Carsten Höller and Attilio Maranzano | “Memory” Game

Carsten Höller and Attilio Maranzano

“Memory” Game

Paris, France: GunGallery and Air de Paris, 2012

[124] pp., 11.3 × 16.5 × 21.2 cm., loose leaves

Edition of 350 signed and numbered copies

This deliberately confounding memory game was released on the occasion of the exhibition Carsten Höller and Attilio Maranzano: Memory at GunGallery, Stockholm, in 2012. The limited edition comprises sixty-two printed cards that each reproduce one of thirty-one photographs by Attilio Maranzano of an Italian amusement park on one side, and another of Maranzano’s photos on the reverse—but manipulated by Carsten Höller to resemble a drunkenly viewed version of the original. To play the game, participants place all of the images by one of the artists face down on a table. They then take turns flipping over two cards at a time in order to find a match. The object is to collect the most matches, but since the “backs” of the cards are not identical, as in the traditional children’s memory game, it’s disorienting and doubly hard to remember where each image has been placed.

The work is available from the Gagosian shop, here, for $385 US. 

Richard Artschwager: No More Running Man

[Richard Artschwager]

Richard Artschwager: No More Running Man 

Los Angeles, USA: Gagosian, 2014

88 pp., (20.9 × 27 cm., hardcover

Edition size unknown

"This book was published on the occasion of Richard Artschwager: No More Running Man at Gagosian, 980 Madison Avenue, New York, which coincided with a major touring retrospective of the artist’s work organized by the Whitney Museum of American Art in collaboration with Yale University Art Gallery. The exhibition presented Artschwager’s last series of work, variations on the motif of an isolated figure derived from a photograph—clipped from the Boston Globe—showing a man running through a park during the winter of 1989. Artschwager reimagined the image in several works beginning in 1991 and used it as the basis for this final series depicting one, two, or three monochrome silhouettes repeated or mirrored on plastic or paper. Presented in deep frames, each entry doubles as a sculpture and erases distinctions between synthetic and organic surfaces, the everyday object and the work of art.

The publication includes color productions of the twenty-five works in the exhibition as well as a preface by Bob Monk and an illustrated essay by Robert C. Morgan. The book design features a die-cut silhouette of the running man’s shape on the front and back covers, mimicking the mirrored laminated figures in Running Man (double blue) (2013).”

The book is available from the publisher here for $60 US. 

Approximate Objects [below] is on display until this Friday, April 17.

Richard Artschwager | Hydraulic Door Check

Richard Artschwager

Hydraulic Door Check

Koln, Germany:  Verlag der Buchhandlung Walther Konig, 2002

256 pp., 18.5 × 24 cm., hardcover, boxed

Edition of 500 signed and numbered copies

Housed in an archival cardboard box (21.9 × 26 cm.), the deluxe version of this 2002 exhibition catalogue is covered with the rubberized horsehair that the artist frequently used in his unique sculptures and multiples. The book was published in conjunction with a show held at MAK, Vienna, Austria, from March 27th to June 16th, 2002, curated by Daniela Zyman.

Edited by Peter Noever, the volume includes texts (in both English and German) by Jörg Heiser, Anthony Vidler, and John Yau.  These essays "consider Artschwager's artistic development, the meaning of surface quality in his work, and his place within the context of relevant art movements."

The work is available to purchase for $1000 from Gagosian gallery here. The work is available to purchase for $1000 from Gagosian gallery here. 

The work is part of Approximate Objects, an exhibition of sculptural multiples by Artschwager that is on view at Gagosian’s gallery and shop in the Burlington Arcade, London. The presentation surveys sixteen editioned works created between 1969 and 2012, alongside a selection of the artist’s publications and prints.

Nam June Paik: Art in Process

[Nam June Paik]

Nam June Paik: Art in Process

Los Angeles, USA: Gagosian, 2022

180 pp., 23.5 × 30.2 cm., hardcover

Edition size unknown

Published on the occasion of the two-part exhibition of the same name, curated by John G. Hanhardt, this volume surveys Paik’s work and reflects on the artist’s working method and the ideas and materials that inspired his art practice.

As the title suggests, the book highlights the centrality of process across Paik’s career—from the manipulation of television sets in the early 1960s to live global satellite telecasts and large-scale video sculptures. It includes collaborations with Joseph Beuys and Charlotte Moorman. 

Nam June Paik: Art in Process features essays by Hanhardt and Gregory Zinman, and extensive illustrations including numerous full-page plates and details, a foldout of the score for Paik’s Symphony for 20 Rooms (1961), as well as rarely seen archival photographs documenting Paik’s early performances by Peter Moore (1932–1993), dating from 1964 through 1977.

Rachel Whiteread | Internal Objects

[Rachel Whiteread]

Internal Objects

London, UK: Gagosian, 2021

116 pp., 22.8 × 27.9 cm., softcover

Edition size unknown

Published on the occasion of the exhibition Rachel Whiteread: Internal Objects, this catalogue explores Whiteread’s engagement with the formal language of Minimalism, as well as her "acute sensitivity to objects’ minor details and subtle markers of use and human irregularity." 

The publication includes an essay by Richard Calvocoressi; a reprint of “The Chrysanthemums,” a short story by John Steinbeck; and a poem by Mark Waldron.

Inside Franz West

[Franz West]


Inside Franz West


New York City, USA: Gagosian Gallery, 2001


72 pp., 33 x 25 cm., softcover


Edition size unknown

A large, colourful exhibition catalogue to accompany a show at the Gagosian Gallery from September 6th  to October 20th, 2001. Includes essays by Achim Hochdorfer, Daniel Birnbaum, and Henry Noltie.

Acid-Free Art Book Fair

The second Acid Free Art Book Market takes place this week in Los Angeles. Vendors include 6 Decades Books, Art Metropole, Blum & Poe, Filip, Gagosian, Karma, Marta, MOCA, Motto, New Documents, Primary Information, Printed Matter, RE/Search, and dozens of others. See above poster and visit the website here, for more information. 

At noon tomorrow, Micah Lexier presents a talk called "Selling Holes for 5 Dollars and Other Multiples". A signing for his recent collaborative book with Michael Dumontier, Call Ampersand Response, takes place at 2pm at table D01. 

Jeff Wall | Fortified Door

Jeff Wall
Fortified Door
London, UK: Phaidon, 2008
280 pp., 20.75" x 16.75", boxed hardcover
Edition of 100 [+ 10 AP]


A signed and numbered silver gelatin print with a custom-bound special edition of the hardcover book featuring 185 colour and 30 black and white illustrations, housed in a cloth-covered custom clamshell box.


"The documentary image Fortified Door is a portrait of urban defense that denies entry not only to visitors but also to the viewer. Tightly cropped and shot nearly head-on, it offers little information about its location or context—although small clues can be found at the edges of the photo. The door and the picture of it share a particularly ambivalent position in time, quoting idioms from the past but bearing traces of the present.

The Survey by Thierry de Duve, author of Pictorial Nominalism and The Definitively Unfinished Marcel Duchamp, proposes an alternative history of modernism. Critic and curator Arielle Pelenc talks with the artist on themes ranging from storytelling to cinematography. Boris Groys, author of Contemporary Art from Moscow, focuses on the meaning of light in Jeff Wall's work. The Update section by French art critic and historian of photograpy Jean-Francois Chevrier surveys Wall's work from 1995 to the present. The artist has chosen texts by Blasie Pascal and Franz Kafka for the Artist's Choice, and the Artist's Writings celebrate Wall as an art historian and theorist by including key essays and important interviews."

— Phaidon

A self-titled exhibition of Wall's work opens two weeks today (April 30) at Gagosian Gallery in NYC, with a reception from 6 to 8pm. The exhibition continues until June 22nd.

The FLAG Art Foundation 2008–2018

[Glenn Fuhrman, Stephanie Roach, James Frey, Carolyn Twersky, etc.]
The FLAG Art Foundation 2008–2018
New York City, USA: Gregory R Miller & Co., 2019
256 pp., 8.5 x 10.75", hardcover
Edition size unknown

Released in late February of this year, this title documents the first decade of programming of the FLAG Art Foundation, founded by financier, philanthropist and collector Glenn Fuhrman. FLAG's mandate is to promote the appreciation of contemporary art among a diverse audience, often by hiring non-artworld professionals to curate exhibitions. To date, more than 50 exhibitions have been mounted, with works by more than 500 artists presented. The curators have ranged from artists to athletes, writers to historians, fashion designers to museum directors, etc. etc.

The FLAG Art Foundation 2008–2018 is a fully illustrated account of these projects, with installation views of each exhibition, along with texts from people who have played key roles in FLAG’s history and interviews with Sarah Douglas, Glenn Fuhrman and Stephanie Roach.

Fuhrman will be in conversation with Lawrence Weiner at the Gagosian Shop on April 16th, between 6 and 7 pm. A book signing will follow.

The Gagosian Shop is located at 976 Madison Avenue, New York. To attend, please RSVP to flagshoprsvp@gagosian.com

YVES KLEIN: BY THE BOOK

YVES KLEIN: BY THE BOOK opens today at the Gagosian Shop in Paris. The exhibition runs until the 22nd of December.
"Gagosian Shop, Paris, is pleased to present Yves Klein: By the Book, a tribute to the artist in what would have been his ninetieth year.

A major figure of the French avant-garde movement Nouveau Réalisme, Yves Klein (1928–1962) continually sought to create more direct ways of experiencing reality. His paintings, sculptures, photographs, books, and performances often blurred the boundaries between observation and sensation—from his studies of speed to his use of “International Klein Blue” (IKB), the eponymous pigment that he developed with a chemist. Klein experimented with IKB throughout his oeuvre as a way to communicate his utopian vision of the world. As he stated in a 1959 lecture at the Sorbonne, “Blue has no dimensions, it is beyond dimensions, whereas the other colors are not. . . . All colors bring forth specific associative ideas, tangible or psychological, while blue suggests, at most, the sea and sky, and they, after all, are in actual nature what is most abstract.” This line of inquiry led to Klein’s “The Monochrome Adventure: The Monochrome Epic” (1960), in which he wrote that he saw vast expanses of color as “a window opened onto the freedom to become impregnated with the immeasurable state of color in a limitless, infinite manner.” Though Klein’s life came to an untimely end in 1962, at the age of thirty-four, the profound impact of his work and career is still felt today.

The Shop takeover will include rare books and ephemera, such as Klein’s Dimanche 27 novembre 1960 “Le journal d’un seul jour” (1960), Les Fondements du Judo (1954), and Triptyque de Krefeld (1961), as well as the LP of La Conférence à la Sorbonne 1959 (1962). Photographs by René Burri and Pierre Boulat will also be on view, the former showing Klein at work in his studio and the latter documenting the opening of the 1961 exhibition Yves Klein: Monochrome und Feuer, Museum Haus Lange, Krefeld, Germany. Significant new and out-of-print monographs and exhibition catalogues will also be available.

The Paris Shop will be open along with our regular gallery exhibitions, Tuesday through Saturday, from 11am to 7pm. For inquiries about available publications, please contact rarebooks@gagosian.com or shop.paris@gagosian.com."

- press release

John Curin book signing tonight

[John Curin]
John Currin
New York City, USA: Gagosian, 2016
136 pp., 25.4 × 32.3 cm., hardcover
Edition size unknown

Published in late 2016, John Curin features over forty-five color reproductions of the artist's paintings from 2011 to 2015, and an essay by James Lawrence. The book is available here, for $100 US.

The artist will be signing the catalogue tonight between 6 and 8pm at the Gagosian Shop in New York (976 Madison Ave). The event will also feature the launch of seven new prints by Curin.

To attend, please RSVP to Currin@gagosian.com.

Ed Ruscha Books & Co.

Ed Ruscha Books & Co. Press Release:


"Gagosian Gallery is pleased to present “Ed Ruscha Books & Co.,” an exhibition of artists' books by and after Ed Ruscha. The exhibition is organized by Gagosian director Bob Monk.

In the 1960s, Ruscha was credited with reinventing the artist's book, producing and self-publishing a series of slim volumes of photography and text. By turning away from the craftsmanship and luxury status that typified the livre d'artiste in favor of the artistic idea or concept, expressed simply and in editions that were unsigned and inexpensively printed, Ruscha opened the genre to the possibilities of mass-production and distribution. “Ed Ruscha Books & Co.” presents Ruscha's iconic books together with those of more than one hundred artists from all over the world—from Russia to Japan to the Netherlands—who have responded directly and diversely to his lead. Many books are installed so that viewers can browse their pages. After presentations in New York, Munich and Paris (2013–15) the exhibition run will conclude in Ruscha's home city of Los Angeles. The exhibition will be presented in conjunction with “Ed Ruscha Prints and Photographs.”

Inspired by the unassuming books that he found in street stalls during a trip to Europe, Ruscha published his first artist book in 1962, Twentysix Gasoline Stations under his own imprint, National Excelsior Press. Priced at $3.50, it is exactly what its title suggests: twenty-six photographs of gas stations with captions indicating brand and location. Initially, the book was received with indifference, and was even rejected by the Library of Congress for its “unorthodox form and supposed lack of information.” However, over time it acquired cult status, and by the 1980s it was hailed as one of the first truly modern artist books. Ruscha followed this up with a succession of similarly self-evident and deadpan photographic books chronicling aspects of Los Angeles, or his round-trip drives between Los Angeles and Oklahoma, including Some Los Angeles Apartments (1965), Nine Swimming Pools and a Broken Glass (1968), and Real Estate Opportunities (1970). Their use of photography as a form of map-making or topographical study signals a conceptual, rather than documentary, thrust.

2016 marks the fiftieth anniversary of Every Building on the Sunset Strip (1966)—the 25-foot long, accordion-folded book. One of his most iconic artist books of all time, the past half-century has seen the importance and meaning of this book expand and evolve, pulled into new light by changing historical contexts, yet always retaining an enigmatic influence over new generations of artists. His artist books have been deeply influential on peers and followers—from Bruce Nauman's Burning Small Fires (1968), where Nauman burned a copy of Ruscha's Various Small Fires and Milk (1964) and photographed the process; to Julie Cook's Some Las Vegas Strip Club (2008), which turns the lights on nocturnal haunts.

In Rew-Shay Hood Project XIV (2008–11), the British artist Jonathan Monk airbrushed a car hood with the image of Rimmy Jim's Chevron, Rimmy Jim's, Arizona, borrowed from Twentysix Gasoline Stations, remaking the book-based photograph in an industrial form. For the first time in this exhibition, nine works will be shown from Amy Park's Ed Ruscha's Every Building on the Sunset Strip, an ambitious series in which the entirety of Ruscha's original artist book is enlarged and rendered delicately in watercolor, refining and refracting the images, fifty years after the fact—watercolor having been widely used as the preferred medium to document building elevations and topography pre-photography. Mark McEvoy has created Utopian Slumps, a suite of seven prints that are “foxed,” or distressed book covers of Ruscha's books, the titles having been changed to plays on the originals—Some Los Angeles Apartments becomes Some Loser's Apartment and Nine Swimming Pools is changed to Pissing in Pools. This irreverent homage carries over in John Waters's 12 Assholes and a Dirty Foot and Louisa Vanleer's Fifteen Pornography Companies. Theo Wujcik, meanwhile, has created etchings of lounging figures who have fallen asleep reading Ruscha's books—and Dave Dyment made a painstakingly researched book called Every Building in the Sunset Strip, using Ruscha's accordion format, which chronicles stories about the history of every location photographed in Ruscha's original. As this celebratory exhibition attests, the pace at which working artists continue to pay homage to Ruscha, and the intimacy of the book and print medium as he defined it, continues to grow. At play here is not just Ruscha's long legacy, but also the continued impulse of young and contemporary artists to produce works that are tactile and immediate: in many cases hand-made and unique books, in the face of the pervasive presence of mass produced and distributed images. Ruscha's magnetism intensifies as artists from different generations and cultural contexts discover his books, outspreading into related areas of artistic endeavor.


Opening reception: Thursday, July 28th, from 6:00 to 8:00pm

456 North Camden Drive
Beverly Hills, CA 90210

T. 310.271.9400 F. 310.271.9420
losangeles@gagosian.com

Summer Hours: Mon–Fri 10-6pm"