The first monograph on Korean artist Kwang Young Chun, renowned for exquisite handmade mulberry paper sculptures and textured surfaces that represent harmony and conflict in the unity of many. Covering the entirety of Kwang Young Chun’s career from his early abstract paintings to his famed Aggregation series—complex structures and canvases created from the antique, handmade mulberry paper pages of literary and academic texts and tinted with teas, fruits and flowers—this book documents a highly influential contemporary artist whose work, writes the New York Times, “…makes you sense something fundamental about great art that is too often forgotten or overlooked in today’s age of instant everything….” The use of traditional materials and organic dyes, and his meticulous process, imbues Chun’s compositions with a timeless quality that has been recognised around the world. In 2001 Chun received the artist of the year award from the National Museum of Contemporary Art, Korea. His works are included in esteemed public collections such as the United Nations and Rockefeller Foundation in New York, the National Gallery of Australia at Canberra, and were recently exhibited in a three-man show with Anselm Kiefer and Gotthard Graubner at the Kunstwerk museum in Eberdingen-Nussdorf, Germany (2012). The book includes such special features as a gatefold, tinted pages, and a jacket printed on hanji, traditional handmade Korean mulberry paper.

Kwang Young Chun: Mulberry Mindscapes

Arts & Photography

RATCLIFF, Carter

Welchman, John C.

Chun, Kwang Young

Individual Artists

Skira/Rizzoli

Modernism Relocated: Towards a Cultural Studies of Visual Modernity

Allen& Unwin

Critical analyses of some of the major European artists and movements in the twentieth century, delivered with verve and insight.The ten essays in After the Wagnerian Bouillabaisse offer original critical discussions of some of the major European artists and movements in the twentieth century, beginning with important reassessments of Italian Futurism and the unique and disruptively consequential compounding of words and images in Dada and Surrealism. Welchman writes with verve and insight about the production, and circumvention, of affect in the work of Henri Matisse and Fernand Leger; the delirious splits and metaphorical ricochets fired up by Salvador Dali; and the social and philosophical ideas mobilized by Rene Magritte. The second half of the volume examines mid- and later-twentieth century artists, offering a revisionist assessment of Hans Hartung; a new analysis of major themes and issues in the work of Antoni T pies; a meditation on "whiteness" in the practice and thinking of G nter Brus; and an exploration of exchanges between the US and the UK about sculpture between 1945 and the 1970s. The book concludes with an essay on the relations between writing and seeing in the work of Swiss artist Remy Zaugg. The volume is the second in Welchman's series XX-XXI on European art from this and the last century.

After the Wagnerian Bouillabaisse, Volume 2: Essays on European Avant-Garde Art, XX-XXI (Sternberg Press)

History & Criticism

Sternberg Press

The first comprehensive survey of Joseph Kosuth's work, centering on The Second Investigation (1968–74) 
This first comprehensive survey of Joseph Kosuth's work with public media centers on his pioneering project The Second Investigation (1968–74). This indexical work takes the form of anonymous advertisements in media—newspapers, magazines, billboards, television—based on a taxonomy of the world developed in the early nineteenth century by Roget for use in his thesaurus. Marking the start of Kosuth's sustained engagement with public media, this work anticipated the media orientation of New York postmodernism beginning in the late 1970s. 
Featuring a significant reexamination of Kosuth's work with language and media by art historian John C. Welchman, an appendix by art historian Gabriele Guercio, as well as the artist's own reflections on art and media, the book is richly illustrated with unpublished material from the artist's archive along with documentation of the artist's eponymous 1997 exhibition at the MIT List Visual Arts Center and his 2004 retrospective at the Van Abbemuseum, Eindhoven.

Joseph Kosuth: Redefining the Context of Art, 1968 and After: The Second Investigation and Public Media

Guercio, Gabriele

Nicola Staeglich: Color Light Matter Mind

Ryan, David

Myers, Terry R.

Loock, Ulrich

Seyfarth, Ludwig

Ströbele, Ursula

Prinz, Susanne

Rudolph, Jette

Arend, Ingo

Tapies

The work of Antoni Tapies offers a unique case of the artist-as-shaman--that is, the artist as an alchemist who is capable of discovering the nature of materials, transforming their substance, and bringing meaning to life. A self-taught painter, Tapies began his career in the lively and exciting period directly following World War II: in 1947 he founded, along with Joan Brossa, the journal ''Dau al Set,'' which championed Surrealist aesthetics. Drawing upon the latter, Tapies created a Spanish analogue to the so-called Abstract Expressionism of the New York School, combining the techniques and forms of "action painting" with his own deep sense of human pathos. As time went by, Tapies increasingly incorporated social themes into his work, achieving a rare and impassioned mix of experimental painting and politics. This new monograph surveys the artist's career from the late 1940s to the present day, selecting works that show the diversities and unities within the artist's consistently rewarding oeuvre. What we find is an artist who has always questioned and challenged our ways of seeing art and the world, and in the process, created true masterpieces.

Tàpies, Antoni

Borja-Villel, Manuel

Borja-Villel, Manuel J.

Duttman, Alexander

Duttman, Alexander G.

Editorial Palacios y Museos

Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium. John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich

Art After Appropriation

Routledge

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