FLORIAN HECKER & JOHN MCCRACKEN

Sandro Droschl (Ed.)

Two artists, two generations, two mediums: German artist and sound artist/computer composer Florian Hecker (b. 1975) and American Light Space artist John McCracken (1934–2011) together probe the experimental capacity of the white cube gallery space. Fiberglass-coated, monochrome “planks” by McCracken spanning the floor and the walls of the building evoke a juncture between painting and sculpture, while Hecker’s computer-generated sound pieces, piped into the rooms by suspended speakers, dramatize both space and time. Shifting boundaries and intersections of sculpture and sound interact with one another within the space of geometric, architectural, temporal and subjective formations. At the same time, the viewer/listener becomes more sensitized to the conditions, qualities, and degrees of intensity between the physical and the ephemeral. The small illustrated exhibition catalog includes installation shots, curatorial introduction by Christian Egger and comprehensive essay by curator João Ribas. The cover by Florian Hecker uses an “objectness measure algorithm.”

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MATHILDE TER HEIJNE

Performing Change

Performing Change, a collection of interviews by artist Mathilde ter Heijne, explores the idea of open-ended, collaborative art processes and their transformative potential beyond the confines of art. Designed as an artist’s book and published in conjunction with her exhibition at the Museum für Freie Kunst in Freiburg (November 8, 2014–February 22, 2015), the book shows handwritten revisions, annotations, and drawings from contributors including voodoo priest Togbé Hounon-Hounougbo Bahounsou and priestess Mamissi DaPovi, women from the Kartal Kadın Ürünleri Pazarı (Women’s Products Market) in Istanbul, ayahuasca shaman and biologist Ulrich Meyerratken, ceremonial magic anthropologist Susan Greenwood and artists, curators and critics Sabeth Buchmann, Anselm Franke, Elke Bippus, Amy Patton, Mark Kremer, Janne Schäfer, and Kristine Agergaard, with a preface interview by Museum für Freie Kunst curators Christine Litz and Sophia Trollmann.

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MARY HEILMANN

Seeing Things, Visions, Waves and Roads

In tandem with new shows and increased interest in American painter Mary Heilmann comes this artist’s book. Mary Heilmann, a West Coast artist who relocated to New York in the 1990s, paints bright, abstract canvases that have been exhibited throughout the United States and Europe. Next year, she is part of a group exhibition looking at artists working in the 1980s, which begins at MCA Chicago and travels to the Walker and ICA Boston. Heilmann’s works can be found in major American museum collections, such as SF MOMA, New Museum, the Whitney and AIC. This small, intensely readable book brings together Heilmann’s ideas, influences, sources and interpretations; it is the latest in the annual Kienbaum Artists Book series, a joint venture of Cologne-based industrialist Jochen Kienbaum and Snoeck publishers.

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ANTON HENNING

Midnight in Paris

Claudia Emmert (Ed.)

Referring to the eponymous Woody Allen film in his most recent installation Midnight in Paris, Berlin-based artist Anton Henning (b. 1964) invites visitors on a journey through time exploring the artistic avant-garde of the 1920s and ’30s. The full-bleed color catalog from the Zeppelin Museum, Berlin, is designed as a walk-through of the three rooms Henning filled with his paintings, furnishings and lighting as a way of framing an ironic peek into an earlier avant-garde from the present. An introduction and a brief essay by art historian and curator Claudia Emmert introduce the show’s concept of “art as production / exhibition as paint- ing” and Henning’s intention “to free looking, seeing, and perceiving from the tunnel vision of isms and artistic trademarks.” Henning’s installations incorporate his own paintings, sculptures, lighting, three-dimensional objects, wallpaper, carpets and purchased or self-designed furniture to create interior “salons.”

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Diango Hernández

Revantgarde

Diango Hernández and Anke Kempkes

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GEORG HEROLD

Multiple Choice

Armin Zweite (Ed.)

Sculptor Georg Herold has developed a strong presence in the United States since his career took off in the early 1970s, when he (alongside Albert Oehlen and Martin Kippenberger) was part of a group of radical young German artists mentored by Sigmar Polke. This full-color catalog highlights many aspects of Herold’s work, such as his fetishistic, larger- than-life figures made of unexpected materials like roof laths, canvas and screws or his abstract portrait made of numbered fish eggs. Herold continues to revel in an ironic, pop-tinged sensibility that turns viewer expectations upside-down. With texts by Rudi Fuchs, Friedrich Wilhelm Heubach, Nina Schleif and Armin Zweite.

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NIC HESS

Drawing Installations 1995–2013

Christian Ganzenberg & Renate Wiehager (Eds.)

Nic Hess’ installations combine his own drawing with that of other artists in a complex, spatially expansive system of lines, surfaces, quotations and pictorial fragments. His work represents the attempt to create a layered narrative space that a viewer experiences as single or separate elements, quickly in passing or, more thoughtfully, through sustained contemplation. This catalogue raisonnné, compiled by curator Christian Ganzenberg, covers all of Nic Hess’ installations to date, including his memorable tape installation at the Hammer Museum in Los Angeles. Hess’ work is a testament to the graphic moment in fine art in the early 2000s that brought the work of figures like Ryan McGinness and Geoff McFetridge out of the streets and into the museum. Texts, interviews and contributing quotations from artists and curators, including Tate director Chris Dercon, Christian Ganzenberg and Renaud Proch, round out extensive photographic documentation and the comprehensive projects index.

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JOHN HILLIARD

Not Black and White

Duncan Wooldridge (Ed.)

Perhaps best known for his iconic “photo-conceptual” works produced during the 1970s, British artist John Hilliard continues to question the nature and limits of photographic representation. This career-spanning monograph draws together Hilliard’s diverse engagement with photography with a focus on his fascination with the monochrome, abstraction and visual obstruction. Using new and pioneering processes such as overlaying prints and incorporating projector screens, the artist aims to disrupt the viewer’s relationship to the photograph by placing a “puncturing and interruptive” monochrome at the center of many of these works. Included are several essays by the artist and artist/writer Duncan Wooldridge’s survey on Hilliard’s continuous challenge to photographic convention throughout his 40-year career.

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HERBERT HINTEREGGER

UNTITLED (FLOW)

Matthia Löbke & Nina Tabassomi (Eds.)

At long last an extensive monograph on contemporary Austrian painter, Herbert Hinteregger (b. 1970) is released in tandem with the 15-year survey of the artist’s work at the Taxispalais Kunsthalle, Innsbruck (2017). At first glance, Hinteregger’s paintings on linen, tulle, denim and brocade appear to be done in traditional oils or acrylics, but upon closer inspection one discovers he has used ink from hundreds of drained ballpoint pens. Highly pigmented and viscous, ballpoint pen ink leaves no trace of brushstrokes, creating a shiny metallic, opaque, dark blue surface of unfathomable depth. The artist sometimes joins together his paintings with their reduced vocabulary of forms into expansive installations, such as the huge work Raft. Extensively illustrated with 150 color images including both single works and installation shots, Hinteregger’s monograph highlights contemporary possibilities in painting using 20th-century strategies such as the role of materials, spatial references and work processes.

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HIRYCZUK / VAN OEVELEN

Landfall

The idea began with two islands: the reclaimed marshland called Zuidas in central Amsterdam, and the youngest island in the world, Surtsey, off the coast of Iceland. Although similar in size, they couldn’t be more different. Zuidas is a glossy, dense, modern business district; Surtsey an inaccessible, uninhabited volcanic environment accessible only for research. This beautifully conceived book documents a temporary art project dreamed up by the artist team of Elodie Hiryczuk and Sjoerd van Oevelen, installing billboard-size panoramic photos of Surtsey on the streets of Zuidas. The book’s full-color photos illustrate the project’s brilliant mash-up of art, geography, history, geology, urban planning and architecture. With wide-ranging texts, including a reprint of Gilles Deleuze’s 1953 ‘L’île déserte. The website for this project won a Red Dot Award for design – (www.landfall-project.info)

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