Painting at the Edge of the World
The title of the group show at the Walker Art Center in Minneapolis, curated by Douglas Fogle, refers to the possible evidence of a pictorial philosophy emerging in the work of thirty young contemporary artists who are engaged in detaching themselves from traditional painting and its categories, those being figuration, abstraction, portraiture and Abstractionism. In doing so however, attention is focused on how the pictorial spirit is still present and applied even in presentations bound to photography, conceptual art, performance, popular culture and architecture. This abundant catalogue is divided into two clear sections, delineated also by their pagination, dedicated to illustrations of the works and to numerous texts by critics, both renowned and emerging, and artists of international repute (Marcel Broodthaers, Yve-Alain Bois, Midori Matsui, Daniel Birbaum, Paulo Herkenhoff, Hélio Oiticica, Anfrew Blauvelt, Jörg Heiser, Mike Kelley, Hubert Damisch, Marlene Dumas, Reinaldo Laddoga, Takashi Murakami, Frances Stark e Rudolf Stingel). The catalogue gathers together a broad collection of current observations on painting and points-of-view, which influence various disciplines such as cinema, architecture, design and music. Painting at the Edge of the World also has a section that documents the work of each artist.

Painting at the Edge of the World, Walker Art Center (725 Vineland Place, Minneapolis, www.walkerartcenter.org), 2001, p. 350, 16,5 x 23 cm.

Matt Mullican
This catalogue is dedicated to the work of artist Matt Mullican, born in Santa Monica in 1951. It was printed to coincide with the exhibition that started out at the Museu de Arte Contemporânea de Serralves in Porto, Portugal—built by Alvaro Siza—before moving on to the Museum of Modern Art in Oxford, the Fundació Antoni Tàpies in Barcelona, the Kunstverein St. Gallen Kunstmuseum, Krefelder Kunstmuseen, and the Museion of Bolzano. This monograph opens with critical texts by Daniel Sherer, Stephan Schmidt-Wulffen, Kathy O’Dell, and an interview with the Californian artist by exhibition curator Michael Tarantino. Brought together in the catalogue are a thousand reproductions of Mullican’s work in both color and black and white. They trace the creative path undertaken by the artist from 1972 to date and move through his videos, installations, performances, designs, projects, paintings, and photographs. The texts are in English, Spanish, and Portuguese.

Matt Mullican. More details from an imaginary universe, hopefulmonster Editore (Via Santa Chiara 30 Turin), 2000, 29 pages, 21,2 x 28 cm.

New roots and paintings. Lori Hersberger
This is a catalogue produced in conjunction with a solo show at the Museum für Gegenwartskunst in Basel, curated by Marianne Wackernage, of the Swiss artist Lori Hersberger who will be exhibiting at the 48th Venice Biennale with the piece Archaic Modern Suite. The images fully reproduce Hersberger’s work with excellent quality and the critical texts, written in German, discuss her artistic oeuvre. Texts are by Filip Luyckx (Nomadic Beauty), Jan Verwoert (Produktionsstätten des Selbst), Theo Steiner (Schusswechsel), Gianni Jetzer (Malerei als besse aussehender Attentäter), and Markus Stegmann (Eingepudelt im Dickdarm Pastell).

New roots and paintings. Lori Hersberger, Schwabe & Co. AG Verlag Basel, 2000, p. 63, 21 x 25 cm.

Olafur Eliasson
Catalogue for the first solo show of this Danish artist in an American museum, the ICA of Boston, curated by Jessica Morgan. Eliasson’s art focuses on the perception of phenomena created between the natural and technological world, at times harmonious, at times dissonant. The work, now on show at the ICA in Boston, is a continual crossing of watery landscapes, shimmering waves and horizons in flux. As the artist himself explains in an interview with the curator in the catalogue, his photographs deal with changing modes of perception by means of diverse temporal structures, from the enormous geological changes in mountains to the more ephemeral. Time is the essential constant in his photographic oeuvre, as revealed in the title to this solo show: Your only real thing is time.

Olafur Eliasson. Your only real thing is time, Institute of Contemporary Art, Boston, Hatje Cantz Verlag (www.icaboston.org, www.hatjecantz.de), 2001, p. 113, 21 x 28 cm.

David Tremlett. Se i muri potessero parlare. 1995-2000
This catalogue was published on the occasion of English artist Tremlett’s solo show at the new site of the Galleria Civica d’Arte Contemporanea in Trento, Italy. Edited by Vittoria Coen and Nicoletta Pallini, the book brings together the numerous designs for wall paintings that Tremlett has in part carried out over the last five years, in locations ranging from gallery exhibition spaces, through public buildings, to the holy environs of churches. This record of his work starts with a piece carried out in 1995 in the Carré d’Art museum in Nîmes—designed by architect Norman Foster—and concludes with the artist’s most recent wall painting executed at Tor Bella Monaca last year in Rome. Through the flowing color images of his large-scale works and drawings, the reader begins to grasp the meaning of the book’s suggestive title—if walls could talk. There are texts by Vittoria Coen (Lo spazio dell’arte - The space of art) and Nicoletta Pallini (Fra memoria e presente – Memory and the present).

David Tremlett. Se i muri potessero parlare. 1995-2000, Mazzotta (Foro Buonaparte 52, Milan), 2000, 222 pages, 29 x 24 cm.