Matilde Guidelli-Guidi – författare

A comprehensive guide to the Dia Art Foundation’s constellation of 12 art spaces across the globe, from Times Square to the Great Salt Lake BasinThis handy guidebook maps Dia Art Foundation’s constellation of 12 art spaces across the globe. Designed with everyday art lovers and dedicated art tourists in mind, the book charts the institution’s bold history and experimental present.Widely known for Dia Beacon, a destination museum in the Hudson Valley, Dia Art Foundation is the steward for nine dedicated artist sites and maintains three nontraditional exhibition spaces. The artist sites—iconic, site-specific artworks installed in places as disparate as SoHo lofts, Times Square, the Utah desert and the Great Salt Lake Basin—attest to Dia’s deep support of such artists as Robert Smithson, Nancy Holt and Walter De Maria. The book addresses the origins and ongoing significance of these visionary permanent artworks and exhibition spaces and is supplemented by artist writings, maps and a timeline.

Featuring a textured cover, silver foil-stamped type and interior maps, this affordable and elegant guidebook maps out Dia’s 11 global locations for international art loversReleased with the reopening of Dia Chelsea in New York, this handy guidebook maps Dia Art Foundation’s constellation of 11 art spaces across the globe. Designed with art lovers and dedicated art tourists in mind, the book charts the institution’s bold history and experimental present.Widely known for Dia Beacon, a destination museum in the Hudson Valley, Dia is the steward for seven dedicated artist sites and maintains four nontraditional exhibition spaces. The artist sites—iconic, site-specific artworks installed in places as disparate as Walter De Maria’s SoHo New York Earth Room to Robert Smithson’s Spiral Jetty in the Great Salt Lake Basin—attest to Dia’s deep support of such artists as Robert Smithson, Nancy Holt, and Walter De Maria.The book addresses the origins and ongoing significance of these visionary permanent artworks and exhibition spaces and is supplemented with writings by artists with site-specific works in the collection, such as Joseph Beuys, Walter De Maria, Nancy Holt, Max Neuhaus and Robert Smithson, as well as maps and a time line.

On Whitten’s pioneering 1970s series marking his move away from gestural paintingThe first publication to delve deeply into Jack Whitten’s Greek Alphabet paintings (1975–78), this volume examines this remarkable series, which consists of variations on abstract, black-and-white compositions and experiments in mark-making. For these works, Whitten employed handmade tools and techniques including the comb, imprint and frottage.The series is illuminated through essays by art historian Courtney J. Martin and Dia curators Donna De Salvo and Matilde Guidelli-Guidi. Authors Fred Moten and Gregg Bordowitz provide poetic reflections on Whitten’s art, biography and cultural importance. Materials from Whitten’s archives, including his own personal writings, supplement this unprecedented publication.In his lifetime, Whitten never had the opportunity to exhibit more than a handful of these works. In publishing a significant number of these paintings together for the first time—with 40 color plates representing the 60-some paintings in the series—Jack Whitten: The Greek Alphabet Series makes possible a fuller appreciation of the formal and material permutations of Whitten’s practice.Jack Whitten (1939–2018) was born in Bessemer, Alabama, studied art at Southern University in Baton Rouge, Louisiana, and moved to New York in 1960, where he had a solo exhibition at the Whitney in 1974 and a 10-year retrospective at the Studio Museum in Harlem in 1983. In 2014, a retrospective was organized by the Museum of Contemporary Art in San Diego, traveling to the Wexner Center in 2015 and the Walker Art Center in 2015–16. Whitten lived in Queens, New York, where he died in 2018.

Radically expanding our understanding of Senga Nengudi’s art, this book publishes never-before-seen drawings, prints, photographs, performance scores and poetry, spanning five decades of her practice.When Senga Nengudi’s sculptural installation RSVP debuted at Just Above Midtown in 1977, the works quickly became icons of the Black Arts movement. During her career spanning five decades, Nengudi has realised a remarkable body of work that blurs the boundaries between sculpture and performance, fine art and ritual, individual authorship and collective energy. Made of everyday materials, Nengudi’s installations are at once proxies for bodies and sites for performance. Characteristic of her openness to multiplicity, the artist, born Sue Ellen Irons, has assumed pseudonyms that inflect her creative identities as sculptor (Senga Nengudi), painter (Harriet Chin), photographer (Propecia Leigh), and writer (Lily Bea Moor). The publication is devoted to all of her creative identities.