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    Averaged Vitruvian Man, 2016. Photo courtesy the artist and Hosfelt Gallery

    Artifex Press is pleased to announce that it will be offering two months of free access to the Tim Hawkinson Catalogue Raisonné, edited by Hannah Barton, from November 1st through December 31st. Over 70 new artworks from 2019 and 2020 have recently been added to the catalogue, in addition to updated exhibition histories and bibliographies, providing insight into the latest additions to Hawkinson’s oeuvre. First published in 2015, the Tim Hawkinson Catalogue Raisonné contains detailed records for all of the artist’s works from 1986 to the present, with select meaningful student works dating back as far as 1979, encompassing his entire boundary-breaking career thus far.   

    If you have already registered for free access to our site, your account will automatically grant you access to this publication. If you have not yet registered, you may do so at artifexpress.com.

    The Tim Hawkinson Catalogue Raisonné will be available for free through the end of 2020, as part of Artifex Press’s ongoing effort to provide access to its catalogues at a time when many libraries and institutions are closed to the public to combat the spread of COVID-19.
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    Lucas Samaras with one part of Plastic Boxes, 1964. Photo by Robert R. McElroy, courtesy the artist’s studio.

    Artifex Press is pleased to announce that it will be offering free access to the Lucas Samaras: Boxes Catalogue Raisonné, edited by Hannah Barton with consulting editor Vanessa Wildenstein, beginning September 21. The catalogue is the definitive exploration of the artist’s iconic, mixed media series, comprising nearly 300 artworks. If you have already registered for free access to our site, your account will automatically grant you access to the publication. If you have not yet registered, you may do so here.

    The Lucas Samaras: Boxes Catalogue Raisonné will be available for free through the end of October 2020, as part of Artifex Press’s ongoing effort to provide access to its catalogues at a time when many libraries and institutions are closed to the public to combat the spread of COVID-19.

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    Agnes Martin in New Mexico, late 1940s. Photos courtesy Peyton Wright Gallery, Santa Fe



    Artifex Press is excited to announce that it will be offering free access to the Agnes Martin Catalogue Raisonné, edited by Tiffany Bell, during the month of August. The Agnes Martin Catalogue Raisonné comprises two volumes: Agnes Martin: Paintings, published in 2017, and Agnes Martin: Works on Paper, published in 2019. If you have already registered for free access to our site, your account will automatically grant you access to these publications. If you have not yet registered, you may do so at artifexpress.com.

    The Agnes Martin Catalogue Raisonné will be available for free through September 20, 2020 as part of Artifex Press’s ongoing effort to provide access to its catalogues at a time when many libraries and institutions are closed to the public to combat the spread of COVID-19. This follows a period of free access to the Sol LeWitt Wall Drawings Catalogue Raisonné, which ends July 31, 2020.

  • Last night, Artifex Press and Paula Cooper Gallery hosted a virtual reading of texts by Sol LeWitt, in celebration of the publication of Sol LeWitt Writings and Sol LeWitt Interviews.

    The event featured Laurie AndersonNicholas BaumeLucinda Childs, Gary Garrels, and Zoe Leonard. (Unfortunately, Adrian Piper was not able to attend.)

    The event streamed live on PCG Studio, and a video can be seen here.

    Sol LeWitt Writings and Sol LeWitt Interviews collectively chart how LeWitt's artistic practice evolved over time, but also underscore the consistency of his thinking about his art and his conception of authorship. The texts cover a range of topics, from his teaching and relationship to the art world, to his theories of artmaking and of specific groups of work, most notably his wall drawings. The volumes were edited by Lindsay Aveilhé and Chris Vacchio and have been incorporated into the Sol LeWitt Wall Drawings Catalogue Raisonné (Artifex Press, 2018).

    Sol LeWitt Wall Drawings, which includes the new volumes, is available free for registered users through the end of July 2020, as part of Artifex Press’s effort to provide access to its catalogues during the COVID-19 pandemic. To register, visit www.artifexpress.com.

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    Working drawing, Layout for Sol LeWitt: A Retrospective (San Francisco: San Francisco Museum of Modern Art, 2000). © Estate of Sol LeWitt/Artists Rights Society (ARS), New York. Photo courtesy Estate of Sol LeWitt


    Artifex Press is pleased to announce the publication of Sol LeWitt Complete Writings and Sol LeWitt Interviews. These new volumes have been compiled and edited by Lindsay Aveilhé and Chris Vacchio, and have been incorporated into Sol LeWitt Wall Drawings, the definitive catalogue raisonné of the artist’s most celebrated body of work, which was published by Artifex Press in 2018.

    The entirety of the LeWitt Wall Drawings Catalogue Raisonné, including the new Writings and Interviews volumes, is currently available for free as part of Artifex Press’s effort to make its catalogues accessible while libraries, museums, universities, and other institutions are closed during the COVID-19 pandemic.

    Sol LeWitt Complete Writings comprises 26 texts spanning the artist’s career, including several previously unpublished manuscripts. Many of the early texts relate to LeWitt’s thinking on conceptual art, a term he popularized, including, most notably, his manifestos "Paragraphs on Conceptual Art," from 1967, and "Sentences on Conceptual Art," from 1969. Several writings address the theory and practice of LeWitt’s wall drawings, including the relationship between himself, as artist, and the drafters who install the works. Additional texts are dedicated to the development of one of his conceptual systems, Drawing Series I, II, III, IIII A & B; the artist's book, a medium he championed as a co-founder of Printed Matter; and the square and the cube, two forms he would return to again and again over the five decades of his career.

    Sol LeWitt Interviews gathers 16 interviews, or roughly half of all published interviews LeWitt gave during his lifetime. The selection gives voice to a famously press-shy artist, and covers a range of topics, with early writings frequently devoted to LeWitt's teaching and relationship to the art world, while later ones tend to focus on specific bodies of work, such as wall drawings, and his philosophy of conceptual art. As a whole, the interviews chart how LeWitt's artistic practice evolved over time, but also underscore the consistency of his thinking about his art and his conception of authorship.

    Both new volumes include extensive multimedia features. Sol LeWitt Complete Writings features slideshows of original manuscript and draft pages for numerous texts. Sol LeWitt Interviews includes original audio of several of LeWitt’s discussions with interviewers.

    In addition to the Writings and Interviews volumes, Artifex Press is publishing extensive exhibition histories of LeWitt’s entire career. The new Solo and Group Exhibition Histories are the most detailed ever published about the artist, with listings of approximately 700 solo exhibitions and 2,000 group exhibitions.


    FREE ACCESS

    The entirety of the Sol LeWitt Wall Drawings Catalogue Raisonné, including the new Writings and Interviews volumes, will be available for free through the end of July 2020, as part of Artifex Press’s effort to provide access to its catalogues at a time when many libraries and institutions are closed to combat the spread of COVID-19. Artifex Press will continue to provide free access to a rotating selection of catalogues throughout the health crisis.

    To access Artifex Press’s free catalogues, users can register at www.artifexpress.com.

    Download the press release here, and visit our press page for other Artifex Press news.

  • This interview of Carina Evangelista, independent curator and Editor of the Chuck Close Catalogue Raisonné, by Sam L. Marcelo, conducted on the occasion of Special Project: Sol LeWitt at Art Fair Philippines, was originally published by BusinessWorld with the title "‘The Democratic Hand’ and the Primacy of Ideas over Execution" on February 19, 2020. It is reprinted here with permission of the publisher.



    SAM L. MARCELO: Could you walk us through the thought process behind bringing Sol LeWitt to this year’s edition of Art Fair Philippines? Why him after Weegee, the street photographer whose work you brought in last year. It’s quite a turnaround from Weegee’s gritty photojournalism to conceptualism.

    CARINA EVANGELISTA: Lisa Periquet, Trickie Lopa, and Dindin Araneta actually approached me about bringing LeWitt to Art Fair Philippines right after they saw my inclusion of a LeWitt work in Counterfeit Monochromes, the 10th anniversary exhibition I mounted for MO_Space in December 2017.

    Weegee’s iconic photographs provided the context for a public talk to which I invited Raffy Lerma and Ezra Acayan to present their work [in 2018]. The searing images they have captured left some members of the audience at the art fair in tears, providing a barometer for the fact that even at something like an art fair, Filipinos are in fact bewildered by the toll of the drug war rhetoric that transformed policy into practice.

    Although programming such as this might come across as radically different from conceptual art (which is the kind of art that is really my cup of tea), what has in fact drawn me to conceptualism is its predisposition for institutional critique and political content. It bears noting that the roots of Conceptualism can be traced not just to the US but also to Latin America, practically birthed by political upheavals there. Conceptual form and thought can thrive on social and political conditions. Although LeWitt was never overtly political, the very inception of the Wall Drawing series was for an exhibition that was clearly political in nature, the Benefit for the Student Mobilization Committee to End the War in Vietnam, an exhibition at Paula Cooper Gallery in New York in 1968.

    Asked whether art should have a social or moral purpose, his response was, “No, I think artists should have a social or moral purpose.” [The exhibition thesis I had for Counterfeit Monochromes was in fact premised around the social realities in the Philippine context that underpinned the lexicon of conceptual forms.]

    SLM: By accounts, Sol LeWitt is not the kind of artist one would see at an art fair. How did you get permission to mount his work? And how do LeWitt’s wall drawings function in the context of an art fair?

    CE: The LeWitt Estate indeed avoids installing his wall drawings in art fairs as a matter of policy. This Special Project took two years of corresponding directly with Sofia LeWitt, Sol’s daughter, who patiently listened to my advocating for such a project at Art Fair Philippines, pointing out the astonishing volume of as many as 40,000 visitors, comprising mostly students.

    In a way, Art Fair Philippines provides the annual event to which this many Filipinos are able to consider both the contemporary art that’s out in the market, works by Philippine masters, and some international art. I spoke of how interesting LeWitt’s conceptual approach to ordinary materials and bare walls allows us to consider what walls are, what walls speak, what walls accrue, what walls become.

    How such conceptualism works in the context of an art fair specifically here in the Philippines is its proposition about “the democratic hand” — that such art can be made even by hands not necessarily academically trained.

    While Philippine appetite for art can tend to hew close to photorealist virtuosity and whereas an extremely robust strand of Philippine contemporary art is social realism (particularly as a record of artistic response to the repression of the Martial Law years during the Marcos regime), it is important to provide a platform for the likewise consistent output of Philippine conceptualists who are not driven by the urge to paint hyperrealist work, to trade in social realist imagery, or to indulge in “pakapalan ng pahid ng oil paint” (who can apply oil paint thicker).

    This is not to knock this kind of output that has always fared well in the art market because there IS room for everything. It is to suggest that an understanding of conceptualism could round out the understanding of contemporary art that Art Fair Philippines attempts to cultivate. LeWitt’s conceptualism that started out with among the most basic elements of art and design — the line — proved to be extremely generative in ideas. The examples of his wall drawings posit what incredible range of forms is within the realm of possibility and imagination even within the restrictive or prescriptive parameters of instructions for abstract forms.

    Sofia LeWitt was quite patient with all my questions and helped figure out what would work given whatever logistical constraints we might have while ensuring that the project is installed in the spirit of LeWitt’s conceptualism. Anthony Sansotta, the Artistic Director of the Sol LeWitt Estate, and John Hogan, Installations Director and Archivist for Sol LeWitt Wall Drawings at Yale University Art Gallery, were both generous with their time and the “institutional memory” of which they have been custodians from decades of having worked side by side with Sol on hundreds of installations. [When I mentioned to John Hogan that I relish the thought of LeWitt’s commitment to “the democratic hand” gracing the walls in an art fair in a country currently under rule of self-proclaimed “iron fist,” he said that if LeWitt were alive, he would agree.]

    SLM: From an art historical perspective, could you describe how groundbreaking LeWitt and his approach to art-making were. As I understand it, the primacy of the idea over authorship/execution when it comes to conceptual art was — and still is, in some quarters — controversial.

    CE: LeWitt laid the precepts of conceptualism in his writing such as “Sentences on Conceptual Art” and “Paragraphs on Conceptual Art.” These articulated what artists in the 1960s were discussing and exploring as they tried to break free from the traditional notions of how to make and exhibit art.

    With premium given to the idea and to process, art could now be made with anything (including the artists’ own bodies and thus yielding to performance art), made anywhere (any wall in LeWitt’s case; out in the fields or the desert in the case of land/earth art), and made any which way (as enumerated in Richard Serra’s 1967–1968 Verblist that suggested “to shave / to smear / to fold / to tear / to scatter / to hide / to discard / to weave / to erase / to spill / to knot…” are viable ways of making art.

    If this remains controversial in some quarters, it is from the distaste for work that does not look like it warranted skill or talent to produce or work that looks happenstance or work that doesn’t seem invested at all in looking beautiful or work that was fabricated by someone else.

    A bunch of lines drawn directly on the wall with markers or a tautological sentence written directly on the wall would easily be dismissed with “And you call this art?” And yet, the incredible range of variations that such attitude toward making art has indeed pushed the frontiers of how art can be made, how art can look, and what meanings art could mine or what questions art could trigger.

    SLM: LeWitt wrote “Paragraphs on Conceptual Art,” a manifesto of sorts published in 1967. Which of the comments he made there, in your opinion, are the most relevant today?

    CE: It would have to be this: “The idea becomes a machine that makes the art.” It is what has made Conceptualism truly generative. And contrary to the notion that conceptual art is dry, that it can really be done with any medium has meant not just more than 1,300 permutations of what a wall drawing can be for LeWitt.

    In the Philippines, this spirit was embodied by Shop 6, the loose organization of artists that actively filled the walls of an empty commercial stall in Pasay from 1974 to 1975. Joe Bautista, Ed Castrillo, Roberto Chabet, Joy Dayrit, Danny Dalena, Nap Jamir, Julie Lluch, Red Mansueto, Joe Mendoza, Fernando Modesto, Yola Perez-Johnson, Allan Rivera, and Judy Sibayan were among the artists who flouted the medium-defined disciplines of painting and sculpture at Shop 6 by exhibiting all manner of things, ignited and driven by ideas.

    The conceptual output of this group at the time was perceived as an artistic indulgence when the repressive chapter of Martial Law was in fact making the ground fertile for social realist tableaux. But conceptualism allowed the artists a language that defied Imelda Marcos’s “the true, the good, and the beautiful” attempt with her cultural propaganda to perfume and mask the grotesquerie and brutality of the regime.

    Shop 6 mounted exhibitions on a WEEKLY basis — perhaps with a sense of urgency, of stealthily evading the radar of censors, or with a feverish energy during a time marked by nightly curfews. The Shop 6 impetus was a direct action that was indirect: a series of shows akin to garage theater, the only injunction of which was artistic experimentation — essentially the willful exercise of freedom of expression. Instead of boycotts or sit-ins: a series of art-ins.

    Although critics of Conceptualism might find the method responsible for “deskilling” in contemporary art practice — whereby academic training is no longer needed or the virtuosity of the artist’s hand no longer appreciated, it has truly given license to the “democratic hand” and it continues to place a premium on the weight of the idea.

    SLM: To add some personal color — what’s favorite LeWitt work and why?

    CE: With me, it’s not a matter of a much-coveted piece from an artist’s oeuvre as it is about the spirit of an artist’s attitude or output. But if I have to pick from the wall drawings that number more than 1,300, I’d pick Wall Drawing #897. It’s a simple piece painted in irregular shapes in glossy white at the top and in flat white at the bottom. Such a simple piece yet so evocative of quality that the work itself, once the paint has dried, is physically not. It makes the wall look like moisture has condensed on its surface or that the wall is somehow weeping.

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    Anthony Caro, Month of May, 1963. © Barford Sculptures Ltd. Photo courtesy Barford Sculptures and Gagosian Gallery, London



    Artifex Press is pleased to announce that it has been named publisher of the forthcoming catalogue raisonné of Anthony Caro, which is being produced in partnership with Barford Sculptures Ltd. This digital catalogue raisonné will update and revise the fifteen-volume catalogue of Caro’s sculpture, edited by Dieter Blume (multiple publishers, 1983-2011). In addition, the digital catalogue raisonné will expand upon the Blume publication through the inclusion of sculptures created between 2010 and 2013, the use of color photography, and the complete documentation of Caro works in all mediums, both two- and three-dimensional.

    Anthony Caro (1924-2013) was one of twentieth-century’s leading sculptors. He studied at the Royal Academy Schools in London (1947-52) and first came to public attention following a 1963 exhibition at Whitechapel Gallery. In that show, he placed his large, abstract brightly painted sculptures directly on the ground, a radical departure from how sculpture had previously been exhibited.

    Best known for his works in steel, Caro also created works in bronze, silver, lead, wood, stoneware, and paper. He had major retrospectives at the Museum of Modern Art, New York (1975); Trajan Markets, Rome (1992); Museum of Contemporary Art, Tokyo (1995); Tate Britain, London (2005); and three museums in Pas-de-Calais, France (2008), to accompany the opening of his Chapel of Light at Bourbourg. Caro was the recipient of many awards during his lifetime, including the Praemium Imperiale for Sculpture in Tokyo in 1992 and the Lifetime Achievement Award for Sculpture in 1997. He was knighted in 1987 and received the Order of Merit in May 2000.

    The Anthony Caro catalogue raisonné will be published in chronological volumes beginning with the 1960s. Current and past owners of Caro’s works are encouraged to contact Olivia Bax at olivia.catrais@barfordsculptures.org or Sile Stuttard at sile.catrais@barfordsculptures.org at Barford Sculptures Ltd.

    Download the press release here, and visit our press page for other Artifex Press news.

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    In their latest issue, The Art Newspaper reviews the recently published Sol LeWitt Wall Drawings Catalogue Raisonné, asking the question, “Is this the future of catalogues raisonnés?”

    The article is available in the September print edition of The Art Newspaper (no. 304) and online here.

    The Sol LeWitt Wall Drawings Catalogue Raisonné was published in July 2018 after more than a decade of continued research in close collaboration with the Estate of Sol LeWitt. The catalogue is accessible through the Artifex Press platform via subscription.

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    Wall Drawing #260 at San Francisco Museum of Art, 1975. © Estate of Sol LeWitt/Artists Rights Society (ARS), New York. Photo by Rudy Bender, courtesy San Francisco Museum of Modern Art


    Artifex Press is pleased to announce the publication of Sol LeWitt Wall Drawings. This is the seventh digital catalogue raisonné published by Artifex Press, following those for Chuck Close, Jim Dine, Tim Hawkinson, Agnes Martin, Lucas Samaras, and James Siena.

    The Sol LeWitt Wall Drawings Catalogue Raisonné is the definitive publication of LeWitt’s most celebrated body of work. The catalogue features comprehensive information for LeWitt’s approximately 1,350 wall drawings, comprising approximately 3,500 installations at more than 1,200 venues.

    The Sol LeWitt Wall Drawings Catalogue Raisonné developed out of a project begun by the artist before his death in 2007. During his lifetime, LeWitt produced three earlier catalogues raisonnés, all edited by Susanna Singer (1984; 1989; and 1992), but he intended to replace these with an updated catalogue raisonné, which he began to outline at the end of his life. After more than a decade of continued research in close collaboration with the Estate of Sol LeWitt, Artifex Press has completed work on this catalogue and has published it in digital form. The catalogue encompasses all details of the previous catalogues raisonnés with critical updates ranging from newly discovered wall drawings to corrected titles, caption information, and installation histories. As this is a digital catalogue, it will continue to be updated with new installations, new photography, and any additional information that is discovered after the initial publication date.

    “We are indebted to the diligent and comprehensive effort led by Lindsay Aveilhé, Chris Vacchio, Susanna Singer, Veronica Roberts, Béatrice Gross, Anthony Sansotta, John Hogan, Christine Lee, and David Grosz,” said Sofia LeWitt, director of the Estate of Sol LeWitt. “Their exhaustive scholarship has produced the definitive resource for scholars, galleries, institutions, and collectors.”

    Nearly every first installation of each wall drawing is illustrated with an archival photograph and additional images illustrate subsequent installations—approximately 6,000 images in total. Also included are images of the wall drawing diagrams—schematics that indicate how a work is to be installed—and dozens of multimedia features, including rarely-seen installation videos and an audio file of LeWitt delivering installation instructions for the exhibition Art By Telephone at the Museum of Contemporary Art Chicago in 1969.

    Detailed notes highlight the evolution of many wall drawings and call out important distinctions from one installation to the next. There are explanatory texts introducing each of LeWitt’s series, from the Drawing Series through Broken Bands of Color. Several essays by LeWitt are reproduced, some featuring reproductions of original manuscripts in the artist’s hand.

    Sol LeWitt Wall Drawings was edited by Lindsay Aveilhé, with Director of Research Christopher Vacchio. Critical contributions were made by Research Associate Christine Lee and David Grosz, Artifex Press’s Editor in Chief. The catalogue was completed in close collaboration with the Estate of Sol LeWitt, led by Sofia LeWitt, Anthony Sansotta, Artistic Director, and John Hogan, the Mary Jo and Ted Shen Installation Director and Archivist for Sol LeWitt Wall Drawings, Yale University Art Gallery. Artifex Press would also like to acknowledge the vital contributions of Editor Béatrice Gross, Editor Susanna Singer, and Director of Research Veronica Roberts.

    The catalogue is accessible through the Artifex Press platform. Individuals may subscribe or access the catalogue through a subscribing institution.

    Download the press release here, and visit our press page for other Artifex Press news.

  • Selected Mosaics: “Subway Portraits”

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    Pozsi/Mosaic, 2017
    Hand-glazed ceramic tile, 69 x 56 in. (175.3 x 142.2 cm)
    © Chuck Close. Photo by Nafis Azad, courtesy Metropolitan Transportation Authority Arts and Design


    Artifex Press is pleased to announce the publication of "Subway Portraits," a new chapter in the Chuck Close Catalogue Raisonné. Featuring 12 large-scale mosaic portraits commissioned by New York State Metropolitan Transportation Authority Arts and Design, the mosaics are installed in the Second Avenue-86th Street Subway Station, which opened on January 1, 2017. Chuck Close, Vik Muniz, Jean Shin, and Sarah Sze were the artists selected to produce mosaics for the stations on the Second Avenue subway line that had been long awaited since the approval of its initial proposal in 1929.

    Although Close began experimenting with creating portraits in mosaic nearly two decades ago, none had proved satisfactory to the artist until he thoroughly explored the possibilities of the medium for the subway portraits with two fabricators: Magnolia Editions in Oakland, California, and Mosaika Art and Design in Montreal. The portraits are mosaic translations from paintings, prints, and photographs of Close's subjects—artists, friends, family, and self-portraits. Although some of the artists featured might be internationally iconic such as Philip Glass, Lou Reed, and Cindy Sherman, his selection of subjects was meant less to reflect celebrity than to reflect the diversity of the ridership of the trains.

    Close has referred to himself as “an inventor of means.” The series of mosaic portraits is virtually a representative sampler not only of the range of people Close has chosen as subjects but also of the variety of methods he has explored or innovated to render the human face. Most of the glass, ceramic, or porcelain tiles were individually custom-glazed and cut by hand. The choice of material and the translation of each image in tile posed a methodological challenge specific to the source image, depending on how Close generated it.

    For mosaics based on paintings created with overlaid colors and shapes such as the 2000 painting Emma, tiles were individually custom-glazed in colors as close to the discrete strokes in oil paint on the canvases. The tiles were then individually cut and pieced together by hand to replicate the shapes in the painting. Mosaics based on watercolor prints such as Zhang Huan/Mosaic required adopting Close’s process of overlaying coats of color in glaze. Based on multiples made with felt hand stamps, Cecily/Mosaic and Kara/Mosaic required sourcing thousands of glass chips in different colors that were mechanically tumbled in different batches to keep the colors separate, each batch taking around 12 hours. The tumbled glass chips were then pieced together to approximate the nesting disks of oil paint in the felt hand stamp multiples.

    Mosaics based directly on photographs posed the challenge of striking a balance between translating the seamless realism of the photographic image and the tactile quality of mosaic tiles. This was achieved with micromosaics assembled using stained glass chips or hand-glazed ceramic tiles individually cut by hand in minuscule shapes. For example, the fine mesh of tiles creates a shimmering effect and the diagonal orientation of the grid produces dimensionality in Pozsi/Mosaic and Sienna/Mosaic. In his December 19, 2016, review of the subway portraits for The New York Times, Randy Kennedy noted that the slivers of stained glass representing the artist's facial hair in Self-Portrait (Yellow Raincoat)/Mosaic "are alone worth missing a train to inspect at close range."


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    Self-Portrait (Yellow Raincoat), 2017 (detail)
    Stained glass micromosaic, 108 x 88 in. (274.3 x 223.5 cm)
    © Chuck Close. Photo by Emily Korn, courtesy Artifex Press

    For Alex/Mosaic, which was based on a grisaille reduction block print that also appears to be continuous-tone from afar, some tiles were hand-glazed with texture both to translate the fine detail of sinuous lines, dots, or hatches in the print, and to simulate the metallic feel of the print. These cited methods were all developed and executed by Mosaika Art and Design.

    Besides both being portraits of musicians whose creative life stories are inextricable from the fabric of New York City, Lou/Mosaic and Phil/Mosaic were created after eight years of refining an experiment using a UV-cured acrylic printer at Magnolia Editions. Reversing the traditional masking strategy, the tiles were hand-glazed in 19 layers, each corresponding to a value in a spectrum from white to black. For each layer, magenta acrylic ink was applied using the printer over image areas to seal the image, washed to remove the glaze in non-image and unsealed areas, and then fired to burn off the acrylic mask. The layers of unwashed then fired glaze cumulatively built the image in topographic relief. [A time-lapse video of the process can be viewed in the Notes section of Phil/Mosaic.]

    Close identified the collaborative relationship with the fabricators as the most exciting aspect of the project with the process of seeing his ideas interpreted by others. Of the mosaics, he noted, “[Commuters] can run their fingers on the wall. The physicality is in many ways what it’s all about.”


    Carina Evangelista, Editor of the Chuck Close Catalogue Raisonné, would like to acknowledge Saskia Siebrand, Kori Smyth, and Osheen Harruthoonyan of Mosaika Art and Design; Donald Farnsworth, Era Farnsworth, and Tallulah Terryll of Magnolia Editions; Lester Burg and Tamar Steinberger of New York State Metropolitan Transportation Authority Arts and Design; Beth Zopf at Chuck Close Studio; and Ariela Alberts, David Grosz, Emily Korn, Ashley Levine, and Sarah Rossow of Artifex Press.

  • June 18, 2018 2:54 PM

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    Artifex Press has moved! Please note our new address:

    Artifex Press
    260 West 35th Street, 14th Floor
    New York, NY 10001

  • January 11, 2018 1:10 PM

    Tiffany Bell, editor of the Agnes Martin catalogue raisonné, has been named Editor at Large at Artifex Press.

    Bell, who edited Agnes Martin: Paintings (Artifex Press, 2017) and Dan Flavin: The Complete Lights, 1961–1996 (Dia; Yale University Press, 2004), will continue in her role as Editor of the Agnes Martin catalogue raisonné. She is currently working on the second volume of the catalogue raisonné, Agnes Martin: Drawings, while updating the paintings volume with new exhibitions, publications, and changes to provenance.

    In her new role, she will also advise on Artifex Press’s other catalogue raisonné projects, sharing her expertise on how to organize catalogue research, consider a budget, and tackle complex cataloguing questions.

    “There are very few people who have completed two major catalogues raisonnés, and it is hard to think of two artists who present such diverse cataloguing challenges as Dan Flavin and Agnes Martin,” said David Grosz, President of Artifex Press. “Tiffany is a real pro and a great colleague. We’re very excited about her new role.”

    “I am so pleased to have an expanded role at Artifex Press. It has been a great experience working with their fantastic staff to produce Agnes Martin: Paintings and I look forward to helping out on future projects as Artifex continues to publish catalogues raisonnés, such important contributions to art historical research,” said Bell.

    Download the press release here, and visit our press page for other Artifex Press news.

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    Lucas Samaras, Box #134, 1989. © 2017 Lucas Samaras. Photos courtesy Pace Gallery


    Artifex Press is pleased to announce the publication of the Lucas Samaras: Boxes Catalogue Raisonné. This is the sixth catalogue raisonné published by Artifex Press, following those for Chuck Close, Jim Dine, Tim Hawkinson, Agnes Martin, and James Siena.

    Lucas Samaras: Boxes is the definitive exploration of the artist’s iconic, mixed media series, a total of 295 artworks begun in the early 1960s. Samaras’s boxes delve into the subject of the self, allowing viewers access into the artist’s mind through personal and found objects or manipulated self-portraits, which are sometimes guarded by pins, razor blades, or broken glass. In addition, many works are distortions of the form of the box itself, with playful multi-colored appendages or constructions made entirely of chicken wire. Also included are related room-sized installations, such as the artist’s celebrated Mirrored Room (1966).

    Lucas Samaras: Boxes contains vivid color photography of artworks, with images of both the open and closed states of boxes, and provides an extensive collection of primary source documents such as the artist’s note cards, notebooks, and drawings, plus archival photography from important exhibitions from the 1960s and 1970s. In addition, Artifex Press created a series of videos for the catalogue raisonné displaying the moving components of boxes in the round.

    Lucas Samaras: Boxes was edited by Hannah Barton, who previously edited Artifex Press’s Tim Hawkinson catalogue raisonné. Barton is building upon work done by Vanessa Wildenstein, who inaugurated this catalogue in 2004 and has served as Consulting Editor. Access to the catalogue is through subscription.

    Download the press release here, and visit our press page for other Artifex Press news.

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    Robert Irwin in his studio, Venice, California, 1962. Art © Robert Irwin/Artists Rights Society (ARS), New York. Photo © Marvin Silver, courtesy Craig Krull Gallery



    A catalogue raisonné of the works by Robert Irwin is being prepared for publication by Artifex Press. Collectors, museums, and galleries who own or have owned works by Robert Irwin, including paintings, objects, and installations, and have not yet been contacted, are invited to be in touch with the editor, Marianne Stockebrand, at:

    Artifex Press
    109 West 27th Street
    8th Floor
    New York, NY 10001
    Phone: 212-414-1482
    Fax: 212-414-1486
    Email: IrwinCR@artifexpress.com

    All information will be kept strictly confidential upon request.

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    Installation view, Carl Andre, Whitechapel Art Gallery, London, 1978. © 2017 Carl Andre/Licensed by VAGA, New York, NY. Photo courtesy Paula Cooper Gallery, New York


    The Carl Andre Catalogue Raisonné project seeks to document and research sculptures by Carl Andre for a catalogue raisonné prepared by Artifex Press in collaboration with the Carl Andre and Melissa L. Kretschmer Foundation.

    Collectors, museums, and galleries who own, or have owned, sculptures by Carl Andre are invited to submit details of the works. To share information, please download a PDF registration form at http://www.carlandre.net or contact the Foundation at catalogue@camkfoundation.org.

    Registration forms may also be mailed to:

    Carl Andre and Melissa L. Kretschmer Foundation
    10-02 37th Avenue
    Long Island City, NY 11101

  • July 18, 2017 3:00 PM

    Artifex Press is proud to have a patented software, a mark of the innovative nature of our product. We received our first patent in 2014 and are pleased that the United States Patent Office has recognized further uniquely designed features in an expanded patent that issued on July 11, 2017 (USP 9,703,857). To read full details, click here.

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    Yves Tanguy, Mama, Papa Is Wounded!, 1927. © 2017 Estate of Yves Tanguy / Artists Rights Society (ARS), New York. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY



    Artifex Press is pleased to announce that it has been named publisher of the forthcoming catalogue raisonné of the paintings, gouaches, and objects by Yves Tanguy, sponsored by the Pierre and Tana Matisse Foundation.

    Self-taught as a visual artist, Yves Tanguy joined the newly formed surrealist revolution under the leadership of André Breton in 1926. Tanguy quickly developed a distinctive style envisioning vast, desolate, and otherworldly landscapes that became a touchstone for his fellow surrealists and for the rapidly expanding field of modern science fiction. When he immigrated to the United States in 1939 with the American painter Kay Sage, he re-united with his childhood friend, Pierre Matisse, now a leading New York art dealer. After Sage and Tanguy married, they settled in Connecticut, not far from their old friend, Alexander Calder, their works an inspiration to one another. In response to the war in Europe, Tanguy’s works of the 1940s and 1950s became ever more hallucinatory and disturbing.

    After his early death in 1955, his widow devoted herself to the compilation of a complete catalogue of his paintings, gouaches, and objects. The catalogue was published by the Pierre Matisse Gallery shortly after Sage’s death. Owners of works not included in the 1963 catalogue immediately began to contact Pierre Matisse, who dedicated himself to publishing a supplement, but was unable to complete the project during his lifetime. His widow, Tana Matisse, established the Yves Tanguy Committee in 1999, inviting four specialists to fulfill his wish. With access to the Pierre Matisse Gallery archives and Kay Sage’s papers, the Committee has been able to review his oeuvre in detail to prepare a revised complete catalogue of his paintings, gouaches, and objects. Charles Stuckey, Head of Research, says, “Documenting Tanguy’s work completely for the first time, this publication will be an invaluable addition to the literature on surrealism and post-war American art.”

    The final meeting of the Yves Tanguy Committee will take place September 25-28, 2017 at The Pierre and Tana Matisse Foundation offices in New York. Current and past owners of Tanguy’s works are encouraged to contact Charles Stuckey, Head of Research, at yvestanguycatalogue@artifexpress.com.

    The results of this research will be published as a digital catalogue raisonné by Artifex Press, with an anticipated publication date of 2018.

    Download the press release here, and visit our press page for other Artifex Press news.

  • Artifex Press is pleased to announce the launch of its subscription service geared toward museums, academic institutions, public libraries, auction houses, galleries, and interested individuals.

    Initial subscribing institutions include the Art Institute of Chicago, the Frick Collection, the Los Angeles County Museum of Art, the Metropolitan Museum of Art, the Museum of Fine Arts, Houston, the Museum of Modern Art, the Saint Louis Art Museum, Princeton University, Yale University, Christie’s, and Sotheby’s. A full list of subscribing institutions will be updated regularly and can be viewed here.

    To date, Artifex Press has published five catalogues raisonnés: Chuck Close, Paintings, 1967-present, published in 2012; Jim Dine: Sculpture, 1983-present, published in 2013; Tim Hawkinson, published in 2015; and Agnes Martin: Paintings and James Siena, both published in February 2017. Later this year, Artifex Press will publish two additional titles: Sol LeWitt Wall Drawings and Lucas Samaras: Boxes.

    Our annual All Catalogues subscription package entitles subscribers to all Artifex Press catalogues raisonnés, updates to those catalogues, and any new catalogues published within the subscription period. Subscriptions come with the promise of new publications each year and the ongoing release of new technology.

    Single Catalogue subscriptions are also available for individuals whose interest is limited to a single artist.

    For more information about our subscription service, please contact us at info@artifexpress.com.

    Download the press release here, and visit our press page for other Artifex Press news.

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    Lee Ufan, Dialogue, 2008. © 2017 Artists Rights Society (ARS), New York / ADAGP, Paris.
    Photo by Kerry Ryan McFate, courtesy Pace Gallery


    David Grosz, President and Editor in Chief of Artifex Press, has been named Editorial Director of the Lee Ufan Catalogue Raisonné. Christine Shang-Oak Lee, who has been assisting Artifex Press’s forthcoming Sol LeWitt Wall Drawings Catalogue Raisonné, will be the Director of Research. The Lee Ufan Catalogue Raisonné will establish the definitive list of works by the artist in various mediums, including paintings, sculptures, and works on paper.

    For nearly five decades, Lee Ufan (b. 1936, Gyeongsangnam-do, Korea) has traveled between South Korea, Japan, Europe, and the United States, and created an internationally recognized body of work that draws from all of these influences. Lee first came to prominence in Japan in the late 1960s as the key theoretician of the Mono-ha (“School of Things”) group, who criticized modernism for viewing the world through abstracted representations. In his sculptural works, titled Relatum, Lee juxtaposes natural and industrial materials, usually stone and steel, and encourages a phenomenological encounter between the viewer, these objects, and the surrounding space. Beginning in the 1970s, Lee developed his iconic From Point and From Line series of paintings, whose repetitive marks across the canvas record the passage of time. Lee moves away from this systematic approach in the 1980s with his paintings series titled From Winds and With Winds, whose multi-directional, scattered brushmarks show the artist freeing himself to an undefinable, exterior force. In his paintings series titled Correspondance (1991-2006) and Dialogue (2006 – ), Lee uses a wide-tipped, flat brush to apply broad rectangular strokes on a large white canvas. The painted and unpainted areas suggest the metaphysical relationship between being and nothingness, evoking a sense of infinity. Most recently, Lee collaborated with Manufacture de Sèvres to produce ceramic works that continue to address philosophical concerns regarding materiality, time, and space.

    Lee Ufan has been the subject of more than one hundred solo exhibitions, including a career retrospective at the Solomon R. Guggenheim Museum, New York, in 2011, and a major presentation of site-specific works at the Château de Versailles, France, in 2014. Works by Lee are in the collections of the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Tate Modern, London; the National Museums of Modern Art in Tokyo and Kyoto; and the National Museum of Contemporary Art, Seoul, among other public institutions. The Lee Ufan Museum, designed by Tadao Ando, opened on the island of Naoshima, Japan, in 2010. Lee was a professor of art at Tama University in Tokyo from 1973 to 2007, and has authored numerous critical texts throughout his career. He lives and works in Kamakura, Japan, and Paris.

    Further details about the Lee Ufan Catalogue Raisonné are forthcoming.

    Download the press release here, and visit our press page for other Artifex Press news.

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    Left: Agnes Martin, The Islands, 1961. © 2017 Agnes Martin/Artists Rights Society (ARS), New York. Photo courtesy Pace Gallery
    Right: Agnes Martin, Untitled #5, 1998. © 2017 Agnes Martin/Artists Rights Society (ARS), New York. Photo by Ellen Page Wilson, courtesy Pace Gallery


    Artifex Press is pleased to announce the publication of the first volume of the Agnes Martin catalogue raisonné, Agnes Martin: Paintings, edited by Tiffany Bell. This publication is the product of more than seven years of research into the artist’s work and represents the most definitive and comprehensive study of Martin’s oeuvre to date. It joins a growing roster of catalogues raisonnés published by Artifex Press, including those for Chuck Close, Jim Dine, Tim Hawkinson, and James Siena.

    Agnes Martin (1912-2004) is known for quietly serene paintings that use the subtleties of line, surface, color, and proportion in geometric compositions of grids and stripes. Her focused body of work, which evolved over years of exploration of form and content, has informed and influenced several generations of artists, scholars, and art enthusiasts. Commencing with student paintings from the late 1940s, the Agnes Martin Catalogue Raisonné provides complete documentation of more than 630 paintings, constructions (mixed media collages and assemblages), and the film Gabriel. Many of the works are documented in this catalogue for the first time. The catalogue contains approximately 1500 high-resolution photographs, and a zoom feature allows for extremely detailed views of the artworks. Comprehensive exhibition and literature histories are available for each artwork record, in addition to indexes of all solo and group exhibitions, and six bibliographies. Provenance information is detailed on each artwork page.

    The Agnes Martin Catalogue Raisonné includes exclusive content such as previously unpublished manuscripts and pictures of the artist, in addition to many newly commissioned photographs of artworks. An Audio, Video, and Film Archive compiles multimedia pertaining to Martin’s art and also includes content exclusive to the catalogue. The Artist’s Writings and Interviews bibliography directs readers to published records of Martin discussing her art and life in her own words. An illustrated chronology provides a thoroughly researched and in-depth chronicle of the artist’s life.

    A second volume of the Agnes Martin Catalogue Raisonné, which will include unique works on paper, is forthcoming. Current and past owners are encouraged to contact Tiffany Bell at MartinCR@artifexpress.com.

    Download the press release here, and visit our press page for other Artifex Press news.

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    Multiple views of the James Siena catalogue raisonné


    Artifex Press is pleased to announce the publication of the James Siena Catalogue Raisonné. This online catalogue raisonné is the definitive record of all works created by the artist dating back to 1989, the year that he began to paint exclusively on metal, a decision that has defined his painting practice ever since. Also included is an extensive selection of early works dating from 1977 to 1988. The catalogue raisonné includes the artist’s paintings, sculptures, and gouache works. A second volume, featuring his drawings, will follow. This is one of five catalogues raisonnés published by Artifex Press, including Chuck Close, Jim Dine, Tim Hawkinson, and Agnes Martin.

    James Siena (b. 1957, Oceanside, California) is a New York-based artist best known for his intensely concentrated, vibrantly-colored geometric abstractions created using a set of self-imposed, predetermined rules, or “visual algorithms.” Siena is actively creating new work, and the catalogue raisonné will expand as his oeuvre grows. To date, the catalogue contains records of more than 430 artworks, 400 publications, and 275 exhibitions. There are approximately 900 high-resolution images, hundreds of which have never been published before, and recently unearthed audio and video content can be found in a multimedia archive. Siena’s voice is found throughout the catalogue in excerpts of interviews and, notably, in comments that he has written exclusively for this publication.

    The James Siena catalogue raisonné was edited by Ariela Alberts, who has been actively researching Siena’s body of work and collaborating directly with the artist and his studio on this project since 2014. Access to the catalogue is through subscription.

    Current and past owners are encouraged to contact Ariela Alberts at aalberts@artifexpress.com.

    Download the press release here, and visit our press page for other Artifex Press news.

  • In February 2017, Artifex Press will offer its digital catalogues raisonnés through a subscription service.

    We will offer two types of subscriptions: All Catalogues subscriptions and Single Catalogue subscriptions.


    All Catalogues subscriptions are for academic, museum, and public libraries; art galleries, auction houses, and art professionals; and interested individuals. These annual subscriptions entitle you to all existing Artifex Press catalogues raisonnés, updates to those catalogues, and any new catalogues published during your subscription period.

    For institutions, access is through an IP block, providing you the ability to have an unlimited number of users. Our subscription rate is based on the size and type of your institution, and follows the Carnegie Classification of Institutions of Higher Learning.


    Single Catalogue subscriptions are for those whose interest is limited to a specific artist. If you are interested in two or more catalogues, we encourage you to consider an All Catalogues subscription.


    Please contact us for rates and/or a free demonstration at info@artifexpress.com.

    More information about our subscriptions will be added to the website shortly.

  • We are honored to introduce the Artifex Press Advisory Board, comprised of six accomplished art professionals from such institutions as Columbia University, the Frick Collection, Hunter College, Pace Gallery, the Pollock-Krasner Foundation, and Princeton University.

    The members are William C. Agee, Curator and Evelyn Kranes Kossak Professor Emeritus of Art History, Hunter College; Sandra Ludig Brooke, Director, Marquand Library of Art and Archaeology, Princeton University; Carole Ann Fabian, Director, Avery Architectural and Fine Arts Library, Columbia University; Deborah Kempe, Chief, Collections Management and Access, Frick Art Reference Library; Jon Mason, Director, Research and Archives, Pace Gallery; and Samuel Sachs, President, Pollock-Krasner Foundation.

    Our advisory board offers advice on issues ranging from digital preservation strategies to new cataloguing projects to the launch of our subscription service. We are grateful for their ideas, contributions, and commitment to helping us make Artifex Press the best resource it can be.

    Please find extended biographies of the members of our advisory board here.

  • It was our pleasure to co-host the first ever symposium on catalogues raisonnés in the United Kingdom with Lund Humphries on Friday, November 18, at London's Chelsea College of Arts.

    For those who were not able to attend, we're pleased to share this video from the event with you:

  • Publishers Lund Humphries and Artifex Press are co-hosting a one-day international symposium on the importance, challenges, and practicalities of compiling a catalogue raisonné, including the new publishing options afforded by digital technology. The symposium, "The Catalogue Raisonné in the 21st Century," will be held on Friday, November 18, 2016, at London's Chelsea College of Arts.

    CONFIRMED SPEAKERS:

    • Dr. David Anfam, Author, Mark Rothko: The Works on Canvas, Yale University Press, 1998

    • Lindsay Aveilhé, Editor, Sol LeWitt: Wall Drawings Catalogue Raisonné

    • Dr. Lee Beard, Editor, Ben Nicholson: Catalogue Raisonné of Paintings & Carved Reliefs

    • Susan Cooke, Director of Programming, the U.S. Catalogue Raisonné Scholars Association; and Associate Director of David Smith Sculptures: A Catalogue Raisonné

    • Dr. Dietmar Elger, Director of the Gerhard Richter Archive at the Staatliche Kunstsammlungen Dresden; and editor of the Gerhard Richter Catalogue Raisonné

    • Dr. Jo Melvin, Director Barry Flanagan Estate; and Reader in Fine Art Theory, Archives and Special Collections at Chelsea College of Arts

    • James Rawlin, Independent advisor and curator, formerly Head of Modern and Post-war British Art at Sotheby's

    • Karen Sanig, Head of Art Law, Mishcon de Reya

    • Mark Waugh, Head of Research and Innovation, Design and Artists Copyright Society (DACS)

    • Sarah Whitfield, Editor, William Scott: Catalogue Raisonné of Oil Paintings, Thames & Hudson, 2013

    The day will be chaired by art historian Dr. Nicholas Tromans, curator of Watts Gallery.

    Register for the symposium here.

  • This July, a new permanent large-scale installation by Robert Irwin opened to the public at the Chinati Foundation in Marfa, Texas. We congratulate the artist on this major achievement.

    The Robert Irwin catalogue raisonné is forthcoming from Artifex Press and will be edited by Marianne Stockebrand.

    Below is a sampling of articles related to the new installation.


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    Robert Irwin, untitled (dawn to dusk), installation interior, 2016. © 2016 Robert Irwin/Artist Rights Society (ARS), New York. Photo © 2016 Philipp Scholz Rittermann, courtesy of the Chinati Foundation

    The Art Newspaper:

    "Robert Irwin Plays with Light and Dark in Marfa" by Dan Duray, July 12, 2016.


    Artforum:

    "Robert Irwin" by Janelle Zara, July 19, 2016.


    Texas Monthly:

    "Miracle in the Desert" by Michael Agresta, July 2016.


    W Magazine:

    "Robert Irwin's Grand Stand in Marfa" by Ally Betker, July 21, 2016.


    89.3 KPCC's The Frame:

    "Artist Robert Irwin Checks out the Light in West Texas" by Tom Michael, July 18, 2016.


    The Creators Project:

    "Inside Robert Irwin’s Dazzling New Monument to Light and Space" by Naila Perez-Stringari, August 21, 2016.


    Architect's Newspaper:

    "Artist Robert Irwin's Largest Work Ever, 16 Years in the Making, Is on Display in Marfa, Texas" by Jason Sayer, August 30, 2016.

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    Lee Ufan, From Line, 1982. © 2016 Artists Rights Society (ARS), New York / ADAGP, Paris. Photo by Kerry Ryan McFate, courtesy Pace Gallery



    Artifex Press is pleased to announce that it will partner with internationally celebrated Korean artist Lee Ufan to publish the Lee Ufan Catalogue Raisonné. The publication will establish the definitive inventory of works by the artist in various mediums, including paintings, sculptures, and works on paper.

    “The primary purpose of creating a catalogue raisonné is to organize and evaluate my work,” said Lee Ufan. “I trust that I will be able to make widely known the path that I have walked and my ideas.”

    For nearly five decades, Lee Ufan (b. 1936, Gyeongsangnam-do, Korea) has traveled between South Korea, Japan, Europe, and the United States, and created an internationally recognized body of work that draws from all of these influences. Lee first came to prominence in Japan in the late 1960s as the key theoretician of the Mono-ha (“School of Things”) group, who criticized modernism for viewing the world through abstracted representations. In his sculptural works, titled Relatum, Lee juxtaposes natural and industrial materials, usually stone and steel, and encourages a phenomenological encounter between the viewer, these objects, and the surrounding space. Beginning in the 1970s, Lee developed his iconic From Point and From Line series of paintings, whose repetitive marks across the canvas record the passage of time. In his recent paintings series titled Correspondance (1991-2006) and Dialogue (2006 – ), Lee uses a wide-tipped, flat brush to apply broad rectangular strokes on a large white canvas. The painted and unpainted areas suggest the metaphysical relationship between being and nothingness, evoking a sense of infinity.

    “Lee Ufan has a unique sensibility that is immediately apparent, but the full story of his creative life has yet to be told,” said David Grosz, President of Artifex Press. “Mr. Lee's works have been exhibited and collected throughout the world, and it is only with a catalogue raisonné that we can begin to understand the full scope of his achievement. It's a great honor that he has entrusted us to help him realize this career-defining publication.”

    Lee Ufan has been the subject of more than one hundred solo exhibitions, including a career retrospective at the Solomon R. Guggenheim Museum, New York, in 2011, and a major presentation of site-specific works at the Château de Versailles, France, in 2014. Works by Lee are in the collections of the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Tate Modern, London; the National Museums of Modern Art in Tokyo and Kyoto; and the National Museum of Contemporary Art, Seoul, among other public institutions. The Lee Ufan Museum, designed by Tadao Ando, opened on the island of Naoshima, Japan, in 2010. Lee was a professor of art at Tama University in Tokyo from 1973 to 2007, and has authored numerous critical texts throughout his career. He lives and works in Kamakura, Japan, and Paris.

    Further details about the Lee Ufan Catalogue Raisonné are forthcoming.

    Download the full press release here, and visit our press page for other Artifex Press news.

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    © 2015 Frank Stella / Artist's Rights Society (ARS), New York. Photo by Bill Orcutt



    Artifex Press is pleased to announce a collaboration with Frank Stella, whose retrospective is currently on view at the redesigned Whitney Museum in New York. We will be announcing further details about this forthcoming catalogue in the new year. Current and past owners of Frank Stella's paintings are encouraged to contact editor Rebecca Ann Siegel at rebecca@frankstella.us.

    Visit our press page for other Artifex Press news.

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    Lucas Samaras, Box #70, 1986. © Lucas Samaras. Photos by Ellen Labenski, courtesy Pace Gallery



    Artifex Press is pleased to announce that it will publish a catalogue raisonné of Lucas Samaras Boxes, a series of mixed media works that explore the boundary between outer appearance and inner psyche. The catalogue is being compiled by Hannah Barton, Research Associate, Artifex Press. Barton is building upon work done by Vanessa Wildenstein, who inaugurated this catalogue in 2004 and is serving as Consulting Editor.

    Samaras began creating boxes in the early 1960s. In the catalogue for his 1972-73 show at the Whitney Museum of American Art, he wrote, “We live in boxes, see and eat with boxes, travel in boxes, and even our days and nights are boxes… I found myself making boxes. And I thought that box was as important a form as the rest of the art forms or categories. The professional scribblers were not willing to consider it as mainstream art. I stubbornly persisted in waiting for new verbal criteria to be formulated.” Samaras’s boxes often delve into the subject of the self, allowing viewers access into the mind of the artist in the form of personal and found objects or manipulated self-portraits, which are often guarded by pins, razor blades, or broken glass. In addition, many of these works are distortions of the form of the box itself, with playful multi-colored appendages or constructions made entirely of chicken wire.

    Samaras has been the subject of more than one hundred solo exhibitions and seven major career retrospectives. He works in a variety of mediums, from photography to painting to collage, and frequently manipulates, distorts, and appropriates his own image to create complex reflections on identity. As exemplified in the boxes, his work emphasizes the duality of interior and exterior expression.

    Current and past owners are encouraged to contact Editor Hannah Barton at hbarton@artifexpress.com.

    Download the full press release here, and visit our press page for other Artifex Press news.

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    Niki de Saint Phalle with Tea Party, 1971. © Niki Charitable Art Foundation, All rights reserved. Photo: © Robert Doisneau/Gamma-Rapho/Getty Images



    Artifex Press is pleased to announce that it will publish the second volume of the Niki de Saint Phalle catalogue raisonné, created in partnership with the Niki Charitable Art Foundation, which has maintained the artist’s archive since her death in 2002. The catalogue will establish the definitive inventory of Saint Phalle’s women sculptures, focusing on Nanas, the artist’s large-scale and brightly colored sculptures of women, a series introduced in 1965 and that continued throughout her career. The catalogue raisonné will be compiled under the supervision of Jana Shenefield, Director of the Archives, Niki Charitable Art Foundation.

    This will be the second catalogue raisonné of the the artist’s work, following Niki de Saint Phalle : Catalogue Raisonné 1949-2000 : Paintings, Tirs, Assemblages, Reliefs, published by Editions Acatos in 2001.

    A retrospective of Saint Phalle’s work opened at the National Art Center, Tokyo, on September 18, and runs through December 14, 2015. This is the third and final venue for this traveling retrospective, after stops at the Réunion des Musées Nationaux, Grand Palais, Paris, from September 17, 2014 to February 2, 2015; and at the Guggenheim Museum Bilbao, from February 27–June 7, 2015.

    Current and past owners of Saint Phalle works are encouraged to contact the Niki Charitable Art Foundation at nanacatalogue@gmail.com and to register their works here.

    Download the full press release here, and visit our press page for other Artifex Press news.

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    John Hoyland, Scando 2.10.80, 1980. © The John Hoyland Estate. Photo by Prudence Cuming Associates



    Artifex Press is pleased to announce that it will partner with the Estate of John Hoyland on a catalogue raisonné of the artist’s paintings. One of Britain’s leading abstract artists, Hoyland (1934-2011) has been the subject of nearly 100 solo exhibitions in the UK and internationally. He made a definitive break with figurative painting while at the Royal Academy Schools in the late 1950s, becoming a vocal proponent of non-figurative imagery, which possessed, he once wrote, “the potential for the most advanced depth of feeling and meaning.” Hoyland disliked the term “abstract,” which he said, “smacks always of geometry to me, of rational thought. There's no geometry, there's no rectangles in nature... There's only the circle, the one really powerful form in nature I keep getting drawn back to.” He worked in loose series, treating each painting as independent—communicating a vivid, sensory experience, accomplished through his expert use of color and scale.

    This fall, fellow British artist Damien Hirst will inaugurate his new gallery, Newport Street Gallery in London, with a show entitled John Hoyland: Power Stations (Paintings 1964–1982). The exhibition, which opens today, October 8, 2015, features Hoyland works drawn entirely from Hirst’s personal collection. Hirst has called Hoyland “by far the greatest British abstract painter.”

    Current and past owners of John Hoyland works are encouraged to contact catrais@johnhoyland.com.

    Download the full press release here, and visit our press page for other Artifex Press news.

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    Hercules (for Goltzius), 2006. © 2015 James Siena. Photo courtesy Pace Gallery



    The James Siena Catalogue Raisonné is now requesting provenance information from collectors of the artist's work. We kindly ask that owners of these works fill out a registration form (PDF). Please return it to Artifex Press, 109 W. 27th St, 8B, New York, NY 10001, submit it online here, or email it to Ariela Alberts, at aalberts@artifexpress.com, who may also be contacted with any inquiries.

    All information will be kept strictly confidential upon request.

  • JIM DINE SCULPTURE CATALOGUE RAISONNÉ

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    Man Wears All Black, 2013, Painted wood, 79 x 49 x 26 in. (200.7 x 124.5 x 66 cm), Catalogue #2013.05



    The Jim Dine Sculpture Catalogue Raisonné, published in early 2013, now includes all new works by the artist from 2013 to the present. The new work comprises the artist's classic Pinocchio and Venus motifs, as well as a new series of work using blown glass. Also included is new information about previously published works, including the fabrication of new casts. All artworks with newly added or updated information are published in a chapter titled "2015 Update." (Subscription required to access link. Become a subscriber here.)


    TIM HAWKINSON CATALOGUE RAISONNÉ

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    Möbius Ship, 2006, Wood, plastic, Plexiglas, rope, staples, string, twist ties, and glue, 104 x 122 x 51 in. (264.2 x 309.9 x 129.5 cm), Catalogue #2006.01



    The Tim Hawkinson Catalogue Raisonné was published in January 2015 with complete artworks, exhibition history, and literature history. We have now added provenance for approximately 125 artworks. Provenance research is ongoing, and collectors are encouraged to contact the editor, Hannah Barton, at hbarton@artifexpress.com.



    Photo credits: © 2015 Jim Dine/Artists Rights Society (ARS), New York. Photo by Melissa Christy, courtesy Walla Walla Foundry; © 2015 Tim Hawkinson. Photo by Steve Oliver, courtesy Pace Gallery

  • Agnes Martin, the retrospective that opened at the Tate Modern on June 3, and will travel to Kunstsammlung Nordrhein-Westfalen, Düsseldorf, the Los Angeles County Museum of Art, and the Solomon R. Guggenheim Museum, New York, has been drawing rave reviews.

    Below is a sampling of articles related to the show, which was co-curated by Tiffany Bell, Editor of the forthcoming Agnes Martin catalogue raisonné, and Frances Morris, Head of Collections, International Art at Tate Modern.


    martin_artforum_spread.jpg

    Artforum:

    "The Rest Is Silence: The Art of Agnes Martin," Summer 2015.
    Ten artists and scholars revisit Martin’s abstraction: Anne M. Wagner, Glenn Ligon, Molly Warnock, Matt Saunders, Prudence Peiffer, Jo Baer, Christina Rosenberger, Robert Indiana, Catherine de Zegher, and Dorothea Rockburne.


    Economist:

    "Agnes Martin at Tate Modern: Sublime Simplicity" by A.C., June 3, 2015.


    Guardian:

    "Agnes Martin: The Artist Mystic Who Disappeared into the Desert" by Olivia Laing, May 22, 2015.

    "Off the Grid: The Quiet, Controlled Paintings of Agnes Martin" by Adrian Searle, June 1, 2015.


    New York Times:

    "On the Grid: Two New Books about Agnes Martin" by Patricia Albers, June 25, 2015.


    Telegraph:

    "Agnes Martin, Tate Modern, Review: 'Immaculate'" by Alastair Sooke, June 1, 2015.

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    "A catalogue raisonné is not just a compendium of dry details but can in fact tell stories," writes Carina Evangelista, Editor of the Chuck Close Catalogue Raisonné, in a recent article published in Art Libraries Journal (vol. 40, no. 2).

    The article, titled "The Digital Catalogue Raisonné: When Form Is Function," was part of a special issue dedicated to catalogues raisonnés, collection catalogues, and the future of artwork documentation, which can be purchased at Art Libraries Journal's website.

    The article is available courtesy Art Libraries Journal, published by ARLIS/UK and Ireland.

  • We congratulate Tiffany Bell, Editor of the forthcoming Agnes Martin Catalogue Raisonné, on co-curating Agnes Martin, a large-scale retrospective exhibition, with Frances Morris, Head of Collections, International Art at Tate Modern, with assistance from Dr. Lena Fritsch, Assistant Curator, Tate Modern.

    Bell has also co-authored the exhibition catalogue. The British and American covers are reproduced below.

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    Left: Tate Publishers Exhibition Catalogue; Right: Distributed Art Publishers Exhibition Catalogue


    The retrospective includes paintings, drawings, watercolors, and constructions, and spans Martin's entire career—her early, experimental and biomorphic works, her penciled grid paintings, both gray and colored stripe paintings, and her final works, which reintroduce bold forms. The exhibition is on view at the Tate Modern from June 3 to October 11, 2015.

    After the Tate, the show will travel to the Kunstsammlung NRW, Düsseldorf, the Los Angeles County Museum of Art, and the Solomon R. Guggenheim Museum, New York.

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    Agnes Martin, Friendship, 1963. © 2015 Agnes Martin /Artists Rights Society (ARS), New York. © 2012. Digital Image, The Museum of Modern Art, New York/Scala, Florence.
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    Robert Irwin, Scrim veil—Black rectangle—Natural light, 1977. Installation view, Whitney Museum of American Art, New York. Cloth, metal, and wood. 144 × 1368 × 49 inches. © 2015 Robert Irwin / Artists Rights Society (ARS), New York. Photo © Philipp Scholz Rittermann


    Artifex Press is pleased to announce that it will publish the Robert Irwin Catalogue Raisonné, and that Marianne Stockebrand has been named Editor of the project.

    Stockebrand, former Director of the Chinati Foundation, Marfa, Texas, and organizer of an Irwin retrospective during her time as Director of Kölnischer Kunstverein, Cologne, Germany, will edit the catalogue raisonné of Robert Irwin’s complete works, spanning six decades, beginning in the 1950s and continuing today.

    Irwin began his career as a painter, but gave up painting at the end of the 1960s, when he closed his studio and decided to work in given architectural, or natural, environments and develop work in response to them. Beginning in 1970, Irwin worked in, and with, entire rooms or spatial settings, both interior and exterior, intervening in these spaces in order to enhance or alter certain features. Irwin exemplified his approach in numerous museum and gallery exhibitions, many of which were temporary and have therefore been dismantled. He also received commissions for urban projects of considerable scope, including the Arts Enrichment Master Plan for Miami International Airport, the outdoor sculpture Portal Park Slice in the John W. Carpenter Park, Dallas, and the Central Gardens for the Getty Center in Los Angeles. In addition to the paintings from the ‘60s and the site-specific projects dating back to 1970, Irwin has since 2008 created a series of pieces made with fluorescent lamps.

    Works by Robert Irwin are in the collections of, among others, The Museum of Modern Art, New York; The Whitney Museum of American Art, New York; Dia Art Foundation, New York; The Art Institute of Chicago; Centre Georges Pompidou, Paris; Los Angeles County Museum of Art; The J. Paul Getty Museum, Los Angeles; The Museum of Contemporary Art San Diego; and The Indianapolis Museum of Art. He also has the distinction of being the first artist to receive the John D. and Catherine T. MacArthur “Genius” Award, which he won in 1984.

    The Robert Irwin Catalogue Raisonné will feature a comprehensive inventory of paintings, sculptures, and installations by the artist with complete artwork information, provenance, installation details, exhibition and publication histories, plus high resolution images and additional multimedia. The publication will be a sortable, searchable, web-based catalogue published by Artifex Press using its patented software platform.

    Current and past owners of Robert Irwin works are encouraged to contact Stockebrand at IrwinCR@artifexpress.com.


    About the Editor

    Marianne Stockebrand received her Ph.D. in Art History from Ludwig-Maximilians-University, Munich, in 1979. She organized a retrospective of Robert Irwin’s work at the Kölnischer Kunstverein, Cologne, Germany, where she served as Director from 1989 to 1994. Earlier positions include serving as Director of Westfälischer Kunstverein, Münster, Germany, from 1985 to 1989; and as Curator of Krefelder Kunstmuseen, Krefeld, Germany, from 1979 to 1985. From 1994 to 2010, she was Director of the Chinati Foundation, during which time the foundation’s collection expanded to include an installation of poems by Carl Andre (1995); an installation in fluorescent light for six buildings by Dan Flavin (2000); and the John Wesley Gallery (2004). Stockebrand continues her scholarly work and lectures at museums internationally.


    Download this press release as a PDF.

  • Thank you to all who joined us for the launch of Tim Hawkinson's catalogue raisonné on March 10, 2015! For those who could not attend, or would like to access a recording of the event, please listen here:

    Pictured below are Tim Hawkinson, Peggy Fogelman, Acting Director of the Morgan Library, and Hannah Barton, Editor of Tim Hawkinson's Catalogue Raisonné, who participated in a lively and engaging discussion of Tim Hawkinson's catalogue and work.

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    Artifex Press is pleased to announce the publication of Tim Hawkinson's Catalogue Raisonné. This online catalogue raisonné contains detailed records for all of the artist’s works from 1986 to the present, with select meaningful student works dating back as far as 1979, encompassing his entire boundary-breaking career thus far. This is the third publication from Artifex Press, following catalogues raisonnés for Chuck Close and Jim Dine.

    The Tim Hawkinson catalogue raisonné was released online on January 15, 2015. It will be celebrated with a public launch on March 10, 2015, at 6PM, at the New York Public Library. Hawkinson will participate in a discussion about the creation of his digital catalogue raisonné, on which he has been an active collaborator, along with Editor Hannah Barton and President David Grosz, both of Artifex Press. The event is free and open to the public.

    The Tim Hawkinson catalogue raisonné contains extensive records for more than 520 works, approximately 1500 high-resolution images—including detail shots, multiple views of three-dimensional works, and installation images—and a video archive showing kinetic works in motion. Complete exhibition and literature histories are available for each artwork record, and indexes of publications and exhibitions are hyperlinked to illustrated checklists of major solo exhibitions and important critical texts. Hawkinson’s presence is seen throughout the catalogue, including in his artist's descriptions of key artworks.

    The Tim Hawkinson catalogue raisonné is the latest example of Artifex Press’s “living catalogues raisonnés,” our new take on this essential, authoritative artist catalogue, which allows us to document in real time the most up-to-date incarnation of an artist’s complete body of work. Hawkinson’s ongoing participation in the publication’s future development will ensure the catalogue grows as his œuvre expands. The catalogue will be further extended with our ongoing provenance research.

    Access to the catalogue is subscription-based, though for a limited time we are offering free access to this catalogue, as well as to Artifex Press’s previously published catalogues raisonnés for Chuck Close and Jim Dine. Forthcoming Artifex Press catalogues include Sol LeWitt, Agnes Martin, and several others.

    If you have any information about the ownership of Hawkinson artworks, please contact the editor, Hannah Barton, at hbarton@artifexpress.com.

    Download the full press release here.

  • The Tate Modern has announced plans for a large-scale retrospective exhibition on the works of Agnes Martin. The show, which opens in June 2015, will be the first retrospective of the artist's work since her death in 2004.

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    Agnes Martin, Happy Holiday, 1999. © 2014 Agnes Martin /Artists Rights Society (ARS), New York. Photo by G.R. Christmas, courtesy Pace Gallery

    The retrospective will span Martin's entire career, including paintings, drawings, and watercolors, beginning with early, experimental works, encompassing her penciled grid paintings, both gray and colored stripe paintings, and concluding with her final works, which reintroduce bold forms.

    After the Tate, the show will travel to the Kunstsammlung NRW in Düsseldorf, the Los Angeles County Museum of Art, and the Solomon R. Guggenheim Museum in New York.

    The exhibition will be co-curated by Frances Morris, Head of Collections, International Art at Tate Modern, and Artifex Press's Tiffany Bell, Editor, Agnes Martin Catalogue Raisonné, with assistance from Dr. Lena Fritsch, Assistant Curator, Tate Modern.

  • September 30, 2014 3:44 PM

    We are pleased to announce that the Artifex Press digital catalogue raisonné platform is no longer "patent-pending." Now it's patent-approved! (Patent US 8819853 B2) We pride ourselves on the unique capabilities of our software, which unites a robust digital archive system with a sophisticated publishing tool, enabling users to create catalogues that can be constantly updated. And we are honored to receive this official recognition of our creation.

    This patent is a tribute to our talented design and engineering teams, and also to the useful feedback from our artist partners and our editorial team.

    For those who are interested in learning more about our patent, you may view it here.

  • September 11, 2014 3:17 PM

    In October 2001, the Fine Arts Work Center of Provincetown, Massachusetts, honored Chuck Close. In a video interview, Chuck Close accepts the award and talks about about being in Lower Manhattan on and just after September 11, 2001. We share this with you on the anniversary of 9/11.



    Producer: Stephanie Vevers
    Editor: Erik Moskowitz
    Video courtesy Stephanie Vevers


    To view the entire interview, please visit our Video and Audio Archive in Chuck Close's Catalogue Raisonné.

  • August 6, 2014 12:41 PM

    This month, Michael Dashkin reviewed Artifex Press's digital catalogues raisonnés for the Art Libraries Society of North America (ARLIS/NA).

    "Artifex’s [catalogues raisonnés] offer the flexibility and accessibility that will benefit any number of researchers and arts organizations; these resources can be regularly updated which is not a reality for their print counterparts. The platform’s mobility will, in particular, benefit those users who work across dispersed locations. The search functionality and the common user interface provides a consistent experience across the two published catalogues and those that are forthcoming, all while accomplishing the mission of a catalogue raisonné. Artifex’s catalogue platform promises a whole new category of accessibility, opening up an artist’s oeuvre to broad audiences across the world."

    Read the entire review here.

  • We are excited to announce the addition of a new segment to the Chuck Close catalogue raisonné, which, to date, includes all paintings by Chuck Close from 1967 to the present, selected early paintings from Close's undergraduate and graduate school years, and the sole film he has created, Slow Pan for Bob (1970).

    Now, we have also added a chapter titled "Selected Daguerreotypes: A Couple of Ways of Doing Something." Chuck Close first experimented with daguerreotypes in 1997 but was dissatisfied with the results. In September 1999, he began exploring ways to solve some technical problems with the daguerreotype process with Jerry Spagnoli. In 2002, a portfolio of 20 prints pairing daguerreotypes and praise poems written by Bob Holman was published in an edition of 75 by Art of this Century in conjunction with Harry Jancovici. Digital pigment prints were then produced for the exhibition catalogue A Couple of Ways of Doing Something, published by Aperture Foundation in 2006.

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    We have published records for these 20 works, each of which includes high-resolution images, and, particularly thrillingly, audio recordings of poet Bob Holman reading the praise poems. This selection of daguerreotypes precedes the release of a chapter on another photographic body of work, the Photo Maquettes, for which research is ongoing.

    Below, we're sharing a sneak preview of this new chapter including Chuck Close's daguerreotype of James Turrell with the accompanying audio of Bob Holman's praise poem, along with the typeset poem.

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    James, 2001
    Daguerreotype
    Image: 8 1/2 x 6 1/2 in. (21.6 x 16.5 cm)
    Verso, in permanent marker: signed, titled, and dated
    Made in association with Jerry Spagnoli, New York
    Catalogue #DG 2001.05

    © Chuck Close. Photo courtesy David Adamson, Washington, D.C.


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    James Turrell, 2006
    Digital pigment print of daguerreotype by Chuck Close and poem by Bob Holman
    Original typography and letterpress printing by Ruth Lingen; made in association with David Adamson

    Artwork © Chuck Close; Poem © Bob Holman. Photo courtesy David Adamson, Washington, D.C.


    Audio recording of the poem courtesy Bob Holman


    If you have already registered for Artifex Press, you can view the entire selection of daguerreotypes here (registration required). To register for access to our catalogues, click here.

  • Artifex Press seeks a detail-oriented, organized, and dedicated Research Intern to contribute to the preparation of the definitive catalogue raisonné of Sol LeWitt wall drawings.

    Position details:
    Duration: One year
    Type: Full-time / Temporary
    Start date: September 2014

    Responsibilities:
    The responsibilities will include:

    • Gathering and organizing material pertinent to the artist’s body of work;
    • Documenting literature and exhibition histories;
    • Entering information into the catalogue raisonné database;
    • Sourcing images and obtaining rights for publication.

    Background and qualifications:

    • Master’s degree in Art History, Art Criticism, or Art Theory
    • Knowledge of late 20th century American art, and conceptual art in particular
    • Reading knowledge of Italian, French, and/or German preferred
    • Proficiency in major word processing and database programs; Familiarity with content management systems and other web-based platforms a plus

    Required experience:

    • Curatorial and/or editorial work experience
    • In-depth research experience

    Interested candidates may send their resume and a cover letter to LeWittCR@artifexpress.com. Subject header: Sol LeWitt Research Intern Website: https://artifexpress.com/pages/sol-lewitt

    See the listing at NYFA.org.

  • June 19, 2014 1:46 PM

    Artifex Press, a publisher of digital catalogues raisonnés, is seeking an energetic and highly organized individual for a paid summer photography archives internship.

    Artifex Press is the first publishing company dedicated to the creation of comprehensive, publicly accessible, online catalogues raisonnés. Artifex Press’s first two catalogues are Chuck Close: Paintings, 1967-present and Jim Dine: Sculpture, 1983-present. We are also working on catalogues for Sol Lewitt and Agnes Martin, with several more to follow.

    The intern will be responsible for assisting the Archivist and Artifex staff with a range of photography-related tasks, including but not limited to:

    -Handling original photographic materials including color transparencies (4x5, 5x7, 8x10, etc.), 35mm slides, photographic negatives, and photographic prints.
    -Scanning, editing, retouching, and color correcting artwork photography using Adobe Photoshop.
    -Digitizing moving images using various video capturing software.
    -Embedding digital photographs and moving images with metadata according to IPTC standards.
    -Utilizing a digital asset management system to organize digital photographs, videos, and audio recordings.
    -Assisting with graphic design projects for Artifex promotional materials
    -Performing administrative tasks as necessary

    This paid internship starts immediately and requires a commitment of 2-3 days a week through August, with the possibility of an extension.

    Qualifications:
    -BA in fine art, graphic design, photography, or related field preferred (BA candidates welcome). MA/MLIS candidates concentrating in library or archival studies and possessing adequate photo-editing skills are also highly encouraged to apply.
    -Interest in contemporary art
    -Familiarity with the Adobe Creative Suite
    -Familiarity with flatbed scanner and slide scanning
    -Familiarity with IPTC metadata schema
    -Basic photography and color correcting knowledge
    -Keen attention to detail
    -Proficiency in Microsoft Office
    -Excellent interpersonal and organizational skills

    Application Instructions:
    To apply, candidates should email a resume and cover letter to Artifex Press Archivist, Ashley Levine, at alevine@artifexpress.com.

  • By Carina Evangelista, Editor, Chuck Close Catalogue Raisonné


    At the launch of Chuck Close: Paintings, 1967 to the Present at the New York Public Library in December 2012, Close announced that his latest painting at the time, Cindy (2012), would be the last of its style. And indeed, his three newest paintings since then, artwork records for which have been added to the catalogue raisonné, reflect a shift.

    When Cindy Sherman posed for the photograph on which the 2012 Cindy is based, she wore a busily patterned scarf. Close painted Cindy on a diagonal grid, with the canvas fractured into his trademark blocks of brightly colored abstract shapes that critics have compared to bits of Murano glass.

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    Left: Cindy, 2012. Right: Cindy, 2013. Photos by Kerry Ryan McFate, courtesy Pace Gallery

    All artwork images © Chuck Close


    The 2013 paintings—Cecily, Cindy, and Cindy II—retain the grid format, but the cell blocks comprising layers of abstract shapes have been replaced by layers of monochromatic 'washes' of oil, thinly applied to approximate the lighter effect of watercolor. Much has been written about how the individual cells within each of Close’s paintings from the early 1990s until 2012 stand as small abstract paintings that collectively form a figurative portrait. Close has drawn an analogy to musical composition, with the orchestration of visual chords from colors “played together” capturing varying chromatic registers within the larger whole. In the pre-2013 paintings, these visual chords reveal discernible shapes and forms—lines, squares, circles, ovals, and triangles that call to mind donuts, lozenges, jelly beans, bottles, boomerangs, crosses, and amoeboid blobs.

    The chromatic chords in the 2013 paintings have completely shed these shapes. Still viable as small abstract paintings, from afar they look like rounded tiles in gemstone colors. The 2013 version of Sherman’s riotously patterned scarf is rendered in pulsating orbs of jewel tones. Viewed up close, the brushstrokes are visible as are the overlaid swatches of yellows, cyans, and magentas. A first pass of amber might glint beneath a unit that ultimately registers as mauve.

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    Detail, Cindy, 2013 [oil on canvas]


    Close has always claimed that the activity of work is the wellspring of ideas. The process in one medium might inform that of another, thereby triggering innovations across his entire practice. The transition between the 2012 Cindy and the 2013 Cindy was made possible by his experimentation with archival watercolor pigment prints in 2012. These were created by overlaying specific swatches of color selected from hundreds of small watercolor strokes that Close made to produce tiles of the full color chart and grayscale. In a way, these new paintings are a hybrid of his incremental grids in oil and his earlier continuous-tone paintings, in which colors were mixed right on the canvas.

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    Left: Close making the watercolor swatches for the archival watercolor pigment prints. Right: Cindy, 2012 [archival watercolor pigment print (90 degrees) on Hahnemühle rag paper]. Photos courtesy Magnolia Editions


    As a child, Close wanted to be a magician or an artist. He sees paintings, prints, and drawings as magical things because their material reality–colored dirt on a piece of cloth, ink on paper–is transcended. The 2013 paintings illustrate his predilection, à la Penn and Teller, for creating magic while also showing the trick. These paintings are deliberately unfinished at the bottom to reveal the process by which the chromatic chords are achieved. Cecily (2013) in particular shows the gradation of finish from bottom to top.

    But with Close, every transition is also a recycling. The 2012 watercolor pigment prints inspired his shift in 2013, but his newest paintings are also anticipated by 35 years with the 1978 drawing, Mark/Watercolor/Unfinished.

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    Left: Mark/Watercolor/Unfinished, 1978. Photo courtesy Pace Gallery. Right: Cecily, 2013. Photo by Kerry Ryan McFate, courtesy Pace Gallery


    Please note that the newly published artwork pages for the 2013 paintings will be continually updated as our research for provenance, exhibition, and literature histories progresses.


    Other Chuck Close Catalogue Raisonné Updates

    Solo Exhibitions

    Close’s solo exhibition history has been published in the catalogue. Select exhibition entries link to their respective exhibition pages, featuring paintings that appeared in those exhibitions.

    Chuck Close and Freedom of Speech, 1967

    For an artist most known for straightforward portraiture—a rather benign art form—Close has not been immune to, or apolitical about, censorship. In 1991, on the heels of the public trial against works such as Robert Mapplethorpe’s homoerotic photography and Andres Serrano’s 1987 Piss Christ, Close testified at a Congressional hearing against stronger anti-obscenity restrictions. But his stance on artistic freedom of speech dates back to 1967, when his first solo exhibition at the University of Massachusetts drew enough controversy that it was immediately taken off the walls without his knowledge. A link to the transcript of the court case that came out of this dispute, “Charles Close v. University of Massachusetts,” has been published. It is cited regularly as the first legal action asserting the extension of freedom of speech to the visual arts.

    Audio and Video Archive

    This section is expanded with the assistance of Artifex Press Archivist/Digital Resource Manager Ashley Levine and Research Assistant Ariela Alberts as more material is acquired. Recently added videos include a recording of the full performance of C to C (Close to Chuck), restaged by the Boston Ballet in February 2014. The ballet, which originally premiered at the American Ballet Theatre in New York in 2007, was choreographed by Jorma Elo to the musical portrait of Close composed in 2004 by Philip Glass. Close’s 1969 painting of Glass has become one of the artist’s iconic works.

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    To collect information for the catalogue raisonné and an upcoming retrospective of the work of Agnes Martin, Tiffany Bell, Editor, Agnes Martin Catalogue Raisonné, recently made a trip to Texas and New Mexico. Martin spent several formative years in New Mexico and returned to make it her home for the last three decades of her life.

    The visit was filled by meetings with friends of the artist who have added details to the chronology of her life such as an account of a boat and camping trip up the Mackenzie River in northwest Canada; with collectors who have stories and information about works from Martin’s earliest period as an artist; and by a visit to the Harwood Museum of Art in Taos, which hosts a permanent installation of the artist’s paintings and a growing archive of photos and documents about her work.

  • May 12, 2014 2:38 PM

    By Hannah Barton


    After about a year of research on the Tim Hawkinson catalogue raisonné, I was graciously invited by the artist to his home studio in the hills above Pasadena to discuss his work and review the catalogue. Tim and his wife, painter Patty Wickman, share a studio, which they had built behind their house. The studio is large enough to accommodate both artists easily, giving Tim the space he needs to experiment with the multitude of materials he collects. Entering the studio was thrilling; immediately I was surrounded by a plethora of bizarre materials: stacks of eggshells, shelves full of nuts and bolts, containers full of feathers, piles of paint cans, glue bottles, and plastic bags. It is inspiring to think that within months these mundane, mostly recycled materials could turn into perfectly constructed eggshell sculptures, unconventional self-portraits, or imaginative and deceptive timepieces.

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    Left: Tim Hawkinson holds two recent plaster casts of his head and hands. Right: A model for a project in progress at the Transbay Transit Center in San Francisco.

    After digging into the details of Tim’s digital catalogue raisonné, to resolve discrepancies concerning titles, mediums, and other aspects of his work, he took me on a tour of the space and showed me the newest work. One recently completed piece was a cratered orb assembled completely out of eggshells. Still untitled, the work hung delicately from a wire in the corner of the studio. As Tim removed it, he began to explain that a hairline crack in one eggshell fragment had caused weeks of repair. His patience for this type of construction is what makes his work so unique; though many of his pieces seem inspired by a child-like curiosity, it is his enduring mindfulness toward the materials he uses that transforms these everyday objects, so easily taken for granted, into sources of awe.

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    Tim stands next to the still untitled eggshell orb, with the plaster model used to cast Samoa (2013) on the right.

    Our meeting culminated with a tour of the tree house Tim built for his young daughter, Clare. Sitting atop the studio, the structure is accessible by a ladder built into the trunk of an adjacent olive tree. Putting my camera in the basket dumbwaiter, I scrambled up the tree after Tim. Most of the structure was built using reclaimed wood from a recent home remodel. Found stained-glass windows let in a warm, colorful light. A small turret extends out to one side of the structure and a twisting staircase, its railing constructed out of recycled Christmas tree branches, leads up to an observation tower, whose ceiling is a sturdy old umbrella. Like all of his creations, the tree house is a model of resourcefulness. My visit with Tim was meant to resolve several crucial unanswered questions about his work, but along the way I had a chance to experience firsthand the artist’s daily practice and the whimsical, fantastical world that he creates all around him. Tim’s work requires the same kind of diligence and meticulousness that is necessary to create a catalogue raisonné, but it is the unceasing exploration and play that he brings to his life and work that I was most privileged to experience on this visit.

    To see more images of the tree house, take a look at this article from the New York Times in 2012.

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    The first volume of the digital publication, which covers the years 1983 to the present, is available for a limited-time free subscription here.

    Works from 1959-1982

    We are continuing the project by collecting information on the ownership of sculptures from 1959 to 1982. Collectors are encouraged to assist us by filling out this worksheet (PDF) for any of the artist’s sculptures in your collection or previously owned by you. We would also welcome images, which you may submit here.

    Works 1983-Present

    We will be adding new artworks created in 2013 and beyond, and we will continue to track the provenance of sculptures already included in the catalogue. Kindly complete the worksheet (PDF) if you have further ownership information on sculptures from any date. To submit images, please click here.

    Please address submissions to editor Sara Davidson at sdavidson@artifexpress.com.


    Image:
    Nancy and I at Ithaca, 1966-1969
    Sheet metal and straw
    62 x 72 x 14 in. (157.5 x 182.9 x 35.6 cm)
    © 2014 Jim Dine/Artist Rights Society (ARS), New York. Photo courtesy Pace Gallery

  • March 27, 2014 11:34 AM

    This week is #MuseumWeek on Twitter and today we go #BehindTheArt. Below, a video that Artifex Press produced takes us behind Jim Dine's Crommelynck Gate with Tools, 1983, with editions in the collections of some remarkable museums:

    Edition 1 Collection Walker Art Center, Minneapolis

    Edition 2 Yale University Art Gallery, New Haven, Connecticut

    Edition 3 Toledo Museum of Art, Toledo, Ohio

    Edition 4 Nelson-Atkins Museum of Art, Kansas City, Missouri

    Edition 5 The Israel Museum, Jerusalem

    Edition 6 The Metropolitan Museum of Art, New York

    For further information on the artwork, please register for free access to our catalogues and click here.

    Follow Artifex Press on Twitter.


    Photo credits: Edition 1 ©2014 Jim Dine/Artist Rights Society (ARS), New York. Photo courtesy Walker Art Center, Minneapolis Edition 2 ©2014 Jim Dine/Artist Rights Society (ARS), New York. Courtesy Yale University Art Gallery, New Haven, Connecticut Edition 3 ©2014 Jim Dine/Artist Rights Society (ARS), New York. Photo by Tim Thayer, Oak Park, Michigan, courtesy Toledo Museum of Art Edition 4 ©2014 Jim Dine/Artist Rights Society (ARS), New York. Photo by Tiffany Mason, courtesy The Nelson-Atkins Museum of Art, Kansas City, Missouri Edition 6 ©2014 Jim Dine/Artist Rights Society (ARS), New York. Photo by Lynton Gardiner, © The Metropolitan Museum of Art/Licensed by Art Resource. Historical photos ©2014 Jim Dine/Artist Rights Society (ARS), New York. Courtesy the artist and Pace Gallery.

  • January 23, 2014 4:08 PM

    This month, we released our inaugural newsletter which can be viewed here.

    To receive the latest news and updates about Artifex Press, please subscribe to our mailing list.

    Also, take a look at our improved About Artifex Press pages: Learn about our catalogues raisonnés, watch our how-to-use video, and meet our editors.

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    The Agnes Martin catalogue raisonné project is accepting submissions from owners of paintings and unique works on paper by Agnes Martin. Prints will not be included at this time. We kindly ask that owners of these works fill out an examination agreement (PDF) and return it to Artifex Press, 109 W. 27th St, 8th FL, New York, NY 10001. Submissions for entry will be considered by a committee of art professionals. Please address inquiries to Tiffany Bell, editor of the project, at tbell@artifexpress.com.

    All information will be kept strictly confidential upon request.

    Catalogue homepage photo by Charles R. Rushton

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    Artifex Press is pleased to announce the forthcoming catalogue raisonné for Tim Hawkinson. Since the mid-1980s, Hawkinson has been creating an inventive and highly eccentric body of work that touches on such diverse subjects as music, the passage of time, and his own body. He frequently works with non-traditional media such as latex, eggshell, fingernail clippings, slide whistles, and aluminum foil, as well as a range of discarded and scavenged objects. His art encompasses two- and three- dimensional objects and ranges in scale from the minute to the gigantic. His materials and artistic process are indelible parts of the finished works, many of which are kinetic or interactive.

    Artifex Press has been actively researching Hawkinson’s artworks, publications, and exhibitions in an effort to ensure the accuracy of this comprehensive publication. We are working in close collaboration with the artist to produce this catalogue, which is expected to be an ongoing project as Hawkinson continues to create work. We would like to take this opportunity to solicit any and all pertinent information about Hawkinson’s work, including information that pertains to exhibitions, publications, and ownership, either past or present. Please note that Artifex Press maintains strict confidentiality of collector identity and contact information, and respects requests for privacy and anonymity.

    Please email Hannah Barton, Research Associate, at hbarton@artifexpress.com with any relevant information or queries.

    Hawkinson’s work is currently showcased in a group exhibition at Pace Gallery titled Grounded, on view at 534 West 25th Street until February 14, 2014.

  • Artifex Press has produced 35 original videos of Jim Dine discussing his body of work in a series of conversations held with Editor Sara K. Davidson. Here, we present a sample video, in which Jim Dine discusses a central theme in his work: Tools.

    To access all of the videos we have produced, please sign in or register for Artifex Press. Subscriptions are free of charge for a limited time. Once you have logged in, you can access the first four videos of Dine discussing key recurring subjects here.

    In other videos, which will be added to the catalogue in upcoming weeks, Dine discusses technique and medium as well as specific artworks; these videos can be found on individual artwork pages.

    Stay tuned: the remaining videos will be added within the next month.

  • January 16, 2014 5:42 PM

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    Artifex Press is pleased to announce the forthcoming publication Chuck Close: Photo Maquettes, a new volume in the artist’s catalogue raisonné. Photography is central to the artist’s practice, and this new volume will document the gridded photographs from which Close has created works in other mediums, including paintings, drawings, prints, and tapestries.

    Close has likened his photography to “a well to which you can return again and again and each time get a bucket full of different stuff from it.”(1) For example, his 1969 photograph of Philip Glass has generated dozens of works, including the monumental and iconic grisaille painting at the Whitney Museum of American Art; fingerprint drawings of various sizes and formats (including one on paper watermarked with flowers); works in wet paper pulp, watercolor, and rubber stamp ink; houndstooth-patterned drawings; silk tapestry; and even an anamorphic print in which the image resolves as a reflection on a steel cylinder. Glass has fittingly stated that his face was to Close what haystacks were to Monet.(2)

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    Curator Madeleine Grynsztejn has described Close’s process as “the meeting of the frozen instant of the snapshot with the long, unhurried duration of a hand distributing paint over a surface.”(3) If his entire oeuvre is the mediation of gridded photographs, each maquette bears the marks of the meditative process of looking at a photograph and translating its information onto canvas, paper, or textile. Close has explained, “If I am looking for a certain thing in the photograph, then I make one kind of work, and if I deal with some formal aspect of it or make a different choice of material and technique, I will find entirely different elements embedded in the photograph.”(4)

    Each maquette also bears evidence of the artist’s use of the grid — which he has referred to as a visual metronome whose orientation and size arbitrate the final work’s ocular rhythm. How tight or loose is the grid in relation to the scale of the canvas? Will an iris be boxed in or sliced through? Is the grid horizontal or diagonal? (The same nose in profile will be transformed by this choice.) “This is the great thing about the maquettes,” Close has said. “You see the decisions that I made, where those lines fall… That’s really what it is all about. And if someone were to take a lot of time analyzing them, I think they would find that there’s a method in the madness.”(5)

    In preparation for the publication of the Photo Maquette volume, kindly contact Carina Evangelista, Editor of the Chuck Close Catalogue Raisonne, at cevangelista@artifexpress.com with information pertaining to the exhibition, publication, or ownership of any of the artist’s maquettes. Please note that Artifex Press maintains strict confidentiality of collector identity and contact information, and respects requests for privacy and anonymity.

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    (1) Chuck Close, in Joanne Kesten, ed., The Portraits Speak: Chuck Close in Conversation with 27 of His Subjects (New York: A.R.T. Press, 1997): 219.
    (2) Philip Glass, “I’m Just a Haystack,” in Demetrio Paparoni, Daguerreotypes (Milan: Alberico Cetti Serbelloni Editore and Gabrius S.p.A., 2002): 6.
    (3) Madeleine Grynsztejn, “A Constant-in-Process: Chuck Close’s Self-Portraiture,” in Siri Engberg and Madeleine Grynstejn, Chuck Close: Self-Portraits 1967-2005 (San Francisco: San Francisco Museum of Modern Art; Minneapolis: Walker Art Center, 2005): 15.
    (4) Close, in The Portraits Speak: 219.
    (5) Close, in Jonathan Weinberg, Chuck Close: Photo Maquettes (New York: Eykyn Maclean, 2013): 52.

    List of images from top, left to right:

    Phil/maquette, 1969 © Chuck Close. Photo courtesy Chuck Close Studio
    Phil, 1969 © Chuck Close. Photo by Ellen Page Wilson, courtesy Pace Gallery
    Drawing for Phil/Rubber Stamp, 1976 © Chuck Close. Photo by Al Mozell, courtesy Pace Gallery
    Phil/Fingerprint, 1978 © Chuck Close. Photo by Bevan Davies, courtesy Chuck Close Studio
    Phil Fingerprint/Random, 1979 © Chuck Close. Photo by Al Mozell, courtesy Pace Gallery
    Phil with Flowers, 1980 (and detail) © Chuck Close. Photo by Al Mozell, courtesy Chuck Close Studio
    Phil, 1991 © Chuck Close. Photo courtesy Chuck Close Studio
    Phil/Wet Paper Pulp, 1983 © Chuck Close. Photo by Ellen Page Wilson, courtesy Pace Gallery
    Phil (Anamorphic), 2007 © Chuck Close. Photo courtesy Chuck Close Studio
    Chuck Close working on Large Phil Fingerprint/Random, 1979 © Chuck Close. Photo courtesy Chuck Close Studio

  • We congratulate Carina Evangelista, Editor of the Chuck Close Catalogue Raisonné, for her contributions to two recently released publications.

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    Carina has contributed four essays to Roberto Chabet: 50 Years, a compendium published by King Kong Art Projects on the occasion of the Filipino conceptualist's retrospective that traveled to 15 venues in Manila, Hong Kong, and Singapore from 2011 to 2012.

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    Carina is also a contributing author to the catalogue for Constancio Bernardo, the Filipino modernist's centennial exhibition at the Ayala Museum in Manila, which runs through February 28, 2014. The catalogue was published by Soumak Collections.

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  • January 8, 2014 4:10 PM

    Our offices are now located at:

    109 W. 27th Street, 8th Floor
    New York, NY 10001

    Our new telephone number is:

    (212) 414-1482

    1545184_347598422049647_878072798_n.jpg Artifex Press Staff toasts the move and the new year

    1536535_346956165447206_2004080541_n.jpg The view at sunset from our offices

  • Lindsay Aveilhé, Research Associate for the Sol LeWitt Wall Drawings Catalogue Raisonné, helped organize an installation of Wall Drawing #84 at The Artist's Institute on November 20, 2013. In order to install the work, "a drafter uses every single color from the original Crayola 12-pack — Red, Yellow, Blue, Green, Orange, Purple, Black, White, Brown, Carnation Pink, Indigo, Gray — and wears down the crayons in their entirety to form a dense twelve-inch square." John Hogan, senior draftsperson and Mary Jo and Ted Shen Sol LeWitt Wall Drawings Installation Director and Archivist, Yale University Art Gallery, led the installation with the help of graduate students from the Hunter College Art Department and staff members of Artifex Press. Below are some photographs illustrating the installation in process.

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    Artwork © 2013 Estate of Sol LeWitt/Artists Rights Society (ARS), New York. Photos by Hannah Barton, Artifex Press

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    On November 11, Chuck Close invited the staff of Artifex Press to visit his studio and private collection of art. Carina Evangelista, Editor of the Chuck Close catalogue raisonné, and several additional Artifex staff members and interns were able to put aside their archival work and spend a relaxed afternoon with Chuck Close, as he talked about his life and his art, giving us a tour of his studio and his apartment. Below are some photos from our visit.

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    All artworks © 2013 Chuck Close. Photos by Manolo Bustamante.

  • September 19, 2013 1:53 PM

    Yesterday Artifex Press was excited to join the conversation on Twitter for #AskACurator day, with over 600 arts organizations participating from 37 countries. At Artifex Press, we are fortunate to communicate regularly with curators from around the world, but yesterday offered a public forum for these interactions, encouraging new conversations and access to expertise.

    A highlight from our twitter exchanges for #AskACurator is this conversation with the Georgia O'Keefe Museum:

    Another highlight is our conversation with the Santa Monica Museum of Art:

    Follow us on Twitter, Facebook, and Instagram.

  • September 10, 2013 5:54 PM

    Artifex Press has joined Facebook, Instagram, Twitter, and LinkedIn. Like and follow us for updates on our catalogues raisonnés, news about our artists, photos from our archives, and much more. Be sure to keep up with us to hear the news first.

    Find us here:

    https://www.facebook.com/artifexpress

    http://instagram.com/artifexpress

    https://twitter.com/ArtifexPress

    http://www.linkedin.com

  • September 10, 2013 5:16 PM

    Digital Resource Manager/Archivist

    Artifex Press is looking for a Digital Resource Manager/Archivist to oversee its growing digital image collection and to execute a strategy for future publication and archival needs.  

    The Resource Manager/Archivist will report to Artifex Press’s President and work collaboratively with the Editors of Artifex Press's several catalogue raisonnés projects. Current publications include Chuck Close, Jim Dine, Sol LeWitt, and Agnes Martin.  

    For more information on this opening, please view the job listing at NYFA or VRA.

  • April 10, 2013 12:39 PM

    Artifex Press will be an exhibitor at the 41st annual conference of the Art Libraries Society of North America in Pasadena, from April 25 to April 29.

    Editor in Chief David Grosz will be on hand to demonstrate the Chuck Close and Jim Dine catalogues raisonnés and discuss Artifex Press's proprietary software platform and digital publishing program.

    Come visit him at booth 1107.

  • Artifex Press and the LeWitt Estate are pleased to announce that they have named Béatrice Gross Editor of the Sol LeWitt Wall Drawings Catalogue Raisonné.

    Gross, an independent curator and critic based in New York, will edit the catalogue raisonné featuring complete caption information, installation views, and diagrams for all of LeWitt’s approximately 1300 wall drawings, as well as provenance information, and selected exhibition, literature, and installation histories. The publication will be a sortable, searchable, web-based publication hosted by Artifex Press’s proprietary software platform.

    Current and past owners of wall drawings, all members of wall drawing installation teams, and all others who have worked with the wall drawings are encouraged to contact Artifex Press’s LeWitt catalogue raisonné research team at LeWittCR@artifexpress.com.

    Read the full press release here.

  • February 28, 2013 3:35 PM

    To mark the launch of Jim Dine's digital catalogue raisonné, Artifex Press and the New York Public Library hosted a talk between the artist; Sara Davidson, editor of the Jim Dine Catalogue Raisonné; and David Grosz, Editor in Chief of Artifex Press. 

    Please listen to the discussion here.

  • On February 27, Artifex Press and the New York Public Library will present an artist talk with Jim Dine in celebration of the launch of his digital catalogue raisonné,___ Jim Dine: Sculpture 1983-present___.  

    The event will feature a demonstration of the digital catalogue raisonné, followed by a discussion between Dine; Sara Davidson, Editor of the Jim Dine Catalogue Raisonné; and David Grosz, Managing Partner/Editor in Chief of Artifex Press.

    Read the press release.

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     © 2013 Jim Dine/Artist Rights Society (ARS), New York. Photo courtesy Walla Walla Foundry.

  • February 14, 2013 3:50 PM

    On February 12, the New York Public Library hosted a panel discussion on The Future of Art Book Publishing. The talk featured Margaret Chace, Associate Publisher, Skira-Rizzoli; artist and publisher Paul Chan; Sharon Gallagher, President of Artbook/D.A.P; MoMA Associate Publisher Chul R. Kim; and moderator Arezoo Moseni.

    During the talk, Artifex Press Editor-in-Chief David Grosz was invited to give an impromptu talk about Artifex's digital catalogue raisonné publishing program.

    Please listen to the discussion here.

  • To mark the launch of Chuck Close’s digital catalogue raisonné, Artifex Press and the New York Public Library hosted a talk between the artist; Carina Evangelista, editor of the Chuck Close Catalogue Raisonné; and David Grosz, Editor in Chief of Artifex. 

    The audio stream of the discussion is currently available through the internet art radio station, ArtonAir.org, located in the Clocktower Gallery in Tribeca. 

    UPDATE: Listen to the podcast for the Dec. 19 Artifex inaugural event featuring Chuck Close at the New York Public Library.

  • January 14, 2013 5:48 PM

    Research Associate

    Artifex Press seeks a research associate (4 days a week) to assist on the preparation of a new catalogue raisonné.

    Under the supervision of the Catalogue Raisonné Editor, the associate’s responsibilities will include, but are not limited to: documenting and organizing material pertinent to the artist’s work; gathering information on literature references, exhibition histories, provenance, etc.; sourcing images and obtaining rights for publication; and helping with general duties and office management.

    Requirements:

    • Knowledge of late 20th century American art
    • In-depth research experience
    • Organized, detail-oriented, independent worker
    • Proficiency with major word processing and database programs

    Additional experience that would be helpful:

    • Work experience in museums or galleries – curatorial and/or editorial
    • Experience working in content management systems and other web-based platforms
    • Reading knowledge of Italian, French, and German

    Please send resume and cover letter to JOBS@artifexpress.com. Subject header: Research Associate

  • December 17, 2012 5:22 PM

    Artifex Press is a new company dedicated to the production of digital catalogues raisonnés.

    We're launching on December 19, 2012, with our first two catalogues: Chuck Close: Paintings, 1967-present,

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    and Jim Dine: Sculpture, 1983-present.

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    For the next several months, we're offering free, limited-time subscriptions to both catalogues. Access will be granted on a rolling basis. Please register at the top of any page of this website to request access. We will email you when your free subscription begins.

    Artifex Press has also been named publisher of the catalogues raisonnés for the estates of Sol LeWitt and Agnes Martin along with contemporary artists Chuck Close, Jim Dine, Tara Donovan, Loris Gréaud, Tim Hawkinson, Thomas Nozkowski, James Siena, Bosco Sodi, and Richard Tuttle. In the upcoming months, we will announce several more collaborating artists and estates.

    Please check our blog for information about upcoming catalogues and announcements about participating artists.

    To learn more about Artifex Press, please email info@artifexpress.com.

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  • Artifex Press, a new company dedicated to the production of digital catalogues raisonnés, will launch next month with the web-based catalogue raisonné for artist Chuck Close.

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    On December 19, Artifex Press and the New York Public Library will present an artist talk with Close in celebration of the launch.

    The first of Artifex Press’s digital catalogues raisonnés, Chuck Close: Painting, 1967–present, is a searchable, sortable interactive web publication detailing the artist’s iconic photo-based portraits.The launch event on December 19 will feature a demonstration of this interactive catalogue, followed by a discussion between Close and David Grosz, Managing Partner/Editor in Chief of Artifex Press, and Carina Evangelista, the editor of the Chuck Close Catalogue Raisonné, whose professional credentials include curatorial and editorial experience at institutions such as the Museum of Modern Art where she worked on the 1998 retrospective of Chuck Close organized by Robert Storr.

    Read the full press release

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