The book deals with Diego Marcon’s practice through the analysis of three film and video works. Monelle (2017), Ludwig (2018), and The Parents’ Room (2020) are his most recent and complex projects, and they are all emblematic of central aspects of his production.
Over the last ten years, Raphael Hefti has created an astonishingly body of work consisting of sculptures and installations, performance and “art-in-public-spaces.” The first comprehensive monograph is published on the occasion of his major exhibition at Kunsthalle Basel.
Between 1998 and 1999, the London-based art collective BANK operated the Fax-Bak Service. The group’s members proof-read and copy-edited more than 300 press releases by galleries. The publication is the most comprehensive record of this notorious project.
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On how The BANK Fax-Bak Service started and how it came to be a book
In the Villa Santo Sospir, Jean Cocteau conceived his pictorial work through accumulation, inspired by Greek mythology and the Mediterranean landscape. Architecture permeates the subjects of Mauro Restiffe from a viewpoint that amplifies and reverberates the simple historical record.
Oh mio cagnetto, is the artist’s first book of writings, conceived as an artwork. It is a collection of 81 little poems that revolve around the missed and mourned figure of a puppy. It intentionally plays on the ambiguity of its nature, as both a book distributed in conventional ways and an art object.
When she started writing the Corona Tales, Chus Martínez had been weighing how people and the media were addressing the outbreak of the virus as an unprecedented disaster. One possible contribution, as curator and writer, would be to write a short story a day…
Texts by Kirsty Bell, Christopher Bollen, Judith Eisler, Wade Guyton
Design by Joseph Logan
2024, English, hardcover, 19.6 x 28.5 cm, 176 pages
ISBN 979-12-80579-56-0
Center of the Frame, which brings together paintings made between 1997 and 2024, is Judith Eisler’s first monograph. The artist’s paintings depict paused moments in cinematic time in which predominantly female subjects are caught midnarrative, cropped, and recontextualized by the fundamental elements of painting: form, color, and light. Using preexisting material borrowed from moving images, Eisler defines the abstractions inherent in the representational image with shifting marks of paint. The structure of the painting is informed by the information in the source as well as the more intangible issues of perception, desire, and mediation.
Featuring an essay by Kirsty Bell, an introduction by Christopher Bollen, and an interview with Wade Guyton, the texts delve into the artist’s fascination with cinema and the transmission of images through the various formats of analog film, television broadcasts, internet videos, and of course, the painted canvas.
“Eisler seizes on the information within the cropped still image in an entirely structural sense, beyond any cognitive meanings of expression, action, or emotion, focusing in on these differentiations as if examining the very infrastructure of vision.”
—Kirsty Bell
Judith Eisler’s exhibition Dreams, Jokes, Mistakes is on view at Casey Kaplan, New York through October 26, 2024.