ALL-INCLUSIVE

A Tourist World

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JIM ALLEN

Skin of Years

Gwynneth Porter (Ed.)

New Zealand artist and educator Jim Allen is both a formidable influence upon his followers and a prolific artist in his own right. A leader of post-object practices in the global south, Allen’s immersive installations and light touch share much with his self-proclaimed heroes, experimental filmmaker and sculptor Len Lye and Brazilian kineticist Hélio Oitica. This robust reader contains over 300 pages of interviews with Allen, conducted largely by art historian Tony Green and fellow artist Phil Dadson. Through these colorful and often humorous oral histories, one can trace the narrative of Allen’s life, including his participation in WWII and formation as an artist and teacher—and sailor!—from the 1950s until the present day. An important record of a woefully understudied figure of postwar art, Skin of Years presents Allen’s dogged persistence to engage in what he has called “the art of the possible.”

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Pedro Alvarez

The Signs Pile Up

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MARIA THEREZA ALVES

The Long Road to Xico
El Largo Camino a Xico 1991–2015

Pedro de Llano (Ed.)

The first extensive monograph for Brazilian artist and activist Maria Thereza Alves, and subject of her solo show at the Centro Andaluz de Arte Contemporáneo in Seville (2015), The Long Road to Xico gathers more than 20 projects made between 1991 and 2015. The publication includes several rarely viewed early works and a selection of Alves’s writings contextualizing her work in the political and cultural debates from the 1980s, when she became an activist in the United States and Brazil and an early participant in discourses around post-colonialism and ecology. Includes essays by the editor, Pedro de Llano, and T. J. Demos, internationally recognized professor of art and visual culture at the University of California, Santa Cruz, and author of Decolonizing Nature: Contemporary Art and the Politics of Ecology (2016). A complete exhibition history and bibliography with a record of Alves’s activities in art, literature and politics since the late 1970s complete this substantial monograph on the artist’s work to date.

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ANONYM

In the Future No One Will Be Famous

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ANTJE MAJEWSKI

My Very Gestures

This multi-dimensional exhibition catalog documents internationally recognized artist Antje Majewski’s solo show in Salzburg, Austria. Majewski – best known for photorealistic, figurative paintings grapple with existential questions like friendship, love, masquerade and death – also expresses her interest in the psychology of individuals in relation to society and history through photography, video, film, installation and dance theater, all of which are documented here. In a profound essay, critic Dominic Eichler shows how Majewski’s work is “informed by a progressive form of feminism,” while author Ingo Niermann and curator Sebastian Cichocki contribute other insights. A conversation between the artist and art historian Tanja Widmann reveals some of the personal and philosophical concerns underlying her practice.

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SIEGFRIED ANZINGER

Cowboys and Indians? German artist Siegfried Anzinger appropriates unexpected cultural references ranging from the Bible to pornography to the American West for the brilliant works in this dynamic, large-format exhibition catalog. Anzinger has broken with his trademark impasto application of paint and his past approach to figurative representation, and the effect is quite literally like a brilliant light suddenly shining brightly. These loose, almost improvisational pieces create a painterly panorama that recalls epic works by David, Delacroix or Gerricault: dramatic, wide-ranging, and very personal. Includes photos of the artist’s expressive, almost disturbing, ceramic sculptures.

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SIEGFRIED ANZINGER

Works 2011

Mythic, dreamlike, erotic. For almost 40 years, the paintings of influential German-based artist Siegfried Anzinger have transported the viewer to a transparent world of wonder. Featured in this beautiful new museum catalog are 40 recent works that combine animal and human imagery in lightening-quick gestures. “It is as if one were actually dreaming the painting. Anzinger has carefully painted around the casually sketched motif—very sensitively so that one can see how the painter has been guided by the wavering and wobbling of the brush as though it were a dousing rod. And that is precisely what we experience in his paintings: they allow us to dream,” writes Rudi Fuchs in his accompanying text.

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Armin Boehm

The Evil Eye

Berlin-based artist Armin Boehm has become known for his spooky, gothic impasto paintings enticing the viewer into an occult, almost liminal space. This impeccably printed catalog – for Boehm’s first museum show, long overdue – highlights the paintings that result from the artist’s unusual combination of glaze, drippings, metal dust and thickly applied oil; working from pictorial elements in natural colors, Boehm builds layer upon layer, the range of colors becoming darker, until only sporadically shimmering sparks of color testify to the polychrome ground. These engrossing paintings, deeply linked to astronomy, often refer to ritually charged spaces like terror camps or research centers – his dark surfaces develop landscapes, urban views and even interiors. A fascinating young artist.

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Dan Arps

Sunseeker

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