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Private View 1980-2000: Collection Pierre Huber
Yves Aupetitallot
September 2005
Book Description
Throughout the 1980s and 90s, visionary Geneva gallerist Pierre Huber seems to have had a crystal ball for what's destined to last in contemporary art. And when he's gazed into it in amassing his private collection, he's seen photography, contemporary Chinese art, abstract painting, and other art forms. This catalogue, published on the occasion of an exhibition at the Musée cantonal des Beaux-Arts, Lausanne, gives others a glimpse of what Huber was seeing at the moment of inspiration: In America he found particular interest in appropriation art (Sherrie Levine, Cindy Sherman, Louise Lawler) and the wild California scene (Mike Kelley, Paul McCarthy, Jim Shaw); closer to home, he acquired work by some of the most innovative German photographers (Thomas Ruff, Candida Höfer, Thomas Struth) and Swiss artists...

Bachelors (October Books)
Rosalind E. Krauss
January 1999
From Library Journal
The esteemed Krauss (art, Columbia) is prominent in the field of deconstructionist, feminist, and psychoanalytical art criticism. This collection of her essays applies the theories to nine women artists, neo-Duchampian "bachelors" who mostly practiced photography, sculpture, and some filmmaking and painting. The artists distinguished by this complex rhetorical discourse include Claude Cahun, Dora Maar, Louise Bourgeois, Agnes Martin, Eva Hesse, Cindy Sherman, Francesca Woodman, Sherrie Levine, and Louise Lawler. Krauss demonstrates how each achieved the "feminization" of the male gaze. Although the formal notation of semiological analysis is clarified in an endnote, from the beginning Krauss assumes her readers to be totally conversant with and attuned to the scholasticism of postmodern art theory. Appropriate...

The Duchamp Effect (October Books)
Martha Buskirk (Editor)
October 1996
Book Description
This expanded edition of the fall 1994 special issue of October includes new essays by Sarat Maharaj and by Molly Nesbit and Naomi Sawelson-Gorse. It also includes the transcript of an exchange between T. J. Clark and Benjamin Buchloh which presents new responses to the problems raised by this immediately popular (and now out of print) issue of the journal.

The Duchamp Effect is an investigation of the historical reception of the work of Marcel Duchamp from the 1950s to the present, including interviews by Benjamin Buchloh (with Claes Oldenburg, Andy Warhol, and Robert Morris), Elizabeth Armstrong (with Ed Ruscha and Bruce Conner), and Martha Buskirk (with Louise Lawler, Sherrie Levine, and Fred Wilson) and a round-table discussion of the Duchamp effect on conceptual art.



Philippe Bradshaw: A Fly in the House
Philippe Bradshaw
February 2005
Book Description
Philippe Bradshaw draws as freely from the great masterpieces of art history as he does from the essential ideas of Conceptual, Minimal, or Pop Art, pirating at will from the bounteous domains of the art world. Bradshaw produced the first of his Chain Curtains, in which colored links form chains of images combined with the medium of video in the late 1990s. Yet, as shown in this book, his playful approach to the fruits of tradition differs distinctly from the conceptual appropriation of works of art as practiced by Elaine Sturtevant or Sherrie Levine. Bradshaw describes the process of motif transposition in his works as "bastardization." Color and disciplined chaos ensue. Essays by Margrit Brehm. Introduction by Agnes Husslein-Arco and Ralph Melcher. Hardcover, 6.75 x 9.5 in./96 pgs / 92 color.

Photography Transformed: The Metropolitan Bank and Trust Collection
Klaus Kertess
March 2002
From Library Journal
Adding to an expanding bibliography on "photo-based" artwork, this volume showcases a corporate art collection assembled with a keen eye and thoughtful intelligence. However, those seeking a better understanding of the photography illustrated here may find this book frustrating; this current within the art world still awaits a really comprehensive survey that combines historical perspective and critical analysis with fine illustrations. Still, readers will be introduced to many unfamiliar names among these full-color plates one of the genuine excitements here is that so many of the works are recent, often produced within the last three years. More familiar artists, such as Cindy Sherman, Robert Rauschenberg, and Matthew Barney, are also featured. Curator and art critic Kertess's opening 25-page essay offers...

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