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Lynn M Somers: Transformative Objects
and the Aesthetics of Play

Transformative Objects and the Aesthetics of Play

Louise Bourgeois's Sculpture, 1947-2000

Founded in 2005, Whitehot Magazine has become one of the leading channels for contemporary art criticism. On the occasion of its upcoming 20th anniversary, founder Noah Becker and contributor Michael Maizels are compiling a critical anthology of the magazine's writings, including writing from Donald Kuspit, Noah Becker, Paul Laster, Phoebe Hoban, Cori Hutchinson, Lita Barrie and so on, and interviews with Betty Tompkins, Ross Bleckner, Zachari Logan, Shepard Fairey, John Lurie, Willem Dafoe, Bill Viola and Rita Ackermann, to name a few.

20 years of Noah Becker's Whitehot Magazine of Contemporary Art

The Best Art in the World

An expansive exploration of Frey's wide-ranging artistic practice, from vivid, pictorial pastels to her beloved larger-than-life sculpturesIn the late 1980s, American artist Viola Frey (1933-2004) began a series of drawings she titled Artist's Mind/Studio/World. Although she is best known for her large-scale figurative sculptures in clay, it is these pastels on paper that inspired this first monograph on Frey's extraordinary work. Spanning more than 50 years, Frey's art making crisscrossed myriad subjects, mediums and forms. Taken together, the Artist's Mind/Studio/World drawings speak to this breadth, clarifying her devotion to line, color and scale, and demonstrating the ways she seamlessly transitioned from three dimensions to two, and from the intimate to the monumental. Extensively illustrated with recent discoveries from the Viola Frey Archives--including newspaper clippings, correspondence, slides and photographs--and containing major new critical texts alongside an illustrated chronology, Artist's Mind/Studio/World explores the life and work of a vanguard multidisciplinary artist whose influence resonates with contemporary artists and audiences.

Viola Frey: Artist's Mind / Studio / World

Shape Shift

Scott Burton

Charting Auguste Rodin’s relationships with the dancers who shaped his signature style and his mythic persona. Juliet Bellow&nbsp;traces Rodin’s interactions with dance makers and performers during his late career (1890-1912) through a series of interrelated case studies. His exchanges with Loïe Fuller, Vaslav Nijinsky, and members of the Cambodian Royal Ballet troupe were central to Rodin’s development of a modern sculptural aesthetic and the construction of his artistic celebrity. But this was not a simple case of one-way influence. These performers actively courted an affiliation with Rodin, wielding sculpture’s cultural authority to move dance from the realm of commercial entertainment to that of “high art.” &nbsp; Bringing together art history and performance studies, Rodin’s Dancers demonstrates that in their search for innovation, dancers and sculptors experimented with one another’s means of expression, sites of display, and techniques of publicity. The book provides more than a new interpretation of Rodin’s art: it considers how and why the name “Rodin” came to stand for a powerful constellation of ideas about art, authorship, and creative genius within the vibrant spectacle culture of Belle Époque Paris. &nbsp; &nbsp;

Art and Performance in Belle Époque Paris

Rodin's Dancers

A 40-year overview of Blum's career working at the interface of art, architecture and design, leading up to her focus on our engagement with the natural worldAndrea Blum (born 1950) is a New York-based artist who has worked at the intersection of art, architecture and design since the 1970s. She has exhibited at a wide range of venues and has built projects in Europe and the United States that include public installations, furniture, exhibition design, libraries and other designs for living. Blum's work considers the relationship of the sociopolitical world to the private psychological one, zooming in and out of the conditions that organize us as a culture, with a focus on the "down time"--when one eats, reads and is in repose--as the time when the border between private behavior and public etiquette is most evidenced. Accompanying an expansive exhibition of the same name at Hunter College Art Galleries, Biota is lavishly illustrated with extensive photography of Blum's early sculpture, public works, exhibitions, installations and propositions of the past 40 years. The book includes new essays and a conversation between the artist and Allan Schwartzman, all of which explore Blum's practice and artmaking philosophy. This book was published in association with Hunter College Art Galleries

A Discourse between Art and Architecture from the 1970s to the Present

Andrea Blum: Biota

Explores the function of everyday materials and processes in the work of contemporary installation artists during the 1990s using three major US artists as primary case studies, situated in relation to contemporary art making, aesthetics and modernist value systems.

Jessica Stockholder, Liza Lou, and Sarah Sze

Women, Making, and Everyday Value in Contemporary Installation Art

"Now in paperback. The definitive biography and inspiring story of American sculptor Ruth Asawa"--

The Life of Ruth Asawa

Everything She Touched

In a palette of blues, greens, pinks and purples, Shechet's metal sculptures physically and conceptually expand her playful work with ceramicsPublished in conjunction with her exhibition of the same title, Girl Group brings together New York-born and -based artist Arlene Shechet's (born 1951) recent work in wood, steel, ceramic, paper and bronze with six new monumental sculptures created for the expansive grounds of Storm King Art Center in New Windsor, New York. The exhibition centers on the translation of Shechet's lyrical ceramics into the six robust, large-scale painted metal sculptures, an ambitious new body of work that expands upon the artist's intuitive and handmade approach. Through her signature emphasis on process and improvisation, Shechet harnesses the expressive power of geometry, line, color and form in works displayed across Storm King's hills, fields and galleries. Stunningly designed, this book features raw edges on boards with a flush trim, and captures Shechet's practice through vibrant fabrication and installation photography, This book was published in conjunction with Storm King Art Center

Arlene Shechet: Girl Group

A major reevaluation of a towering figure in twentieth-century art and the relationship of his sculpture to the crisis of nationalism in modern Europe &nbsp; Figures of Crisis examines the neglected decade of artwork that separates the surrealist experiments of Swiss artist Alberto Giacometti (1901–1966) from his iconic postwar sculptures, revealing the connection between a famous artistic crisis in modern art and the crisis of national identity in modern Europe. In 1935, Giacometti abruptly abandoned his early abstract objects and devoted himself to sculpting portrait busts and minuscule figurines, many no larger than a fingernail. Joanna Fiduccia reimagines this fragmentary and inconspicuous body of work as the pivotal phase in his career, which registered the erosion of interwar democratic values and the searching questions this period posed for the future of modern sculpture. &nbsp; Challenging previous explanations of Giacometti’s return to figuration, Fiduccia argues that his figures gave form to the experience of social breakdown during the rise of fascism through their turbulent surfaces, unsettling generality, dramatic reduction of scale, and compulsive repetition. This fresh account, told through the philosophical, political, and aesthetic thought of Giacometti’s time, shows how ideologies of nationalism generated the problems of selfhood at the heart of modernism.

Alberto Giacometti and the Myths of Nationalism

Figures of Crisis

Renaissance Lives

A clear-eyed reconsideration of a scandalous Renaissance sculptor's autobiography and art. Benvenuto Cellini was a murderer, thief, lover of all genders, rival of popes and princes, as well as an ingenious artist. In his legendary autobiography, the Vita, Cellini describes his activities vividly and in lurid detail. Many of the most disturbing passages have been dismissed as fiction, but in this clear-eyed portrayal, Andreas Beyer argues that these sensational accounts of the body, sex, and extreme experiences are not only entertaining but historically authentic. The stories reveal the depth of Cellini's character: an artist who embraced life and shattered boundaries. Ultimately, this book discovers the roots of modern art's fascination with the autonomous artist deep within Cellini's audacious life and work.

Benvenuto Cellini and the Embodiment of the Modern Artist

As a large-scale, participatory installation, Lozano-Hemmer's "bridges of light" create a channel of communication beyond the limits of the nation-stateComposed of powerful "bridges" of searchlights and sound across the US-Mexico border, Rafael Lozano-Hemmer's (born 1967) work Border Tuner forges a platform for local dialogue between El Paso, Texas, and Ciudad Juárez, Chihuahua, at a time of fraught border rhetoric, militarized surveillance and nationalist violence. In opposition to the modes of control and the regulation of bodies profusely developed along the border line, Lozano-Hemmer proposed a momentary alternative. To this extent, it is a critically important artistic work that strove to cultivate relations beyond the limits and perpetual violence of the nation-state. The 12 essays comprising this bilingual English/Spanish record--written by a range of historians, theorists, curators, artists and cultural workers--enter into convivial exchange with the voices and language, bodies and performances of those who activated the work.

Rafael Lozano-Hemmer: Border Tuner

From Duchamp to Bourgeois, Harrison's curation of 20th-century sculpture looks at the study of the human bodyGuided by a desire to illuminate and inspire reflection on the sculptural form, Dominique Lévy of LGDR invited American artist Rachel Harrison (born 1966) to curate a presentation of 20th-century sculpture. The exhibition that emerged comprises a group of works that consider Modernism's devotion to that most fundamental of subjects: the human figure. Stage Fright features works by Louise Bourgeois, Constantin Brâncusi, Marcel Duchamp, Marisol, Alberto Giacometti and Alina Szapocznikow that represent the body in extremis--shown ruptured in pieces or pared down to the essentials. The individual pieces act as surrogates that stand in for the whole. Taken together, the works on view embody various conceptions of personhood as routed through objects, whether rendered with aching specificity, as in the clefts and folds of Szapocznikow's plaster Ventre (Belly) (1968), or invoked as a generic type, as in Marisol's totemic couple The Blacks (1962). Richly illustrated with installation views from the exhibition, Stage Fright features a new text by Harrison--framed as a dialogue between filmmaker Alfred Hitchcock and figure skater Peggy Fleming--that critically examines the presentation and the artist's own practice and approach.

Rachel Harrison's Stage Fright

Transformative Objects and the Aesthetics of Play

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