98½ (h) x 78¾ x 1¼ in
82¾ x 78¾ in
Objects are closer than they appear
Press release
The Buchmann Gallery is happy to announce the group exhibition Objects are closer than they appear.
The exhibition’s title is a variation of the well-known phrase used as a safety warning on rear-view mirrors in American automobiles. The exhibition adopts this phrase as a point of departure to reflect on the relationship between sensibility and nearness. All of the works exhibited share a specific reference to the phenomenon of nearness and a sensory tactility. The phenomenological, imaginary and emotional aspect of the works shown, deals with possibilities of perception and poses questions on approaches to perception.
A series of works which either make use of mirrors or reflecting surfaces are presented in the exhibition and point towards the origin of the exhibition’s title and at the same time expand on the utilitarian function of the mirror and its possibilities to play with our perceptions.
While Daniel Buren splits up the reflection through his visual tool the stripe thus creating a dividing line between real surfaces and reflections; Alberto Garutti uses the mirror as a memory of past images, moments and reflections. The holes and the title of the work serve to bridge the gap with this past and as an invitation to observers to enter this in their imaginations.
The new group of works by Tatsuo Miyajima has the abbreviation C.T.C.S. in its title. This stands for Counter Time Counter Self and precedes all the titles of Miyajima’s work using mirrors and is to be understood as a connection or fusion between the work and the observer. The observer and the surroundings become a part of the perpetually counting work of art.
The reflecting black form in the photographic work by Wilhelm Mundt incorporates the outline of his Trashstones. The observer or objects reflected in its surface become a part of the work within a seemingly dematerialized space which knows neither proximity nor distance.
Bettina Pousttchi is showing a work from her ensemble Squeezers – twisted street bollards – which obviously takes the title of the exhibition quite literally by its ingenious combinations which achieve an anthropomorphic appearance.
According to the concepts of ancient times a beam of optic rays was emitted from the eye which informed the observer of the distance, position, size, form and colours of an object. The eye scans the surface just as the hand touches the body of the beloved one. The sculptures by William Tucker and Tony Cragg in the exhibition exemplify this emotionalized perceptual model.
The pastel-coloured abstractions in Fiona Rae’s latest paintings are variations on a cartoon which the artist developed in an extensive series of drawings. The influences of calligraphy and Chinese ink painting are evident. Rae exploits our innate faculty of recognizing familiar forms in anything we see and which stand closer to us than mere abstract-geometric compositions. Again here the close relationship of the eye and the hand are remarkable. In an interview Rae describes it like this. “I want the urgency of paint marks and gestures made only by the hand; the need to make a mark that goes back thousands of years.”
If you wish to obtain further information on the artists or images of the
works, please do not hesitate to contact the gallery.
Pressemitteilung
Die Buchmann Galerie freut sich die Gruppenausstellung Objects are closer than they appear anzukündigen.
Der Ausstellungstitel ist eine Abwandlung des Satzes der in amerikanischen Auto-Rückspiegeln als „safety warning“ zu lesen ist. Die Ausstellung nimmt diesen Satz als Ausgangspunkt zu einer Reflektion über die Beziehung von Sensualität, Taktilität, Ferne und Nähe. Die phänomenologische, imaginäre und emotionale Seite der ausgestellten Arbeiten verhandelt Möglichkeiten von Wahrnehmung und fragt nach den Bedingungen derselben.
Eine Reihe von Arbeiten, die Spiegel oder spiegelnde Oberflächen verwenden, sind in der Ausstellung präsent und deuten auf den Ursprung des Ausstellungstitels hin, erweitern aber die utilitäre Funktion des Spiegels um seine Möglichkeit mit unserer Wahrnehmung zu spielen.
Während Daniel Buren das Spiegelbild durch sein visuelles Werkzeug der Streifen auffächert und eine Grenze zwischen realer Oberfläche und Spiegelbild erzeugt, nutzt Alberto Garutti den Spiegel als Gedächtnis vergangener Bilder, Momente und Reflektionen. Die vorhandenen Löcher und der Werktitel dienen als Brücke in diese Vergangenheit und Aufforderung an den Betrachter diese imaginär zu beschreiten.
Die neue Werkgruppe von Tatsuo Miyajima hat die Abkürzung C.T.C.S. im Titel. Ausgeschrieben lautet sie Counter Time Counter Self und steht allen Titeln von Spiegelarbeiten Miyajimas voran. Sie ist als Verbindung oder Verschmelzung zwischen Werk und Betrachter zu verstehen. Der Betrachter und der Umraum wird zum Teil des zählenden Werks.
Die reflektierende schwarze Form in der Fotografie von Wilhelm Mundt nimmt den Umriss seiner Trashstones auf. Der Betrachter oder sich spiegelnde Objekte werden Teil des Werkes innerhalb eines scheinbar entmaterialisierten Raumes, der weder Nähe noch Ferne kennt.
Bettina Pousttchi zeigt eine Arbeit aus der Werkgruppe Squeezers - verbogene Straßenpfosten, die den Titel der Ausstellung offensichtlich wörtlich nehmen, durch ihre geschickte Gruppierung aber zudem eine anthropomorphe Erscheinung erlangen.
Nach antiker Auffassung sendet das Auge einen Kegel von Sehstrahlen aus, der über Abstand, Lage, Größe, Gestalt und Farbe der Gegenstände unterrichtet. Das Auge tastet die Oberfläche ab wie die Hand den geliebten Körper. Die Skulpturen von William Tucker und Tony Cragg dienen in der Ausstellung als Beispiele dieses emotionalisierten Wahrnehmungsmodells.
Die pastellfarbenen Abstraktionen auf den neuen Bildern von Fiona Rae sind Variationen eines Cartoons den die Künstlerin in umfangreichen Zeichnungsserien entwickelte. Auch der Einfluss der Kaligraphie und Chinesischer Tuschmalerei ist zu ahnen. Rae spielt mit unserem Vermögen in allen Dingen bekannte Formen zu erkennen, die uns menschlich näher stehen als abstrakt-geometrische Kompositionen. Auch hier ist das Verhältnis von Auge und Hand bemerkenswert. In einem Interview beschreibt die Künstlerin dies so: „Ich will die Kraft der Farbspuren und Gesten, nur von Hand gemacht; das Bedürfnis eine Spur zu setzen, die tausende von Jahren zurückreicht.“
Für weitere Informationen über die Künstler und für Bildmaterial können Sie sich gerne jederzeit mit der Galerie in Verbindung setzen.
Daniel Buren
Selected articles and catalogues
| 2007 | “Daniel Buren”, Lisson Gallery, London |
| 2006 | Rodríguez, Begona, "Sign and colour ", an interview with Daniel Buren, an itinerary around space, colour and signs in: LAPIZ revista International de Arte, Issue 225, Madrid, pp.34-49 |
| 2005 |
"Chemin faisant", in: cat. The Buren Times, The Solomon R. Guggenheim Museum, New York, Text by Daniel Buren, Daniel Buren, mars 2005 The Buren Times, in: The Eye of the Storm, The Solomon R. Guggenheim Museum, New York, 24 mars-8 juin 2005. Textes de Bernard Blistène, Daniel Buren, Susan Cros, Alison Gingeras Haidu, Rachel, SHORT CUTS.....DASS MAN SICH DARIN SPIEGELN KANN, Zwei Kommentare zu Daniel Burens Ausstellung “Eye of the Storm“ im Solomon R. Guggenheim Museum, New York, [Übers. Bert Rebhandl] in: Texte zur Kunst, September 2005, Heft 59, Berlin, p. 144-149 Kolbowski, Silvia, SHORT CUTS.....DASS MAN SICH DARIN SPIEGELN KANN, Zwei Kommentare zu Daniel Burens Ausstellung “Eye of the Storm“ im Solomon R. Guggenheim Museum, New York, [Übers. Clemens Krümmel] in: Texte zur Kunst, September 2005, Heft 59, Berlin, p. 138-143 Griffin, Tim, In conversation: Daniel Buren & Olafur Eliasson, in: Artforum May 2005, p. 208-214 |
| 2004 |
Buren, Daniel, Daniel Buren / Where Are the Artists, in cat. The Next Documenta Should Be Curated by an Artist, Frankfurt, Revolver Archiv für aktuelle Kunst, p. 26-31.
Buren, Daniel / Fauchereau, Serge / Hulten, Pontus / Sarkis, Quand les artistes font école / Vingt - quatre journées de l'Institut des hautes études en arts plastiques 1988-1990, Paris / Marseille, France, Éditions du Centre Pompidou / Amis de l'IHEAP / Musées de Marseille, et plus spécifiquement: Témoignage, Sans, Jérôme / Buren, Daniel, p. 17-20 |
| 2003 |
Buren, Daniel, On the exhibition, in cat. TRANSITIONS: works in situ, Toyota, Toyota Municipal Museum of Art, p. 6-11 japonais, p. 34-34 Buren, Daniel, Daniel Buren, Pierre Bourdieu : les champs de la critique, Paris, France, Bpi / Centre Pompidou 2004. Participation de D.B. le 28 février au colloque organisé par la Bpi, Centre Pompidou, Paris, les 28 février et 1er mars 2003 Hess, Barbara /Buren, Daniel, Interview mit Daniel Buren von Barbara Hess, in cat. Ready to Shoot / Fernsehgalerie Gerry Schum / videogalerie schum, Gand, Belgique, Snoeck-Ducaju & Zoon NV / Düsseldorf, Allemagne, Kunsthalle Düsseldorf, p. 183-185. Obrist, Hans Ulrich / Buren, Daniel: Buren, Daniel Interviews, Milan, Italie, Edizioni Charta, p. 128-140. TRANSITIONS: works in situ, Toyota, Japon,Toyota Municipal Museum of Art, 28 juin-31 août 2003, 40 P. Zhen, Chen / Buren, Daniel, Le destin d'une oeuvre après sa création et surtout après la mort de 'artiste, les gens l'interprètent n'importe comment, in cat. Chen Zhen / Les entretiens, Paris, France, Les Presses du réel / Palais de Tokyo, p. 163-186. |
| 2001 | Buren, Daniel, Farbige und vielfache Eindrücke, Impressions colorées et multiples, Sammlung Künstlerbücher Band 24, Katalog zur Ausstellung im Neues Museum Weserburg Bremen vom 14.11.99–20.2.2001 |
| 2000 | Buren, Daniel, cabanes éclatées, 1975/ 2000, Essay by Alex Alberro and Nora M. Alter, Mettre en scène le politique: répétition, différence et les Cabanes éclatées de Daniel Buren, Catalogue edited with 12/28/48 |
| 1996 |
Buren – Erscheinen Scheinen Verschwinden, Conversation with Serge Faucherau and Jean Ristat, conversation with Daniel Buren, Seth Siegelaub, Michel Claura and an interview by Doris Krystof, Kunstsammlung Nordrhein-Westfalen Düsseldorf, June 25 – October 27, 1996 Krystof, Doris, Burens Spiegel, in: Daniel Buren Erscheinen, Scheinen, Verschwinden, Arbeit in situ, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 29.Juni -27.Oktober 1996, p. 14-23 cat. Krystof, Doris, Das dritte Auge , in: Daniel Buren Erscheinen,Scheinen, Verschwinden, Arbeit in situ, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 29.Juni -27.Oktober 1996, p. 14-23 cat. |
| 1991 |
La Fin des avant-gardes, 14 novembre 1988, Buren, Daniel / Fauchereau, Serge / Hulten, Pontus / Sarkis, p. 93-126 ; Le Territoire de l'art comme refug", 29 novembre 1988, Buren, Daniel / Fauchereau, Serge / Hulten, Pontus / Sarkis, p. 127-148; Daniel Buren / Intervention du 11 décembre 1989, p. 259-302; Discussion à propos de l'exposition, Individualités : 14 Contemporary Artists from France, Toronto, 1991, 28 janvier 1991, p. 439-469. Daniel Buren 1964/ 1966– Naissance de Daniel Buren, Essay by Christian Besson, Chronological catalogue edited with Musée d’art moderne Lille Métropole Villeneuve d’Asq |
| 1990 |
Inboden, Gudrun, Daniel Buren, Die Karten mischen – Eine Skizze zu der Arbeit von Daniel Buren, Staatsgalerie Stuttgart, 30.Juni – 09.Sept. 1990, p. 95-123 Meinhardt, Johannes, Spaltung durch Kontakt – Daniel Burens sichtbare Brüche der Sichtbarkeit, in: Daniel Buren, ’Die Karten mischen – Eine Skizze zu der Arbeit von Daniel Buren’, Staatsgalerie Stuttgart, 30.Juni – 09.Sept. 1990, p. 123- 161 |
For further information please contact the gallery.
Tony Cragg
| 2017 |
Tony Cragg – Works on Paper, Verlag der Buchhandlung Walther König, 2017 Tony Cragg - Roots & Stones, Tehran Museum of Contemporary Art (TMoCA),Tehran 2017 (exhib. cat.) Tony Cragg: A Rare Category of Objects: Yorkshire Sculpture Park 2017 (exhib. cat.) |
| 2016 | Tony Cragg - Parts of the World, Von der Heydt Museum Wuppertal, Verlag der Buchhandlung Walther König, 2016 |
| 2012 |
Tony Cragg, against the grain. Ernst-Barlach-Haus - Stiftung Hermann F. Reemtsma, Hamburg 2012 (exhib.cat.) |
| 2011 |
Tony Cragg - Figure Out Figure In, Edition Dilecta, Musée Du Louvre Éditions Tony Cragg - Seeing Things, Nasher Sculpture Center 2011 (exhib.cat.) Tony Cragg - Sculptures and Drawings. National Galleries of Scotland (exhib.cat.) |
| 2010 | Tony Cragg - in 4D, Texts by Valerio Dehò, Silvio Fuso, Jon Wood. Ca'Pesaro, Venice and kunst|Meran, Marsilio Editori s.p.a. Venedig (exhib.cat) |
| 2009 | Second Nature, Staatl. Kunsthalle Karlsruhe (Ed.), with texts by Kirsten Claudia Voigt, Jon Wood, Christa Lichtenstern, Dumont 2009 (exhib.cat) |
| 2008 |
“Henry Moore - Werk-Theorie-Wirkung, with introduction by Tony Cragg,
editor and publisher Christa Lichtenstern, “Tony Cragg” S. 365-374, Deutscher Kunstverlag München; Berlin, 2008 (english/german) “Tony Cragg >< F.X.Messerschmidt” with texts by Agnes Husslein-Arco, Michael Karpf, Eva Maria Stadler and an interview Tony Cragg and Jon Wood, Belvedere, Wien |
| 2007 | “Tony Cragg Akvereller / Watercolours”, with texts by Bera Nordal and Kay Heymer, Hrsg. nordiska akvarellmuseet, Skärhamn/Sweden |
| 2006 | “Tony Cragg, In and Out of Material”, Das Potential der Dinge, with Interview by Jon Wood, Texts by Tony Cragg, Essays by Christoph Brockhaus, Robert Kudielka, Christian Schneegass, Hrsg. Akademie der Künste, Berlin, Verlag der Buchhandlung Walter König, Köln (exhib.cat.) |
| 2005 | “UdK Berlin: Professorinnen und Professoren der Fakultät Bildende Kunst”, Karl-Hofer-Gesellschaft e.V., Berlinische Galerie, Berlin, (exh.cat.) |
| 2003 | “Tony Cragg, Signs of Life”, Selected Essays from 1981 to 2003 Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 2003, monography incl. works from 1971 – 2003, 552 pages, (exh.cat.) |
| 2001 | “Anthony Cragg”, Essay by Peter Anselm Riedel ( German / English ) Hrsg.: Ingrid Mössinger und Beate Ritter, Kunstsammlungen Chemnitz June 24 – September 2, 2001, Published at E.A.Seemann Verlag, Chemnitz 2001, (exh.cat.) |
| 2000 | “A new thing breathing, recent work by Tony Cragg”, Various essays e.g. Lewis Biggs, Tate Gallery Liverpool March 17 – June 4, 2000, Tate Gallery Publishing Ltd |
| 1999 |
“Tony Cragg, New Works”, Photoessay by Philip Sayer and introduction, interview by Isabel Carlisle, Royal Academy of Arts London, (cat.) “Tony Cragg, Atelier: Wuppertal, Plastiken und Zeichnungen der 90er Jahre”, Essay by Sabine Fehlemann, Josef Beutelmann, Katja Blomberg and Ulrich Krempel, Von der Heydt-Museum Wuppertal May 30 – July 18, 1999, (exh.cat.) |
| 1998 | “Anthony Cragg”, Essays by Helmut Friedel, Susanne Gaensheimer and Ulrich Wilmes and selected writings from 1981 bis 1998, Lenbachhaus München July 15 - September 20, 1998 |
| 1997 |
“Tony Cragg”, Interview by Yoshihisa Otani, Masahiro Aoki and Tony Cragg Hrsg.: Tomoaki Kitagawa, Toyota Municipal Museum of Art, March 25 – June 22, 1997, (exh.cat.) “Tony Cragg, Sculptures on the Page”, Whitechapel Art Gallery London, January 10 – March 9, 1997, The Henry Moore Institute, Leeds |
| 1996 |
“Tony Cragg”, Essays by Germano Celant and Anna Costatini, Edizioni Charta, Milano, (cat.) “Tony Cragg”, Essays by Catherine Grenier, Daniel Soutif, interview by Heinz-Norbert Jocks , Centre Georges Pompidou Paris, January 24 until April 15, 1996, Published at Éditions du Centre Pompidou, (exh.cat.) |
| 1995 | “Tony Cragg”, Essays by Carmen Alborch, José Guirao, Félix Duque, Heinz Norbert Jocks and Tony Cragg, Museo Nacional Centro de Arte Reina Sofia, Madrid, (exh.cat.) |
| 1994 | “Tony Cragg, Early Forms”, Essay by Armin Wildermuth, Galerie Buchmann, Basel, (cat.) |
| 1993 | “Tony Cragg, Dessins/ Zeichnungen”, Essay and interview by Armin Wildermuth Galerie Buchmann, Basel |
| 1990 |
“Tony Cragg, Eine Werkauswahl”, Essay by Armin Wildermuth Galerie Buchmann, Basel “Tony Cragg”, Essays by Maria Müller and Ulrich Krempel, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, November 18, 1989 – January 7, 1990, (cat.) |
| 1988 |
“Tony Cragg”, Essays by Catherine Lampert, Demosthenes Davvetas and Henry Meyric Hughes , 43.Biennale di Venezia June 26 – September 25, 1988, The Visual Arts Department The British Council 1988, (cat.) |
| 1987 | “Tony Cragg”, Essay and interview by Lynne Cooke, Hayward Gallery, South Bank Centre, London, March 5 – June 7, 1987, (cat.) |
| 1986 | “Tony Cragg, Skulpturen”, Texts by Tony Cragg, Demosthenes Davettas, Carl Haenlein , Kestner Gesellschaft Hannover, December 20, 1985 – February 9, 1986, (cat.) |
Tatsuo Miyajima
| 2017 | "Tatsuo Miyajima: Connect with Everything", Museum of Contemporary Art Sydney, with texts by Rachel Kent, Mami Kataoka, Sunjung Kim, Nobuko Nakanao |
| 2008 | "Time Train", Ferdinand Ullrich, Hans Jürgen Schwalm (ed.) with texts by Friedrich Meschede, Eugen Blume, Kunsthalle Recklinghausen, Kerber Verlag |
| 2007 |
Rappolt, Mark, “The Time is now”, in: Art Review, Issue 07/ January 2007, p.38, London Borcherdt, Gesine, “Tatsuo Miyajima”, in: monopol – Magazin für Kunst und Leben, Issue 1/ 2007, p. 118, Berlin |
| 2005 | Asada, Akira + Miyajima, Tatsuo: “Commemoration Talks: Death and 20th century,” Minamishima, Hiroshi: “Light of Death, Again Detour Leading toward “Tatsuo Miyajima-Beyond the Death”, Tomisawa, Haruko: “Tatsuo Miyajima’s thoughts on Nature and Artificiality,” Honda, Yoshiko: “Tatsuo Miyajima: Eternal Light after Darkness,” BEYOND THE DEATH, Contemporary Art Museum, Kumamoto-CAMK, 2005, pp.17-31, 34-37, 38-41 42-45 (Jap / Eng) |
| 2004 | “Tatsuo Miyajima”, MACRO, Museo d'arte Contemporanea Roma, (cat.) |
| 2002 | “Tatsuo Miyajima - Count of Life”, Essays by Dan Cameron and Kim Sun Jung (English/Korean), Artsonje Museum, Gyeonju and Artsonje Center, Seoul, (cat.) |
| 2000 |
“Tatsuo Miyajima, Counter Pieces”, Essays by Johann-Karl Schmidt, Michael Auping and interview by Janice Hart and Alan Woods (German/ English), Galerie der Stadt Stuttgart, (cat.) “Tatsuo Miyajima, Mega death: shout! shout! count!”, Essays by Junichi Shioda and Mami Kataoka (English / Japanese ) Editor Kataoka Mami, Tokyo Opera City Art Gallery, (cat.) |
| 1996 |
“Tatsuo Miyajima, Big Time”, Essays by Marla Price, Susan Freleger Brades, Michael Auping und Tatsuo Miyajima (Englisch), Modern Art Museum of Forth Worth and Hayward Gallery, London, (cat.) “Tatsuo Miyajima, Whole Relativity of the Cosmos 133651”, Essays by Francine Périnet, Marnie Fleming and Grant McCracken (English) Center for Contemporary Art CCA Kitakyshu Kitakyushu + Korinsha Press&Co.,Ltd, (cat.) “Tatsuo Miyajima, Time House”, Gairloch Gallery, Oakville Galleries |
| 1993 | “Tatsuo Miyajima”, with an interview by Bernhard Bürgi and an essay by Luk Lambrecht (German/ English), Kunsthalle Zürich und Oktagon Verlag, München & Stuttgart |
| 1991 | “Tatsuo Miyajima”, Essay by Lynne Cooke and Jos Poodt (German/ English/ Dutch and Japanese), 133651 Museum Het Kruithuis, `s-Hertogenbosch and daadgalerie, Berlin, (cat.) |
Wilhelm Mundt
| 2011 |
Biomorph!, Arp Museum Bahnhof Rolandseck, Snoeck Verlag |
| 2010 |
"Wilhelm Mundt", Text by Raimund Stecker, Stiftung Wilhelm Lehmbruck Museum Bochynek, Martin, “Alte Klarheit, neue Kartoffeln”, Kölner Stadtanzeiger, 9 Aug 2010 |
| 2007 |
“Wilhelm Mundt - Trashstones”, Essay by Roland Scotti, Vera Gliem
, Stiftung Liner Appenzell – Ziegelhütte, Appenzell/CH “Buchmann Galerie seit 1975”, B&M Verlag, Basel |
| 2005 | “Wilhelm Mundt, Eine Werkauswahl”, monography on the sculptors work from 1989 – 2005, Essay by Roland Wäspe (Kunstmuseum St.Gallen) and interview by Katrin Luz, English/German, B&M Publishers Basel |
| 2000 |
“Kabinett der Zeichnung. Eine Ausstellung des Kunstfonds”, Kunstfond e.V., Düsseldorf |
| 1998 | Winzen, Matthias, (translated by Pauline Cumbers): Wilhelm Mundt, in: “Deep Storage. Collecting, Storing, and Archiving in Art”, Ingrid Schaffner, Matthias Winzen (eds.), Contemporary Art Center, NY (July 5-August 30, 1998), Henry Art Gallery, Seattle (November 5, 1998-January 31, 1999), Munich: Prestel, 1998, pp. 204-208, (exhib.cat.) |
| 1997 |
“Plastik”, Württembergischer Kunstverein, Text by Dirk Luckow “Deep Storage”, Haus der Kunst München, Text by Matthias Winzen, München |
| 1996 |
Luckow, Dirk, in: Art + Text, No. 53, 1/96 Taschitzki, Thomas von, “Grob gebuendelt“, Kölner Stadtanzeiger, 21 Oct. 1996 |
| 1994 |
“Lawrence Caroll, Tony Cragg, Wilhelm Mundt, Manuela Allegrini” Gallery, Brescia, Text by Roland Waespe, Brescia Bochynek, Martin, “Wilhelm Mundt”, in: Artist, 5/94 |
| 1993 |
Mundt, Wilhelm, “Wilhelm Mundt und Martin Schwenk: Skulpturen: Buch zur Ausstellung vom 3. Juli bis 22. August 1993“, Verlag der Kunstvereins für die Rheinlande und Westfalen (1993) “Am Beispiel Plastik, Konzeption und Form: Georg Baselitz, Franz Bernhard, Heinz Breloh, Mic Enneper, HAWOLI, Wilhelm Mundt, Robert Schad, Tim Scott, Thomas Virnich”, 1993 Konzeption und Form, Museum Schloss Morsbroich, Leverkusen; Haus am Waldsee, Berlin; Städtische Kunsthalle, Mannheim, Text by Vera Gliem, 1993. |
Bettina Pousttchi
|
Monographs |
| 2020 | Bettina Pousttchi: In Recent Years, Berlinische Galerie, Museum of Modern Art, Berlin, Koenig Books, London |
| 2018 | Bettina Pousttchi: Metropolitan Life, Museo Nivola, Orani, Italy, Scheidegger & Spiess |
| 2017 |
Bettina Pousttchi: World Time Clock, Hirshhorn Museum and Sculpture Garden Washington D.C., Hatje Cantz publishers, Berlin Bettina Pousttchi: Suspended Mies, The Arts Club of Chicago |
| 2015 | Bettina Pousttchi: The City, Nasher Sculpture Center, Städtische Galerie Wolfsburg, Hatje Cantz publishers, Ostfildern |
| 2012 | Bettina Pousttchi: Framework, Schirn Kunsthalle Frankfurt, Verlag der Buchhandlung Walther König, Köln |
| 2010 | Bettina Pousttchi: Echo Berlin, Temporäre Kunsthalle Berlin, Verlag der Buchhandlung Walther König, Köln |
| 2008 | Bettina Pousttchi: Reality Reset, Von der Heydt Museum Wuppertal, Verlag der Buchhandlung Walther König, Köln |
| 2007 | Bettina Pousttchi: Departure, Verlag der Buchhandlung Walther König, Köln |
| 2003 | Bettina Pousttchi: Screen Settings, Württembergischer Kunstverein, Hatje Cantz Verlag, Ostfildern-Ruit |
| 2001 | Bettina Pousttchi: Die Katharina-Show, Museum Morsbroich Leverkusen |
Publications |
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| 2016 |
Real Time. The Art of Slowness, Volker Adolphs / Stephan Berg, Kunstmuseum Bonn, Wienand Verlag, Köln Elective Affinities. German Art since the Late 1960s, Latvian National Museum of Art, Riga, Kerber Verlag, Bielefeld Statement 3: New Sculpture from Germany, Goethe-Institut Hongkong
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| 2015 |
Passion. Fan Behaviour and Art, Christoph Tannert, Künstlerhaus Bethanien, Berlin Ten Rooms, Three Loggias and a Hall: The New Sprengel Museum, Sprengel Museum Hannover |
| 2014 |
Sightings: Bettina Pousttchi, Jed Morse, Nasher Sculpture Center, Dallas Künstler. Kritisches Lexikon zur Gegenwartskunst, Kunsthandel Verlag, Neu-Isenburg Einblicke in die Sammlung Wemhöner, OsramHöfe, Berlin |
| 2013 |
Macht. Wahn. Vision: Der Turm in der Skulptur, Kerber Verlag, Bielefeld Köln Skulptur #7, Verlag der Buchhandlung Walther König, Köln Macht der Machtlosen, Staatliche Kunsthalle Baden-Baden, Verlag der Buchhandlung Walther König, Köln Aufgestellt. Skulptur aus der Sammlung Wemhöner, Philipp Bollmann, Kerber Verlag, Bielefeld |
| 2012 |
Mythos Berlin - A London Perspective, Sarah Hegenbart, Sven Münder, The White Review, London Skulptur aktuell: Schriten und Interviews zeitgenössischer Künstler, Julia Kelly/ Jon Wood, Hatje Cantz, Ostfildern-Ruit Portfolio Berlin 02, Kunsthalle Rostock, Distanz Verlag, Berlin Art and the City, Christph Doswald, Ringier Verlag, Zürich Von Sinnen, Wahrnehmung in der zeitgenössischen Kunst, Kunsthalle zu Kiel, Kerber Verlag, Bielefeld Im Blick, Fotografie aus der Sammlung Wemhöner, Philipp Bollmann, Kerber Verlag, Bielefeld |
| 2011 |
Abstrakt /// Skulptur, Georg-Kolbe Museum, Berlin 2011 45-78-33, Lewis Glucksman Gallery, Cork Zum Umgang mit dem städtebaulichen Erbe der DDR-Moderne in Berlin-Mitte, Steve Danesch, Grin Verlag, München Beklenmedik Karsilasmalar, Fatos Ustek, Zorlu Center, Istanbul Focus Asia, Einblicke in die Sammlung Wemhöner, Philipp Bollmann, Kerber Verlag, Bielefeld |
| 2010 |
Serpentine Gallery Manifesto Marathon, Verlag der Buchhandlung Walther König, Köln |
| 2009 |
Glasstress - 53rd Biennale di Venezia, Palazzo Cavalli Franchetti Venedig / Charta Born to Be Wild - Hommage an Steven Parrino, Kunstmuseum St. Gallen / Verlag für Moderne Kunst Nürnberg Images Recalled. 3. Fotofestival Mannheim_Ludwigshafen_Heidelberg / Kehrer Verlag Heidelberg No Such Place - No hay lugar. Territorios de lo invisible, Castillo de Santa Bárbara / Alicante km 500 / 2, Kunsthalle Mainz / argobooks Berlin Neuerwerbungen 1989/93 bis 2008, Städtische Galerie Wolfsburg, Bonn km 500 2 Stipendiaten 2008 des Landes Rheinland Pfalz und des Künstlerhauses Schloß Balmoral, Kunsthalle Mainz, Mainz |
| 2008 |
Zeitblick, Ankäufe der Sammlung der Bundesrepublik Deutschland, Martin Gropius Bau Berlin / Dumont Verlag Köln XV. Rohkunstbau, Verlag Hans Schiler Berlin Heartquake, Museum on the Seam, Jerusalem Zehn Jahre Junge Kunst in Wolfsburg, Verein Junge Kunst Wolfsburg |
| 2007 |
Buchmann Galerie seit 1975, B&M Verlag, Basel Idylle. Traum und Trugschluss, Phoenix Kulturstiftung / Sammlung Falckenberg, Hamburg-Harburg / DA 02 Domus Artium 2002, Salamanca / Galerie der Stadt Remscheid, Hatje Cantz Verlag, Ostfildern-Ruit A Tribute to 35 Years of the Essl Collection, Essl Museum, Klosterneuburg Wien |
| 2006 |
Anstoss Berlin, Haus am Waldsee, Berlin Die Jugend von heute, Schirn Kunsthalle, Frankfurt Whitney Biennale 2006: Day for Night – Peace Tower Project, Whitney Museum of American Art, New York Art Fundamentals, Hrsg. Ocvirk / Stinson Wigg / Bone / Cayton, McGraw Hill, New York |
| 2005 | Photography Reborn, Image Making in the Digital Era, Jonathan Lipkin, Harry N. Abrams, New York |
| 2004 | Rheinschau, Art Cologne Projects, Köln |
| 2003 |
Dreams and Conflicts – The Dictatorship of the Viewer, La Biennale di Venezia, Venedig |
| 2002 |
Slow Motion, Ludwig Forum für internationale Kunst (CD-Rom), Aachen Camere con Vista, Il Filatoio, Caraglio, Turin |
| 2001 |
Site 20 / 01 Schnitt, Künstlerbuch, Düsseldorf Rundgang, Kunsthalle Fridericianum, Kassel |
| 2000 |
Schnitt 2000, Kunstverein für die Rheinlande und Westfalen, Düsseldorf Wuckenhof, Kunstverein, Schwerte Here we Go, Skulpturenprojekt, Gladbeck Le Pratiche della Percezione, Galleria Civica di Arte Contemporanea, Trient |
| 1999 | Natural Reality. Künstlerische Positionen zwischen Natur und Kultur, Ludwig Forum für Internationale Kunst, Aachen |
Selected Articles
|
| 2016 |
Architectural Digest, A Matter of Time, Julie L. Belcove, August 2016, p. 34 The Brooklyn Rail, inconversation, Barry Schwabsky in conversation with Bettina Pousttchi, June 2016, p. 29 |
| 2015 | Domus, Bettina Pousttchi: Zeit ist mein Lebensthema, Eva Karcher im Gespräch mit Bettina Pousttchi, März - April, S. 140-145 |
| 2014 |
Frankfurter Allgemeine Zeitung, Fremde Größe: Bettina Pousttchi gibt Wolfsburg eine neue Skyline, Niklas Maak, 20.08.2014, S. 12 Vogue, Uhrwerke. Erinnerung, Raum und Zeit sind Themen der betörend klaren Kunst von Bettina Pousttchi, Eva Karcher, Mai 2014, S. 142-143 Camera Austria, Bettina Pousttchi. The City, Rebecca Wilton, Nr. 127, 2014, S. 87-88 Monopol, Ausstellungen: Macht der Machtlosen, Januar 2014, S. 115 Bauwelt, Endlich eine Skyline oder. Wie Wolfsburg einmal sein Schloss verschwinden ließ. Bettina Maria Brosowsky, Nr. 28, 2014 Die Tageszeitung, Wolfsburgs Skyline verfremdet, Bettina Maria Brosowsky, 08.07.2014 Dallas Observer, Bettina Pousttchi's Drive-Thru Museum is a Fascinating Love Letter to Dallas' Car Culture, Lauren Smart, 10.04.2014 Dallas News, Art Notes: German artist Bettina Pousttchi brings to Dallas her rare spin on history, Michael Granberry, 11.04.2014 The Dallas Morning News, For German artist, history has a place on the palette, Michael Granerry, 13.04.2014 Fort Worth Star-Telegram, Steering Commentary. Gaile Robinson. 20.04.2014 Arts + culture, An urbanist mastermind at the Nasher, Charissa N. Terranova, April 2014, p. 39 Kunstbulletin, Wolfsburger Kunstpreis, März 2014, S. 92 Kunstzeitung, Hoch hinaus, Jörg Restorff, Mai 2014 Madame, Fünf vor zwei, Rüdiger von Naso, Juni 2014, S. 70-71 Monopol, Interpol, Juni 2014, S. 21 Interview Magazine, City Life, Juni - Juli 2014, S. 39 |
| 2013 |
Frieze, William Klein + Daido Moriyama. Tate Modern, London, Bettina Pousttchi, März 2013, S. 159 Berliner Morgenpost, Höhepunkte des Gallery Weekends. Bettina Pousttchi im Mittelpunkt, Ingeborg Ruthe, 26.04.2013 Frankfurter Allgemeine Zeitung, Eigene Zeit, eigener Ort, Swantje Karich, 27.04.2013, S. 37 frieze d/e, Off the Clock, Bettina Pousttchi, April-Mai 2013, S. 12-14 Der Tagesspiegel, Fünf vor zwei, Thomasz Kurianowicz, 08.06.2013, S. 30 |
| 2012 |
Artforum, Bettina Pousttchi at Schirn Kunsthalle Frankfurt, Barry Schwabsky, Okt 2012, p. 27 Artist Kunstmagazin, Bettina Pousttchi, Michael Stoeber, Aug-Okt.2012, S. 48-55 Frankfurter Allgemeine Zeitung, Die Frankfurter Schirn trägt ein Fachwerk-Kleid, 12.04.2012, S. 35 Frankfurter Rundschau, Altstadt-Trend, Alex Kraus, 19.04.2012 Monopol, So ist es gewesen, Mai 2012, S. 16 Untitled. The State of the Art, Echolote der Zeit, Alexander Pühringer, Frühjahr 2012, S. 126-135 Stern, Fassaden-Bluff, 19.04.2012, Atrium, Schirn Kunsthalle. Bettina Pousttchi, Framework, 01.05.2012 |
| 2011 |
Kunstforum International, Bettina Pousttchi "World Time Clock", Michael Hübl, Bd. 207 März - April 2011, S. 364/365 Kunstbulletin, Bettina Pousttchi "World Time Clock", Isabel Friedli, 3/2011, S. 62/63 Neue Züricher Zeitung, Nachbilder von Zeit und Raum, MB, Nr. 36 12.02.2011, S. 59 NZZ am Sonntag, Atempause. Bettina Pousttchi: World Time Clock, GM, 13.02.2011, S. 71 Basler Zeitung, Es ist Pousttchi-Zeit, Daniel Morgental, 18.01.2011, S. 35 |
| 2010 |
Art - Das Kunstmagazin, Zu Gast bei Bettina Pousttchi, November 2010, S. 20 Frankfurter Allgemeine Sonntagszeitung, Die Vergangenheit steht uns bevor, Niklas Maak, 29.08.2010, S. 51 Art Review, Now see this, Martin Herbert, Issue 42, S. 33 The Art Newspaper. Art Basel Daily Edition, Time is right for Bettina Pousttchi's giant banner, A.S., 15.06.2010, p. 8 Basler Zeitung, Abbild der Repräsentation, Nina Zimmer, 02.07.2010, S. 39 Kunstzeitung, Eine Identifikationsfigur, nach wir vor. Nr. 164/April 2010, S. 11 |
| 2009 |
Art Review, Top Five. What to see this Month by Dieter Roelstraete, Issue 37, Dezember 2009, p. 38 Spex. Magazin für Popkultur, Spiegelungen einer potenziellen Stadt. Bettina Pousttchi im Gespräch mit Markus Miessen, #323 Nov/Dez 2009, S. 88-91 Frankfurter Allgemeine Zeitung, Fort mit dem weißen Karton, Niklas Maak, 18.11.2009, S. 29 Le Figaro Magazine, La tentation d'une île, 31.10.2009, S. 83 The New York Times, Filling a Hole in the Middle of Berlin, Kimberly Bradley, 18.11.2009 The Nation, A Makeshift World, Barry Schwabsky, 09.11.2009 Exberliner, Interview Bettina Pousttchi, Rocky Smith, Nov 2009, S. 35 Build, Das Architekten-Magazin, ECHO, Olaf Winkler, 12.10.2009, S. 8 Süddeutsche Zeitung, Einheit 2009, Jens Bisky, 02.-04.10.2009, S. 4 Kulturspiegel, Simulierte Spiegelung, Ingeborg Wiensowski, Heft 10; Okt.09, S. 42/43 Neues Deutschland, Luftiger Garten, schwebender Palast, Tom Mustroph, 28.09.2009, S. 17 Frankfurter Allgemeine Sonntagszeitung, Das ist doch keine Kunst. Das ist Berlin, Niklas Maak, 27.09.2009, S. 28 Der Tagesspiegel, Im Zeichen des Skorpions, Nicola Kuhn, 25.09.2009, S. 26 Berliner Morgenpost, Optische Täuschung, BM, 18.09.2009, S. 12 Süddeutsche Zeitung, Deko und Munition, Volker Breidecker, 11.09.2009, S. 13 Zitty Berlin. Das Hauptstadtmagazin, Alles auf Anfang, Johannes Wendland, Heft 19/2009 (10.09 -23.09.09), S. 90 Monopol, Bilder des Verschwindens, Bilder des Krieges, Jens Hinrichsen, 9/2009, S. 121 Neue Presse, Eng, enger, Kunstverein, Henning Queren, 29.05.2009, S. 20 Tagblatt St. Gallen, Blut, Tod und Freiheit, Brigitte Schmid-Gugler, 28.05.2009, S. 30 |
| 2008 |
Build, Das Architekten-Magazin, Atmosphäre der Ambivalenz, Bettina Pousttchi im Gespräch with Markus Miessen, S. 42-45 Kunstforum International, Bettina Pousttchi- Realty Reset, Von der Heydt Museum Wuppertal/Kunsthalle Barmen, Susanne Boeker, Jan/Feb 2008 Potsdamer Neueste Nachrichten, Die Farbe Rot, Klaus Büstrin, 09.07.2008 Der Tagesspiegel, Brüder, zum Rot!, Nicola Kuhn, 13.07.2008 Berliner Zeitung, Rote Brüder, rote Schwestern, Sebastian Preuss, 14.07.2008 art - Das Kunstmagazin, Roter Themenladen, Kito Nedo, September 2008 |
| 2007 |
NY Arts Magazine, Berlin´s Recent Artworld Ascent, Emilie Trice, Vol 12, Nr. 3/4 2007, S.37 Monopol, Bettina Pousttchi, Nr. 6/2007, S.115 Der Tagessspiegel, Die Macht der Zeichen, Christiane Meixner, 01.09.2007, S.28 |
| 2006 |
Art in America, Bettina Pousttchi at Buchmann, Cathy Lebowitz, 06–07/2006, S.204 Texte zur Kunst, Zeitbaustellen – Bettina Pousttchi in der Buchmann Galerie, Köln und Berlin, dem Dortmunder Kunstverein und im Leopold Hösch Museum, Düren, Ilka Becker, Heft 61, 03/2006, S.157–159 Frame, Unter Verdacht: Bettina Pousttchi - Landing, Peter Kunitzky, Heft 18/19, Summer 2006, S.156 Der Tagesspiegel, Buchmann Galerie Bettina Pousttchi, Christiane Meixner, 25.03.2006, S.24 Die Tageszeitung, Kunstrundgang, Brigitte Werneburg, 05.04.2006, S.27 |
| 2005 |
Kunstbulletin, Bettina Pousttchi in der Buchmann Galerie Köln, Ralf Christofori, 12/2005, S.55 Contemporary, Video Issue No. 71, Bettina Pousttchi, Rachel Greene, 2005, S.90–93 Stadtrevue Köln, Bettina Pousttchi: Take Off, Susanne Braun, 12/2005, Köln Kölner Stadtanzeiger, All der Trash in unserem Leben, 08.12.2005 Around Photography, Bettina Pousttchi, Augusto Pieroni, 04/2005, S.58/59 |
| 2004 |
Springerin, Bettina Pousttchi: Screen Settings, Petra Löffler, 01/2004, S. 67/68 Flash Art, Bettina Pousttchi: Next Door Roma, Simona Cresci, Nr. 249, 12/2004, S. 127 Exibart on Paper, Bettina Pousttchi, Ilaria Marotta, Nr. 19, 12/2004, S. 43 Segno, Reality Reset - Bettina Pousttchi, Nr. 198, 9/2004, S. 56/57 |
| 2003 |
TIME Magazine, When Pousttchi met Trockel, 07.04.2003, S. 68/69 Kunstzeitung, Bettina Pousttchi im Kunstverein, Susanne Kaufmann, Nr. 89, 2003, S. 10 Elle, Impressionen aus der Fankurve, 12/2003, S. 268 Stuttgarter Nachrichten, Verlorene Weite aus sturmumtoster Brücke, Nikolai B. Forstbauer, Nr. 287, 17.11.2003 Welt am Sonntag, Kunst im Doku-Clip, Christiane Hoffmans, 20.04.2003, S. 77 Stadtrevue Köln, Venedig sehen und werben, Alice Koegel, 08/2003 |
| 2002 |
Flashart International, The Return of the Surreal, Wolf-Günther Thiel / Dunja Christochowitz, Nr. 224, 2002, S.109/110 Merian, Das Ich als Installation, Thorsten Koch / Andreas Weber, Köln, 03/2002, S.68/69 Kölner Stadtanzeiger, Krachende Knochen und Karnevalsknappen, Susanne Boecker, 14./15.12.2002, S.30 Kölnische Rundschau, Bedrohliche flackert Blaulicht, Uschi Baetz, 21.12.2002 artist, Bettina Pousttchi, Uta M. Reindl, 04/2002, S.22–25 |
| 2001 |
Süddeutsche Zeitung, Im Genom des Vaters, Holger Liebs, 13.02.2001, S.16 Kunstforum International, Bettina Pousttchi, Museum Morsbroich, Claudia Posca, Bd. 154, 2001, S.409/410 Rheinischer Anzeiger, Das Leiden am Kulturgehabe, Dirk Schwarze, 31.03.2001, S.26 Kölner Stadtanzeiger, Einmal Star zu sein, Ingeborg Schwenke - Runkel, 03./04.02.2001, S.13 Kunstzeitung, Schlag auf Schlag, Karlheinz Schmid, 04/2001, S.15 |
| 2000 |
Kunstforum International, Here we go, Claudia Posca, Bd. 151, 2000, S.339–341 Time Out, We have liftoff – The Whitney Independent Study Program is the launching pad for tomorrow’s artist’s, Rachel Greene, Nr. 243, 2000, S.73 Kölner Stadtanzeiger, Hoffen und Bangen, Jan Peter Koerver, 16./17.12.2000, S.40 Die Tageszeitung, Das ist Kunst, Peter Ortmann, 27.07.2000 Rheinische Post, Neue Formen in alter Herrschaftlichkeit, Magdalena Kröner, 15.06.2000 |
| 1999 |
Frankfurter Allgemeine Zeitung, Es grünt so grün wenn alle Kübel blühen, Katja Blomberg, 07.07.1999, S.50 Innsbrucker Zeitung, Das Paradies im Container, Stefan Lüddemann, 07.07.1999, S.31 Kölner Stadtrevue, Aus Brachen werden Drachen, Larissa Förster, 8/99, S.136 Neue Bildende Kunst, Positionen zwischen Natur und Kultur, Joachim Büthe, 08–09/1999, S.69 Neue Züricher Zeitung, Natürlich künstlich, Petra Löffler, 23.08.1999, S.20 |
Fiona Rae
| 2020 |
Moszynska, Anna, World of Art: Abstract Art, London, UK: Thames & Hudson Ltd
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| Reason Gives No Answers: Selected Works from the Collection (exhibition catalogue), text by William S.Burroughs, London, UK: Other Criteria Books | |
| 2018 |
Fiona Rae (exhibition catalogue), text by Gilda Williams, Seoul, Korea: Hakgojae Cheongdam
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| Content is a Glimpse (exhibition catalogue), text by Jurriaan Benschop, Berlin, Germany: Efremidis Gallery | |
| Cahill, James, Ways of Being: Advice for Artists by Artists, London, UK: Laurence King Publishing Ltd | |
| 250th Summer Exhibition Illustrated 2018 (exhibition catalogue), edited by Grayson Perry, London, UK: Royal Academy of Arts | |
| 2017 |
Marr, Andrew, A Short Book about Painting, London, UK: Quadrille Publishing Ltd |
| Summer Exhibition Illustrated 2017: A Selection from the 249th Summer Exhibition, (exhibition catalogue), text by Richard Davey, London, UK: Royal Academy of Arts | |
| 2016 |
Fiona Rae (exhibition catalogue), text by André Buchmann, Berlin, Germany: Buchmann Galerie |
| Summer Exhibition Illustrated 2016: A Selection from the 248th Summer Exhibition (exhibition catalogue), edited by Richard Wilson, London, UK: Royal Academy of Arts | |
| Fullerton, Elizabeth, Artrage! The Story of the Britart Revolution, London, UK: Thames & Hudson | |
| Getlein, Mark, Living with Art, Eleventh Edition, USA: McGraw Hill | |
| Sayre, Henry M., A World of Art, Eighth Edition, Oregon State University-Cascades Campus, USA: Prentice Hall | |
| Hickey, Dave, 25 Women: Essays on their Art, Chicago, USA: The University of Chicago Press | |
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2015 |
Summer Exhibition Illustrated 2015: A Selection from the 246th Summer Exhibition (exhibition catalogue), text by Richard Davey, London, UK: Royal Academy of Arts
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Fiona Rae (exhibition catalogue), interview by Martin Herbert, London, UK: Timothy Taylor Gallery |
| Imagining a University: Fifty Years of the University of Warwick Art Collection (exhibition catalogue), texts by Liz Dooley, Eleanor Nairne, Alan Powers, Sara Selwood, Sarah Shalgosky and Beth Williamson, Warwick, UK: Mead Gallery | |
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2014 |
Rutka, Fiona and Maureen Cross, “The Making of Fiona Rae, RA: In Conversation with a Young British Artist.” Immediations Vol. 3 No.3. London, UK: The Courtauld Institute of Art |
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Williams, Gilda, How to Write About Contemporary Art, London, UK: Thames & Hudson |
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(detail) (exhibition catalogue), essays by Andrew Bracey, Simón Granell, Brian Curtin, James Elkins, David Ryan, London, UK: Transition Editions |
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Here Today... (exhibition catalogue), essay and artist texts by Dr. Alison Bracker, London, UK: Artwise Curators |
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As I run and run, happiness comes closer (exhibition catalogue), foreword by Angélique Aubert, text by Jérôme Sans, interview with Fiona Rae, Paris, France: Emerige |
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Between Worlds (exhibition catalogue), text by Jane Neal, Mumbai, India: Galerie Isa |
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Within/Beyond Borders: The Collection of the European Investment Bank at Banco de Portugal (exhibition catalogue), text by Delphine Munro, Lisbon, Portugal: Banco de Portugal |
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Painter, Painter: Dan Perfect, Fiona Rae (exhibition catalogue), texts by Martin Herbert, introduction by Tristram Aver, Nottingham, UK: Nottingham City Museums & Galleries |
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Frieze Art Fair, London 2014, text by Martin Herbert, London, UK: Frieze |
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Prelude #1: Morceaux choisis d’une collection par Laurent Dumas, interview with Laurent Dumas by Marie Maerten, Paris, France: ADAGP |
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Roles, John, Leeds Museums and Galleries: Director's Choice, London, UK: Scala |
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Summer Exhibition Illustrated 2014: A Selection from the 246th Summer Exhibition (exhibition catalogue), text by Richard Cork, London, UK: Royal Academy of Arts |
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2013 |
Donation Florence et Daniel Guerlain - dessins contemporains (exhibition catalogue), texts by Jonas Storsve, Antonio Mirabile and Julien Brochier, foreword by Alain Seban, preface by Alfred Pacquement, Centre Pompidou, Paris, France: Editions du Centre Pompidou |
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Encounter: The Royal Academy in the Middle East (exhibition catalogue), texts by David Thorp, Dr Kathy Battista and Sa'id Costa, London, UK: Royal Academy of Arts |
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Getlein, Mark, Living with Art, Tenth Edition, USA: McGraw Hill |
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Corwin, William, Prophetic Diagrams (online exhibition catalogue), London, UK: George and Jørgen |
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2012 |
Arnason, H. Harvard, and Elizabeth Mansfield, History of Modern Art: Painting, Sculpture, Architecture, Photography, 7th ed. London, UK: Laurence King Publishing Ltd. |
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Encounter: The Royal Academy in Asia (exhibition catalogue), texts by David Thorp and Dr Charles Merewether, London, UK: Royal Academy of Arts |
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Meanings of Abstract Art, Between Nature and Theory, edited by Paul Crowther and Isabel Wünsche, London, UK: Routledge |
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Frieze Art Fair, London 2012, text by Sally O’Reilly, London, UK: Frieze |
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RA Now (exhibition catalogue), text by Mel Gooding, introduction by Christopher Le Brun, London, UK: Royal Academy of Arts |
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Sayre, Henry M., A World of Art, Sixth Edition, Oregon State University-Cascades Campus, USA: Prentice Hall |
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Sanctuary: Britain’s Artists and their Studios, texts by Hossein Amirsadeghi, Iwona Blazwick, Richard Cork and Tom Morton, London, UK: TransGlobe Publishing |
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London Twelve (exhibition catalogue), texts by Toby Clarke and Olga Malá, Prague, Czech Republic: City Gallery Prague |
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Fiona Rae: Maybe you can live on the moon in the next century (exhibition catalogue), text by Gilda Williams, introduction by Sarah Brown, Leeds, UK: Leeds Museums and Galleries |
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Summer Exhibition Illustrated 2012: A Selection from the 244th Summer Exhibition (exhibition catalogue), text by Tess Jaray, London, UK: Royal Academy of Arts |
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2011 |
American and European Painting from the Marx Collection (exhibition catalogue), texts by Eugen Blume, Lena Hennewig, Lech Karwowski, Magdalena Lewoc, Erich Marx and Katharina Schlüter, Szczecin, Poland: National Museum in Szczecin |
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Making a Scene (exhibition catalogue), text by Eleanor Nairne, Southampton, UK: Southampton City Art Gallery |
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Colección de Pintura Contemporánea Internacional (exhibition catalogue), texts by José María Arias Mosquera, David Barro and María de Corral, A Coruña, Spain: Fundación Barrié |
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Within/Beyond Borders (exhibition catalogue), text by Delphine Munro, Athens, Greece: Byzantine and Christian Museum, Athens |
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Between Film and Art - Storyboards from Hitchcock to Spielberg (exhibition catalogue), texts by Katharina Henkel, Kristina Jaspers, Peter Mänz, Andreas C. Knigge, Lena Nievers and Nils Ohlsen, Emden, Germany: Kunsthalle Emden |
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Fiona Rae (exhibition catalogue), interview by Dan Perfect, Berlin, Germany: Buchmann Galerie |
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Royal Academy Illustrated 2011: A Selection from the 243rd Summer Exhibition (exhibition catalogue), text by Richard Cork, London, UK: Royal Academy of ArtsFiona Rae (exhibition catalogue), text by Richard Shone, London, UK: Waddington Galleries |
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2010 |
Pooke, Grant, Contemporary British Art: An Introduction, London, UK: Routledge |
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Pooke, Grant and Whitham, Graham, Understand Contemporary Art, London, UK: Hodder Education |
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Barret, Terry, Making Art: Form and Meaning, New York, USA: McGraw-Hill Publishers |
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Cohen, Stewart, Identity: A photographic meditation from the inside out, Dallas, USA: Dream Editions Press |
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Fiona Rae: Special Fear! (exhibition catalogue), text by Marc Glimcher, New York, USA: PaceWildenstein |
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Art; curated by Michael Craig-Martin (exhibition catalogue), Berlin, Germany: Galerie Haas und Fuchs |
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50 Years at Pace (exhibition catalogue) texts by Arne Glimcher et al. New York, USA: The Pace Gallery |
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Royal Academy Illustrated 2010: A Selection from the 242nd Summer Exhibition (exhibition catalogue), texts by Stephen Chambers and Richard Cork, London, UK: Royal Academy of Arts |
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2009 |
As I run and run, happiness comes closer (exhibition catalogue), text by Nicolas Bourriaud, Paris, France: Galerie Nathalie Obadia |
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Plastic Culture: Legacies of Pop 1986–2008, (exhibition catalogue), texts by Roger Cook and Richard Kirwan, Preston, UK: Harris Museum and Art Gallery |
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Glyndebourne Festival Opera: 75th Anniversary (festival catalogue), Joanna Townsend (ed.), text by Emma Dexter, Lewes, East Sussex, UK: Glyndebourne |
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Painting Today, Tony Godfrey (ed.), London, UK: Phaidon |
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Arnason, H. Harvard, and Elizabeth Mansfield, History of Modern Art: Painting, Sculpture, Architecture, Photography, 6th ed. London, UK: Laurence King Publishing Ltd. |
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2008 |
Fiona Rae (exhibition catalogue), text by Matthew Collings, London, UK: Timothy Taylor Gallery |
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Toff, Dennis, The Painter RAs, London, UK: Unicorn Press |
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Rowan, Tiddy, Art in the City: London, London, UK: Quadrille |
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Rowan, Tiddy, Art in the City: Paris, London, UK: Quadrille |
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History in the Making: A Retrospective of the Turner Prize, text by Kondo Kenichi, Japan: Mori Art Museum |
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Paixóns Privadas, Visions Publicas (exhibition catalogue), text by Javier Fuentes Feo, Vigo, Spain: Museo de Arte Contemporánea de Vigo |
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2007 |
De leur temps (2) Art contemporain et collections privées en France (exhibition catalogue), text by Philippe Piguet, Grenoble, France: Musée de Grenoble |
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Oil Paintings in Public Ownership in the Government Art Collection, Sonia Roe (ed.), London, UK: The Public Catalogue Foundation |
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Open Space: Art in the Public Realm in London 1995–2005, Jemima Montagu (ed.), London, UK: Arts Council England and Central London Partnership |
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Reset: Werke aus der Sammlung Marx, Eugene Blume and Anette Husch (eds.), Berlin, Germany: Hamburger Bahnhof - Museum für Gegenwart |
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Royal Academy Illustrated 2007 (exhibition catalogue), Bill Woodrow (ed.), London, UK: Royal Academy of Arts, London, UK |
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The Turner Prize. Revised Edition, Virginia Button, London, UK: Tate Publishing |
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2006 |
1001 Paintings You Must See Before You Die, texts by Geoff Dyer, Stephen Farthing, Jamie Middleton et al. London, UK: Cassell |
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Fiction @ Love (exhibition catalogue), texts by Victoria Lu, Lim Qinyi and Kim Sunhee, Shanghai and Singapore: Museum of Contemporary Art; Singapore Art Museum |
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Fiona Rae: You are the Young and the Hopeless (exhibition catalogue), text by Dave Hickey, New York, USA: PaceWildenstein |
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New Art on View, London, UK: Scala Publishers, Ltd. |
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Pictograms: The Loneliness of Signs (exhibition catalogue), texts by Marion Ackermann, Pirkko Rathgeber, Theodora Vischer, Hadwig Goez, Cara Schweitzer, Daniela Stöppel, Wolf Tegethoff, Ulrich Wilmes, Georges Didi-Huberman and Tanja Zimmermann, Munich & Berlin, Germany: Deutscher Kunstverlag |
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Tate Modern: The Handbook, Frances Morris (ed.), texts by Michael Craig-Martin, Andrew Marr and Sheena Wagstaff, London, UK: Tate Publishing |
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2005 |
Baroque and Neobaroque/ The Hell of the Beautiful (exhibition catalogue), Salamanca, Spain: DA2 Domus Atrium |
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Blumenstück Künstlers Glück: Vom Paradiesgärtlein zur Prilblume (exhibition catalogue), texts by Gerhard Finckh, Gerhard Graulich, Alexandra Kolossa, Julia Lenz and Ute Riese, Leverkusen, Germany: Museum Morsbroich |
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Colours and Trips (exhibition catalogue), text by Oliver Zybok, Bregenz, Austria: Kunstlerhaus Palais Thurn and Taxis |
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Fiona Rae: Grotto (exhibition catalogue), text by Ralf Christofori, Cologne, Germany: Buchmann Galerie |
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No. 1: First Works by 362 Artists, Francesca Richer and Matthew Rosenzweig (eds.), New York, USA: Distributed Arts Publishers, Inc. |
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2004 |
Fiona Rae: Swag (exhibition catalogue), text by Morgan Falconer, Paris, France: Galerie Nathalie Obadia |
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Tate Women Artists, text by Alicia Foster, London, UK: Tate Gallery Publishing |
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2003 |
Arts Council Collection Acquisitions 1989 – 2002, texts by Marjorie Allthorpe-Guyton, Susan Ferleger Brades and Isobel Johnstone, London, UK: Hayward Gallery Publishing |
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A Bigger Splash: British Art from Tate 1960–2003 (exhibition catalogue), São Paulo, Brazil: Connects Cultura |
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Art at Regents Place, text by Andrea Schlieker, London, UK: The British Land Company |
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Eliasch, Amanda, British Artists At Work, texts by Gemma de Cruz, Kay Hartenstein-Saatchi and Martin Maloney, New York, USA: Assouline Publishing |
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Fiona Rae: Hong Kong Garden (exhibition catalogue), text by Jennifer Higgie, London, UK: Timothy Taylor Gallery |
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New Abstract Painting/ Painting Abstract Now (exhibition catalogue), text by Ute Riese, Leverkusen, Germany: Museum Morsbroich |
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Painting Pictures: Painting and Media in the Digital Age (exhibition catalogue), texts by Annelie Lütgens, Frank Reijnders, Walter Seitter, Knut Ebeling, Ludwig Seyfarth, Raimar Stange, Wolf Jahn and Holger Broeker, Bielefeld, Germany: Kerber Verlag |
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Talking Pieces: text und bild in der neuen kunst (exhibition catalogue), text by Ute Riese, Leverkusen, Germany: Museum Morsbroich |
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L'ABCdaire de l'Art contemporain, Nathalie Bec (ed.), texts by Catherine Francblin, Damien Sausset and Richard Leydier, Paris, France: Flammarion |
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2002 |
The Rowan Collection: Contemporary British and Irish Art (exhibition catalogue), texts by Virginia Button and Brenda McParland, Dublin, Ireland: Irish Museum of Modern Art |
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Adams, Dennis, Acquisitions 1992–2001, Rochechouart, France: Musée départemental d'art contemporain de Rochechouart |
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Fiona Rae (exhibition catalogue), texts by Jean-Pierre Criqui and Simon Wallis, interview by Simon Wallis, Nîmes, France: Carré d’Art - Musée d’art contemporain de Nîmes |
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2001 |
Catalogo de la Colleccion De Arte Contemporaneo Fundación ‘La Caixa’, Maria de Corral and Josep Vilarasau (eds.), Barcelona, Spain: Fundación ‘La Caixa’ De Pensiones |
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Fig-1: 50 Projects in 50 Weeks (exhibition catalogue), Mark Francis, Cristina Colomar and Christabel Stewart (eds.), interview by Mark Francis, London, UK: fig-1 2000 Ltd. and Spafax Publishing |
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Hybrids: International Contemporary Painting (exhibition catalogue), text by Simon Wallis, Liverpool, UK: Tate Publishing |
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AXA Art Corporate Collecting Today, texts by Claus-Michael Dill and Klaus Gallwitz, Cologne, Germany: AXA Art Versicherung AG |
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2000 |
Europe: Different Perspectives in Paintings (exhibition catalogue), Francavilla al Mare, Italy: Museo Michetti |
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Modern Art, texts by Sam Hunter, John Jacobus, and Daniel Wheeler, New York, USA: The Vendome Press |
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Sinclair, Nicholas, Portraits of Artists, texts by Ian Jeffrey and Nicholas Sinclair in conversation with Robin Dance, Aldershot, Hampshire, UK: Lund Humphries |
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1999 |
'45–99: A Personal View of British Painting and Sculpture (exhibition catalogue), text by Bryan Robertson, Cambridge, UK: Kettle’s Yard Gallery |
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Artists. Photographs by Gautier Deblonde, text by Mel Gooding, London, UK: Tate Gallery Publishing, Ltd. |
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Colour Me Blind! Painting in the Age of Computer Games and Comics (exhibition catalogue), text by Ralf Christofori, Stuttgart, Germany: Württembergischer Kunstverein |
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Fiona Rae (exhibition catalogue), text by Michael Tarantino, Nagoya, Japan: Kohji Ogura Gallery |
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Stallabrass, Julian, High Art Lite: British Art in the 1990s, London, UK and New York, USA: Verso |
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Reconciliations: Elizabeth Cooper, Stephen Davis, Fiona Rae, Juan Uslé (exhibition catalogue), text by Jeffrey Hoffeld, New York, USA: DC Moore Gallery |
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Vision: Fifty Years of British Creativity, London, UK: Thames & Hudson |
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Young British Art: The Saatchi Decade, texts by Sarah Kent, Richard Cork and Dick Price, London, UK: Booth-Clibborn Editions |
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1998 |
UK Maximum Diversity (exhibition catalogue), Brian Muller (ed.), Vienna, Austria: Galerie Krinzinger |
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1997 |
Confrontation (exhibition catalogue), Paris, France: Galerie Nathalie Obadia |
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Fiona Rae / Gary Hume (exhibition catalogue), text by Sarah Kent, London, UK: Saatchi Gallery |
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Collings, Matthew, Blimey! From Bohemia to Britpop, the London Artworld from Francis Bacon to Damien Hirst, Cambridge, UK: 21 Publishing |
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Buck, Louisa, Moving Targets: A User’s Guide to British Art Now, London, UK: Tate Gallery Publishing |
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Sensation: Young British Artists from The Saatchi Collection (exhibition catalogue), texts by Brooks Adams, Norman Rosenthal, Richard Shone, Martin Maloney and Lisa Jardine, London, UK: Thames and Hudson in association with the Royal Academy of Arts |
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Shand Kydd, Johnnie, Spit Fire: Photographs from the Art World, London, 1996/7, London, UK and New York, USA: Thames and Hudson; Violette Editions |
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Button, Virginia, The Turner Prize, London, UK: Tate Gallery Publishing |
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Treasure Island (exhibition catalogue), Lisbon, Portugal: Fundação Calouste Gulbenkian |
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Rue Descartes / 16, Pratiques abstraits, Catherine Perret (ed.), France: Collège International de Philosophie, Imprimerie des Presses Universitaires de France |
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1996 |
About Vision: New British Painting in the 1990s (exhibition catalogue), includes artist statement, Oxford, UK: Museum of Modern Art |
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Fiona Rae (exhibition catalogue), text by Richard Shone, interview by Daniel Richter, Berlin, Germany: Contemporary Fine Arts |
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Made In London: A Collection of Works by London Based Artists Made in the 1990s, London, UK: Simmons and Simmons |
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Nuevas Abstracciones (exhibition catalogue), Díaz de Rábago, Belén (ed.), Belén Díaz de Rábago (ed.), texts by Enrique Juncosa, Arthur C. Danto and Demetrio Paparoni, Madrid and Barcelona, Spain: Museo Nacional Centro de Arte Reina Sofía; Museu d’Art Contemporani de Barcelona |
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Schmitz, Britta, ‘Fiona Rae’, Sammlung Marx, Berlin, Germany: Hamburger Bahnhof - Museum für Gegenwart |
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The 20th-Century Art Book, London, UK: Phaidon Press |
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The Berardo Collection, texts by Sarah Wilson, Marco Livingstone, Ann Hindry, Robert Rosenblum and Alexandre Melo, Sintra, Portugal: Sintra Museum of Art |
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Morgan, Stuart, ‘Fiona Rae: Playing for Time’, What the Butler Saw, Ian Hunt (ed.), London, UK: Durian Publications |
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Chadwick, Whitney, Women, Art, and Society. 2nd ed., rev. and expanded, London, UK: Thames and Hudson |
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1995 |
Art and Design: British Art - Defining the 90s, London, UK: Academy Editions |
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Des Limites du Tableau: les Possibles de la Peinture (exhibition catalogue), texts by Jean-Marc Prévost and Ann Hindry, Rochechouart, France: Musée Départmental du Rochechouart |
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Fiona Rae (exhibition catalogue), text by Richard Shone, London, UK: Waddington Galleries |
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From Here (exhibition catalogue), text by Andrew Wilson, London, UK: Waddington Galleries and Karsten Schubert |
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New Voices (exhibition catalogue), text by Adrian Searle, UK: British Council |
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Repicturing Abstraction (exhibition catalogue), texts by Arthur C. Danto, Richard Waller, H. Ashley Kistler, Chris Gregson and Steven S. High, Richmond, Virginia, USA: Anderson Gallery, Virginia Commonwealth University |
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1994 |
Chance, Choice and Irony (exhibition catalogue), texts by Tony Godfrey et al. London, UK: Todd Gallery and John Hansard Gallery |
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Fiona Rae (exhibition catalogue), text by Emma Dexter, New York, USA: John Good Gallery |
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Kent, Sarah, 'Fiona Rae', Shark Infested Waters: The Saatchi Collection of British Art in the 90s, London, UK: Zwemmer Publishing |
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Unbound: Possibilities in Painting (exhibition catalogue), text by Adrian Searle, London: Hayward Gallery, The South Bank Centre |
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1993 |
A Decade of Collecting: Patrons of New Art Gifts 1983–1993 (exhibition catalogue), London, UK: Tate Gallery |
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Fiona Rae (exhibition brochure), text by Emma Dexter, London, UK: Institute of Contemporary Arts |
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New Voices, Noves Veus, includes artist statement, UK: British Council |
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1992 |
Fiona Rae (exhibition catalogue), text by Thomas Kellein, Basel, Switzerland: Kunsthalle Basel |
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New Voices: New Works for the British Council Collection (exhibition catalogue), London, UK: British Council |
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British Contemporary Art, 1910-1990: Eighty Years of Collecting by The Contemporary Society (exhibition catalogue), texts by Judith Collins et al. London, UK: New Amsterdam Books |
| 1991 | A View of London (exhibition catalogue), text by Michael Archer, Salzburg, Austria: Salzburger Kunstverein |
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British Art from 1930 (exhibition catalogue), London, UK: Waddington Galleries |
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Fiona Rae (exhibition catalogue), text by Stuart Morgan, London, UK: Waddington Galleries |
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John Moores Liverpool Exhibition Seventeen (exhibition catalogue), Liverpool, UK: National Museums and Galleries on Merseyside, Walker Art Gallery |
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La Metafisica della Luce (exhibition catalogue), text by Demetrio Paparoni, translated from the Italian by John Stezka, New York, USA: John Good Gallery |
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Turner Prize Exhibition 1991: An Exhibition of Work by Shortlisted Artists: Ian Davenport, Anish Kapoor, Fiona Rae and Rachel Whiteread (exhibition catalogue), text by Sean Rainbird, London, UK: Tate Gallery Publications |
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Who Framed Modern Art or The Quantitative Life of Roger Rabbit (exhibition catalogue), texts by Tricia Collins and Richard Milazzo, New York, USA: Sidney Janis Gallery |
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1990 |
Aperto (exhibition catalogue), Venice, Italy: La Biennale di Venezia |
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Contemporary London, Cologne, Germany: Nordstern Versicherungen AG |
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Fiona Rae (artist book), Glasgow, UK: Third Eye Centre |
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The British Art Show 1990 (exhibition catalogue), texts by Caroline Collier, Andrew Nairne and David Ward; includes artist statement, London, UK: South Bank Centre |
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Voorwerk 1 (artist box), Rotterdam, the Netherlands: Witte de With, Center for Contemporary Art |
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1989 |
Promises, promises (exhibition catalogue), text by Adrian Searle, London, UK: Serpentine Gallery |
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1988 |
Freeze (exhibition catalogue), text by Ian Jeffrey. London, UK: s.n. |
William Tucker
| 2018 | Kosme de Barañano, William Tucker – Mass and Figure, Estudios Durero, 2018 |
| 2016 | Dieter Schwarz, William Tucker, Kunstmuseum Winterthur, with essays by Julia Kelly, Dieter Schwarz and William Tucker, 2016 |
| 2015 | Kosme de Barañano, Tucker: Masa y Figura, Museo de Bellas Artes de Bilbao, 2015 |
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2009 |
Marzio, Peter C. Masterpieces From The Museum of Fine Arts, Houston: Director’s Choice. Yale University Press, New Haven and London, 2009. Illustrated in color, p.189 |
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2007 |
Joy Sleeman, The Sculpture of William Tucker, Lund Humphries, England, 2007. |
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2005 |
Sculpture from the Sheldon Memorial Art Gallery, edited by Karen O. Janovy, University of Nebraska Press, 2005, pages 185-187. |
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2004 |
A Vision for 21st Century Sculpture, 10 year anniversary book, Sculpture at Goodwood, West Sussex, 2004. The Sculptural Idea, James J. Kelly, Fourth Edition, Waveland Press, Inc., Long Grove, Illinois, 2004. |
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2003 |
Alan Windsor, British Sculptors of the Twentieth Century, Ashgate Publishing Limited, Aldershot, England, 2003. |
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1999 |
Michael Auping, House of Sculpture, Modern Art Museum of Fort Worth, TX, 1999, page 12, illustrated page 6. |
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Brooke Barrie, Contemporary Outdoor Sculpture, Rockport Publishers, Gloucester, MA, 1999, pages 152-153. |
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1998 |
Tony Birks, The Alchemy of Sculpture, Marston House, 1998. |
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1996 |
Irving Sandler, Art of the Postmodern Era: from the late 1960s to the Early 1990s, HarperCollins Publishers, 1996. |
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1993 |
Sam Hunter & John Jacobus, Modern Art, Third Edition, Harry N. Abrams, Inc., New York, 1993, page 337. |
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1991 |
Daniel Wheeler, Art Since Mid Century 1945 to the Present, The Vendome Press, New York, 1991. |
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1985 |
Dore Ashton, American Art Since 1945, Oxford University Press, New York, 1985. |
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1984 |
The Seventh Dalhousie Drawing Exhibition: Actual Size, Dalhousie University, Halifax, Nova Scotia, Canada, 1984. John McEwen, Sculptors’ Drawings, The British Council, London 1984. Frank Gettings, Drawings 1974-84, Hirshhorn Museum & Sculpture Garden, Washington, D.C., 1984. Judith K. Collischan van Wagner, Reflections: New Conceptions of Nature, Hillwood Art Gallery, Long Island University, Greenvale, NY, 1984. |
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1983 |
Artists Choose Artists II, CDS Gallery, New York, 1983. Judith K. Collischan van Wagner, Monumental Drawings by Sculptors, Hillwood Art Gallery, Long Island University, Greenvale, NY, 1983. |
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1981 |
Sandy Nairne & Nicholas Serota, ed., British Sculpture in the Twentieth Century, Whitechapel Art Gallery, London, 1981.
John Elderfield, New Work on Paper I, Museum of Modern Art, New York, 1981.
Il Luogo della Forma: Nove Scultoi a Castelvecchio, Museo di Castelvecchio, Verona, 1981. |
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1980 |
Skulptur im 20. Jahrhundert, Wenkenpark Riehen, Basel, 1980. |
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1979 |
The Prospect Mountain Show: An Homage to David Smith, Lake George Arts Project, Lake George, New York, 1979. |
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1977 |
William Tucker, Sculptures, Arts Council of Great Britain, London, 1977-1978. |
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1972 |
The Condition of Sculpture: A Selection of Recent Sculpture by Younger British and Foreign Artists, Hayward Gallery Arts, Council of Great Britain, London, 1972.
William Tucker, British Pavilion XXXVI Venice Biennale, 1972. |
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1967 |
Guggenheim International Exhibition 1967: Sculpture from Twenty Nations, Solomon R. Guggenheim Museum, New York, 1967. |
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1966 |
Sculpture in the Open Air, Greater London Council: Battersea Park, London 1966. |
