PDF catalog - Cornerhouse

SPRING 2012
Robert Heinecken
Copywork
text by Kevin Moore
Robert Heinecken (1931 – 2006) has
been called one of America’s most
influential contemporary, conceptual
photographers, and yet he rarely
used a camera. His definition
of photography encompassed
everything related to the photo; rather
than focusing on the photographic
image as a creation derived solely
from a camera, his interest was
on the relation of methods and
formalism – often in an irreverent and
humorous way – to popular media.
Copywork, presents an overview of
Heinecken’s work from the 1960s –
1990s, highlighting his exploration
of the material possibilities of the
medium, and how he created new
methods to record and produce
photographic objects using collage,
lithography, Polaroid, silver gelatin
prints, colour processes, digital
prints and experimental uses of
darkroom chemistry. This book
features a full portfolio of one of the
artist’s best-known works: the Are
You Rea series (1964 – 1968); a
series which began as photograms
of magazines and newspapers that
were subsequently made into gelatin
silver prints, and finally became an
edition of lithographs. Published in
association with Cherry and Martin,
Los Angeles; Friedrich Petzel Gallery,
New York; and Marc Selwyn Fine Art,
Los Angeles.
Rezi van Lankveld
At The First Clear Sight
texts by Leen Bedaux, Jeremiah Day,
Melissa Gronlund, Zlatko Wurzberg
Rezi van Lankveld’s paintings
strikingly balance the shift between
pictorial scene and creative process.
The artist’s working procedure has
remained the same throughout
her career; oil paint is poured onto
wooded boards or, in the case of
the newer works, onto canvas,
until an image emerges, creating
a spontaneous ambiguity to the
pictorial form captured by the artist
and spectator alike. Graduating from
Jan van Eyck Akademie, Maastricht
in 1999, the artist’s most recent
exhibition at The Approach in 2010
demonstrated a move from the
vacant spaces of van Lankveld’s
earlier paintings, towards pieces in
which the pictorial elements reach
out to the edges of the canvas,
creating forms which rise and fall
rhythmically across the work. This
publication presents a selection of
van Lankveld’s work from 2003 –
2010 for the first time. Accompanying
full colour illustrations of van
Lankveld’s work are texts by Leen
Bedaux, Jeremiah Day, Melissa
Gronlund and Zlatko Wurzberg.
Ridinghouse £27.00
ISBN 978-1-905464-50-0
hardback 112 pages
illustrated in colour
216 x 144 mm
Simon Linke
Untitled (Portraits)
Simon Linke in conversation with
Adrian Searle
Simon Linke’s newest series of
paintings continues his exploration
of the ever powerful Artforum, yet
marks a clear and major departure in
his style. Working from photographs
of a wide range of artists – including
Marina Abramovic, Albert Giacometti
and Claude Monet – taken from the
magazine, Linke first replicates the
image in pencil, then covers the
drawing in a colour wash of oil paint.
These elegant paintings stand in
stark contrast to his well-known thick
impasto paintings of advertisements
from Artforum. Published on
the occasion of Linke’s first solo
exhibition at Karsten Schubert,
London (spring 2012), full colour
plates of the eight Untitled (Portraits)
are accompanied by an interview with
the artist and critic Adrian Searle.
Ridinghouse £10.00 tbc
ISBN 978-1-905464-55-5
softback 32 pages tbc
10 colour illustrations tbc
230 x 200 mm tbc
Ernst Wilhelm Nay
texts by John-Paul Stonard, Dr Pamela Kort
For Ernst Wilhelm Nay (1902 –
1968), painting was an entrance to
a world beyond the visible, a world
more real and more vital that lay
beneath the surface of appearances.
Beginning his career as the chaotic
years of the Weimar Republic
became the dark years of the Third
Reich, it was natural that he should
look to art for an alternative reality.
One of Germany’s most important
abstract painters, this fully illustrated
publication offers a fresh approach
to Nay’s work. This first-ever English
monograph is accompanied by an
overview of his life and work by John-
Paul Stonard and in-depth history
of Nay’s reception in Britain and the
United States by Dr. Pamela Kort.
Ridinghouse £ tbc
ISBN 978-1-905464-54-8
softback 224 pages tbc
illustrations tbc
243 x 161 mm tbc
April 2012
Ernst Wilhelm Nay, Menschen in den Lofoten,
1938 Oil on canvas, 39.4 x 51.2 inches, © Ernst
Wilhelm Nay, courtesy The Nay Foundation
Bridget Riley
Paintings and Gouaches
1979 – 80 & 2011
Bridget Riley in conversation with
Robert Kudielka
Bridget Riley: Paintings and
Gouaches 1979 – 80 & 2011 features
three new paintings which represent
an important new direction in the
artist’s work as Riley brings her
exploration of the circle from the wall
to the canvas, and from black and
white to colour. Through the layering
of circles of yellow and orange, Riley
asks the eye to continuously adjust
as the shapes grow and compress,
recede and advance and dance
across the canvas. Nine early ‘wave’
gouaches, show the relationship
and interplay of the colours violet,
blue, green, yellow and pink in these
twisted curved gouaches. Full colour
illustrations are accompanied by a
conversation between Bridget Riley
and Robert Kudielka from 1978, in
which the artist discusses her move
away from the blacks, greys and
whites of her 1960s and towards
the use of the curve ‘as a rhythmic
vehicle for colour’. This publication
accompanies the exhibition held at
Karsten Schubert, London, 7 October
– 18 November, 2011.
Ridinghouse £15.00
ISBN 978-1-905464-48-7
softback 40 pages
15 colour illustrations
260 x 245 mm
Bridget Riley
colour, stripes, planes and
curves
Bridget Riley in conversation with
Michael Harrison
For 50 years Bridget Riley has been
one of the world’s leading abstract
painters. This exhibition, organised
uniquely for Kettle’s Yard (University
of Cambridge, 24 September – 20
November 2011), takes paintings and
studies from the last 30 years to trace
her progress through the agency of
stripes, planes and curves and back
to stripes. Despite being abstract,
Riley’s paintings are rooted in a
childhood of looking at nature. Art
school training in life drawing instilled
a sense of structure, since when a
continuing study of the art of the past
has stimulated and informed her
work. Her early colour paintings were
strongly influenced by the discoveries
of Seurat and the Impressionists.
Study of Cézanne, especially his
practice of drawing with colour, and
a desire to dig deeper into pictorial
space led to the introduction of
planes in grids formed by the junction
of intersecting verticals and diagonals
– and of colours and contrasts. This
catalogue contains a new interview
with the artist, conducted by Michael
Harrison, Director of Kettle’s Yard.
Ridinghouse / Kettle’s Yard £14.95
ISBN 978-1-905464-49-4
hardback 40 pages
23 colour, 3 b&w illustrations
298 x 250 mm
Ridinghouse £28.00
ISBN 978-1-905464-47-0
hardback 144 pages
150 colour illustrations
305 x 242 mm
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