CHRISTIAN ROSA

Love’s Gonna Save the Day

The first monograph on the compelling young Brazilian painter Christian Rosa features a selection of his most recent work in graphite, oil and spray paint. Born in Rio in 1982 and now living and working in Los Angeles, Rosa studied at the Academy of F ine Arts in Vienna with Daniel Richter. His current pieces on unprimed, rough, beige canvas are minimal with colorful loops, craquelures, erasures, and carelessly painted bubbles and squares. His extremely reduced repertoire is reminiscent of Cy Twombly, one of the most enduring American abstract painters. Rosa also calls on the “Empire of Signs,“ initially determined by Roland Barthes for Twombly. In addition to Oscar Murillo and David Ostrowsky, Christian Rosa is considered a rising star in contemporary art today. An exhibition catalog out of the CFA Berlin with essay by German writer and curator Roberto Ohrt.

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ROEE ROSEN

The Blind Merchant

Internationally recognized Israeli-American writer, filmmaker and artist Roee Rosen (b. 1963) juxtaposes text and image, history and its revision in the publication of her artist book The Blind Merchant (1989–91). Produced at a moment when the idea of originality was being questioned, this compelling artist book shows that classic stories are open for new angles of approach that reflect the time of their reading. Composed of three elements: the complete text of Shakespeare’s The Merchant of Venice; a “parasitical” text by Rosen from the perspective of Shylock running alongside the play; and 145 pen-and-ink drawings presenting Rosen’s approach to the drama’s staging and casting of characters. The artist uses the blind drawing technique to depict Shylock, the blinded merchant in this dramatic retelling of the Shakespearian tragedy. Blind Merchant accompanies a solo exhibition at Tel Aviv Museum of Art (2016) plus a foreword by Joshua Simon. Past Sternberg publications include the cult classic Justin Frank: Sweet Sweat (2009) and Maxim Komar-Myshkin: Vladimir’s Night (2014).

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MATHILDE ROSIER

Ceremonially Infused

French artist Mathilde Rosier creates atmospheric environments which draw on her interest in the occult, Freudian analysis and ancient rites and rituals. This full-color exhibition catalog, Rosier’s first monograph, brings together the artist’s exquisite paintings with her sculptural assemblages, installations and film. These specially constructed environments evoke a journey between conscious and unconscious realms, using motifs like a bed or a cat representing a threshold to buried psychic states. The dreamlike elements transport the viewer into a heightened sensual state. The book combines drawings and text to provide direct access to this richly imaginative artist’s intellectual world. With commentary by curator Claudia Emmert.

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MONICA ROSS

Ethical Actions: A Critical Fine Art Practice

Susan Hiller & Suzanne Treister (Eds.)

British artist Monica Ross (1950–2013), a pivotal artist in the 1980s feminist movement, left behind a 40-year body of pioneering and socially engaged performance-driven artwork. Her timeless pieces continue to have a deep effect on contemporary artists and society today. Presented for the first time is this extensively illustrated document of Ross’s works from 1970 to 2013 including Ross’s early feminist collaborative works, drawings made at the Greenham Common Women’s Peace Camp in the 1980s, poster designs for the antinuclear movement, works relating to the writings of Walter Benjamin, and documentation from the sixty performances of Anniversary—an act of memory (2008–13), solo, collective and multilingual recitations from memory of the Universal Declaration of Human Rights, which concluded with a final collaborative performance at the UN in Geneva on the day of Ross’s death. Informative essays by Jorn Ebner, Esther Leslie, Eric Levi Jacobson, Alexandra M. Kokoli, Denise Robinson,Monica Ross and Yve Lomax along with extensive archival documentation by Bernard G. Mills.

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DIETER ROTH & ARNULF RAINER

Collaborations

Barry Rosen (Ed.)

The dark humor and conceptual intensity of Fluxus pioneer Dieter Roth and painter Arnulf Rainer were concentrated exponentially in their sustained collaboration. Since 1974, the creation of their almost 500 shared works has been shrouded in wild anecdotes. Though both were keen to let their individual ideas collide freely, resulting in works of comedic performativity and pictorial wit, for the most part this body of work is totally separate from their individual oeuvres. This gorgeously designed and overscaled exhibition catalog reproduces their mixed media paintings, drawings and Misch- u. Trennkunst graphic works, alongside stills from their (quite athletic) performances. Often, the slender Rainer would provoke the larger and more corpulent Roth to aggression or even physical altercation. The catalog includes texts from curator Robert Fleck and Dieter’s son, Björn Roth, who was also a frequent collaborator from the 1980s on.

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EVA ROTHSCHILD

Michael Dempsey & Doro Globus (Eds.)

The candy-colored, serpentine forms of Eva Rothschild’s sculptural compositions present a refreshingly whimsical take on modernism’s forms and utopian ideals. Owing obvious debt to Minimalism, Pop and Color Field, the Irish-born artist has lately found herself on the international stage with exhibitions at the Nasher Sculpture Center, NY Public Art Fund, and the Tate Modern. This exhibition catalog, accompanying a solo exhibition at her hometown Dublin City Gallery, features extensive installation photographs of her recent sculptures as well as a tongue-in-cheek series of gallery visitors holding her “snakes.” Essays from noted critic Brian Dillon and curator Michael Dempsey examine her development as an artist and her ties to art history.

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Alun Rowlands

Three Communiqués

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The Royal Art Lodge

Women and Children

The Canadian art group the Royal Art Lodge, currently made up of Marcel Dzama, Neil Farber, and Michael Dumontier, used Farber’s dining room table to create the 160 tiny (7.6cm x 8.9 cm) paintings on wood featured in this book. The deliberately crude, almost comicbook-like pictures, typical of this groundbreaking collective, include vague and puzzling epigrams, exploring the dreamy and melancholic thoughts we have about women and children-the fears, the sadness, and the desire to protect both. A powerful essay by Guido Bartorelli examines how The Royal Art Lodge exemplifies what Marshall McLuhan called “low-definition” media-and how fitting its approach and affect are in this technological age.

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Julika Rudelius

Soft Intrusion

This impressive exhibition catalog for German video artist Julika Rudelius offers an extended survey of her varied output, including stills from her videos, described as “part reportage, part mockumentary, part performance, part short film.” Throughout the last ten years, Rudelius has participated in many international exhibitions; however, there have been few opportunities to appreciate the different aspects of her oeuvre. Whether she’s homing in on a bunch of rich Manhattan 12-year-olds or an evangelical black community in suburban Netherlands, her work involves artificial relationships, communication strategies and encounters with virtual strangers. Her videos often reenact moments in which unconscious gestures or glances reaffirm prejudices. Featured texts by Dominic Eichler, Jenny Schlenzka and Katja Schroeder.

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Robert Ryman

Critical Texts Since 1967

Vittorio Colaizzi and Karsten Schubert

This volume is an indispensable anthology of critical texts on a central figure of Minimalism, Conceptual Art and more specifically, Monochrome Painting. Alongside contemporaries such as Carl Andre and Donald Judd, Robert Ryman’s radical painting has fundamentally shifted the definitions and boundaries of art. Spanning four decades, this book charts the gradual evolution of consensus about the meaning of his painting. The most significant essays and exhibition reviews have been collated into one volume, including texts written by some of the most influential art historians and critics: Yve-Alain Bois, Douglas Crimp, Arthur C. Danto, Donald B. Kuspit, Lucy R. Lippard, Barbara Rose and Roberta Smith. Some essays appear here in English for the first time. With an introductory essay by Vittorio Colaizzi.

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