NATALIA STACHON

Renate Wiehager & Christian Ganzenberg (Eds.)

Over the past several years, young Germany-based artist Natalia Stachon has developed a vocabulary of lyrical-minimalist forms that manifest themselves in her objects. After graduating from the University of Fine Arts of Hamburg, she closely studied American Minimalism, focusing in particular on the process-oriented exploration of objects in space undertaken, for instance, by Robert Morris. Her gallery installations hinge on unexpected juxtapositions of well-known sculptures with her own media. Using transparent materials, which guide the direction of view, Stachon allows three-dimensional bodies to become spiritual, ephemeral volumes—what Walter Benjamin called “dialectical images,” in which past is interwoven with the present. That notion is beautifully reflected through printing on translucent India paper, so each of Stachon’s projects can be viewed in the context of other texts and images from the likes of Morris, Carl Andre and Gordon Matta-Clark.

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SIMON STARLING / SUPERFLEX

Reprototypes, Triangulations and Road Tests

There is still life left in modernist designs. Turner Prize winner Simon Starling and Danish collective Superflex have created seven seminal works, called reprotypes, that reactivate actual modernist inventions, “collapsing“ them as unstable complexes around pertinent themes and ideologies. These new works pierce through layers of time and history and revisit long-held certainties; they propose a new strategy for siting the contemporary in the modern, resuscitating objects and innovations out of obsolescence, testing their contemporary vitality and thus disrupting the self-sufficiency of the modernist canon. Accompanying an exhibition at the Thyssen-Bornemisza Art Contemporary in Vienna, the publication includes contributions from Robin Mackay, Esther da Costa Meyer, Daniela Zyman, and Mirjam Schaub, among others.

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Saul Steinberg: The Americans

Andreas Prinzing (Ed.)

In 1958, illustrator Saul Steinberg, a well-known gallery and mural artist as well as a celebrated contributor to The New Yorker, was tasked to design a mural for the US Pavilion at the Brussels World’s Fair. The resulting vibrant, boisterous, and gently satirical collage, named simply The Americans, depicted the diversity of modern life through Steinberg’s eyes—from the small town to the big city, from the drugstore counter to the baseball diamond, from cocktail party sophisticates to middle American farmers. The 240-foot, eight-panel collage of brown paper cutouts, fabric and wallpaper fragments, clippings from comic strips and other ephemera was shown by the Museum Ludwig, Cologne, for the first time since the fair. This full-color exhibition catalog offers a critical reappraisal of the project, including a biographical essay from Iain Topliss and an essay from Melissa Renn contextualizing the mural within the collages of the historical avant-garde and mid-century pop sensibilities, as well as texts from Phillip Kaiser and Inga Rossi-Schrimpf.

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CHRISTOPH STEINMEYER

The Long Goodbye

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STEPHAN REUSSE

Artistic Processes: The Opening-up of Art

Marietta Franke

Readily viewable on YouTube, German artist Stephan Reusse’s mesmerizing green laser mice—incredibly realistic in their scuffling movements—demonstrate his aim of transferring physical objects into images through various types of photographic processes. In this comprehensively illustrated monograph, curator Marietta Franke describes Reusse’s photo-based artistic processes over the past 30 years, thematically linking bodies of work that include artist portraits, animal photographs and thermographs with neon pieces and laser sculptures. Reusse, who was energized by the contemporary Southern California scene of the 1990s during two years of teaching at Cal Arts and Cal State Long Beach, has also been influenced by Joseph Beuys and Paul Thek.

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STEVE GALLOWAY

Blue Plow, A Survey 1979-2000

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JOHN STEZAKER

Nude and Landscape

The distinctive hand-made collages of contemporary British artist John Stezaker are most often associated with his appropriated cinematic imagery. But this new exhibition catalog focuses on his non-cinematic found-images, the sources of which he’s been mining for three decades. Published for the first time, the artist’s Bridge landscape collages and the anatomical nudes of his Fall and Expulsion series are presented. Over 40 full-color images accompany texts by curator Sid Sachs, who explores the relationship between the landscape and the nude, and artist Elizabeth Manchester, who looks at the role of “The Source” in Stezaker’s work. An inspiration for anyone interested in Stezaker’s always fresh and thought- provoking image-making.

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JOHN STEZAKER

Film Stills

British artist Stezaker’s latest book comprehensively catalogs works in his series of film still collages, a project that began in 1979. The phenomenally popular series moves with Stezaker’s changing interests, using stills from classic American-period Hitchcock films as raw material before shifting towards the indistinguishable mass of 1940s and early 1950s low-budget studio films. Featuring collages based on a combination of film still excisions and superimpositions, this volume includes previously unpublished works. Bringing together Stezaker’s earliest film still collages to his most recent, this publication follows on from Ridinghouse titles Masks and Marriages, with full color illustrations accompanied by an essay and interview between David Campany and the artist.

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JOHN STEZAKER

Marriage

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JOHN STEZAKER

Masks

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