Books by Christine Mehring
Judd
by James Meyer, Yasmil Raymond, Ann Temkin, Jeffrey Weiss, Christine Mehring, Annie Ochmanek, Erica Cooke, Tamar Margalit
The first retrospective in 30 years on American maverick Donald Judd’s minimalist sculpture, architecture and furniture
Published to accompany the first US retrospective exhibition of Donald Judd’s sculpture in more than 30 years, Judd explores the work of a landmark artist who, over the course of his career, developed a material and formal vocabulary that transformed the field of modern sculpture.
Donald Judd was among a generation of artists in the 1960s who sought to entirely do away with illusion, narrative and metaphorical content. He turned to three dimensions as well as industrial working methods and materials in order to investigate “real space,” by his definition. Judd surveys the evolution of the artist’s work, beginning with his paintings, reliefs and handmade objects from the early 1960s; through the years in which he built an iconic vocabulary of works in three dimensions, including hollow boxes, stacks and progressions made with metals and plastics by commercial fabricators; and continuing through his extensive engagement with color during the last decade of his life.
This richly illustrated catalog takes a close look at Judd’s achievements, and, using newly available archival materials at the Judd Foundation and elsewhere, expands scholarly perspectives on his work. The essays address subjects such as his early beginnings in painting, the fabrication of his sculptures, his site-specific pieces and his work in design and architecture.
Donald Judd (1928–94) began his professional career working as a painter while studying art history and writing art criticism. One of the foremost sculptors of our time, Judd refused this designation and other attempts to label his art: his revolutionary approach to form, materials, working methods and display went beyond the set of existing terms in midcentury New York. His work, in turn, changed the language of modern sculpture.
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Gerhard Richter: Panorama: A Retrospective: Expanded Edition
by Mark Godfrey, Christine Mehring, Dorothée Brill, Camille Morineau, Achim Borchardt-Hume, Rachel Haidu
The expanded edition of the definitive Gerhard Richter survey
First published on the occasion of the major retrospective exhibition that opened at Tate Modern in 2011, Gerhard Richter: Panorama is the most complete overview of the artist’s entire career to date. This stunningly illustrated survey encompasses works from the late 1950s to the present―photo-paintings, abstractions, landscapes, seascapes, portraits, color charts, grey paintings, glass and mirror works, sculptures, drawings and photographs―providing the definitive account of Richter’s achievements. It also includes studio photographs, archival images and texts by an array of international critics and curators. This expanded edition of Panorama includes a new text by Mark Godfrey that covers works made since the 2011 exhibition, including the Strip, Flow and Birkenau paintings, as well as an updated chronology. With more than 300 illustrations, and an interview between Richter and Nicholas Serota, Director of Tate, this book remains the most comprehensive survey of one of the world’s pre-eminent contemporary artists.
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Blinky Palermo: Abstraction of an Era
Twenty-one-year-old Peter Heisterkamp began signing his colorful and playful abstract artworks Palermo in 1964, when peers noted his resemblance to the American gangster Frank “Blinky” Palermo. This handsome book―a historical and critical study of Palermo’s painting from the time he entered Joseph Beuys’s now famous class at the Düsseldorf academy in 1964 to his death in 1977―explores his significance for postwar and abstract art.
Christine Mehring notes that over the course of Palermo’s brief career he created five concurrent but distinct bodies of work: objects, cloth-pictures, wall-paintings, metal-pictures, and collaborative projects, primarily with his friend and colleague Gerhard Richter. Mehring shows how each of these groups demonstrates Palermo’s efforts to lead German art out of its international isolation and to transform modernist painting into historically resonant abstraction by incorporating artifice, humor, period colors, and play.
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Sadie Benning: Shared Eye
by John Corbett, Christine Mehring, Elena Filipovic, Solveig Øvstebo
This richly illustrated volume offers an in-depth look into artist Sadie Benning’s exhibition Shared Eye, presented at the Renaissance Society and the Kunsthalle Basel.
The forty mixed-media panels in Shared Eye defy easy categorization: they include collage, painting, photography, and sculpture. The seriality of the installation also nods to the artist’s history with the moving image. Throughout the 1990s, Benning created an extraordinary body of experimental video work, improvising with materials at hand and a toy camera. More than two decades later, in Shared Eye we see the handmade aesthetic, grainy imagery, and durational logic of Benning’s early videos take on different forms to correspond to our current moment.
The catalog documents the exhibition in full color, and it features an interview between the artist and Julie Ault, essays by John Corbett and Christine Mehring, and an introduction by the Renaissance Society’s executive director, Solveig Øvstebø, and Elena Filipovic, director of Kunsthalle Basel. These texts provide illuminating framework for the exhibition and key insights into how Benning pushes the limits of abstraction in response to our present political climate.
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Gerhard Richter: Early Work, 1951–1972
by Christine Mehring, Jeanne Anne Nugent, Jon L. Seydl
Born in Dresden in 1932, Gerhard Richter was first educated under the prevailing doctrine of Socialist Realism and retrained after emigrating to West Germany, thus uniquely embodying the division of Germany during the Cold War. This volume brings together new studies of his early career by an international group of scholars.
The authors approach the context from a variety of angles including the social and political histories of a divided Germany, the conflicted development of Soviet Socialist Realism in East Germany, a Cold War visuality integrating pre- and post-resettlement works, the archival dimension of the artist’s output in relation to Richter’s Atlas, and the artist’s involvement in the representation of his work in archives, exhibitions, and catalogues. The essays began as papers delivered at a symposium held at the Getty Research Institute in 2007 in conjunction with the exhibition From Caspar David Friedrich to Gerhard Richter: German Paintings from Dresden at the J. Paul Getty Museum.
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