Cover: Chuck Close, Big Self-Portrait, 1967-1968 (detail). Collection Walker Art Center, Minneapolis; Art Center Acquisition Fund, 1969. ÂŠ Chuck Close. Photo courtesy Pace Gallery
Contents About Artifex Press About Our Catalogues
p. 4 p. 5
AVAILABLE Chuck Close: Paintings, 1967-Present Jim Dine: Sculpture, 1983-Present Tim Hawkinson Agnes Martin: Paintings James Siena
p. 6 p. 8 p. 10 p. 12 p. 14
COMING SOON  Sol LeWitt Wall Drawings Lucas Samaras: Boxes
p. 16 p. 17
EXHIBITION CATALOGUE Loris Gréaud: The Unplayed Notes Museum p. 18 FORTHCOMING Carl Andre: Sculpture Tara Donovan Loris Gréaud John Hoyland: Paintings Robert Irwin Lee Ufan Thomas Nozkowski Niki de Saint Phalle, Vol. II Bosco Sodi Frank Stella: Polish Villages Yves Tanguy Richard Tuttle About Our Subscriptions Photography Credits
p. 20 p. 21
About Artifex Press Artifex Press is a publisher of digital catalogues raisonnés. We have developed a proprietary, patented software platform and a dedicated research and publishing program in order to produce, edit, and distribute these seminal publications. A catalogue raisonné is the definitive, comprehensive, and annotated compilation of all the known works of an artist. Traditionally produced in book form, catalogues raisonnés have often posed a dilemma for scholars. Because the information in a catalogue raisonné is constantly in flux, printed catalogues raisonnés cannot achieve both completeness and accuracy. Artifex Press was conceived to resolve this problem. We offer a solution that is more accessible, more flexible, more time- and cost-efficient, and above all, more accurate and up-to-date than the traditional printed counterpart. Our approach combines the rigors of art-historical research with the flexibility of digital publishing. As a byproduct of each publication, we are creating digital archives for all the artists with whom we work. Artifex Press launched in 2012 with catalogues raisonnés of Chuck Close and Jim Dine. In 2014, we published our third catalogue, for Tim Hawkinson. In 2017, we published catalogues raisonnés for Agnes Martin and James Siena and launched our subscription service and a redesign of the website. We are currently working with 20 artists, estates, and foundations, including Carl Andre, Robert Irwin, Lee Ufan, Sol LeWitt, Niki de Saint Phalle, Lucas Samaras, and Frank Stella. Artifex Press is taking steps to ensure the longevity of its catalogues. We regularly back up our databases, allow for immediate exports, frequently introduce new technologies to our software, and prioritize working with third-party archives on issues of long-term data preservation. Our ultimate goal is to leverage our expertise in software development and catalogue raisonné publishing to preserve the legacy and intellectual property of participating artists and estates.
About Our Catalogues
“A catalogue raisonné is not just a compendium of dry details but can in fact tell stories,” says Carina Evangelista, Editor of the Chuck Close Catalogue Raisonné, in a recent article published in Art Libraries Journal (vol. 40, no. 2). Our digital catalogues raisonnés allow for an entirely new reader experience–one that is interactive with many different ways to navigate each artist’s oeuvre. Each catalogue has unique content, specific to the artist, but certain features are consistent throughout all of our publications.
-Search within a single catalogue or search across all published catalogues
-Click exhibition citations to reveal interactive checklists
-Navigate through the catalogue index, by decade or by selected chapters
-Locate books and periodicals through our hyperlinked bibliographies
-Filter search results according to date, medium, location, and other parameters
-Read original essays and notes on specific artworks by catalogue editors and other experts
-Zoom to view high-resolution images in printquality detail
-Find out what’s been recently added to a given publication through our list of catalogue updates
-Watch video and listen to audio, including primary documentation of the artist and content exclusive to Artifex Press
-Explore extensive photography slideshows, including details, progress shots, and studio and installation views
Chuck Close: Paintings, 1967-Present Edited by Carina Evangelista
The Chuck Close catalogue raisonné is the definitive list of paintings by Chuck Close, and is updated regularly to include his most recent works. Monumental in scale and exhaustive in detail, the catalogue is the most comprehensive and interactive publication about the artist to date. It documents the artist’s process, biography, and the myriad approaches he has innovated in rendering the human face. Forthcoming volumes will supplement the existing catalogue with complete records of the artist’s drawings and photo maquettes, plus a career-spanning selection of prints. Each artwork record includes complete provenance, exhibition, and literature histories, excerpts from relevant published texts, and numerous illustrations including progress and exhibition photographs. Close’s only film, the 1970 Slow Pan for Bob, can be viewed in its entirety. The catalogue includes nearly 1,200 images, more than 100 quotations from the artist, and extensive exhibition and literature histories documenting some 1,200 solo and group shows and 2,500 publications. The growing multimedia archive includes 70 video and audio files to date. Editor Carina Evangelista has enriched the catalogue with original scholarship, including three essays, one of which describes the artist’s landmark 1969 lawsuit, which contributed to freedom of expression through the visual arts.
Carina Evangelista is Editor of the Chuck Close Catalogue Raisonné. Her research, curatorial, and publishing work straddles the United States and the Philippines. From 1994 to 2000, she worked in the education and curatorial departments at the Museum of Modern Art, New York, where she helped organize a number of exhibitions, including the traveling retrospective for Chuck Close, organized by Robert Storr in 1998. As curator at the Delaware Center for the Contemporary Arts in 2008-2009, Evangelista organized numerous exhibitions. A regular writer on Philippine contemporary art, she is contributing author to a number of publications, including Bastards of Misrepresentation (2010), retrospective exhibition catalogues for Roberto Chabet (2011) and Constancio Bernardo (2014), and Chabet’s monograph (2015). She wrote the libretto for the rock musical, Manhid (The Benumbed), staged by Ballet Philippines in 2015.
Jim Dine: Sculpture, 1983-Present Edited by Sara K. Davidson
Jim Dine: Sculpture is the definitive publication of three-dimensional works created by the artist between 1983 and the present, the period during which he has worked extensively with Walla Walla Foundry in Washington. The catalogue raisonné details the artist’s entire output of freestanding sculpture from these years—more than 300 original works. It also lists comprehensive information for individual casts within editions, of which there are approximately 900 in total. Organized by chronological and thematic sections including Dine’s signature motifs like hearts, Venuses, and Pinocchios, the catalogue raisonné explores the artist’s three-dimensional work more thoroughly than any other publication to date. The publication details more than 260 solo exhibitions and 600 bibliographic entries and includes more than 1,000 images, notably allowing readers to click through photography to see sculptures in the round. In a series of conversations with Editor Sara K. Davidson in spring 2013, Jim Dine spoke at length about his body of work. Artifex Press produced 33 original videos from this dialogue, which are accessible exclusively in this catalogue raisonné.
Sara K. Davidson is the Assistant Editor of Artifex Press and Editor of the Jim Dine Catalogue Raisonné. She has been extensively researching Dine’s sculptural practice since 2010. She contributed writing to the catalogue Peripheral Visions: Italian Photography in Context (Charta: 2012). She has previously held positions as the Cataloguer of the Evening Sales of Contemporary Art at Phillips de Pury & Company, and as Director of Marvelli Gallery in New York.
Edited by Hannah Barton The Tim Hawkinson catalogue raisonné contains detailed records for all of the artist’s works from 1986 to the present, with select meaningful student works dating back as far as 1979, encompassing his entire boundary-breaking career thus far. Thousands of color images illustrate Hawkinson’s more than 530 artworks to date, and his written descriptions augment the reader’s understanding of key artworks. The catalogue is organized into chapters that highlight the artist’s unusual use of everyday materials, which range from latex to eggshell to found art objects that he transforms into creations of his own. The catalogue contains more than 100 whimsical self-portraits and 31 clocks made from milk cartons, toothpaste tubes, and other commonplace objects. Photography of individual artworks is supplemented with installation views, in-progress images, audio files, and videos showing kinetic works in motion. Comprehensive exhibition and literature histories document 150 solo and group exhibitions and 300 bibliographic entries. A living catalogue raisonné, the publication is updated as Hawkinson completes new works, and research is ongoing on projects such as his commission for the Transbay Transit Center in San Francisco, which is slated to open in late 2017. This catalogue raisonné is the most up-to-date resource on the artist’s career.
Hannah Barton is a Research Associate at Artifex Press and Editor of the Tim Hawkinson Catalogue Raisonné. She graduated with a dual Master’s in Art History and Library Science from Pratt Institute in 2013, specializing in Art Librarianship as well as Modern and Contemporary Art. She has been actively researching and collaborating with Tim Hawkinson on the creation and upkeep of his catalogue since 2013. Barton has previously held positions in the libraries of the Frick Collection, the Museum of Modern Art, and the Whitney Museum of American Art.
Agnes Martin: Paintings
Edited by Tiffany Bell Research Associate: Marley Lewis Agnes Martin: Paintings is the product of more than seven years of research into the artist’s work and represents the most definitive and comprehensive study of the Martin’s oeuvre to date. Starting with student paintings from the late 1940s, the first volume of the Agnes Martin Catalogue Raisonné provides complete documentation of more than 630 paintings, constructions (mixed media collages and assemblages), and the film Gabriel. A second volume featuring the artist’s unique works on paper will follow. Agnes Martin: Paintings contains approximately 1500 high-resolution photographs, and a zoom feature allows for extremely detailed views of artworks. Multimedia highlights include never-before-published manuscripts, pictures of the artist, audio recordings, and video files, in addition to many newly commissioned photographs of artworks. Other notable content includes an illustrated chronology, two essays by the editor, and six bibliographies, one of which is specific to the Artist’s Writings and Interviews. Tiffany Bell is Editor of the Agnes Martin Catalogue Raisonné and a co-curator of the 2015-2017 traveling Martin retrospective that visited the Tate Modern in London, Kunstsammlung Nordrhein-Westfalen in Düsseldorf, the Los Angeles County Museum of Art, and the Solomon R. Guggenheim Museum in New York. She was the director of the Dan Flavin Catalogue Raisonné project, which resulted in the publication of Dan Flavin: The Complete Lights, 1961-1996 (Dia; Yale University Press: 2004), and served as curator for several museum and gallery exhibitions of Flavin’s lights. Bell has taught in the art department at Pratt Institute and has worked for many years as a freelance curator and art critic with articles appearing in Art in America, Arts Magazine, and Artforum, among other publications. Marley Lewis, Research Associate, previously worked in the Department of Photography at the Museum of Modern Art and in the Post-War and Contemporary Art department at Christie’s in New York. 
Edited by Ariela Alberts James Siena’s catalogue raisonné is the definitive record of all works created by the artist dating back to 1989, the year that he began to paint exclusively on metal, a decision that has defined his painting practice ever since. Also included is an extensive selection of early works dating from 1977 to 1988. James Siena (b. 1957) is actively creating new work, and the catalogue raisonné will expand as his oeuvre grows. To date, the catalogue contains records of more than 430 artworks, 400 publications, and 275 exhibitions. There are approximately 900 high-resolution images, hundreds of which have never been published before, and recently unearthed audio and video content can be found in a multimedia archive. Siena’s voice is found throughout the catalogue in excerpts of interviews and, notably, in comments that he has written exclusively for this publication. The first volume of the catalogue raisonné, published in February 2017, includes the artist’s paintings, sculptures, and gouache works. A volume of the artist’s drawings will follow.
Ariela Alberts is the Media/Research Associate and Artist Liaison at Artifex Press and Editor of the James Siena Catalogue Raisonné. She has been actively researching Siena’s body of work and collaborating directly with the artist and his studio on this project since 2014. Prior to working for Artifex Press, Alberts contributed research to Shannon Jackson’s “Life Politics/Life Aesthetics: Environmental Performance in red, black & GREEN: a blues” for Performance and the Politics of Space: Theatre and Topology (Routledge: 2013) and to Darcy Grimaldo Grigsby’s bookin-progress, Creole Looking: Portraying France’s Foreign Relations in the Nineteenth Century. She received a B.A. in the History of Art from the University of California, Berkeley, in 2013.
Coming Soon 
Sol LeWitt Wall Drawings
Edited by Lindsay Aveilhé Director of Research: Christopher Vacchio The Sol LeWitt Wall Drawings Catalogue Raisonné will be the definitive list of LeWitt’s most celebrated body of work and will include several newly discovered wall drawings as well as previously unpublished installation histories, photography, and multimedia. The catalogue features complete caption information for LeWitt’s approximately 1,350 wall drawings, as well as current collection information, complete installation histories, and selected bibliographies. Nearly every first installation of each wall drawing is illustrated with an archival photograph and additional images illustrate subsequent installations whenever possible—approximately 6,000 images in total. Select entries feature rarely-seen installation videos, and in one case, an audio file of LeWitt delivering installation instructions via telephone for the exhibition Art By Telephone at the Museum of Contemporary Art Chicago in 1969. Detailed notes by the editorial team highlight the evolution of many wall drawings and call out important distinctions from one installation to the next. The catalogue includes images of the wall drawing diagrams, schematics that indicate how a work is to be installed, and these images may be viewed on a single page alongside photography of the installations themselves. Lindsay Aveilhé is Editor of the Sol LeWitt Wall Drawings Catalogue Raisonné. A New York-based independent curator, Aveilhé’s recent projects include the exhibitions Sol LeWitt and Lucy McKenzie at the Artist’s Institute (2013) and Another Place at 205 Hudson Street Gallery, Hunter College (2014). She was previously assistant curator at Issue Project Room and a researcher for Oxford University Press and Fairchild Books. Christopher Vacchio, Director of Research, recently served as Research Fellow at the Aspen Art Museum and contributed to the catalogue for the museum’s 2016 exhibition Alan Shields: Protracted Simplicity (1966-1985). He has also held positions at the Hood Museum of Art, Judd Foundation, and as Curatorial Fellow at Art in General. 
Coming Soon 
Lucas Samaras: Boxes
Edited by Hannah Barton Consulting Editor: Vanessa Wildenstein The catalogue raisonné of Lucas Samaras’s boxes will explore the artist’s iconic series of mixed media works. Samaras began creating boxes in the early 1960s to explore the boundary between outer appearance and inner psyche. His boxes often delve into the subject of the self, allowing viewers access into the artist’s mind through personal and found objects or manipulated self-portraits, which are sometimes guarded by pins, razor blades, or broken glass. In addition, many of these works are distortions of the form of the box itself, with playful multicolored appendages or constructions made entirely of chicken wire. “We live in boxes, see and eat with boxes, travel in boxes, and even our days and nights are boxes… I found myself making boxes. And I thought that box was as important a form as the rest of the art forms or categories. The professional scribblers were not willing to consider it as mainstream art. I stubbornly persisted in waiting for new verbal criteria to be formulated,” wrote Samaras in the catalogue for his 1972-73 show at the Whitney Museum of American Art. The catalogue is being compiled by Hannah Barton, who previously edited Artifex Press’s Tim Hawkinson Catalogue Raisonné. Barton is building upon work done by Vanessa Wildenstein, who inaugurated this catalogue in 2004 and is serving as Consulting Editor.
Coming Soon 
Loris Gréaud: The Unplayed Notes Museum Loris Gréaud: The Unplayed Notes Museum is the first-ever digital exhibition catalogue produced by Artifex Press, created for the exhibition of the same title at the Dallas Contemporary in Texas from January 18 to March 21, 2015. The catalogue includes extensively detailed exhibition plans with 3D renderings, models, and gallery plans, created prior to the opening of the show, plus installation photography of the site-specific works in the Dallas Contemporary galleries. The catalogue includes a narrative exhibition story written by the artist and videos to enhance the catalogue experience of Gréaud’s uniquely immersive vision. This publication was produced in preparation for the forthcoming release of the complete catalogue raisonné of Loris Gréaud’s entire body of work.
Carl Andre: Sculpture
John Hoyland: Paintings
Niki de Saint Phalle, Vol. II
Frank Stella: Polish Villages
About Our Subscriptions Access to Artifex Press digital catalogues raisonnés is available through subscription. We offer two types of subscriptions: All Catalogues subscriptions and Single Catalogue subscriptions. All Catalogue subscriptions are for academic, museum, and public libraries; art galleries, auction houses, and other art professionals; and art enthusiasts. These annual subscriptions entitle subscribers to all Artifex Press catalogues raisonnés, updates to those catalogues, and any new catalogues published within the subscription period. Subscriptions come with the promise of new publications each year and the ongoing release of new technology. Access is through an IP block, so you will have an unlimited number of users. Our annual subscription rate is based on the size and type of your institution, and follows the Carnegie Classification of Institutions of Higher Learning for educational institutions. Please contact our Sales and Marketing Director, James Whittaker, for rates and/or a free demonstration at firstname.lastname@example.org. ________________________________________________________________________________ Single Catalogue subscriptions are for for individuals whose interest is limited to a single artist or set of artists. These subscriptions grant access to the catalogues of your choice and any updates to those catalogues during your subscription period. Access is through an individual login.
Working on a catalogue raisonné? Artifex Press works with a wide range of artists and is able to assist with all aspects of the cataloguing process, from archival research, to provenance outreach, to challenging conceptual issues related to works in nontraditional mediums, to developing processes and committees, to image processing and other publication decisions. We are always interested in speaking with artists and their representatives as they consider avenues to publish a catalogue raisonné. Please contact us at email@example.com to set up a live tour of our software and/or to learn about our research and editorial services.
Photography Credits Cover: Chuck Close, Big Self-Portrait, 1967-1968 (detail). © p. 16: Sol LeWitt, Wall Drawing #391 Two-part drawing. Chuck Close. Photo courtesy Pace Gallery The two walls are each divided horizontally and vertically into four equal parts. First wall: 12-inch (30 cm) bands of lines in p. 7: Chuck Close, Phil, 1969 (studio view). © Chuck Close. four directions, one direction in each part, drawn in India ink; Photo by Frank James, courtesy Chuck Close Studio Second wall: Same, but with four colors drawn in India ink and color ink washes, 1983 (installed at Massachusetts Museum p. 8: Jim Dine with The Crommelynck Gate with Tools, 1983 of Contemporary Art, North Adams, 2008). Collection CAPC (in-progress). © 2017 Jim Dine/Artist Rights Society (ARS), musée d’art contemporain, Bordeaux, France. © 2017 New York. Photo by Nancy Dine, courtesy the artist Estate of Sol LeWitt/Artists Rights Society (ARS), New York. Photo by Kevin Kennefick, courtesy MASS MoCA; © 2017 p. 9: Jim Dine, The Field of the Cloth of Gold, 1987-1988, Estate of Sol LeWitt / Artists Rights Society (ARS), New AP 1. © 2017 Jim Dine/Artist Rights Society (ARS), New York. Photo by Tony Kemplen York. Photo by Ellen Labenski, courtesy Pace Gallery; Jim Dine, Silver, 1989, Edition 1. © 2017 Jim Dine/Artist Rights p. 17: Lucas Samaras, Box #12, 1963 (multiple views). © Society (ARS), New York. Photo by Bill Jacobson, courtesy Lucas Samaras. Photos by Kerry Ryan McFate, courtesy Pace Gallery; Jim Dine, Bouquet, 1987-1988, AP 1. © Pace Gallery; © Lucas Samaras. Photo by Ellen Labenski, 2017 Jim Dine/Artist Rights Society (ARS), New York. Photo courtesy Pace Gallery by Ellen Labenski, courtesy Pace Gallery; Jim Dine, The Columbia River, 1988, Edition 1. © 2017 Jim Dine/Artist p. 18: Loris Gréaud, 3D Rendering of Untitled (Trees) and Rights Society (ARS), New York. Photo by Bill Jacobson, Spores, 2012-2014. © Loris Gréaud, Gréaudstudio. Image courtesy Pace Gallery; Jim Dine, Venus in the Chair, 1991. © courtesy Gréaudstudio 2017 Jim Dine/Artist Rights Society (ARS), New York. Photo by Bill Jacobson, courtesy Pace Gallery; Jim Dine, The Lady p. 19: © Carl Andre/Licensed by VAGA, New York, NY; © Rises Up, 1995, Edition 1. © 2017 Jim Dine/Artist Rights Tara Donovan. Photo courtesy Pace Gallery; © The John Society (ARS), New York. Photo courtesy Pace Gallery; Hoyland Estate. Photo by Prudence Cuming Associates; © Jim Dine, Silver Venus on a Rock, 1990, Edition 1. © 2017 2015 Robert Irwin/Artists Rights Society (ARS), New York. Jim Dine/Artist Rights Society (ARS), New York. Photo by Photo © Philipp Scholz Rittermann; © 2016 Artists Rights Bill Jacobson, courtesy Pace Gallery; Jim Dine, Venusberg, Society (ARS), New York/ADAGP, Paris. Photo by G. R. 1988, Edition 1. © 2017 Jim Dine/Artist Rights Society Christmas, courtesy Pace Gallery; © Niki Charitable Art (ARS), New York. Photo courtesy Pace Gallery; Jim Dine, Foundation, All rights reserved. Photo: © Robert Doisneau/ Trembling for Color, 1990, Edition 3. © 2017 Jim Dine/ Gamma-Rapho/Getty Images; © Bosco Sodi. Photo courtesy Artist Rights Society (ARS), New York. Photo courtesy Pace Pace Gallery; © 2015 Frank Stella / Artist’s Rights Society Gallery (ARS), New York. Photo by Bill Orcutt; Yves Tanguy, Mama, Papa Is Wounded!, 1927. © 2017 Estate of Yves Tanguy / p. 10: Tim Hawkinson, Tagalong, 2013. © 2017 Tim Artists Rights Society (ARS), New York. Digital Image © The Hawkinson. Photo by Joshua White, courtesy Pace Gallery Museum of Modern Art/Licensed by SCALA / Art Resource, NY; © Richard Tuttle. Photo courtesy Pace Gallery p. 12: Agnes Martin, Untitled, 1960. © 2017 Agnes Martin /Artists Rights Society (ARS), New York. Photo by G.R. Back cover: Sol LeWitt, Wall Drawing #991 A 12-inch (30 Christmas, courtesy Pace Gallery cm) pencil grid is drawn. In each square of the grid, an arc from any corner, an arc from any side, a straight diagonal line p. 13: Agnes Martin in her studio, Cuba, New Mexico, 1974. from corner to corner, a straight line from top to bottom, and Photos courtesy Pace Gallery, New York a not straight line from side to side are drawn. Choose any of these for each square, 2001 (detail). © Estate of Sol LeWitt/ p. 14: James Siena with Just Read the Instructions, 2013. © Artists Rights Society (ARS), New York. Photo © Darbu 2017 James Siena. Photo by Sam Deitch, courtesy BFA NYC Photography Studio, courtesy Pace Gallery