Christophe Cherix – författare

A new retrospective of the work of trailblazing artist Barbara Chase-RiboudBarbara Chase-Riboud is a bestselling novelist, an award-winning poet, and a renowned visual artist whose sculpture and drawings are in museum collections around the world. Among her best-known sculptural work is the Malcolm X series of flowing cast bronze forms combined with braided fiber elements. Barbara Chase-Riboud Monumentale traces this pioneering artist’s remarkable career from the 1950s to the present, providing the most comprehensive account of her important body of work to date.The book features both celebrated and never-before-seen artworks that highlight Chase-Riboud’s groundbreaking contributions to contemporary sculpture. In addition to some forty sculptures, the book presents nearly twenty works on paper, a selection of Chase-Riboud’s poetry, and excerpts from an interview with the artist.Exploring the many different aspects of Chase-Riboud’s artistic practice, Barbara Chase-Riboud Monumentale provides unprecedented insights into her meditations on form, memory, and monument, while revealing the rich array of inspiration she has drawn from global art history and literature.Published in association with the Pulitzer Arts Foundation

In June 2012, Jasper Johns encountered a photograph of the painter Lucian Freud reproduced in a Christie’s auction catalogue. Inspired not only by the photographic image, but also by the physical qualities of the object itself, Johns took this motif through a succession of cross-medium permutations. He also incorporated into his art the text of a rubber stamp he had made several years ago, to allow him to efficiently decline the myriad requests and invitations that come his way: ‘Regrets/Jasper Johns’. But the stamp’s text also calls to mind the more familiar connotations of regret, such as loss, disappointment, and remorse, invoking an enigmatic sense of melancholy. Published in conjunction with an exhibition of this recent series of paintings, drawings and prints, created over the last year and a half through an intricate combination of techniques, this publication presents each of the sixteen new works in full colour. An essay by Ann Temkin, Chief Curator of Painting and Sculpture, and Christophe Cherix, Chief Curator of Drawings and Prints, MoMA, examine the importance of process and experimentation, the cycle of dead ends and fresh starts, and the incessant interplay of materials, meaning, and representation so characteristic of Johns’s career over the last sixty years.

Yoko Ono: One Woman Show, 1960–1971 examines the beginnings of Ono’s extensive career, demonstrating her pioneering role in visual art, performance and music during the 1960s and early 1970s. The exhibition begins in New York in December 1960, where Ono initiated a performance series with La Monte Young in her Chambers Street loft. Over the course of the decade, Ono earned international recognition, staging Cut Piece in Tokyo and Kyoto in 1964, exhibiting at the Indica Gallery in London in 1966, and launching her global War is Over! campaign in 1969. Ono returned to New York in the early 1970s and organized an unsanctioned ‘one woman show’ at The Museum of Modern Art. Over forty years after Ono’s unofficial MoMA debut, the Museum will present its first exhibition dedicated exclusively to the artist’s work. The publication evaluates the broader cultural context of Ono’s early work and features five sections reflecting her geographic locations during this period and the corresponding evolution of her artistic practice. Each chapter includes an introduction written by a guest scholar, artwork descriptions, new interviews with key figures from the time, and a selection of primary documents culled from newspapers, magazines and journals.

Steven Leiber was a pioneering San Francisco art dealer, collector and gallerist who specialized in the dematerialized art practices of the 1960s and 1970s and the ephemera and documentation spawned by conceptual art and other postwar movements. To sell this material, Leiber produced a series of 52 iconic catalogues between 1992 and 2010. Far from your ordinary dealer catalog, Leiber's catalogs paid homage to the kind of historic printed matter that he bought and sold, mimicking iconic publications like Wallace Berman's Semina journal and the exhibition catalog for Documenta V (1972). Leiber's reputation spread via these unique volumes, which included works by John Baldessari, Lynda Benglis, Ray Johnson, Lucy Lippard, Allan Kaprow, Yayoi Kusama, Claes Oldenburg, Ed Ruscha, Lawrence Weiner and many more. Across 252 pages, this book documents the full set of 52 dealer catalogs produced by Steven Leiber between 1992 and 2010. Inspired by Leiber's often humorous borrowing for his catalog designs, the book's format references Sol Lewitt's Autobiography and includes an essay and contextual notes by SFMOMA Head Librarian David Senior. Additional contributors include Ann Butler, Christophe Cherix, Marc Fischer, Tom Patchett, David Platzker, Marcia Reed, Lawrence Rinder and Robin Wright. Steven Leiber (1957 2012) began to buy and sell ephemera while working as a private dealer selling prints, drawings and multiples in the early 1980s. Scrupulously organized and cataloged, Leiber's collection housed in his grandmother's basement became an important resource for scholars, curators and other enthusiasts. The collection included the work of some 1,000 artists and represented basically every major movement within late 20th-century avant-garde practice, including Fluxus, conceptual art, land art, mail art, performance and video.

Over the past two decades, the art world has broadened its geographic reach and opened itself to new continents, allowing for a significant crosspollination of post-conceptual strategies and vernacular modes. Printed materials, both in innovative and traditional forms, have played a key role in this exchange of ideas and sources. This catalogue, published in conjunction with an exhibition at The Museum of Modern Art, New York, examines the evolution of artistic practices related to prints, from the resurgence of ancient printmaking techniques – often used alongside digital technologies – to the worldwide proliferation of self-published artists’ books and ephemera. Print/Out features focused sections on ten artists and publishers, including Ai Weiwei, Ellen Gallagher, Martin Kippenberger, Lucy McKenzie, Museum in Progress, Superflex and Rirkrit Tiravanija, as well as rich illustrations of additional printed projects from the last twenty years by major artists such as Trisha Donnelly, Felix Gonzalez-Torres, Thomas Schütte, and Kelley Walker. An introductory essay by Christophe Cherix, Chief Curator of Prints and Illustrated Books at MoMA, offers an overview of this period with particular attention to new directions and strategies within an expanded field of printmaking.

This book focuses on Swiss artist John Armleder’s (born 1948) early Fluxus-related works with Ecart, a group Armleder cofounded with Patrick Lucchini and Claude Rychner in Geneva in the late 1960s. The Ecart Group published artists’ books, presented exhibitions and performances, and opened a bookstore/gallery that is considered to be “one of the most important alternative spaces in Europe in the 1970s” (Ken Friedman). Ecart was particularly important in Europe during the 1970s and 1980s, not only as an independent publishing house, but also because it introduced in Switzerland (and sometimes in Europe) a large number of leading artists of the era, including Joseph Beuys and Andy Warhol. Ecart also worked with artists such as Dick Higgins, Lawrence Weiner, Annette Messager, Daniel Spoerri, Giuseppe Chiari, Maurizio Nannucci and Ben Vautier. This volume is co-published with the Charles H. Scott Gallery, Emily Carr Institute of Art & Design, Vancouver.