Stefanie Gutheil  with co-author Nathan Moore  
 
 
JUNGLEDUNGLEDOONGLEDONG  
   
Stefanie Gutheil’s painting is an expression of an interior world of the imagination. Through the deformation, distortion and even destruction of realistic, figurative paintings, the artist creates asexual creatures and monsters that possess a rare gift – they can escape from the omnipresent codes of uniformity. Gutheil’s work contain certain imperfections, which produces an abundance of contradictions, flaws and confusions. These are raw paintings that keep their rough edges while approaching their ruptures in a light and playful way.

GUTHEIL HARDCOVER BOOK
94 PAGES
77 IMAGES
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 Marc Séguin  with an essay by James D. Campbell  
 
 
FAILURES  
   
Somewhere between minimal human presence and the material excrescence of paint, between the deep-seated pathos of his subjects and the imagination taking flight, Séguin finds his own truth. You will find no fiercer critic of the status quo depravities of the mundane culture of hate than he. He is unstoppable, and fearless in his choice of subjects. But beware! There are precipices here. His paintings are like optic Ouija Boards. Peruse them at your own risk!

SÉGUIN BOOK
44 PAGES
22 COLOR IMAGES
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 Liao Yibai  with a question and answer by Lilly Wei  
 
 
REAL FAKE  
   
China has undergone astonishing changes as it shifted into a free-market economy in what seemed a blink of an eye. With that came a new global order as the People's Republic of China, in the wake of its extraordinary metamorphosis-the second in the same century-stepped onto the world stage as a major power after decades of willful isolation. Its rags-to-riches story of material obsession is both social comedy and tragedy, exhilarating and politically fraught. Liao Yibai, a Chinese artist based in Chongqing, Sichuan Province, mulls over those changes in his shining sculptures-the better to mirror the world around them-with laughter and despair, with wit, skepticism, and originality, his tongue-in-cheek desirables in ironic collision-or is it collusion?--with the knock-off Dolce Vita they describe in which real and fake are interchangeable.

YIBAI BOOK - SPECIAL LIMITED EDITION
184 PAGES
186 IMAGES
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 Liao Yibai  with an essay by Barbara J. Bloemink, Ph.D.  
 
 
IMAGINARY ENEMY  
   
Distinctive among the many noteworthy works by Chinese contemporary artists, the sculpture of Liao Yibai uniquely explores a child's views of America during and immediately following the Cultural Revolution. In a profound, thoughtful, yet humorous way, it demonstrates how the Chinese people imagined the myth and threat of America as the world's Evil Empire. The key to understanding the Imaginary Enemy sculptures is through the stories and narratives arising from the artist's memories and dreams.

YIBAI BOOK - SPECIAL SIGNED LIMITED EDITION OF 100
30 PAGES
109 IMAGES
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 Hermann Nitsch  with an essay by Simon Zalkind  
 
 
BLOODLINE PAINTINGS BY HERMANN NITSCH  
   
Nitsch's ritual performances conflate elements of Dionysian frenzy, of medieval revel and of oblationary mystery cults from a remarkably diverse range of cultures and historical periods. They also rely on the theories of Freud, Jung and Wilhelm Reich. However, it is on the traditions and practices of Catholicism - its theology, its rituals and the forms of its popular piety that Nitsch derives the most familiar - and therefore the most psychically resonant - elements of his Aktionen. Singular emphasis is given to the potency and efficacy of blood as an atoning sacrifice, as agent of transformation, of cleansing, of spiritual intoxication, and as a numinous substance of cultus or veneration.

NITSCH HARDCOVER BOOK
81 PAGES
36 COLOR IMAGES
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 Hermann Nitsch  with an essay by Robert Morgan  
 
 
NEW PAINTINGS  
   
Upon viewing the painterly excess of Austrian-born artist Hermann Nitsch, for the first time, one may want to ask the following: What are these blood-stained canvases mixed with primary pigments trying to symbolize? After a few minutes with the work, it soon becomes apparent that Nitsch is not exactly a light-hearted provocateur. For those who have participated in his theatrical happenings at the Schloss Prinzendorf in northern Austria where his paintings are produced, Nitsch-who wears a black suit with a gray beard in the manner of Brahms-orchestrates something more than a conventional performance or installation. His paintings are the result of a massive theatre project, involving the coordination of many people.

NITSCH HARDCOVER BOARD BOOK
24 PAGES
17 FULL COLOR IMAGES
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 Yigal Ozeri  with an essay by Shlomi Rabi  
 
 
GARDEN OF THE GODS  
   
In discussion of one of the women featured in his new body of work, Garden of the Gods, Yigal Ozeri wistfully notes, "This is the perfect face of melancholy. It's such an intimate moment. She is remembering something." That Ozeri summons memory and melancholy within the same breath is not contradictory but complimentary, for the two delineate the extreme bookends of desire. Yet, it is not the desire to recreate a past event that defines the works as much as a meditation on the space between reality and fantasy.

OZERI BOOK
48 PAGES
26 COLOR IMAGES
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 Yigal Ozeri  with an essay by Phoebe Hoban  
 
 
THE WATCHER PAINTINGS  
   
The Watcher Paintings are about vigilance, about apertures, about the act of looking and about healing oneself through acute self-observation. At the core is a studio window, through which he obsessively watches, day in, day out, in sunlight, shadow and moonlight, and is, in turn, silently watched by sphinxlike pigeons. His window frames another window in a derelict turn-of-the-century building, through which can be seen yet a third window; an image that is both urban and apocalyptic, banal and haunting: Hopper paintings as ghost stories. Ozeri spent 13 months minutely observing every nuance of this deceptively simple splinter of cityscape.

OZERI HARDCOVER BOARD BOOK
32 PAGES
27 FULL COLOR IMAGES
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 Piet van den Boog  with an introduction by Fernando António Nogueira Pessoa (1888-1935)  
 
 
I wanted each and every one of them, but choosing one meant losing all the rest  
   
"I saw myself sitting in the crotch of this fig-tree, starving to death, just because I couldn't make up my mind which of the figs I would choose. I wanted each and every one of them, but choosing one meant losing all the rest, and, as I sat there, unable to decide, the figs began to wrinkle and go black, and, one by one, they plopped to the ground at my feet." -Sylvia Plath

VAN DEN BOOG HARDCOVER BOOK
42 PAGES
24 FULL COLOR IMAGES
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 Piet van den Boog  with an essay by Sara Harari  
 
 
OPHELIA  
   
We are taught to never take anything at face value, to delve beneath the surface whenever possible, and somehow unearth full meaning and full appreciation. There are always those that will by nature extract a silver lining from anything and everything that to the rest of us appears lost. In his latest body of works on black steel, Piet van den Boog flawlessly succeeds at the seemingly unattainable task of taking melancholy, desperation and violence and finding in it not only beauty, but understanding as well as peace.

VAN DEN BOOG HARDCOVER BOOK
42 PAGES
21 FULL COLOR IMAGES
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