Clément Dirié – författare

This first retrospective monograph of Los Angeles–based artist Sam Falls (born 1984) spans his work from his beginnings in the 2000s to his most recent exhibitions.

Following the traditions of minimalism and land art while pursuing a path toward abstraction, his photographs, paintings, public installations and sculptures have undoubtedly been influenced by nature and the Los Angeles environment in which he lives. Previously a student of physics, linguistics and aesthetics, he has long been interested in how natural phenomena such as light, rain and wind might impact his abstract paintings and sculptures. The idea of a controlled change on materials ranging from steel to cloth creates extraordinary time-based hybridities. The book brings together new essays by writer and curator Trinie Dalton, French critic Donatien Grau, and Los Angeles Hammer Museum Curator Aram Moshayedi, as well as a special portfolio conceived by the artist.

Art Basel's official annual publication captures and documents the exhibitions in Basel, Miami Beach, and Hong Kong, and goes beyond them, featuring interviews, portfolios, essays about contemporary art, and personal highlights from artists, curators, collectors and museum directors. With its A–Z format, this year's publication maps the world of Art Basel alongside profiles spotlighting each of the 500-plus galleries that participated across the three fairs in 2017. Interviewees and contributors include Cecilia Alemani, Harry Bellet, Tobia Bezzola, Claudia Comte, Rhana Devenport, David Gryn, Hou Hanru, Reem Fadda, Niels Borch Jenssen, Philipp Kaiser, Mami Kataoka, Kimsooja, Venus Lau, Lesley Ma, Claire McAndrews, Zanele Muholi, Kingsley Ng, Hans Ulrich Obrist, Aaron Seeto, Fabrice Stroun, Keiichi Tanaami, Andrea Viliani, Michael Werner, Qiao Zhibing and many others whose work contributed this year to the fairs on all three continents.

Eric and Suzanne Syz began collecting art in New York in the '80s. Their collection includes works by Basquiat, Clemente, Condo, Schnabel and Warhol, as well as Fischli/Weiss, Sherman, Tilmans and more. This publication focuses on the spectacular way their collection is displayed at the SYZ bank in Geneva—"an art collection taking the pulse of art as it evolves."

A superb facsimile of Dorothy Ianonne’s 1970 comic-book tale of censorship, sexuality and female autonomy

As much as Love and Eros have defined my work since its beginnings, so too has censorship, or its shadow, accompanied it," recalls Dorothy Iannone (born 1933) in her introduction to this facsimile publication of her legendary The Story of Bern, [or] Showing Colors. First published by Iannone and her then companion Dieter Roth in 1970, in an edition of 500, the book documents the censorship of Iannone's work The (Ta)Rot Pack (1968–69) and the subsequent removal of all his works by Roth, from a collective exhibition at the Kunsthalle Bern.For his exhibition titled Freunde, Friends, d'Fründe, legendary curator Harald Szeemann invited Karl Gerstner, Roth, Daniel Spoerri and André Thomkins to exhibit artist friends; Roth chose Iannone. The censorship of Iannone, and Roth's protest, eventually led to Harald Szeemann's resignation as the director of the institution. Telling the story of this act of censorship as well as the context of the exhibition in Bern and its iteration in a non-censored version in Düsseldorf, The Story of Bern is emblematic of Iannone's distinctive, explicit and comic-book style, and of her openness about sexuality and the strengthening of female autonomy.

Each copy of this opulent survey on John Armleder features a uniquely treated cover by the artist

The work of influential Swiss artist John Armleder (born 1948) has spanned many mediums, from his distinctive Furniture Sculptures to his Fluxus performances with the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous collaborative works. Published to accompany two simultaneous exhibitions—one a rare retrospective, and one an exhibition of installation and total environments—John Armleder: The Grand Tour immerses the reader in the artist’s world. Each copy of the book features a unique cover by the artist, treated with special color inks and glitter.An extensive interview with the artist, an essay about Armleder’s painting and its historical relevance by curator Heidi Zuckerman, and a complete biography and bibliography supply a grand synthesis of Armleder’s influential oeuvre.As Zuckerman puts it in her essay, underlining how Armleder has served as a role model for generations of younger contemporary artists: “In a time when the attempt to categorize as a means to understand as well as self-locate is prevalent in both life and art, John Armleder remains known for having no restrictions or fixed ways of working.”

On the many lives and mediums of a postwar Italian artist-adventurer

Published on the occasion of her long-deserved retrospective at Muzeum Susch, this book testifies to the singular vision of Italian artist Laura Grisi (1939–2017) within contemporary art history. Born in Greece, educated in Paris and living between New York and Rome, where she died, Grisi spent long periods of her life in Africa, South America and Polynesia. This involvement with non-Western cultures indelibly marked her own search for a cosmic thinking. Although her work is often reduced to Pop art, Grisi always worked within the fundamental motif of the “journey”—from remote locations visited and documented, to the multiplicity of mediums used. Grisi embodied a stateless, nomadic female subject defying the politics of identity, the univocity of representation and the unidirectionality of time. Grisi's work spans from her avant-garde Variable Paintings of the mid-1960s and her 1970s pioneering environmental installations dealing with fog, wind and rain, to her conceptual photo-works of the 1980s.

Surveying three key series spanning Thomson’s investigations into mass culture and everyday perceptual experience

This first comprehensive monograph on the Los Angeles–based multimedia artist Mungo Thomson (born 1969) focuses on three series that embody his exploration of popular culture, time perception and everyday objects to question what we most take for granted. In the Time series, person-size silkscreened mirrors bearing the red border and logo of the 100-year-old magazine, pair a precise historical moment with the viewer’s own reflection in the present. The Wall Calendar series displays commercial calendar images as if held up to the sun, allowing the reverse side of the page to show through. Printed on both sides of the fabric and stretched over a light box, recto and verso are collaged together with light—the calendar grid of a single month is superimposed onto a photograph of a 40-million-year-old mountain. The Snowman series consists of trompe-l’oeil stacks of Amazon boxes and other online retail shipping cartons cast in sturdy patinated bronze.

Originally published in English in 1981 as Old Mistresses. Women, Art, and Ideology and translated here into French for the first time under the title Maîtresses d’autrefois: Femmes, art et idéologie, this ninth volume of the Lectures maison rouge series is not a history of women’s art. Rather, this seminal book by Rozsika Parker and Griselda Pollock is far more radical and emancipatory and, indeed, still relevant today.It combines in-depth case studies—from Sofonisba Anguissola, Élisabeth Vigée Le Brun and Berthe Morisot to Meret Oppenheim, Eva Hesse and Mary Kelly—with analyses of the structures of artistic production and dynamic developments on the oriented way in which the discipline “art history” has been forged, socially and symbolically. Spanning art history from Antiquity and the Middle Ages to modern art and the feminist practices of the 1970s, Parker and Pollock offer a salutary investigation to all those who not only want to add feminine names to art history, but also to profoundly modify its writing. The book is introduced by art historian and Geneva University Professor Giovanna Zapperi and features a recent foreword by Griselda Pollock.Recipient of the Holberg Prize in 2020 in recognition of her outstanding contribution to research and her influence on thinking on gender, ideology, art and visual culture, Griselda Pollock (born 1949) is Emeritus Professor of Social and Critical Histories of Art at the University of Leeds.Rozsika Parker (1945–2010) was a writer and critic in art history and psychoanalysis. In 1984, she published The Subversive Stitch: Embroidery and the Making of the Feminine, an important work on the intertwined histories of embroidery, gender ideologies and women’s resistance through creativity.

Writings on the pioneering, beloved experimental filmmaker and artist from critics, garden historians and Jarman collaborators Tilda Swinton and Simon Fisher Turner

Gathering newly commissioned essays devoted to specific—and sometimes lesser-known—aspects of the artist's life and work, and extensive portfolios spanning his oeuvre, this volume offers an accessible overview of Derek Jarman (1942–94), one of the legendary cultural figures of the postwar era. Jarman was an artist, filmmaker, musician and gay activist who powerfully marked British culture, from his first feature film Sebastiane (1976) to his videos for the Pet Shop Boys and Marianne Faithfull in the 1980s, from his AIDS activism to his cult film Blue (1993).Conceived as a reader, this volume includes essays by cultural critic Elisabeth Lebovici, curator Claire Le Restif and garden historian Marco Martella; an interview with Jarman’s collaborator James Mackay; testimonies by actress Tilda Swinton and musician Simon Fisher Turner; and an illustrated chronology. Jarman's militant Queer Paintings series (1992), his Super8 films from the mid-1970s and his assemblages made at his legendary garden at Prospect Cottage in Kent are all discussed.

This is the first comprehensive monograph on French artist François Ristori (1936–2015), a lesser-known artist of the French postwar abstraction generation. He was known for employing a systematic motif of blue, red and white hexagon-like shapes he named "Trace-Forme" across painting, drawing and public interventions.

A total environment-cum-woodland utopia created by an all-star team of “mad sculptors” led by Jean Tinguely

Created by sculptor Jean Tinguely (1925–91) in collaboration with Niki de Saint Phalle (1930–2002) and their artist friends Bernhard Luginbühl, Larry Rivers, Jesús Rafael Soto and Daniel Spoerri, among others, Le Cyclop is a monumental sculptural work that dominates the forest of Milly-la-Forêt outside Paris. Elaborated upon for three decades, the collective project generated a total environment. Its exterior presents an immense head bedecked in sparkling mirrors, built almost entirely from found and industrial materials. Its interior houses a surprising universe punctuated with sound sculptures, a small automatic theater, machinery with scrap metal gears as well as homages to Duchamp, Klein and Schwitters.This definitive publication tells in detail the story of Le Cyclop, gathering new essays by an array of international art historians and scholars, an extensive chronology as well as remarkable archival materials.

Vibrant, colorful and explicit, Iannone’s work is a touchstone for 60 years of feminist art and theory

For more than six decades, Dorothy Iannone (1933–2022) represented ecstatic love, the union of gender, feeling and pleasure. Today, her oeuvre is widely recognized as one of the most provocative and fruitful bodies of work in recent decades in terms of the liberalization of female sexuality, and political and feminist issues. A narrative element fed with personal mythologies, experiences and feelings runs through all of her work, unified by her distinctive colorful and graphic style. As Fluxus artist Robert Filliou declared in 1972, “she is a freedom fighter, and a forceful and dedicated artist, skillfully blending imagery and text, beauty and truth. Her aim is no less than human liberation.” This publication sheds new light on the legendary artist’s practice by dealing specifically with her idiosyncratic takes on performativity and transdisciplinarity. New essays by Alison Gingeras, Ana Mendoza Aldana and Joanna Zielinska, together with a selection of texts written by Iannone, offer new approaches to celebrate her work and life.

Reyes’ lush and colorful paintings, featuring human beings in harmony with nature, disavow an anthropocentric, Eurocentric worldview

A self-taught artist, Emma Reyes (1913–2003) made an impression on such luminaries as Lola Álvarez Bravo, Gabriel García Márquez, Frida Kahlo, André Lhote, Enrico Prampolini and Diego Rivera during her nomadic life. This first publication on her artwork is an introductory overview to the unique practice she developed from the mid-1940s to the early 2000s in Argentina, Mexico, Italy, Colombia and France. Her work can be associated with the aesthetics of 20th-century Magic Realism, adopting a formal vocabulary that combined elements of post-Cubist and pre-Columbian art. She drew on memories of her journeys across South America in the early 1940s to depict individuals set among lush vegetation. Featuring her signature spidery lines and colorful compositions, the human being and surrounding jungle are one, telling an ancestral story of kinship. Far from calling for a return to the wild, she aimed to reject the anthropocentric worldview and return humanity to its rightful place in dialogue with its environment.

With comic-book style compositions and caricatures, Gibson offers history painting to dystopic American myths

Miami-born, Philadelphia-based artist Mark Thomas Gibson (born 1980) explores contemporary culture through painting, drawing, printmaking and sculpture, revisiting pivotal moments in American history while implicating viewers as potential participants in the unfolding narrative. Storytelling is thus a pivotal aspect of his graphic, eye-catching works, inspired as much by the satirical prints of Honoré Daumier as by the history paintings of Jacob Lawrence and the pulp novels and comic books of McCarthyist America. As Gibson explains, "I am constantly reminded in every news cycle that we are entwined in a history of unfinished stories and plot points." Employing caricature, pop culture, horror and a dash of illusion, Gibson blends up two centuries of American history, from Manifest Destiny to the Biden era, serving it back to us with a raucous, caustic flair.

Suter’s large, gestural canvases propose a colorful and style-free ode to the possibilities of painting

Sumptuously illustrated, this publication on the Argentine Swiss artist Vivian Suter (born 1949) offers an immersive approach to her painting practice. Based in Panajachel, Guatemala, since 1982, Suter works on her paintings both indoors and outdoors, allowing the natural elements of the subtropical ecosystem to permeate her work. Traces of rain, sunlight, flora and fauna often inhabit her unstretched canvases painted with swaths of color, expressing her close interaction with external factors and her break with the traditional notion of authorship. Her gestural works are the result of a daily physical and emotional relationship with the materials and the contingencies of nature in her immediate surroundings. Published to accompany her international touring exhibition, this monograph also documents Suter’s unique studio environment which is central to her practice, and is interspersed with the artist’s poetry, prose, songs and aphorisms.

Designed as immersive portfolios, this survey of Mai-Thu Perret's career highlights her mixed-media works combining craft-making techniques with feminist and avant-garde scholarship

For the last 25 years, French Swiss visual artist Mai-Thu Perret (born 1976) has built an acclaimed body of work that merges a talent for storytelling and a deep understanding of how visual art can be a powerful discourse through which to raise and solve contemporary issues. Her sculptures, paintings, ceramic works, textile works, performances and text pieces exist at the intersection of contemporary culture, art-historical critique and visceral materiality. She explores—and generates—feminist narratives and counternarratives that cast the role of the art object in a new light, introducing utilitarian, symbolic and even mystical possibilities in contexts that are often limited to formalist readings. With new essays by noted scholars and an extensive conversation between the artist and French art critic and curator Ida Soulard, this comprehensive monograph spans the artist's practice over the last 10 years.

Iris Clert : peu de noms de galeristes aimantent autant que celui-ci. Pour des générations d’amateurs d’art, elle demeure l’icône flamboyante de l’effervescence artistique parisienne de l’après-guerre. Active du milieu des années 1950 au début des années 1980, elle accueille dans ses galeries successives, Rive gauche puis Rive droite, des expositions mythiques tels Le Vide d’Yves Klein en 1958 et Le Plein d’Arman en 1960, ainsi que certains des artistes les plus importants du xxe siècle comme Pol Bury, Gaston Chaissac, Bill Copley, Yolande Fièvre, Lucio Fontana, Leon Golub, Raymond Hains, Ad Reinhardt, Takis et Jean Tinguely. L’éclectisme manifeste de son programme, celui d’une véritable Pasionaria de l’avant-garde, est l’envers éclatant d’une pratique visionnaire de son métier. De ses présentations pionnières à la Biennale de Venise dans les années 1960 à l’aventure du Stradart dans les années 1970, de la publication d’iris.time unlimited à son sens indéniable de la communication et des formats d’exposition, la Galerie Iris Clert constitue encore aujourd’hui le modèle emblématique d’une galerie-pilote vouée à la découverte et la promotion des artistes vivants. Une galerie sans capital mais à liberté illimitée !