Jenny Holzer: Redaction Paintings

This elegant monograph gathers the most recent work by the seminal language-based installation artist, Jenny Holzer. It includes reproductions of Holzer’s enlarged, colorized silkscreen "paintings" of declassified and oftentimes heavily censored American military and intelligence documents that have recently been made available to the public through the Freedom of Information Act. Beautiful in their own right, the works are also haunting reminders of what really goes on behind the scenes in the American military/political power system. Addressing counter-terrorism, prisoner abuse, and even the threat of Osama Bin Laden, many of the documents are partially or almost completely inked out (such as Colin Powell's memo on Defense Intelligence Agency reorganization). The book includes an introductory essay by Robert Storr.

CONTEMPORARY ART
2006, 9 x 11.5 inches, 112 pp, 95 in color.
Hardcover, ISBN 0975331787
code: cr holz B-3
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Jean-Michel Basquiat: In Words Only

For Basquiat, the visual and graphic impact of printed letters was strong enough to form a visual pattern, an abstract imagery where straight and curved lines contorted into new unions. He also used these patterns as containers for poetry, incoherence, and noise. Viewers, of course, are left to decipher the meaning of his coded language for themselves.

CONTEMPORARY ART
HC, 106 pp., illus.
2006
code: cr bas K-8

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Louise Bourgeois: The Reticent Child

This catalogue takes it name from the figurative cloth sculptures the artist made for an exhibition at the Freud Museum in Vienna. Bourgeois also completed a suite of 82 abstract pen and ink drawings that transform the mystery of her sculptures into woven, gestural grids.

SCULTPURE, DRAWING
HC, 112 pp., illus.
2004
code: cr bou B-2

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Louise Fishman: Remembrance and Renewal

Fishman drew profound inspiration from a trip to the Holocaust concentration camps of Auschwitz and Terezin. The experience brought her closer to her Jewish identity and resulted in this solemn and reverential group of works. Silt from the Pond of Ashes at Auschwitz, mixed with beeswax, is incorporated into the paintings, furthering their somber impact and enforcing the thoughtful materiality of Fishman’s process.

PAINTING
HC, 54 pp., illus.
1989
code: cr fis A-5

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Robert Mapplethorpe: Autoportrait

Previously unpublished photographs confirm Mapplethorpe's aesthetic alignment with other artists of his generation while presenting the singular vision that helped to shift the direction of late 20th Century Art. These early Polaroids reveal his attempts to wed the erotic and sexual with other theoretical concerns. CONTAINS EXPLICIT SEXUAL IMAGERY.

PHOTOGRAPHY
HC, 110 pp., illus.
2001, ISBN 1-892041-41-3
code: cr map K-9

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Joan Mitchell: The Presence of Absence

This exhibition catalogue surveys the body of work painter Joan Mitchell made between 1956 and 1992, in which her layered application of oil paint creates a variety of effects, both in terms of color and in terms of texture. Like her contemporaries, de Kooning and Pollock, Mitchell's gestural 'action' paintings reveal her to be an equally major figure in the Abstract Expressionist movement.

PAINTING
2002, 9.5 x 11.5 inches, 50 pp, color illus.
2002
code: cr mit C-2

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Lynda Benglis: A Sculpture Survey 1964-2004

This survey of Lynda Benglis' sculpture from the late 1960s to the present begins with her early poured latex and dripped wax pieces, moves through her polyurethane and metal blobs, continues with her pleated and accumulated metal forms, and ends with Bikini Incandescent Column, a Noguchi-esque lantern shaped like a mushroom cloud. Essay by Richard Marshall.

CONTEMPORARY ART
2004, 9 x 12 inches, 66 pp., 26 color plates
Hardcover, ISBN 0975331701
code: cr ben B-2

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Joan Mitchell: Works on Paper 1956-1992

Painter Joan Mitchell was never content to compose "easy" abstractions, preferring to challenge both herself and the viewer with works that pushed the limits of her own sense of beauty. As an Abstract Expressionist, she worked in an idiom that was well established when she began, and curator Klaus Kertess has usefully compared her achievement to that of Soutine and late Bonnard, artists who also found greatness by working within an existing painterly language and using it to explore and expand personal territory. This volume is the first comprehensive presentation of the artist's works on paper--a buoyant and lively body of work. It also includes an introductory text by poet and critic John Yau.

PAINTING
2007, 9 x 10.5 inches, 160 pp., 83 in color
Hardcover, ISBN 3865214681
code: cr joan C-2

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Lynda Benglis Louise Bourgeois: Circa 70

Published in conjunction with Circa 70, an exhibition of works by Louise Bourgeois and Lynda Benglis, this catalogue features sculptural work completed mostly between 1967 and 1974. This era’s rejection of Modernism's utopian autonomy fostered a theoretical and conceptual playground among artists and critics--a rebellion further echoed in the outspoken political activism of the public sphere. Working within this charged artistic atmosphere, Bourgeois and Benglis created material-savvy sculptures more attune to messy abstraction and process-oriented gesture than to conceptual formalism. Though 30 years apart in age—Bourgeois was born in 1911 and Benglis in 1941—their sculptures from the early 1970s have unexpected similarities, including their use of organically-shaped, often grotesque amorphous forms, and their references to the layered landscape of the body and the female subject. Revisited, the work is still shocking, still charged with the energy of the artists' physical manipulation of material and their intuitive and rebellious response to a burgeoning decade. The catalogue includes an essay by Robert Pincus-Witten.

*Mature Content

SCULPTURE
2007, 9.5 x 12.5 inches, 25 pp, 21 color images
Softcover, no ISBN
code: cr 70 A-6

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Richmond Burton

As a painter Richmond Burton employs abstract and geometric patterns and repetitious mark-making, nuanced with chromatic and tonal variations. This publication, which accompanied Burton’s first exhibition at Cheim and Read, contains an essay by Robert Rosenblum and twenty color plates.

PAINTING
1990, 9 x 13 inches, 32 pp, 20 color plates, 6 b&w images
Hardcover, no ISBN
code: cr bur K-9

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Jannis Kounellis

Jannis Kounellis was born in Piraeus, Greece in 1936, and moved to Rome in 1956, where he became a defining member of the Arte Povera movement in the 1960s. At this time, he was best known for creating striking combinations of organic and inorganic elements, and for his rebellious use of unconventional objects (in 1969, for example, he created Untitled for Galleria L'Attico in Rome, positioning twelve living horses in an exhibition space). The works shown in Cheim & Read's 2006 exhibition—for which this catalogue was produced—continue Kounellis' investigation of elemental materials (such as iron, cotton, coal, burlap, coffee, and gold), while enforcing a sense of the transient and transcendental. Anthropomorphic I-beams are wrapped, mummy-like, in discarded overcoats, trussed with wire and positioned on wire-grid beds. Shoes, worn and scuffed with age, march across a minimalist iron plate. Overcoats, in repetition, push through holes cut in iron, their arms bound with wire in tight embrace. The artist’s use of personal artifacts—overcoats, shoes, beds—and their associations with physical travel suggest the props of a refugee. Indeed, the works are distinguished by a sort of homelessness, an unending and questioning search for a unity between art and life, and the dialogue between them.

CONTEMPORARY ART
2006, 9 x 11.5 inches, 48 pp, color images
Softcover, no ISBN
code: cr koun C-2

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Joan Mitchell: Sunflowers

A major figure in postwar New York's avant-garde scene, Joan Mitchell (1925-1992) ranks among the best of her generation. In 1951, her work was exhibited alongside that of Jackson Pollock, Willem de Kooning, and Hans Hoffman in the celebrated "Ninth Street Show," which marked the ascendancy of Abstract Expressionism within the development of modern art. Exemplifying the ideals of the New York School, Mitchell's paintings wager all on the expressive potential of the painterly mark itself, freed from the constraints of traditional representation. Published on the occasion of Cheim & Read’s 2008 exhibition, this catalogue presents major paintings alongside a selection of pastels and etchings, which turn on the theme of the sunflower. The earliest of these bold, colorful works date from the late 1960s and culminate with large diptychs painted the year before Mitchell’s death. In addition to full-color reproductions of works from the exhibition, Sunflowers includes an essay by noted art historian and critic Dave Hickey.

PAINTING
2008, 9 x 11.5 inches, 80 pp, color images
Hardcover, ISBN 978-3-86521-836-0
code: cr sun C-2

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Milton Resnick: A Question of Seeing: Paintings 1959-1963

Published as part of Cheim & Reid’s recent exhibition, this catalogue features several of Milton Resnick’s large-scale paintings (which were, in some cases, as large as 10 feet by 25 feet). In his informative catalogue essay, Nathan Kernan describes these vivid, Abstract Expressionist works: “paint strokes go in every direction, are of every color, every density. There are areas where they are distinct from one another and allow bare canvas to show between them, areas where they are smudged together in opaque masses,” and where the brush strokes “take on individual identities, turning into scribbles and curlicues and long trailing verticals”.

PAINTING
2008, 12.5 x 10 inches, 64 pp, 17 color plates
Hardcover, ISBN 0979739772
code: cr resn B-1