It’s been an exciting year for Hayward Publishing, with reprints of Light Show and Grayson Perry: The Vanity of Small Differences, and incredible sales from titles ranging from Curiosity to Art of Change: New Directions from China. The coming months also see the arrival of a variety of exciting new titles. Amongst them, Martin Creed: What’s the point of it? is a beautifully realised survey of the work of one of Britain’s most exciting artists; The Human Factor: Uses of the Figure in Contemporary Sculpture offers a longoverdue survey of the re-emergence of the human form in contemporary sculpture; and Jeremy Deller returns to Hayward Publishing to present All that Is Solid Melts into Air, a personal guide through the Industrial Revolution, mapping the ways in which this crucial era continues to shape British life. The publications on show here illustrate Hayward Publishing’s continuing commitment to working with the most creative minds, to produce truly unique books and catalogues. We hope that it imparts just a little of the huge enthusiasm that we have for our books and that it helps make a fan of you too. Ben Fergusson, Art Publisher
Martin Creed What’s the point of it? Foreword by Ralph Rugoff Texts by Paul Morley, Bill Bailey, Joachim Pissarro and Cliff Lauson Designed by Joe Ewart ISBN 9781853323201 Hardback 208 pages 28.5×24.5cm January 2014 £30 / $40.00
Martin Creed: What’s the point of it? is a large-format, fully illustrated publication accompanying a major survey of Creed’s work at Hayward Gallery. Encompassing the full range and scale of Creed’s work, this comprehensive monograph spans its most minimal moments to extravagant room-sized installations, neon signs, video projections and performances. Outstanding in scope, design and content, this essential volume features Creed’s key artworks and a number of newly commissioned essays by music journalist Paul Morley, art historian Joachim Pissarro and Hayward Gallery curator Cliff Lauson, and a text by award-winning comedian, writer and broadcaster Bill Bailey.
mega-festivals, clubs, arenas, award shows, chat shows and theatres, on phones and inside tablets, which would seem very dull, and ordinary, the status quo, cultural conformity, endless, shallow self-gratification, all that it once was not. And the pop star would intend to trigger philosophical reflection about the relationship between words, ideas and things more than they would be content to merely sell their wares, plug their presence and generate gossip, acting out set-up visions of glamour that belonged deep in the previous century. Their works would have an emotional punch that falls somewhere between sentimental and agonising, between the middle of the road and the nihilistic, and approach sound and song from the point of view of an artist who believes that what is real is not the appearance but the idea, the essence of things. The pop star, then, would be, in the future, between categories, between painting and music, an avant-child of Warhol and Ono, Cage and time, light and trivia, buffoonery and requiem, as much as a descendant of the grids of Mondrian, the concision of Webern and the symbols of Maciunas as the Kinks, the Velvet Underground, Sly, Moroder, Blondie, Eno and Buzzcocks, finding new ways to generate context for what they do, to express their feelings through an amalgamation of sound, idea, vision and basic abstract presence, to move from one state to another, and managing at the same time to change shape and remain the same. As an example in prototypical form of this type of pop star, where a soundtrack reports and responds to the image of a performer inventing ways of explaining the world they find themselves trapped and mobile inside: Martin Creed. A model artist who never stops experimenting, he cannot imagine making what he makes out of paint, film, material, patterns, perceptions and deadlines without including music and sound, whether it is unorthodox or conventional, noise or hummable song; he cannot imagine being in a pop group without reflecting his knowledge of art history, an appropriation and application of minimalism and conceptualisation and montage. This means that mixed up inside all the approximate, volatile mixed up ways he works there is a response to glam rock as well as Dada, classical as well as garage, punk as well as serialism, magic as well as rhythm, primitivism as well as post-punk, free jazz as well as dream pop. All his thinking about thinking, about adding new shapes to the world in order to understand what the shapes that already exist stand for, his piecing together of the fragments he finds all around that are both puzzle and treasure, is made by someone who is neither musician or artist, but some fluid, elusive hybrid of the two. His originality is not so much in the individual numbered works, that installation, that collection of canvases, that project, doodle, protrusion, expansion or contraction, that change of scale, that optical illusion, trick of the light, flight of fancy, that spot of slapstick, of self-mockery, that statement of the bleeding obvious, that questioning of structure, that wound, or wind- up, that spot of mime, but in the fact that he is not as an operator, as a maker of things, a provider of atmosphere, one thing or another. The word to be used to describe what he does, if he is neither artist or musician, or conceptualist or choreographer, even though he does things that you can connect to art, and music, and dance, and therefore everything else in the world, could be enthusiast, or melancholic. Or, the words Ă”but this is ridiculousĂ•.
2. In 2001, Martin Creed was handed the Turner Prize by Madonna for a piece that superficially involved the turning on and off of some light bulbs. He has a band that performs as though there is still such a thing as a happening, or music hall, and he releases singles and albums packaged as ordinary CDs rather than art objects. He professes a love for Kris Kristofferson and Johnny Cash, shying away from admitting any interest in John Cage or Wire. He sees himself as a plain singer of songs. You may wonder if his band is simply the private amusement of a successful artist who has calculatedly or accidentally reached the stage of being able to do what he wants and have it called art. He would be happy not to be called an artist, not least because as soon as he is, he is expected to fulfil certain standards and responsibilities that might not be what he himself
YouĂ•re The One For Me Single 2012
Madonna and Martin C 2001 Turner Prize
Martin Creed What’s the point of it? Special Edition Foreword by Ralph Rugoff Texts by Paul Morley, Bill Bailey, Joachim Pissarro and Cliff Lauson Designed by Joe Ewart ISBN 9781853323232 Hardback 208 pages 28.5×24.5cm January 2014 £60.00 To celebrate the opening of the artist’s first large-scale retrospective, Hayward Publishing is releasing a special edition of 250 copies of its Martin Creed: What’s the point of it? exhibition catalogue. Each copy will feature a new version of Creed’s iconic torn paper piece, as well as a handwritten ‘certificate’ of authentication, written onto the pages of the book and individually signed by the artist. Embodying the artist’s immediate and irreverent approach, the Martin Creed: What’s the point of it? Special Edition represents a highly affordable opportunity to purchase a singular piece by this worldrenowned artist.
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Paweł Althamer, Monika and Pawel, 2002. © the artist. Image courtesy Foksal Gallery Foundation
The Human Factor: Uses of the Figure in Contemporary Sculpture Foreword by Ralph Rugoff Essays by Penelope Curtis, Martin Herbert, Lisa Lee and James Lingwood Designed by Sonya Dyakova ISBN 9781853323225 Hardback 240 pages 29.5×23.5 cm June 2014 £35.00 / $45.00
The Human Factor: Uses of the Figure in Contemporary Sculpture brings together the work of over 20 leading international artists, in whose practice the human form plays a central role.
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Rachel Harrison, Schmatte with President, 2006. © Rachel Harrison 2014. Image courtesy of the artist and Greene Naftali, New York. Photograph: Jean Vong
A unique survey of contemporary figurative sculpture, this highly illustrated volume features works by Paweł Althamer, Frank Benson, Huma Bhabha, Maurizio Cattelan, Urs Fischer, Katharina Fritsch, Ryan Gander, Isa Genzken, Rachel Harrison, Georg Herold, Thomas Hirschhorn, Martin Honert, Pierre Huyghe, Jeff Koons, Paul McCarthy, John Miller, Cady Noland, Ugo Rondinone, Thomas Schütte, Yinka Shonibare MBE, Paloma Varga Weisz, Rebecca Warren, Andro Wekua and Cathy Wilkes, amongst others.
Jeff Koons, Bear and Policeman, 1988. © Jeff Koons
Over the past 25 years, artists have reinvented figurative sculpture by looking back to earlier movements in art history as well as imagery from contemporary culture. Setting up dialogues with modernist as well as classical and archaic models of art, these artists engage and confront the question of how we represent the ‘human’ today.
Jeremy Deller: All that Is Solid Melts into Air Text by Jeremy Deller Afterword by Roger Malbert Designed by A Practice For Everyday Life ISBN 9781853323195 Paperback 80 pages 21Ă—16.5cm ÂŁ14.99 / $20.00
All that Is Solid Melts into Air is a personal journey through the Industrial Revolution, guided by Turner Prizewinning artist Jeremy Deller. In this richly illustrated new title, Deller investigates what remains in the present day from this crucial period in British history, from our relationship with technology and the regimentation of time and work, to industrial accidents and the rise of heavy metal music.
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Factories were a new world of moral chaos, extraordinary places, full of danger, where the youth of both sexes were often in heated proximity, deafened by the noise of the machines that shook the buildings and their bodies. Just the kind of experiences sought out and replicated in clubs and warehouse parties – parties that, for a short time in the late 1980s, took place in the same buildings where the machines and workers (possibly ancestors of the party’s attendees) once laboured. The following passage reads like a tabloid editorial for the mid-Victorian era: ‘The contagion of vicious example and impure conversation… compelled to make one of a society which is continually exhaling the miasma of vice… breathing its pollution every moment… The restless motion of the machinery has begun; the continual clack of the several wheels… There reigns in the work-rooms a Babel of confused sounds – the irreverent laugh, the open blasphemy, the licentious conversation… anger is stirred into acts of tyranny… In the heart of the factory – an assemblage of the vile of human beings, a fermenting mass of sin and vice, such as we may well doubt was ever before concentrated in one burning focus. It seems as if the mighty capacities of steam had lent an impetus, not only to the industry and ingenuity of man, but an equal impetus to all his faculties and contrivances of vice.’ — H. Worsley, Juvenile Depravity, 1849 13
Ana Mendieta: Traces Foreword by Ralph Rugoff Essays by Julia Bryan-Wilson, Adrian Heathfield and Stephanie Rosenthal
Indiana Dunes National Lakeshore, USA
Untitled (Gunpowder Work), 1981
Caumsett State Park, Long Island, New York, USA
Untitled (Earth-Body Works), 1982
Plates Photographs/35-mm slides
Encompassing a wealth of drawings, photography and film, Ana Mendieta: Traces provides a comprehensive and illuminating overview of this highly influential artist’s work. This monograph also features a highly illustrated anthology of never-beforeseen material, including Mendieta’s own notebooks, exhibition plans and correspondence.
ISBN 9781853323171 Paperback 240 pages 27×22cm £24.99 / $39.95
Plates Photographs/35-mm slides
Designed by Mues Design
1 February, 1985 Joan Marter and Ana Mendieta in Conversation (edited excerpt)
AnA MendietA: Once Robert Smithson had defined certain parameters in his work, everyone took it that anyone that made work outdoors had to be defined and looked at in his sense, and this really has angered me tremendously. In attempting to define what I was trying to do, I didn’t feel any connection at all with Robert Smithson or any of those artists. JoAn MArter: How do you feel about people that do performance? Do you feel connected to them? AM: No, not at all. Because my works have really been about trying to establish a dialogue between myself and nature [...] It was a way of really learning about myself, placing myself within a cultural structure. It’s been a very connected thing for me that I really had no homeland. To me, [what] nature represented [...] was outside the boundaries of culture. It was a different kind of culture. It was nature-culture with a human connection, not a structure put in place. Okay, it’s getting confusing, because of the word ‘culture’ and what that means, but in the sense of ‘culture’ meaning America, or behaviour patterns in America, or behaviour patterns in Cuba, or behaviour patterns in Mexico. To me, nature was outside of that perimeter, it was just more general, and it was something that I could go to to try to find out who I was. My identity. JM: People in the past simply made images of themselves when they made a self-portrait, in a very traditional sense. But in the twentieth century, women have tried to find out about themselves in the process of making these self-images [...] I think that’s what you did in your work? AM: Well, but I think that that is what art making is. I do my work to see it. I get an image in my mind, and then I have to make it to see it.
JM: What about the connection with the earth goddess? AM: Well, I’ve worked with really specific earth. I’ve worked with landscapes that other people would not find attractive in any way. So, I don’t know. JM: Has there been an evolution in the Silueta series? Are the first ones from 1975? AM: Well, the very first one – the one with the flowers coming through – was made in the summer of 1973, when I was in Mexico [...] That piece is very important. The thing that really struck me about the Mexican site was the fact that it was overgrown with grass, bushes and things. It seemed to me to be nature’s reclaiming of this site, a ‘taking over’. I wanted to get in touch with my body. So I went out and bought a bunch of flowers in the market and set it up. It was a tableau, but just set up [...] JM: Was it about birth, death and rebirth – like the cycles of nature? AM: Actually, the way I really thought about it was of having nature take over the body, in the same way that it had taken over the symbols of past civilizations. It meant nature. It’s really the most powerful thing that there is. Even today with all of this technology, we are still trying to control the limitations of what we can and cannot do […] Meaning energy. Energy is nature too. It all is. And that’s the overwhelming thing for me, the fantastic thing [...] That’s the way I feel when I face nature, that it’s just the most overwhelming thing there is. JM: When you came to the US, how old were you? AM: Twelve.
JM: But it’s not just any image. It’s your image that you’re dealing with over and over again. It’s projecting yourself into nature, or it’s setting up a dialogue between you and nature.
JM: Were you old enough to remember your country then?
Anthology Interview, 1985
AM: Definitely. AM: It’s going into it. That’s why a lot of my images are like this, because I was laying down in nature and going into it. To me, nature is our biological inheritance as human beings. That’s what I have, nature, my body. The reason why I’ve never connected with performance [...] is because it was very important that it was just me and nature by ourselves, having this thing together. It was not a performance. I do not want people around me when I’ve done it – doing it has really been a moving thing for me. I really think my work is very straightforward, I’ve never gone for some kind of phony myth-acting and reliving Greek myths, [...] because that has nothing to do with me.
JM: And you felt taken from your country, I would imagine, moving to Iowa? I mean, it’s not the same as coming to New York, where you would probably not feel so isolated – or at least there are a lot of different people here. It’s a melting pot of different kinds of people, and I think that makes it easier for everybody […] But in Iowa, that wouldn’t be the case. AM: Right. Definitely not at that time in Iowa, in 1961. They didn’t even know what avocadoes were. So – different climate, different language and different culture – it was totally different. It was a shock, but then I just reacted in the sense of survival, I don’t
by specialist computer technicians, who converted my drawing into the vast digital file that controlled the loom (see Adam Lowe’s discussion of this process on p. 103). Because of its large scale and the ease of transportation, tapestry also works well as a public artwork, and I am truly delighted that this series is now able to tour under the auspices of the Arts Council and British Council Collections.
Grayson Perry: The Vanity of Small Differences Foreword by Caroline Douglas Essays by Adam Lowe, Suzanne Moore and Grayson Perry
Designed by Pony Ltd n the vast saloons and bedchambers of ancestral ISBN 9781853323157 pict Classical myths or military victories. A lot 04.* Hardback iated with tapestries, historically, was due to 120 pages the enormous amount of skilled labour needed 21.5×25cm The antique £17.99 examples / $30.00 I encountered in stately keley Castle in Gloucestershire, or Blenheim Telling a story of class and taste, hire, would haveand taken teams workers many Theof Vanity aspiration identity, s, to weave. of Small Differences explores the
inspiration behind the tapestry series created Turnerbut, Prize-winning expensive to makebytoday ironically, one artist Grayson Perry. An in-depth f usinglook tapestry now is the relative speed with at Perry’s work, this book is an uce a substantial artwork, compared essential guide to the work of one to other enjoy of working, such as ceramics or etching. Britain’s best-loved artists.
al tapestries, mine were made in Flanders but, I designed them using Photoshop software ven at dazzling speed on a huge computerat can produce a four-by-two-metre tapestry killed labour is still involved, but is performed uter technicians, who converted my drawing tal file that controlled the loom (see Adam of this process on p. 103).
e scale and the ease of transportation, tapestry a public artwork, and I am truly delighted ow able to tour under the auspices of the Arts h Council Collections.
hing to use tapestries – traditionally status h – to depict a commonplace drama (though it should be): the drama of social mobility. s, grammar school boy from the tail-end of generation, social mobility is a theme close to
I thought it refreshing to use tapestries – traditionally status symbols of the rich – to depict a commonplace drama (though not as common as it should be): the drama of social mobility. As a working-class, grammar school boy from the tail-end of the ‘baby boomer’ generation, social mobility is a theme close to my heart. Politicians sometimes talk of a classless society, but I think the class system still thrives, though perhaps in a more hydraheaded form than in the days of flat caps, bowlers and toppers. As recently as twenty years ago, most people would describe themselves as definitely working class. Now, depending on the economic climate, between half and two-thirds define themselves 11 as middle class, and this seems to depend on whether the survey includes the category ‘upper working class’ as an option for those insecure about their status. In the boom times, a plumber who has bought his council house in Manchester, an accountant in a suburban villa in Birmingham and a media executive in a trendy flat in London might all describe themselves as middle class. They may all earn similar, middle-class incomes, but they are still likely to be separated by a gulf of taste. As we oiks climb the greasy pole, we may pick up a deceptively authentic-looking set of middle-class predilections: a book-lined study, a modest grubby car, a full wine rack and original window frames. All the while, from deep inside our urbane metropolitan exterior, an embarrassing former self wails from his oubliette: ‘I want a gold Porsche’. As we will see, such a primal desire for the gew-gaws of one’s culture of origin lead to the downfall of my hero, Tim Rakewell. Class is something bred into us like a religious faith. We drink in our aesthetic heritage with our mother’s milk, with our mates at the pub, or on the playing fields of Eton. We learn the texture of our place in the world from the curlicue of a neck tattoo, the clank of a Le Creuset casserole dish, or the scent of a mouldering hunting print. A childhood spent marinating in the material culture of one’s class means taste is soaked right through you. Cut me and, beneath the thick crust of Islington, it still says ‘Essex’ all the way through.
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Dayanita Singh: Go Away Closer Foreword by Ralph Rugoff Essay by Geoff Dyer In conversation: Dayanita Singh and Stephanie Rosenthal Designed by Peep Studio ISBN 9781853323188 Hardback 128 pages 24×16cm £12.99 / $25.00 This title marks a turning point in the career of this internationally acclaimed artist. For the first time in print, this publication presents a detailed overview of Singh’s Museums – wooden structures that introduce a radical new way of seeing and experiencing Singh’s work and photography in general. Powerful, beautiful and radical, Dayanita Singh: Go Away Closer offers a rare and illuminating insight into a major artist’s career.
withdrawn: an art, increasingly, of absence. In one of the pictures by her mum, the baby Dayanita is barely visible; in a couple of others she is entirely overlooked in favour of the splendid surroundings of a hotel room. The grown-up daughter has followed suit: her pictures are full of empty rooms, empty beds and what Billy Collins calls ‘the chairs that no one sits in’: ‘where no one / is resting a glass or placing a book facedown’.3 The poet is here thinking of permanently empty – rather than briefly vacated – chairs, but in photography, of course, even the momentary becomes permanent. And in photographic terms, these empty chairs have always been with us. Or at least, as John Szarkowski, former Director of Photography at MoMA, argues, they did not mean ‘the same thing before photography as they mean to us now’.4 About half of the pictures in Privacy (Steidl, 2004) are portraits of people in their opulent homes – spacious rooms crowded with wealth and flesh. The effect of these is to make the other half, the empty interiors, seem… even emptier! And then there are the museum rooms of Anand Bhavan (now Swaraj Bhavan), the former Nehru family residence in Allahabad, where we get a redoubled, much-multiplied emptiness: unworn clothes hanging on the unopened doors of empty rooms. The glaring absence in these pictures, these rooms, is of the present (as symbolised by the stilled ceiling fan). This is what time looks like after history has moved on and left it for dead. Referring to his own photographs of empty interiors, Walker Evans once said, ‘I do like to suggest people sometimes by their absence. I like to make
and polished furnishings, in windows 17 and mirrors. (It’s often impossible, in photographs, to tell the difference between a mirror and a photo. In a photo, in fact, a mirror is automatically transformed into a photo. A photo, let’s say, is a mirror with the time taken out it.) The effect of these layers of self-seeing – inanimate, passive and abiding – is a cumulative laying bare of essence: the stillness of still photography. That’s one way of seeing and putting it. Another, by a visitor to the 2007 exhibition of the Go Away Closer photographs, at the Kriti Gallery in Varanasi, was to copy into the visitors’ book some lines in Urdu from a ghazal by Faiz Ahmad Faiz called ‘Hum Dekhenge’ (‘We Will See’): All that will remain is Allah’s name, He who is absent but present too, He who is the seer as well as the seen. Light stares whitely through the windows. These windows reflect on the interiors – as we have seen – and provide visual access to the world outside. What happens when we gaze through them? What do we see? To answer this we first have to re-familiarise ourselves with the terrain – get an overview of how the documentary impulse in early series such as I Am
The Alternative Guide to the Universe Foreword by Ralph Rugoff Essays by Roger Cardinal, Rick Moody, Mark Pilkington, Valérie Rousseau and Margaret Wertheim Designed by Sara De Bondt Studio ISBN 9781853323164 Hardback 176 pages 28×21cm £22.99 / $35.00 This captivating anthology surveys works from more than 25 self-taught artists, architects and urbanists, photographers, visionary engineers and outsider scientists, guiding us through inventive scenarios, providing a series of bracingly unorthodox perspectives on the world we live in. Includes work by Morton Bartlett, Eugene Von Bruenchenhein, Guo Fengyi, Lee Godie, Richard Greaves, Alfred Jensen, Bodys Isek Kingelez, Paul Laffoley, Jean Perdrizet, Rammellzee, A.G. Rizzoli, Marcel Storr, George Widener and Wu Yulu, amongst others.
Imagine that you could live in a different world. What would you want it to be like? You might change the way that we measure time, making it more abundant or more connected to meaningful events of the past. Or you might choose to alter the shapes of our cities, or the finality of death. You could plan sources of inexhaustible, free energy. The possibilities are endless. Experience, however, teaches most of us to be ‘practical’ in our thinking, to put aside the untethered imagination of childhood and to quarantine our fantasies of alternative worlds. When it comes to contemplating the structure of matter, or the future of technology and the built environments we inhabit, or even things closer to home, like the letters of the alphabet and the nature of identity, we are content to leave it to the ‘experts’. But there are some people who choose not to do so – who spend their lives re-imagining the things that we take for granted. This exhibition is dedicated to them. Artists re-imagine the universe – at least some do. But they are not the only people in our society who take on this role, who risk tossing the reality principle overboard in order to venture into speculative arenas, to conjure scenarios that depart radically from our vision of how things are and how they will change. In addition to artists, the ‘guides’ you will encounter here include unlicensed architects and urbanists, outsider physicists and visionary inventors, all of whom provide bracingly unorthodox perspectives on aspects of the world we live in. Their grand ambitions include reconceptualising our relationships with time and space, language and technology, as well as our notions of self and consciousness. This is a guidebook, in other words, to a landscape that stretches to the far horizons of imaginative experience. With a few exceptions, the work featured here Imagine live a different was madethat overyou thecould course ofin the past fifty world. years. What would you want it to be like? You might Its makers were driven by varied motives, intentions change the way thathail we measure time, making and concerns. They from far-flung parts of it the more abundant more connected meaningful world (includingor both remote rural to areas and urban Ralph Rugoff events ofand the from past. wildly Or youdissimilar might choose to alter 1 centres) backgrounds. the shapes ourcommon cities, orback the finality of death. Perhaps theofone story shared by these You could plan sources of inexhaustible, free energy. The possibilities are endless. Experience, however,
individuals is the fact tha their core ideas and pract institutions and discipline ‘official’ training in a par far more influenced by th themselves. They are auto count most – fellow travel down the rabbit hole and habits of thinking that go Besides certain over (architecture, technology, communication systems), affinities in approach, if n involves revisiting and re of knowledge. And it gene rather than making indiv these practitioners explor series. They undertake pr embody overarching visio and a deep and abiding co they make is often very d it elaborates ideas or lays almost empirical manner. and records observations; physics and language, or urban developments and s For many of these m a means rather than an e that some never considere all). Indeed, many of the w architecture, science and with empirical or function inventors like Jean Perd Janke regularly sent the drawings to government a firms in the hope that the (which range from flying trees) might be realised a individuals is the fact tha Emery Blagdon fabricat their ideas and pract a barncore in Nebraska, he di institutions discipline art; while weand might marv ‘official’ training in a paro and totemic strangeness farviewed more influenced by th he his ‘installation themselves. They are autoe channel electromagnetic count most – fellow travel down the rabbit hole and
The universe ThAT Fell To eA rTh Ralph Rugoff
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Light Show Foreword by Ralph Rugoff Essays Philip Ball, Cliff Lauson and Anne Wagner Designed by Studio Frith ISBN 9781853323041 Hardback 208 pages 32Ă—25cm ÂŁ27.99 / Available in the US through MIT press Featuring over 25 artists, Light Show takes as its starting point the sculptural use of light as a way of altering our perception of space in contemporary art. Includes the work of Fischli and Weiss, Olafur Eliasson, Dan Flavin, Jenny Holzer, Anthony McCall, Philippe Parreno, Katie Paterson, James Turrell, and many others.
n Georges Duby, the Cathedrals: Art and –1420, trans. Eleanor d Barbara Thompson, of Chicago Press, 81, p. 148.
FROM SYMBOL TO SUBSTANCE : THE TECHNOLOGIES OF LIGHT used by nature: in, for instance, the brilliantly reflective wings of the Blue Morpho butterfly, or indeed the peacock feathers that fascinated Robert Hooke. The uses of highly reflective and iridescent pigments with such layered microstructures have so far been confined to applications such as car paints; artists are just beginning to understand how to use these materials to guide light and blend colours.
The new technologies of light go much further. It is now possible to subvert the laws of optics themselves: for example, artificial materials
that can refract light ‘the wrong way’, or that can guide light rays along PHILIP BALL artfully curved paths that skirt an object – like river water running round a protruding rock – in effect rendering the object invisible. There has never been a time when the nature of light has not been These ‘invisibility cloaks’ were first made for operating at microwave at the leading edge of science, technology and art. We ‘play’ with it for frequencies; now they work for visible light too. Even light itself is not so many reasons – to encode information, to bedazzle the senses, to immune to reinvention: quantum engineering that reconfigures the probe the universe, to evoke the presence of the divine. These are way light is absorbed and re-emitted as it travels through a transparent not, as they might seem, separate issues, which is one reason why the substance can effectively slow down light to a crawl, and even bring it to scientific study and use of light comes laden with cultural and symbolic an apparent standstill – and even more extraordinary, can make it seem signification. At the same time, that same science – both fundamental to exit a material before it even enters. Whether these tricks will find and applied – has prescribed the boundaries of light as an artistic practical uses – storing information in arrested light pulses, for example medium. As our ability to produce and manipulate light has evolved, – remains to be seen. artists have embraced the possibilities on offer, so that light art is, among other things, always a conversation with technology. Trick of the Light Sacred Light Art has always been beholden to technology to a greater extent than is commonly acknowledged, whether it be the glassmaking expertise The theological virtues of light pervaded its early scientific study. Early that contributed to the manufacture of Egyptian faience, the pigmentChristianity was imbued with a metaphysics of light stemming from the making alchemy of the Middle Ages, or the invention of photography tradition of Neoplatonism, according to which radiance was a symbol or of acrylic resins. In most such instances, the technologies themselves of God’s presence. When men spoke truth, they were ‘lucid’; when had other motivations; artists see opportunities that scientists and they understood it, they were ‘illuminated’. This reverence for light inventors rarely imagine, happily appropriating technical innovation, motivated the thirteenth-century proto-scientists Robert Grosseteste, but also subverting and redirecting it. The technologies of light are no Bishop of Lincoln, and his disciple Roger Bacon to study optics at the exception, and that is why advanced photonic engineering will surely University of Oxford. ‘Physical light is the best, the most delectable, the enter the gallery. most beautiful of all the bodies that exist,’ wrote Grosseteste.1 That was But there are additional dimensions to this relationship. For one, not mere genuflection; Grosseteste was the first to propose that the light has a symbolic cultural resonance that science has not eroded, that rainbow’s arc – an eternal source of wonder, a symbol of the Virgin and it even enhances as it offers new possibilities for luminal play and new the post-diluvian renewal of life – results from the refraction of light insights into the nature of light itself. Through relativity, light becomes by clouds. His hypothesis wasn’t quite right, but it helped to locate the the determinant of time. Quantum engineering imbues light with answer to this age-old question in optical science. information and meaning and makes old certainties – the path of a light Light had not shaken off its religious connotations when the great ray – contingent. Moreover, light is not just about electromagnetism and scientists of the seventeenth century, such as Isaac Newton, Robert photons, but about perception and illusion. There are many tricks of Boyle and Robert Hooke, began to study it. In popular culture, light was light, and they force us to question the relationship between the world as much demonic as it was divine, to be feared as well as revered. Things that impinges on the senses and the world that the senses reconstruct that glitter and glow in the dark are the stuff of folklore. Boyle’s servants from that stimulus. There is a science of effect that light mediates. And this is a part of what makes it, and has always made it, such a powerful medium for the artist.
Curiosity: Art and the Pleasures of Knowing Foreword by Roger Malbert Essays by Brian Dillon and Marina Warner Designed by John Morgan Studio ISBN 9781853323133 Hardback 224 pages 23.5×15cm £22.99 / $35.00 This fascinating book, published to accompany the exhibition curated by Brian Dillon and organised in association with Cabinet magazine, takes the cabinet of curiosities as its founding motif. Includes an anthology of writings on the topic of curiosity throughout the ages and the work of Salvatore Arancio, Leopold and Rudolph Blaschka, Pablo Bronstein, Broomberg and Chanarin, Gerald Byrne, Leonardo da Vinci, Tacita Dean, Albrecht Dürer, Aurelien Froment, Charles Le Brun and Matt Mullican, amongst others.
1264 – 1604
miracle, suggests; namely, what is of itself ﬁlled with admirable wonder, not simply in relation to one person or another. Now, absolutely speaking, the cause hidden from every man is God. In fact, we proved above that no man in the present state of life can grasp His essence intellectually. Therefore, those things must properly be called miraculous which are done by divine power apart from the order generally followed in things. thomas aquinas, Summa contra gentiles
1472 Then of that age-old ﬁre the loftier horn Began to mutter and move, as a wavering ﬂame Wrestles against the wind and is over-worn; And, like a speaking tongue vibrant to frame Language, the tip of it ﬂickering to and fro Threw out a voice and answered: ‘When I came From Circe at last, who would not let me go, But twelve months near Caieta hindered me Before Aeneas ever named it so, No tenderness for my son, nor piety To my old father, nor the wedded love That should have comforted Penelope Could conquer in me the restless itch to rove And rummage through the world exploring it, All human worth and wickedness to prove. So on the deep and open sea I set Forth, with a single ship and that small band Of comrades that had never left me yet. Far as Morocco, far as Spain I scanned Both shores; I saw the island of the Sardi, And all that sea, and every wave-girt land. I and my fellows were grown old and tardy Or ere we made the straits where Hercules Set up his marks, that none should prove so hardy
1604 faustus These necromantic books are heavenly, Lines, circles, scenes, letters and characters: Ay, these are those that Faustus most desires. Oh, what a world of proﬁt and delight, Of power, of honour, of omnipotence, Is promised to the studious artizan! good angel Oh Faustus, lay that damned book aside, And gaze not on it lest it tempt thy soul And heap God’s heavy wrath upon thy head. Read, read the scriptures: that is blasphemy. evil angel Go forward, Faustus, in that famous art Wherein all nature’s treasure is contained. Be thou on earth as Jove is in the sky, Lord and commander of these elements. Exeunt angels. faustus How I am glutted with the conceit of this! Shall I make spirits fetch me what I please, Resolve me of all ambiguities, Perform what desperate enterprise I will? I’ll have them ﬂy to India for gold, Ransack the ocean for orient pearl, And search all corners of the new-found world For pleasant fruits and princely delicates. I’ll have them read me strange philosophy, And tell the secrets of all foreign kings. I’ll have them wall all Germany with brass, And make swift Rhine circle fair Wittenberg. I’ll have them ﬁll the public schools with silk, Wherewith the students shall be bravely clad. I’ll levy soldiers with the coin they bring, And chase the prince of Parma from our land, And reign sole king of all the provinces. Yea, stranger engines for the brunt of war, Than was the ﬁery keel at Antwerp-bridge, I’ll make my servile spirits to invent. christopher marlowe, The Tragical History of the Life and Death of Doctor Faustus
To venture the uncharted distances; Ceuta I’d left to larboard, sailing by, Seville I now left in the starboard seas. dante alighieri, La Divina Commedia: L’inferno (Divine Comedy: Inferno), Canto xxvi
Uncommon Ground: Land Art in Britain 1966–1979 Foreword by Caroline Douglas Essays by Nicholas Alfrey, Joy Sleeman and Ben Tufnell Designed by Inventory Studio ISBN 9781853323140 Paperback 128 pages 24×16cm £12.99 / $20.00 This unique publication proposes a new reading of British art between the mid 1960s and late 1970s, placing landscape and nature at the heart of the emerging artistic movements of the period. Encompassing sculpture, performance, photography and film, the book includes work from Roger Ackling, Keith Arnatt, Tony Cragg, Jan Dibbets, Antony Gormley, Susan Hiller, John Hilliard, Derek Jarman, David Lamelas, John Latham, Richard Long and many others.
Mark Leckey: The Universal Addressability of Dumb Things Foreword by Roger Malbert Essays by Mark Leckey, Erik Davis and Alixe Bovey Designed by John Morgan Studio ISBN 9781853323058 Paperback 104 pages 30.7×24cm £17.99 / $30.00 In The Universal Addressability of Dumb Things, Turner Prize-winning artist Mark Leckey explores the tenuous boundaries between the virtual and the real, between the ‘dumb’ and the animate. Myth, monstrosity, animism and the articulate are the subjects of this highly original statement on our increasingly technologised world.
9 781853 323058
David Shrigley: Pass the Spoon David Shrigley (foreword), David Fennessy, Nicholas Bone
Gary Hume: Flashback Caroline Douglas (interview), Dave Hickey Art of Change: New Directions from China Stephanie Rosenthal, Paul Gladston, Pauline Yao, Colin Chinnery, Zhu Zhu, Karen Smith, Carol Lu, Katie Hill, Philip Tinari
ISBN 9781853323072 Paperback 96 pages 18.5×11cm £7.99 / $12.50
ISBN 9781853322990 Hardback 96 pages 26×22cm £17.99 / $35.00
ISBN 9781853323034 Paperback 152 pages 24×17cm £24.99 / $39.95 George Condo: Mental States David Means, Laura Hoptman, Ralph Rugoff, Will Self Anish Kapoor: Flashback Michael Bracewell, Andrew Renton
David Shrigley: Brain Activity
ISBN 9781853322891 Hardback 172 pages 30.5×28.5cm £34.99 / $50.00
ISBN 9781853322884 Hardback 96 pages 26×22cm £17.99 / $35.00
Cliff Lauson, Dave Eggers (interview), Jonathan Monk, Martin Herbert ISBN 9781853322976 Hardback 186 pages 26.5×19.5cm £24.99 / $40.00
Roger Hiorns: Untitled (Alliance) Caroline Douglas, Tom Morton ISBN 9781853323089 Paperback 80 pages 17×12cm £9.99 / $14.00
British Art Show 7 Tom Morton, Lisa Le Feuvre ISBN 9781853322860 Paperback 192 pages 18×21cm £19.99 / $35.00
Cult Fiction: Art & Comics Paul Gravett, Emma Mahony ISBN 9781853322600 Paperback 96 pages 34×24cm £16.99 / $30.00
Jeremy Deller: Joy in People Matthew Higgs (interview), Ralph Rugoff, Rob Young, Stuart Hall ISBN 9781853322945 Hardback 192 pages 28×22.5cm £24.99 / $40.00
Tracey Emin: Love is What You Want Ralph Rugoff, Michael Corris, Jennifer Doyle, Cliff Lauson, Ali Smith ISBN 9781853322938 Paperback 260 pages 24.5×24.5cm £27.99 / $45.00
A Universal Archive: William Kentridge as Printmaker Foreword by Roger Malbert Text by Rosalind Krauss Interview by Kate McCrickard ISBN 9781853323010 Paperback 144 pages 21× 24.5cm £17.99 / $30.00
Henry Moore and the Arts Council Collection Caroline Douglas, Benedict Read ISBN 9781853323027 Paperback 80 pages 21.5×13.5cm £9.99 / $15.00
George Grosz: The Big No Lutz Becker, Helen Luckett ISBN 9781853323003 Paperback 144 pages 21×15.4cm £12.95 / $18.00
The ArtArt Books about Art Books Swiss Photobooks, Lars Müller / Martin Parr, The Photobook: A History, Phaidon What do you do when you’ve bought all the art books you ever wanted? You buy books about art books of course! Photography’s geek’s geek, Martin Parr, paved the way with his twovolume The Photobook: A History for Phaidon: a majestic must for all photobibliophiles. More recent titles have investigated lesser-known corners of the photobook’s unique history, such as Swiss Photobooks, a collaboration between the Fotomuseum Winterthur and Lars Müller. Big, bold and in-depth, it offers a fascinating alternative history of a much-misunderstood country. lars-mueller-publishers.com / phaidon.com
International The Artists’ Books Room Buchhandlung Walther König, Burgstraße, Berlin As a veteran book-trader said to us recently, ‘These days, all the art kids go to König’. The reason is that the people who work at König know everything there is to know about art books. Cologne remains the heart of the König empire, but the sprawling Burgstraße store in Berlin offers perhaps the widest selection and is itself a must for art-book lovers. What’s more, if you have a quiet word with the shop manager, Herr Posthofen, you can also gain access to the hallowed artists’ book room: a locked Wunderkammer of signed and editioned artists’ books and special editions from Ed Ruscha and Dieter Roth, to John Bock and Isa Genzken. buchhandlung-walther-koenig.de
The See-Through Bookshop 21st-Century Museum of Contemporary Art, Kanazawa, Japan How do you fit bookshelves into a completely circular building? The answer: you don’t. In true SANAA style, the bookshop in the Kanazawa Museum of Contemporary Art is a filigree circle that barely seems to support its own weight (London audiences will know the drill if they visited SANAA’s floating Serpentine Pavilion in 2009). And it’s not only the structure that’s light and surprising – the small bookshop is also a beautifully curated selection of Japanese and international titles, including a few from Hayward Publishing – what taste! kanazawa21.jp/en
Book Lover’s The Art Book Fair The London Art Book Fair, Whitechapel, London While most book fairs entail trade types wandering dry-mouthed past endless brightlylit bookstands in a Kafkaesque nightmare of carpet tiles and retractable promotional stands, the Whitechapel’s London Art Book Fair offers something different: a relaxed environment for art-book-lovers to buy books and chat to the people who make them. Featuring a unique mix of publishers, from big guns to small indies, all selling new and past titles, it’s the perfect place to discover something new, and always at a great price. whitechapelgallery.org/book-fair
The Art-Book Book-Stand Have you ever spent so long pouring over artbooks that your arms tremble at the very weight of them? Me neither, but if the spine-strain of a beloved book lying flat on a table is too unbearable, then worry no longer – the Taschen bookstand is here. Fashioned in sleek, transparent acrylic, it will give your front-room the air of a Philippe Stark-designed book salon. It also packs flat, so that you can save yourself the ignominy of aching-art-book-arm globally. Phew! taschen.com
Hayward Publishing Southbank Centre, Belvedere Road London, SE1 8XX, UK www.southbankcentre.co.uk Alex Glen Sales Officer Hayward Publishing +44 (0) 20 7921 0826 firstname.lastname@example.org Diana Adell Press and Marketing Coordinator Hayward Publishing +44 (0) 20 7960 4357 email@example.com Distributed in the UK and Europe by: Cornerhouse Publications 70 Oxford Street Manchester M1 5NH +44 (0) 16 1200 1503 www.cornerhouse.org/books Distributed in North America, Central America and South America by: D.A.P. / Distributed Art Publishers, Inc. 155 Sixth Avenue, 2nd Floor New York, NY 10013 +212 627 1999 www.artbook.com Photography by Ed Park and Mark Colliton Catalogue designed by Studio Hato and printed by Hato Press, London Front cover: Martin Creed, Work No. 88 A sheet of A4 paper crumpled into a ball, 1995. ÂŠ the artist. Image courtesy the artist