Aspen Art Museum,US – förlag

Glasgow-based artist Phil Collins' film Soy Mi Madre examines the immigrant populations of Colorado's Roaring Fork Valley, a sizable percentage of which hail from northwestern Mexico. The region relies heavily on service and maintenance work provided largely through this population, who often commute to work in Aspen. Loosely inspired by Jean Genet's The Maids--a seminal example of Theatre of the Absurd that renders surreal the intricate power dynamics that exist between people of divergent socioeconomic groups and exploits the volatility of social identity--Soy Mi Madre portrays the social realities of this region through the melodramatic lens of the telenovela. Reproduced in this volume through a generous selection of stills, the film uses popular Mexican television actors and crew, including Patricia Reyes Spindola, Zaide Silvia Guitérrez, Veronica Langer and Salvador Parra, as well as members of the transsexual prostitute community of Mexico City.

In honor of Aspen Art Museum’s collaboration with the Aspen Skiing Company, this comprehensive survey includes interviews with artists such as Mark Bradford, Anne Collier, Teresita Fernández, Mark Grotjahn, Cai Guo-Qiang, Dave Muller, Takashi Murakami, David Shrigley and Shinique Smith.

Permanent Collection is inspired by the idea that the Aspen Art Museum’s exhibition program is constantly rotating and that the museum itself does not have a collection. This new publication series not only offers insight into the museum’s programming, but also contributes to the larger field investigating and responding to visual culture.Focusing on the idea of the institution, Permanent Collection I features interviews between Heidi Zuckerman and Marcia Tucker and Betty Woodman, essays by Anthony Huberman, Laura Hoptman, Sarah Rifky and Rodney Graham, as well as pieces by Marcel Broodthaers and Simon Denny.

The focal point of this new publication on Guadalajara-based artist Gabriel Rico (born 1980) is the work made specifically for his Aspen Art Museum exhibition, The Discipline of the Cave. Collecting fragments of contemporary existence, the sculptor and installation artist masterfully recontextualizes familiar objects and materials, and his new pieces were specifically made in response to the architecture of the museum's ground floor galleries.Working in an Arte Povera tradition, Rico juxtaposes found items, neon and taxidermy animals in ways that convey the relationship between humans and the natural environment. Influenced by scientific approaches, geometry and philosophy, the artist creates non-mathematical equations from objects that reflect our fundamental struggle to achieve balance. Through his process of fusing the natural and kitsch, the artist has created a careful arrangement in the AAM Galleries, and Rico's portrait of contemporary life is reflected in this Aspen Art Press publication.

Taking Neil Young's often-quoted line from the song "Pocahontas" on his 1979 masterwork, Rust Never Sleeps, English artist Jeremy Deller's exhibition Marlon Brando, Pocahontas, And Me explores some wide-ranging themes shared by Deller and Young, including American identity, history, politics, war, medical innovation, information technologies and music. This volume presents installation shots of the exhibition at the Aspen Art Museum--which incorporates work from a diverse roster of historical and contemporary artists including Jeff Blankfort, George Catlin, Paul Chan, Mark Dion, Sam Durant, Joseph Clarence Fornelli, Ilka Hartmann, William Henry Jackson, Koba (Wild Horse), An-My Lê, Alfred Jacob Miller, Charles Pollock and Sean Snyder--as well as reference illustrations and an interview between Deller and Aspen Art Museum Director and Chief Curator Heidi Zuckerman Jacobson.Jeremy Deller was born in London in 1966. He won the Turner Prize in 2004 for Memory Bucket, his documentary about George W. Bush's hometown, Crawford, Texas.

Drawing on unconventional means of transformation, such as alchemy and magic, as a way to examine the metaphysical changes that occur when materials are used to conceptualize complex ideas, Now You See It--which includes work by Walead Beshty, Alexandra Bircken, Ceal Floyer, Tom Friedman, Felix Gonzalez-Torres, Wade Guyton, Wolfgang Laib, Robert Morris, William O'Brien, Mitzi Pederson, Dieter Roth, Robert Ryman, Fred Sandback, Anna Sew Hoy, Gedi Sibony, Rudolf Stingel, Lawrence Weiner, Jennifer West and Erwin Wurm--proffers the notion that visual recognition alone is insufficient to determine an object's materiality. In this volume, published concurrently with an exhibition at the Aspen Art Museum, the question of materiality is recontextualized--through insightful essays by Aspen Art Museum Director Heidi Zuckerman Jacobson and Peter Eeley, Visual Arts Curator of the Walker Art Museum--as more than a mere struggle between content and form. Other contributions are by Paul Valéry and Jeremy Sigler.

Since 1986, Dutch artist Mark Manders (born 1968) has been developing an ongoing project titled Self-Portrait as a Building. Taking the form of sculptures, installations, drawings and projections, these works map Manders' artistic persona through the conceptual model of a built edifice, in the fashion of the Renaissance memory theater. Inspired by writings on this subject and by other literature, Manders' earliest works in this project were primarily written, but over time, Manders found ways to deploy everyday three-dimensional objects--epoxy figures, animals, teabags, pencils, household furniture--to build a portrait of his own mind as an architectural space. As the artist explains, "this imaginary building, being composed of discrete objects, can shrink or expand at any moment. In this building, all words created by mankind are on hand." This publication accompanies the first North American touring exhibition of Manders' work.

Restless Empathy examines the complex process of projecting into the interior world of another—whether artist, viewer or object—and seeking to make a connection. For the exhibition, the Aspen Art Museum has invited eight artists—Allora & Calzadilla, Pawel Althamer, Marc Bijl, Lara Favaretto, Geof Oppenheimer, Lars Ramberg, Frances Stark and Mark Wallinger—to propose projects sited throughout the museum and town of Aspen. While diverse in practice, these artists create and explore empathy in unexpected ways. With recent works grouped under Relational Aesthetics, the viewer becomes instrumentalized within the work itself. Rather than use people as a medium, however, the artists in Restless Empathy make generous gestures toward the public, marked by a deep sincerity and moments of intimate surprise. Subverting expectations of permanence and monumentality in art that addresses the public, Restless Empathy broadly explores relationships between aesthetics, space, locality and modes of address.

Look Up and Stay in Touch presents the final works in artist Slater Bradley’s decade-long doppelganger project. Bradley (born 1975) has explored the way cultural icons are so imbued with myth that they become a mirror image (doppelgänger) of the self. Earlier works in the series include faked tribute videos in which Bradley’s doppelganger, Ben Brock, performs as late musicians Ian Curtis, Michael Jackson and Kurt Cobain. These final two works in the series focus on another of Bradley’s obsessions: the actor River Phoenix. The installations were produced in collaboration with Academy Award–nominated cinematographer and filmmaker Ed Lachman, director of photography for the film, Dark Blood, an unreleased 1993 film starring Phoenix that was in production at the time of the actor’s death. The video installations Shadow (2010) and Dead Ringer (2011) are based on the film, and the latter features an appearance by Bradley himself.

Art in Unexpected Places documents a groundbreaking convergence of public art and skiing. In 2005, the Aspen Art Museum and Aspen Skiing Company invited artists to design lift tickets and create performances around Aspen. Artists such as Yutaka Sone, Peter Doig, Karen Kilimnik, Jim Hodges, Carla Klein, Mamma Andersson and Mark Wallinger created works and discuss their projects in this catalogue.

Through a variety of media, including photographs, sculpture, video and printed ephemera, New Zealand artist Simon Denny (born 1982) invites us to reflect on the evolution of television and video as both technology and cultural construct. Denny’s recent works have included investigations into the “architecture” of the TV set itself, the genre conventions of documentary and the myriad processes by which content is translated from one medium to another, be it in television program stills woven into beach towels or video montages derived from outdated trade magazines. This catalogue traces the arc of the artist’s career, with special emphasis on projects realized since 2009--including his 2012 exhibition at the Aspen Art Museum--and features essays by curator Jacob Proctor, critic Pablo Larios and conservator Hanna Hölling; a conversation between Denny and three artistic peers; and illustrations throughout.

Los Angeles–based artist and filmmaker Morgan Fisher first achieved widespread recognition in the late 1960s and 1970s for a body of experimental films that deconstructed the language of cinema, both as raw material and as a set of production methods and technical procedures. Since the late 1990s, Fisher has focused primarily on painting (and the painting’s environment), and this volume is published in conjunction with the first solo museum exhibition of his paintings in the U.S., at Aspen Art Museum. Containing interviews conducted with Fisher over a span of 25 years--conversations between Fisher and Walead Beshty, Yve-Alain Bois, Stuart Comer, Christophe Gallois and Jean-Philippe Antoine, Melissa Gronlund, William E. Jones, Scott MacDonald, Frances Stark and Christopher Williams--and featuring new work by Fisher conceived especially for the exhibition, this is an invaluable Morgan Fisher sourcebook.

Published on the occasion of her Aspen Art Museum exhibition, the artist’s first solo presentation in an American museum, this catalogue focuses on Amelie von Wulffen’s recent work, including paintings created during her time as the AAM’s 2012 Jane and Marc Nathanson Distinguished Artist in Residence. The artist deploys a host of painterly techniques that--while departing from the photographic collage practice for which she is best known--remain deeply referential, wryly revisiting and reprocessing tactics and tropes of modern painting from European Romanticism onward. The lavishly illustrated publication features an essay by AAM CEO and Director, Chief Curator, Heidi Zuckerman Jacobson, as well as a foreword by Cay Sophie Rabinowitz.

One of the leading artists of her generation, Lorna Simpson (born 1960) came to prominence in the mid-1980s through her photographic and textual works that challenged conventional attitudes toward race, gender and cultural memory with a potent mixture of formal elegance and conceptual rigor. Published on the occasion of her 2013 exhibition at Aspen Art Museum, Lorna Simpson: Works on Paper highlights four recent bodies of work on paper that explore the complex relationship between the photographic archive and processes of self-fashioning, including a new group of works being developed during her time as the AAM’s 2013 Jane and Marc Nathanson Distinguished Artist in Residence. As in Simpson’s earlier works, these new drawings and collages take the African-American woman as a point of departure, continuing her longstanding examination of the ways that gender and culture shape the experience of life in our contemporary multiracial society. This beautifully illustrated catalogue features new scholarship by New Yorker staff writer Hilton Als, MoMA Chief Curator of Drawings, Connie Butler, LACMA Chief Curator of Contemporary Art, Franklin Sirmans, and the AAM’s Nancy and Bob Magoon CEO and Director, Heidi Zuckerman Jacobson.

This volume offers a compelling examination of the surprising conceptual and visual correspondences between the works of these two pivotal artists known for their innovative practices. Klein (1928-1962) was a major figure in postwar art who opened up new possibilities for material, conceptual and performative expression, often touching on the metaphysical. Hammons (born 1943) is a conceptual artist whose works in performance, installation, sculpture, printmaking and other media confront contemporary realities with an often hard-hitting wit. This publication aims not to draw out any notion of influence or direct correlation between these bodies of work, but rather to elucidate a resonance between two artists who both engage transformative processes to invest the humblest of everyday materials with deep aesthetic significance.

German artist Tomma Abts (born 1967) creates her paintings and drawings using a rigorous process that combines the rational with the intuitive. Starting with no external source material and no preconceived idea of the final result, Abts makes complex abstract compositions that ultimately take as their subject the process of their own creation. This publication accompanies her exhibition at the Aspen Art Museum, which is the first to survey the artist's extensive drawing practice. It features 41 works from 1996 to the present—many never before exhibited—and includes new works created specifically for the exhibition. The catalogue also features essays by Bob Nickas, Katy Siegel and Heidi Zuckerman.

This monograph presents five of Glaswegian artist Hayley Tompkins' (born 1971) major exhibitions from 2011 to 2013, including Scotland + Venice and her show at Aspen Art Museum (both 2013), alongside recent works in her Digital Light Pool series.

Using familiar materials such as receipts, newspaper and plastic bags, Mexican-born, Los Angeles–based artist Gabriel Kuri (born 1970) is interested in the way that money mediates almost all human relationships. This publication accompanies his Aspen Art Museum exhibition, comprising a selection of works that center on Kuri's interest in the transactional residue of daily life and broad-based ideas of tracking systems in economics, politics, consumption and production. The catalogue also features essays by Daniel McClean and Heidi Zuckerman, as well as an interview between Kuri and Sofia Hernández Chong Cuy.

This monograph, published on the occasion of the Aspen Art Museum exhibition of Rodney McMillian, showcases a comprehensive survey of the artist's paintings, a section of his practice also encompassing sculpture, installation and performance. Incorporating and challenging the notion of art as social and historical critique, the works, essays and interview in this publication examine issues of race, identity and commerce in contemporary society. The book contains images of almost every painting produced by McMillian since, and including, his graduate thesis exhibition, demonstrating a fuller comprehension of the impetus of his work and an insight into the development of the artist's practice. It also features texts by Thomas Lax and Rodney McMillian as well as an interview between the artist and Heidi Zuckerman.Born in 1969 in Columbia, South Carolina, and currently living in Los Angeles, Rodney McMillian received his BA in Foreign Affairs from the University of Virginia and went on to study art at the School of the Art Institute of Chicago, the Skowhegan School of Painting and Sculpture, and received an MFA from the California Institute of the Arts in 2002. McMillian's work has been exhibited at the UCLA Hammer Museum and the Museum of Contemporary Art, Los Angeles, the Studio Museum in Harlem and the Whitney Museum of American Art, New York, the Herning Art Museum in Denmark, the Royal Academy in London and Boston's Institute of Contemporary Art.

Taking its inspiration from Allan Kaprow’s "happenings," which he described as "something spontaneous, something that just happens to happen," the exhibition A Fragile But Marvelous Life presents a series of works that investigate the relationship between everyday movement and performance. Rather than a traditional catalogue, the accompanying publication functions as a reader on the thinking and conversations that took place leading up to the presentation of the exhibition itself. With the current resurgence of interest in experiential and performative practices, and the status of "liveness" as a prime value within contemporary culture, A Fragile But Marvelous Life includes texts by artists such as Robert Breer, Jason Dodge, Allan Kaprow, William Pope L., Emily Roysdon and Cally Spooner that address how performance can be a generative force.

This monograph, published on the occasion of the Aspen Art Museum exhibition of Alan Shields (1944–2005) in summer 2016, showcases a comprehensive survey of the artist’s expansive practice, which encompassed printmaking, painting, sculpture and installation. Moving easily between these different mediums, Shields, with his deep consideration of material and color, was interested in opening up a broader context of art, creating objects that could be experienced in relation to the movement of the human body.The artworks, essays and interviews in this publication not only examine Shields’ layered pieces, but also illustrate his belief in a direct connection between art and life, revealing a multifaceted practice that merges the sculptural, the painterly and the theatrical.

This second issue in the Aspen Art Museum’s publication series, Permanent Collection, continues to draw from the institution’s diverse exhibition program. The series brings together artists, writers and curators that the museum has worked with previously while also functioning as a platform for new voices. Centering on the idea of people or objects that have disappeared, Permanent Collection II features contributions from Heidi Zuckerman, Courtenay Finn, Peter Eleey, Raimundas Malašauskas, Jan Verwoert, Ryan Gander, Tacita Dean, Etel Adnan and Ana Mendieta.

Permanent Collection III, the latest volume in the Aspen Art Museum’s new series, focuses on the subject of happiness.Drawing from the museum’s 38-year history, the publication features contributions from Heidi Zuckerman, Richard Tuttle, Agnes Martin and Derek Jarman.

Taking humanity and popular culture as his subject matter, Nate Lowman (born 1979) approaches these themes as an active participant in the collective American experience. Underscoring this is desire: a longing for something or someone, or a wish for something to happen. The duality inherent in desire is contained in Lowman’s use of well-known images whose meanings are both instantly recognizable and constantly in flux. Appropriated, relatable images and language from American pop culture and its 24-hour news cycle form a narrative and tell part of the American story. Angels, poppies, hearts, pine-tree air fresheners, smiley faces, iconic celebrities, crosses and news articles—all presented through the lens of desire—confront viewers with the things of modern life that are often left unsaid and unexamined.For more than a decade, Nate Lowman has produced paintings, sculptures, and (often salon-style) installations that process and represent the unfolding human experience in a visual environment of endlessly proliferating public media archives. Re-presenting and reframing techniques of image reproduction as painterly practice, Lowman constructs narratives condensed in layers of studio techniques, including printing, cropping, projecting, cutting, staining, repurposing, lacquering, stripping and stretching. His paintings explore the capacity of images to mediate between the personal and the universal in cycles of decay and renewal.Published on the occasion of the Aspen Art Museum’s exhibition of the New York–based artist, Nate Lowman is the first comprehensive monograph on the artist to date.

The fourth issue in the Aspen Art Museum’s Permanent Collection publication series continues to match new voices to those of artists, writers and curators from the museum’s extensive history. Issue IV focuses on the idea of chance and its role in artistic production.

In the fifth issue of the Aspen Art Museum's biannual Permanent Collection, artists, writers, authors and curators (many of whom have worked with the museum directly) address themes of dreaming, being and doing. With work by George Baker, JG Ballard, Lynda Benglis, Paul Chan, Sam Falls, David Foster Wallace, Isa Genzken, Renée Green, Jay Heikes, Eva Hesse, Sol LeWitt, Hélio Oiticica, Catherine Opie and Paul Thek.

The Aspen Art Museum's biannual magazine continually brings together pieces by artists, curators and writers alongside reprints of previously published texts that explore specific aspects of contemporary art and foster conversations. Issue VI delves into the subject of family and community.

Documenting Fischli and Guyton's exhibition-dialogue intertwining sculptures by Fischli & Weiss with Wade Guyton worksThis publication accompanies a 2017 collaboration at the Aspen Art Museum between Swiss artists Peter Fischli (born 1952) and David Weiss (1946-2012), known during their 33-year collaboration as Fischli and Weiss, and American artist Wade Guyton (born 1972). In this unprecedented exhibition, Fischli and Guyton worked with Heidi Zuckerman, the AAM's Nancy and Bob Magoon CEO and Director, to curate a show that intertwines older works of Guyton and Fischli and Weiss as well as incorporates new pieces. Most prominent are Fischli and Guyton's wall sculptures--placed in various spaces around the museum, outside and within the galleries--and interspersed among and placed in relation to these collaborative sculptures are significant pieces, from Guyton's as well as Fischli and his late collaborator David Weiss' respective practices.