Beatrix Ruf Book order

This comprehensive survey delves into the extensive thirty-year career of artist Keith Tyson, showcasing his innovative works and artistic evolution. It highlights his unique approach to art, blending science, philosophy, and personal experience. The book features a rich collection of images and critical essays that explore the themes and concepts central to Tyson's practice, providing insight into his impact on contemporary art.

This book is the outcome of the 2017 edition of the Verbier Art Summit last January, organized in cooperation with museumdirector Beautrix Ruf and her curatorial team at the Stedelijk Museum Amsterdam. By sharing the content of the Summit through this publication the global dialogue continues on ‘SIZE MATTERS’. The theme of the Verbier Art Summit and this accompanying publication, SIZE MATTERS! (DE)GROWTH OF THE 21ST CENTURY ART MUSEUM has been chosen by museum director Beatrix Ruf. It is based on her personal experiences with the transformations of these institutes and their corresponding increase in scale, but also about issues that every museum is faced with, struggles with, reflects on how to address, and considers in a self-critical way. The realization of the 2018 Verbier Art Summit (Jan. 18- Jan. 20) will be in the hands of museum director Daniel Birnbaum of the Moderna Museet in Stockholm, Sweden. In this way the discussion about important social issues is continually updated. By transforming the symposium into a publication moreover, Verbier Art Summit supports the further dissemination of this topical discourse, so that discussion can continue after the conferences in Verbier.

Der in Zürich lebende Künstler Thomas Müllenbach, geboren 1949 im deutschen Koblenz, stellt unsere tägliche Wahrnehmung des Vertrauten auf den Kopf und unterwandert das kollektive Verständnis von Sinn, Zweck und Wert des Sichtbaren. Immer wieder setzt er sich dabei mit der Kunstgeschichte auseinander und stellt die Möglichkeiten der Malerei zur Diskussion. Auch in der Wahl der Bildausschnitte wird das scheinbar Wichtige ausgelassen: Müllenbach präsentiert dem Betrachter mit seinen Bildern Fragmente, lässt Köpfe und Objekte durch den Bildrand beschneiden und mischt verschiedene Perspektiven. Diese reich bebilderte neue Monografie zeigt neben Thomas Müllenbachs frühem Schaffen vor allem seine neuesten Arbeiten.

Ever since her career began in the 1970s, this Bay Area artist has drawn upon fragmentary information from popular culture and her own life to produce works that play with the instability of identity and the all-around trickiness of images. In artist’s books, installations, sculptures, videos, photographs, paintings, and screen prints, Bacher uses images and objects in a physical, visceral manner. Bacher’s mixture of bodies and ideas, pop and personal, while always remaining somehow elusive, feels entirely relevant to problems in art and life now. * * In this publication, she has compiled her work from 1975 to 2013 into a hefty volume of seemingly digital files from an inventory. It is accompanied by a new essay by Caoimhín Mac Giolla Léith. * * The book is published with Kunsthalle Zürich, Portikus, Frankfurt am Main, and the Institute of Contemporary Arts, London.

The Museum Bärengasse, currently hosting the Kunsthalle Zürich, is an unconventional space for contemporary art, featuring a labyrinth of small rooms adorned with intricate paneling and ceramic stoves. The exhibition "Town-Gown Conflict" showcases artists and designers, including Lucy McKenzie, Verena Dengler, and others, who delve into textiles as a medium that raises social issues. Textiles here encompass fashion—both industrial and handcrafted—as well as craft practices like tapestry weaving and embroidery. The exhibition also examines the relationship between textiles and fine art, highlighting their role in installations and as inspiration for visual art. This publication seeks to translate the exhibition experience into book form, featuring an essay by Lucy McKenzie that discusses the strategic placement of artworks to create meaningful juxtapositions. It includes contributions about each artist from Constance Barrère Dangleterre, Catriona Duffy, and others. The book is rich with installation views and is part of the Kunsthalle Zürich series, providing a comprehensive look at the themes and artists involved in the exhibition.

The photographs of Mark Morrisroe (1959-1989) are steeped in fragility, both as material objects scored and pockmarked by the vicissitudes of time, and as forlorn commemorations of brief moments in all too brief lives. In this sense, the photographs are also objects of ephemera, of a piece with Morrisroe's equally fragile magazines, collages and drawings, which this volume compiles for the first time. Containing much previously unpublished work, Mark Dirt includes spreads from Morrisroe's punk zine Dirt ("he sort of invented the Boston punk scene," Jack Pierson later recalled of his former lover), as well as correspondence and notes by the artist, sketches and even his last will and testament. All of these documents have been assembled by Morrisroe's longtime partner Ramsey McPhillips, and represent the most complete survey of the artist's non-photographic works.

Heimo Zobernig has been a significant figure in the Austrian art scene since the early 1980s, focusing on minimalism, the dichotomy of figurativeness versus abstraction, and the essence of art itself. The Kunsthalle Zürich commenced its exhibition season at the Museum Bärengasse with Zobernig's solo exhibition, “ohne Titel (in Red).” This exhibition, set in a 1670 building, emphasized themes of “furnishing” and “light,” engaging with the domestic interiors of the historic space. By closing the windows and flooding the exhibition with red light from his 1994 work, Zobernig invited a reevaluation of concepts like “display,” “installation,” and “site-specificity,” challenging traditional notions of installation art. This publication aims to encapsulate the exhibition as a retrospective, showcasing a selection of Zobernig's work from 1985 to the present. It features an essay by Gregor Stemmrich that delves into the aforementioned concepts and their impact on the perception of art institutions like the Museum Bärengasse. The text not only reflects the exhibition but also offers insights into Zobernig's artistic practice and concerns. The publication is created in close collaboration with the artist and includes numerous installation views, enhancing the understanding of his work. Published with Kunsthalle Zürich.

Nicole Eisenman's work is inspired by power and powerlessness, art and commerce, consumerism and sex and how artistic success and everyday life are constructed.

Drawing on the language and conventions of media and advertizing, Israeli-born artist Elad Lassry (born 1977) focuses his attention on the surfaces and histories of the things and people he captures. The first monograph devoted to his work, this volume surveys Lassry's visually seductive photographs and films, which thematize the relationship between the image and the picture as an object.