Bøger udgivet af Gregory R Miller & Company

The work of Jennie C. Jones (born 1968) spans multiple mediums, from paintings, sculptures and works on paper to audio collages and immersive sound installations. Jones employs the visual languages of abstraction and minimalism to draw out the parallels and disjunctions between the history of modernism and the history of African American music, particularly jazz. This volume documenting the artist's midcareer survey at Contemporary Arts Museum Houston includes many of her best-known works alongside new paintings and a site-specific installation. The book, whose stunning design references the formal qualities of Jones' work, includes an extensive plate selection alongside essays by Valerie Cassel Oliver, Hilton Als and George Lewis, and an interview between Jones and art historian Huey Copeland.

From her earliest experiments with painting old-master landscapes as graffiti on the streets of New York, to her recent project The Alien's Guide to the Ruins of Washington, DC (2013) at the Corcoran in Washington, DC, Ellen Harvey (born 1967) has applied her unique and humorous perspective to unpacking the history of art and aesthetics. Taking its title from the ongoing project featured in the 2008 Whitney Biennial, a rear-illuminated wall of plexiglass mirrors in ornate frames, The Museum of Failure is the first major retrospective publication on the artist's work, looking at each of her major projects and bodies of work of the past 20 years. Harvey's practice incorporates painting, photography, video, installation and public participation to examine our expectations about art and cultural production, their proper contexts and what constitutes appropriate engagement, all with a disarming charm. The book includes a new text on the artist by curator Henriette Huldisch and an in-depth interview with the artist by curator Adam Budak.

"Edited by Dietmar Elger, translations by Fiona Elliott."

"Published in 2014 by Gregory R. Miller & Co. in association with the Rose Art Museum on the occasion of the exhibition Mika Rottenberg: Bowls Balls Souls Holes (February 14-June 8, 2014)."

You Should've Heard Just What I Seen explores how music shapes the experience of making and looking at art, with original contributions from over 50 leading contemporary artists, curators and gallerists. Invited to submit pieces that touch on the way music factors into both their lives and practice, the conversations, poems, essays, lists, show flyers, t-shirts, paintings and photographs they provided are collected in this supreme reader on contemporary art and sound. Featuring works and texts from an international group of artists, the publication is both a lively reader and a visually compelling document of the art of today. The contributors are Kelly Taxter, Maureen Brenner, Elizabeth Peyton, Charlemagne Palestine, Jay Sanders (Whitney Museum of American Art), Chris Ofili, Jeremy Deller, Steven Baker, Dave Muller, Jeff Poe (Blum & Poe), Anne Collier, Lesley Vance, Margaret Lee (47 Canal), Tyson Reeder, Alex Olson, Kelley Walker, Rashid Johnson, Martin Creed, Andrew Kuo, Macrae Semans, Jim Drain, Charles Long, Sarah Thompson, David Kordanksy / Stuart Krimko (David Kordansky Gallery), Roe Ethridge, Matt Anderson (DJ Matt), Spencer Sweeney, Yoshitomo Nara, Christoph Gerozissis (Anton Kern Gallery), Scott Reeder, Kai Althoff, Dan Aran / Uri Aran, Thomas Lax (Studio Museum of Harlem), Laura Owens, Amy Granat, Peter Doig, Trisha Donnelly, Edgar Arceneaux, Brian Degraw, James Fuentes (James Fuentes), Barry Johnston, Naima J. Keith (The Studio Museum in Harlem), Nicholas Party, Berry Van Boekel, Adam Putnam, Brendan Fowler, Mike Watt and Matthew Higgs (White Columns).

Issued in connection with an exhibition held at The Aldrich Contemporary Art Museum, October 19, 2012/February 20, 2013.

Published on the occasion of an exhibition held at Blaffer Art Museum at the University of Houston, Texas between October 13, 2012 and March 30, 2013.

In the tradition of Robert Frank's photographs of the 1956 Democratic National Convention in Chicago and William Eggleston's 1976 "Election Eve" series, 100 photographs offer an intimate political and personal view of one of the most public days of a nation: the inauguration of Barack Obama as the country's first black president on January 20, 2009.

Curator and historian, gallerist and writer: Klaus Kertess has long been a decisive and forward-thinking presence in the art world. He founded the Bykert Gallery in 1966, where he represented artists including Chuck Close, Ralph Humphrey, Brice Marden and Dorothea Rockburne; three decades later, he curated the 1995 Whitney Biennial, the follow-up to the famously political 1993 iteration. "What is being proposed here," he wrote in a catalogue essay for the 1995 exhibition, "is not a return to formalism but an art in which meaning is embedded in formal value. An acknowledgment of sensuousness is indispensable--whether as play or sheer joy or the kind of subversity that has us reaching for a rose and grabbing a thorn." The art world has changed considerably from the relatively convivial world of the 60s to today's globalized milieu, but Kertess has been a constant throughout the years, curating shows of provocative new work and writing critical essays on artists whose work challenges and engages him, while also maintaining a vital literary sideline (his short stories are collected in 2000's South Brooklyn Casket Company). This volume collects Kertess' critical works from the past 30 years, including meditations on Agnes Martin, Joan Mitchell, John Chamberlain, Vija Celmins, Chris Ofili and Matthew Richie. With each essay accompanied by full-color reproductions of works discussed, Seen, Written provides a priceless opportunity to see art through the eyes of a lifelong viewer.

Text by Malik Gaines, Ernest Hardy, Philippe Vergne, Heidi Zuckerman Jacobson.

Text by Gregory Volk, Harry Philbrick, Carter Foster.

Text by Maura Reilly, Laurie Ann Farrell. Interview with Martine Antle.

Jewels buried in a grave, cigarettes smoked in $100 bills, champagne poured into a bathtub--these perverse, irrational acts are also somehow thrilling. Profane Waste explores the workings of an unacknowledged taboo: the taboo against willful dissipation. Dana Hoey, an acclaimed photographer appearing here in her first book, presents a series of 30 haunting images that are at once ultra-real and uncanny. Bestselling biographer and social critic Gretchen Rubin uses lucid analysis and explosive examples--the actions of Rauschenberg, Jesus, Ivan Boesky, Thoreau and Goebbels, among others--to demonstrate the power of the title concept. Together, Hoey's photographs and Rubin's provocative arguments create a shock of recognition: they lay bare intentions that stand outside the conventional goals of acquisition and accumulation.

An activist and a curator as well as a trailblazing artist, feminist, and lesbian scholar, New Mexico-based Hammond has enjoyed a career spanning nearly 50 years and many mediums, all of which are brought together for the first time in this work which accompanies the artist's museum survey of the same name at the Aldrich Contemporary Art Museum.

For over 20 years Sarah Sze (born 1969) has produced celebrated works of art, synthesizing a near boundless range of everyday materials into intricate constructions that are both delicate and overwhelming. Sze's latest site-specific installation at the Rose Art Museum, Timekeeper, combines sculpture, video and installation into a sprawling experiential work that approaches some of the most complex themes of her career: time's passage and its marking in mechanical and biological forms. The Timekeeper installation was a catalyst for a book which explores major new ideas in Sze's work and practice. The ambitious work is extensively documented here alongside significant new texts on Sze, her work and the experience of time.

Painter, novelist and wrestler, Drexler is the great polymath of PopRosalyn Drexler has always moved between worlds. In the late 1950s and early '60s, she showed sculpture at New York's Reuben Gallery, a gathering place for artists like Allan Kaprow and Claes Oldenburg who combined installation and performance with traditional media. Drexler took part in Happenings at Reuben Gallery and at Judson Church (years after her own quasi-performance as a female wrestler, memorialized by Andy Warhol in the 1962 series Album of a Mat Queen). Drexler's collages and large-format paintings of the 1960s open the category of Pop art to technology and politics in a way that feels contemporary today, crossing hard-edge painting with depictions of sex, violence, race and gender role-playing in film and media.Her writing also crosses high and low genres, comprising novels both experimental and popular, avant-garde theater and writing for television (including an Emmy-winning Lily Tomlin special). In addition to a comprehensive selection of Drexler's major paintings, Who Does She Think She Is? also recovers the artist's early sculptures, recently rediscovered and not exhibited since 1960. Documentation of Drexler's performances and theatrical work, photographs evoking her role in the downtown New York scene and a selection of her books and other archival materials present her work across multiple mediums, offering a comprehensive look at Drexler's varied career.Rosalyn Drexler was born in 1926 in the Bronx, New York. In 1951 Drexler pursued a brief career as a professional wrestler under the name "Rosa Carlo, the Mexican Spitfire." In January 1964 her work was included in the First International Girlie Exhibit at Pace Gallery, New York. In 1968, Drexler signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War.