Carl Andre, Poems, JRP | Ringier, 2014
As Gavin Delahunty writes, "Carl Andre has also made an art of words." On the occasion of the Carl Andre exhibition at the Museum zu Allerheiligen in Switzerland, JRP|Ringier is publishing a retrospective monograph which presents the artist’s poems. Carl Andre lays words on paper just as he lays pieces of metals or bricks on the floor. Formed by letters piled up in blocks of words assembled together, on top of each other, these poems, which he has written since the 1960s, arise as "sculptural configurations." In the tradition of concrete poetry, words become adjustable entities moved around and placed within the limits of the space of the sheet of paper in order to create new configurations and patterns, and eventually new works of art. "Andre [ … ] understands the word as a concrete module, similar to the squares of industrial metal, wooden timbers, or bricks in his signature three-dimensional pieces," writes Rob Weiner.
The book includes essays by art historians Gavin Delahunty and Valérie Mavridorakis, as well as curator Lynn Kost, and situates Carl Andre's written works within their initial context in the 1960s at a time when Minimalism was being defined.
Carla Lonzi, Autoportrait, JRP | Ringier, 2013
Première traduction en français de l'ouvrage de Carla Lonzi, document inestimable sur l'art italien des années 1960, paru pour la première fois en 1969 avant d'être oublié très vite, sans doute aussi en raison du fait que son auteure décida d'abandonner l'activité de critique d'art pour l'engagement féministe radical.
Cette publication d'Autoportrait, traduit pour la première fois en français, est accompagnée d'une préface, d'un appareil critique et biographique par l'historienne de l'art Giovanna Zapperi, permettant d'appréhender la singularité du projet de Carla Lonzi. Composé d'entretiens enregistrés puis recomposés afin de former un montage textuel inédit, Autoportrait est une tentative expérimentale pour réinventer la critique d'art à partir d'un récit fragmenté et d'une iconographie où les reproductions d'œuvres se mêlent à des images intimes. Document inestimable sur l'art italien des années 1960, Autoportrait est cet ouvrage polyphonique, « sorte de banquet maïeutique » auquel Carla Lonzi nous invite afin de repenser la production du discours sur l'art et les artistes.
Contient des entretiens avec Carla Accardi, Getulio Alviani, Enrico Castellani, Pietro Consagra, Luciano Fabro, Lucio Fontana, Jannis Kounellis, Mario Nigro, Guilio Paolini, Pino Pascali, Mimmo Rotella, Salvatore Scarpita, Guilio Turcato and Cy Twombly.
Josephine Pryde, The Enjoyment of Photography, JRP | Ringier, 2015
This publication presents a broad selection of Josephine Pryde's work from 1990 to 2014. In photographic works that encompass the full range of the medium's historical and current genres, styles, and techniques, but also through sculpture and writing, the Berlin- and London-based artist (*1967) offers incisive, often ironic, and provocative commentary on the values, hierarchies, and economies subtending the field of contemporary art against the backdrop of larger societal shifts. Estranging the familiar or conversely expressing the common in a radically unforeseen manner, Pryde's ingenuous choice of subject matter, unusual formal solutions and surprising juxtapositions continue to capture international exhibition audiences.
Featuring more than 350 color images, this most comprehensive monograph available on Pryde's work to date appears subsequent to the artist's mid-career survey exhibitions at the Kunstverein für die Rheinlande und Westfalen, Düsseldorf, and at Kunsthalle Bern in 2012.
Dieter Roth, Drawings / Zeichnungen, JRP | Ringier, 2007
Sculptor, poet, a pioneer of artist's books, performer, publisher, and musician, Dieter Roth has long been beloved as an artist's artist. Constantly trying to undo his art education, he would set up systems that discouraged the conventional and the consistent: he drew with both hands at once, preserved the discarded, and reveled in the transitory. Grease stains, mold formations, insect borings, and rotting foodstuffs were just some of the materials used, both out of a fascination with their painterly, textural aspects and for their innate ability to make time visible and play to chance. "More is better," he once said, and more there always was. Roth never stopped working, and he believed that everything could be art, from his sketchpad to the table he sat at, the telephone he talked on, or his friend's kitchen (the kitchen was later sold to a museum).
This book publishes some 260 drawings from the famous Copy Books group of works that the artist had carefully kept in his archive. Organized in series, these works span 1977 to 1998.