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Sarah Sze
This catalogues was created for the monumental installation at the Fondation Cartier pour l’art contemporain created by American artist Sarah Sze, born in Boston in 1969. Thanks to the large color photo reproductions, of high quality, emerges clearly the singular nature of the artistic work of Sze made from blown-up microcosms in which the feeling of finding oneself on the edge between the visible and the invisible. The catalogue records the various sections of the installation composed according to the usual “poetica del frammento,” as clearly illustrates the short critical essay by Jerome Sans. In the catalogue, are included texts by Jerome Sans, Microcosmos, and Jean Louis Schefer, Art as a tightrope act.
Sarah Sze, Thames & Hudson (181A High Holborn, London), Fondation Cartier pour l’art contemporain, 2000, 108 pages, 23 x 29 cm.
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Stanze
This catalogue was created for the group exhibition Stanze, held at the Museo d’Arte Moderna in Bolzano. For the first time, all the works in the museum’s collection were displayed, some of which had been made especially for the museum. The book contains images of the works included in the exhibition by Robert Barry, Sylvie Fleury, Heiz Gappmayr, Peter Kogler, Maurizio Nannucci, Rudolf Stingel, Alessandra Tesi, Lawrence Weiner, Rémy Zaugg and Peter Zimmermann. There are texts in both Italian and German.
Stanze. Opere dalla collezione del Museo d’Arte Moderna di Bolzano, Museion (Via Sernesi 1, Bolzano), 2000, p. 79, 22 x 28 cm.
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Apparenza nuda
This book is one of the recent publications in the series “Carte d’Artisti” from the Abscondita publishing house. The volume unites two critical essays by Octavio Paz dedicated to the French artist Marcel Duchamp. The first, entitled Il castello della purezza, is a general reflection on Duchamp’s artistic endeavors. It contains a complete interpretation of the work The bride stripped bare by her bachelors, even left unfinished in 1923 and shown for the first time, three years later, at the Museum of Brooklyn. The second text, Water Writes Always In — a sentence from the first English text Duchamp wrote in New York in 1915 — is a critical reflection on the Assemblage of Philadelphia.
Octavio Paz, Apparenza nuda. L’opera di Marcel Duchamp, Abscondita (Via Manin, 13, Milan), 2000, p. 143, 12,8 x 22 cm.
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Ed Ruscha
This elegant, hardback volume was published for the exhibition by American artist Ed Ruscha, born in Nebraska in 1937. The show was held at the Hirshhorn Museum in Washington and the Museum of Modern Art, Oxford. The main focus is on the artist’s numerous paintings, although there is also a selection of his works on paper. Also included are some of the sixteen books that the artist produced during the ’60s and ’70s, such as Crackers, Babycakes and A Few Palm Trees, which went on to have a significant influence on successive generations of artists. Color photographs of all these works are reproduced in high-resolution graphics and complemented with essays by Neal Benezra, Kerry Brougher and Phyllis Rosenzweig.
Ed Ruscha, Scalo (Weinbergstrasse 22a, Zurich), 2000, p. 206, 25 x 30 cm.
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Paesaggi. Nuova arte in Gran Bretagna
This catalogue was published to coincide with an exhibition of work by young British artists at the Galleria d’Arte Moderna in Rome. The show was curated by Ann Gallagher and Anna Mattiolo, and organized by the British Council. The format of the volume is kept intentionally simple, and serves to draw attention to the artworks, which are reproduced on gloss paper in the central section. There are also two essays by the curators, printed on different colored card. The theme of landscape provides an interesting angle from which to analyze the contemporary British art scene.
Paesaggi. Nuova arte in Gran Bretagna, Umberto Allemandi & C. (Via Mancini 8, turin), 2000, p. 77, 24 x 34 cm.
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