Below is a listing of exhibition catalogs published by Rochester Art Center. At this time online sales purchasing is not available, for purchasing information, please contact Rochester Art Center to place an order by phone at 507-282-8629 or by email at email@example.com.
David Rathman: Stand by Your Accidents
Softbound, 80 pages, 12 x 8.25 inches
Published by Rochester Art Center in 2014
Texts by Kris Douglas and Brad Zellar, an interview with the artist by Siri Engberg
The first survey exhibition of Minneapolis-based artist David Rathman, Stand by Your Accidents includes works produced from 1991-2013, and provides a comprehensive overview of the artists’ output spanning a twenty-two year period. Through his masterful use of ink, oil paint, and watercolor, Rathman confronts iconic emblems and motifs regularly associated with notions of masculinity—the American West, rock and roll, boxing, football, and the automobile. With intertwining themes of melancholy, failure, mortality, and nostalgia, Rathman’s work examines and confronts the nuanced conditions and associated histories of learned gender roles.
David Rathman: Stand By Your Accidents is supported by The Andy Warhol Foundation for the Visual Arts and The Elizabeth Firestone Graham Foundation.
Tim Eitel: Elsewhere
Softbound, 88 pages, 11 x 9.5 inches
Published by Rochester Art Center in 2013
Texts by Gregory Volk and Kris Douglas, an interview with the artist by Kris Douglas
Tim Eitel has gained a reputation as one of the best young painters working today. Recognized as a leading representative of the “New Leipzig School” of painting—a moniker imparted on a small group of artists who together attended the Leipzig Academy of Visual Arts—Eitel has risen to international prominence for his distinctive approach and contributions to the field of contemporary painting. Many of Eitel’s enigmatic works contain representational subjects inhabiting reductivist environments. From slate grey clouds in an ominous sky to a small fire burning in outward isolation, Eitel employs a palette of minimal, muted color to arresting effect. For his exhibition at the Rochester Art Center—his first large-scale survey exhibition in the United States—32 works completed between 2002 -2012 provide a broad insight into the artist's practice over the last decade.
Tim Eitel, White Skirts, 2012
Lithography on handmade paper
Sheet: 39.3 x 27.3 inches
Image: 35 x 25.5 inches
Photographs by John Gossage
Foreword by Kris Douglas
Published by the Rochester Art Center, 2010
Softbound, 80 pages, 22.5" x 12.5"
Kris Douglas: What do you think you will get here?
John Gossage: I have no idea. That is the fun in what I do—to find out about things I don't know by photographing them.
John Gossage’s work has been the subject of over 15 monographs including The Pond (Aperture, 1985); Stadt des Schwarz (Loosestrife, 1987); There and Gone (Nazraeli, 1997); The Romance Industry (Nazraeli, 2002); and Berlin in the Time of the Wall (Loosestrife, 2004). He has exhibited nationally and internationally, and his works are in the collections of the Corcoran Gallery of Art, Washington, D.C.; Hallmark Collection, Kansas City; Los Angeles County Museum of Art, Los Angeles; Museum of Modern Art, New York; Philadelphia Museum of Art, Philadelphia; Smithsonian Institution, Washington, D.C.; Sprengel Museum Hannover, Hannover, Germany; and The Saint Louis Art Museum, Saint Louis, among many others.
Limited edition of 15 copies, each containing an 8" x 6 1/2" signed silver gelatin print mounted on a 10" x 13" numbered board.
David Lefkowitz: Other Positioning Systems
Texts by Kris Douglas and Jan Estep, an interview with the artist by Kris Douglas
Published by the Rochester Art Center, 2010
Softbound in a cardboard slipcase, 94 pages, 8.5” x 5.5”
David Lefkowitz is an artist who moves about in a large visual arena. He seeks inspiration from art history, travel and the idiosyncrasies of daily life. He is not limited to traditional art materials in the work he creates, often recycling cardboard, wood scraps and even Styrofoam. Mostly considered a painter, he frequently crosses over into sculpture either in relief or, occasionally, freestanding objects that often become part of an installation. His sense of humor and regard for the environment are almost always present in his multi-dimensional repertoire.
Text by Kris Douglas
Published by the Rochester Art Center, 2008
Softbound, 36 pages, 13.5” x 10.5”
Karel Funk creates astonishingly detailed and hauntingly quiet paintings that at once rely on and challenge conventional notions of portraiture. Historically, portraits were painted with an agenda. Preeminent figures with the means to commission such work were portrayed to emphasize real or desired attributes, seeking to command admiration and respect from the viewer. Most often the subject faced forward, with eyes clearly meeting the gaze of the onlooker, allowing for the often-cited “window” into the nature of the sitter. Visual evidence from clothing, environment, and posture conveyed pertinent information about the life of the individual. In contrast, Funk paints portraits of his friends and acquaintances, unknown to most who will view these works. In this way, the depiction of the subject is more democratic, the everyman portrait of sorts. The background of each painting is an austere white, devoid of any environmental clues that place the individual in any particular context or location. Funk purchases the largely nondescript, often neutral color clothing for the models to wear, most often hooded outdoor jackets. This further acts as a separator between sitter and personal identifiers, reducing in many instances the work to deliberately formal concerns. The subject’s expression is ambiguous, and Funk does not volunteer a narrative or insights at the inner life of the individual, but instead invites consideration of concepts of representation and reality, presence and absence, the identified and the anonymous, the specific and the ambiguous, and the viewer and the viewed.
Previous exhibitions have been presented at the Musee d'Art Contemporain de Montreal; Kiasma Museum of Contemporary Art, Helsinki; the Prague Biennale, Prague, Czech Republic; and the Marella Arte Contemporanea in Milan, Italy. His work is included in the collections of the Solomon R. Guggenheim Museum, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art, among others. Funk resides in Winnipeg, Manitoba, Canada.
Chris Larson: Failure
Edited by Sönke Magnus Müller, texts by Kris Douglas, Marc Glöde, Wayne L. Roosa, Tamatha Sopinski Perlman, interview with the artist by Sönke Magnus Müller
Published by Hatje Cantz, 2008
Hardcover, 108 pages, 10” x 10”
SOLD OUT (Available on Amazon.com)
Chris Larson’s work examines the relationship between humans and machines – sometimes expressed through a moment of impact, sometimes through great toil and effort. His previous sculptures are large wooden constructions of collided objects: in one example, a spaceship nearly flattens a wooden barn; in another, the iconic car from The Dukes of Hazzard TV show, recreated in wood, is smashed into the roof of a replica of Ted Kaczynski’s cabin. These works are filled with metaphors of heroic and anti-heroic acts and of the collision of good and evil in human nature. In his films, characters perform mysterious tasks with elaborately constructed tools that become unending necessary labors, thereby threatening the boundaries between human and machine.
Roman Signer: Works
Text by Kris Douglas
Published by the Rochester Art Center, 2008
Softbound, 40 pages, 8.5” x 5.5”
For decades, the work of Roman Signer has challenged a traditional understanding of sculpture by creating new form from unconventional actions and materials while uniquely addressing issues of time, chance, and transformation. The seemingly simple cause and effect nature of the events that Signer develops belies the complexity and technicality of his preparation and the emotional and conceptual density of the completed work. Materials are carefully selected, and many of these, such as rockets, balloons, kayaks, model helicopters, bicycles, fans, and wheels, appear across multiple works in varying configurations. His events are akin to scientific experiments, containing hypotheses and rigorous plans developed for his desired outcomes, yet maintaining an element of chance – particularly because he often partners with natural forces such as wind, water, or gravity to aid in completing the work. Developed, refined, and revisited for over thirty-five years, Signer’s principal aesthetic and conceptual concerns allow for a range of interpretations and metaphoric possibilities. In their final form, many of his works have an aesthetic resemblance to minimalist sculpture of the 1960’s and 70’s. However, beneath their formal exterior are works that are sometimes acutely romantic, exploring the nature of human emotion and existence through deceptively straightforward interventions, actions and events. Add to this an underlying element of humor and a childlike desire to comprehend the workings of the physical world, and you are left with an undeniably unique combination of elements coalescing into a highly original and innovative approach to art making. While many of Roman Signer’s sculptures as they are presented are static, unmoving, and created in the past, they are imbued with a particular timelessness that refute their usual state – that of rest or completion. Regardless of their current state, many of Signer’s sculptures convey a heightened sense of potential for action. Along with the technicality, emotional engagement, and conceptual underpinnings inherent in his practice, this element of direct or implied action is characteristically Signer. As Signer himself has stated, “Always in my work something is going to happen, is happening or has happened. Or could happen.”
Warren MacKenzie: Legacy of an American Potter
Foreword by Denise Sorom, texts by Kris Douglas, Catherine Futter and Robert Silberman
Published by the Rochester Art Center, 2007
Softbound in a custom-made wooden box, 136 pages, 13” x 10”
As one of America’s greatest living potters and an inspiration to a new generation of ceramic artists, Warren MacKenzie’s life and work reflects the changing role of the ceramic artist in society from the early modern philosophy of producing works for industry to the emergence of the individual studio potter in the 1950’s. Through his traditional, wheel thrown stoneware vessels, Warren MacKenzie embodies not only the fusion of influences of Bernard Leach, Shoji Hamada and Soetsu Yanagi but also his own unique vision where art and life are one, and where the presence of the potter’s hand is felt and touched through the utilitarian pots that are produced for use in everyday life.
Iñigo Manglano-Ovalle: Blinking Out of Existence
Foreword by Denise Sorom, texts by Kris Douglas and Claire Barliant, an interview with the artist by Yasmil Raymond
Published by the Rochester Art Center, 2006
Hardcover, 65 pages, 8.5” x 5.5”
The Chicago-based artist Inigo Manglano-Ovalle is immersed in an ongoing, critical investigation of the diverse conditions, systems and histories that define and describe our existence. He digs deep, often collaborating with specialists in such fields as engineering, architecture, genomics or climatology to produce engaging art objects, videos and installations that take on subjects like identity, ethics, aesthetics, climate and other social and political systems. This concise clothbound catalogue contains blue and red acetate inserts to recall the tinted windows at his recent Rochester Art Center exhibition, as well as an in-depth interview by Yasmil Raymond of the Walker Art Center, Minneapolis.
Inigo Manglano-Ovalle has had solo exhibitions at The Art Institute of Chicago and the Museum of Contemporary Art, Chicago, and has participated in such important group exhibitions as the 2000 Whitney Biennial, the Guggenheim Museum's 2002 Moving Pictures and 2007's Documenta 12 in Kassel, Germany. He was featured on the PBS series Art 21 in the fall of 2007.