Jens Hoffmann Knihy

In Erweiterung seines Ausstellungsprojektes Low Life Slow Life präsentiert Paul McCarthy in dieser Publikation ein Zeitarchiv richtungsweisender Bilder, Bücher, Schallplattencover, Plakate, Zeitungsausschnitte und sonstige Dokumente, die seine Kollektion untermauern und akzentuieren. Die ausgefallene Verpackung des Bandes nimmt das Originaldesign eines alten Kartons TIDE auf, einer Waschmittelmarke, die in den USA jeder kennt. Die von Paul McCarthy kuratierte Schau versammelte Arbeiten anderer Künstler, die für ihn in engem Bezug zu seiner eigenen künstlerischen Entwicklung stehen. Teil eins untersuchte seine Studentenzeit in Salt Lake City und San Francisco in den 1960er-Jahren. Der zweite Teil widmete sich den Folgejahren bis heute, insbesondere der Entstehung von Performance Art, Konzept- und Videokunst. Die Auswahl an Werken traf er dabei eklektisch und unkonventionell und mehr auf persönliche Eindrücke gestützt als auf eine neutrale kunsthistorische Bewertung ihres Einflusses.

Mit Videostills, Künstlertexten, Fotos und Skizzen dokumentiert dieses Buch die ca. 18 Performances, die John Bock während der letzten beiden Jahre gemacht hat, davon stammen 10 aus seinem Beitrag für die Documenta 11 in Kassel („Gribbohm 2B“, „Küchenvideo“) sowie „ZEROHERO“ (München, 2003), „Alice Cooper“ (Berliner Umland), „Backstage Modenschau“ (Kopenhagen, 2003), „Interest“ (Japan Triennale) u. a.

Jens Hoffmann's survey of groundbreaking exhibitions since 1989 explores the radical shifts that have taken place in the practice of curating contemporary art over the last 25 years. Nine thematic sections focus on a huge variety of exhibitions - 53 in total - including those that have explored public space; reflected on globalization; engaged audiences in revolutionary ways; and brought into the gallery other disciplines such as theatre and architecture. Five new exhibitions have been added: 'Living as Form' (New York, 2011), the first large-scale survey of 'social practice'; '55th Venice Biennale' (Venice, 2013), the first time that 'outsider art' was presented alongside 'fine art' in the most prestigious art exhibition of them all; 'When Attitudes Become Form: Bern 1969 / Venice 2013' (Venice, 2013), a remake of arguably the most important exhibition of the last 50 years; 'The Other Story' (1989-90, London), interesting as a critical response to the iconic exhibition 'Magiciens de la Terre'; 'artevida' (Rio de Janeiro, 2014), the first overview of artistic practices emerging in the 1960s and 1970s to focus on the Global South.

The artist's studio is continuously being reinvented in response to new conditions. This anthology examines current studio practice and its theoretical and historical development over the last century. It surveys a wide range of artists, focusing on the studio's transition from a site for production to a situation for creativity

Featuring over 300 illustrations, this book explores performance in art from a wide range of artistic attitudes and practices.

Instigated by a conversation between Jens Hoffman and artist Carsten H ller after the opening of Documenta 11, this project provocatively questions the ever-amplified role of the curator, the value of the artist as curator, the future of international exhibitions, and many less easily summarized tangents. Exhibited virtually on the e-flux website, The Next Documenta Should be Curated by an Artist is really much more of a question than a statement, a question to which a dozen or so artists responded in a varied manner, including Marina Abramovic, Pawel Althamer, AA Bronson, Daniel Buren, Liam Gillick, Joseph Grigely, Alfredo Jaar, Ken Lum, John Miller, and Martha Rosler. Some offered considered expository positions and formal exhibition proposals, others contributed brief wit and poetic statements. On the whole, it's an experimental means of questioning a relevant topic through one of the most important exhibitions on the international scene.

It has become almost obligatory to introduce a book on curating by noting the plethora of recent publications on the subject. How, in just a few short years, did we reach this point of saturation? What questions, exactly, do all these books address? Many attempt to offer an overview of the curatorial field as it exists today, or attempt to map its historical trajectory. Others propose a series of case studies under a common curatorial theme. All are hoping to contribute to this relatively new discipline and its accompanying canon. Edited by Jens Hoffmann, Ten Fundamental Questions of Curating offers a real critique of existing publications and modes of thinking by explicitly asking the questions that others have missed, ignored or deemed already What is a curator? What is the public? What is art? What about collecting? What is an exhibition? Why mediate art? What to do with the contemporary? What about responsibility? What is the process? How about pleasure? Here, Peter Eleey, Elena Filipovic, Juan A. Gaitán, Sofía Hernández Chong Cuy, Maria Lind, Chus Martínez, Jessica Morgan, Adriano Pedrosa, João Ribas and Dieter Roelstraete each propose and then address one question. Ten Fundamental Questions of Curating takes a back-to-basics approach--a return to a kind of zero-degree state--at a time when a recalibration of what a curator is and does seems both necessary and urgent.

In 1948 Andrew Wyeth produced what would become one of the most iconic paintings in American art: a desolate landscape featuring a woman lying in a field, that he called "Christina's World." The woman in the painting, Christina Olson, lived in Cushing, Maine, where Wyeth and his wife kept a summer house. She suffered from polio, and was paralyzed from the waist down; Wyeth was moved to portray her when he saw her one day crawling through the field towards her house. "Christina's World" was to become one of the most well-loved and most scorned works of the twentieth century, igniting heated arguments about parochialism, sentimentality, kitsch and elitism that have continued to dog the art world and Wyeth's own reputation, even after the artist's death in 2009. An essay by MoMA curator Laura Hoptman revisits the genesis of the painting, discussing Wyeth's curious focus, over the course of his career, on a deliberately delimited range of subjects and exploring the mystery that continues to surround the enigmatic painting.

An up-to-the-minute survey of contemporary sculpture and installation featuring 117 artists.