Pablo Lafuente, David Riff, and Steyerl, are spliced with over one hundred pages of color stills. This publication is a charged slideshow of the artist’s extraordinary investigations into the status, circulation, and materiality of images.

Copublished with Van Abbemuseum, Eindhoven, and Institute of Modern Art, Brisbane. Design by Bardhi Haliti.

#2014 #bardhihaliti #hitosteyerl #sternbergpress #svenlütticken
I’m Isa Genzken, the Only Female Fool Isa Genzken

Published by Sternberg Press, Berlin, 2014, 114 pages (colour & b/w ill.), 14.3 × 21 cm, English/German

Price: €35 (Out of stock)

Copublished with Kunsthalle Wien on the occasion of Isa Genzken’s exhibition I’m Isa Genzken, the Only Female Fool May 28–September 7, 2014h

“The Only Female Fool” is how Isa Genzken describes herself in the self-chosen title of her exhibition at the Kunsthalle Wien. This statement is typical of the fluid boundaries between deep seriousness and the exuberant, eccentric spirit that pervades her work. Genzken’s artistic practice is characterized by a wide spectrum of media and forms, although her roots in sculpture always remain visible. The exhibition and catalogue focus on specific aspects of her oeuvre, including the mirror motif, the examination of architecture, and space as a social sphere; where early works are juxtaposed with series from later creative periods. Genzken’s collaboration with other artists and her admiration for certain artistic positions is also brought into focus, and selected works by Dan Graham, Gordon Matta-Clark, Jasper Johns, Gerhard Richter, Wolfgang Tillmans, and Lawrence Weiner are presented in dialogue with Genzken’s multilayered work.

Design by Kummer & Herrman

#2014 #isagenzken #kunsthallewien #sternbergpress
PS: Jahresring 61 Dominic Eichler, Brigitte Oetker (Eds.)

Published by Sternberg Press, Berlin, 2014, 248 pages (colour & b/w ill.), 17 × 24 cm, English/German

Price: €22

Contributions by Manuela Ammer, Julie Ault, Monika Baer, Nairy Baghramian, Gerry Bibby, Jennifer Bornstein, Pauline Boudry & Renate Lorenz, Dragana Bulut, Katarina Burin, Françoise Cactus, Leidy Churchman, Ann Cotten, Juan Davila, Dominic Eichler, Elmgreen & Dragset, Yusuf Etiman, Isa Genzken, Susanne Ghez, Margaret Harrison, Daniel Herleth, Annette Kelm, Janette Laverrière, Adam Linder, Lee Lozano, Charlie Le Mindu, Shahryar Nashat, Gina D’Orio, Stephen Prina, Dean Spade, Ming Wong

The Jahresring series is one of the longest continually published annual journals for contemporary art in Germany. The 61st edition is a reader and visual sampler with contributions from visual artists, writers, poets, musicians, choreographers, and designers. Bringing together a discursive array of forms and timbres, it takes an intertextual and interdisciplinary approach to exploring some contemporary cultural resonances with respect to gender and sexuality. In this sense, a “PS” or postscript might be understood as a place where relations or realities not explicitly stated in the main body of any given text, but nevertheless underpinning them, are revealed. A “PS” is a place of interpersonal agency; a compelling textual gesture that might add a “by the way” and an “also” and a “you know what we’re really talking about.” By its nature, a “PS” is contextualized and contextualizing. Though it may parade as the last word, it never is.

The Jahresring is published annually on behalf of Kulturkreis der deutschen Wirtschaft im BDI e.V.

#2014 #adamlinder #annettekelm #brigitteoetker #dominiceichler #gerrybibby #isagenzken #janettelaverrière #jenniferbornstein #juandavila #leelozano #leidychurchman #margaretharrison #mingwong #monikabaer #nairybaghramian #shahryarnashat #stephenprina #sternbergpress