Rodney GrahamPublished to accompany a multi-venue event in the artist’s home town of Vancouver, this publication offers a rare look into the world’s largest private collection of Graham’s work. Dubbed “the summer of Rodney Graham” by the Globe and Mail’s Marsha Lederman, Rennie Collection lent works to the Morris and Helen Belkin Art Gallery at the University of British Columbia, and the Charles H. Scott Gallery at the Emily Carr University of Art + Design, thereby creating one of the largest ever public showings of the artist’s multidisciplinary works. Anchored by a major scholarly essay by Mark Godfrey, Senior Curator of International Art at Tate Modern, and accompanied by dozens of full-page colour illustrations of Graham’s works including a 40-foot-high wall of recent paintings, the book also features a creative fiction by novelist Susie Boyt, a music essay by author Bob Stanley, as well as a 7” vinyl with two musical tracks from a jam session featuring Kim Gordon of Sonic Youth that took place in Rodney’s Graham’s basement. Rodney Graham’s solo exhibitions include Sammlung Goetz, Munich (2015); Charles H. Scott Gallery, Emily Carr University of Art and Design, Vancouver (2014); Vancouver Art Gallery (2012); Museum der Moderne, Salzburg (2011); Museu d’art contemporani de Barcelona (2010); Jeu de Paume, Paris (2009); Museum of Contemporary Art Los Angeles (2004); and Whitechapel Art Gallery, London, (2002). He has participated in the Carnegie International (2013), the 13th, 14th and 17th Sydney Biennales, the Whitney Biennial (2006) and the Biennale d’Art contemporain de Lyon (2003). He represented Canada at the 47th Venice Biennale (1997) and was awarded two of Canada’s highest honours in the visual arts: the Gershon Iskowitz Prize (2004) and the Audain Prize (2011). Mark Godfrey is Senior Curator, International Art at Tate Modern and author of Abstraction and the Holocaust (Yale, 2007) and Alighiero e Boetti (Yale, 2011). Susie Boyt writes about Life and Arts in the Financial Times. Her latest novel The Small Hours is published by Virago. Bob Stanley writes for The Guardian and the New Statesman. His book Yeah Yeah Yeah: The Story of Modern Pop was the Sunday Times Music Book of the Year in 2013. In English and French.
Mark Godfrey, Susie Boyt and Bob Stanley
Rennie Collection (12/2016) 160 pp col. throughout 11.5 x 8.5 in hardcover 9780986596186 $39.00 Can. $39.00 U.S.
Glenn Brown / Rebecca Warren
John Chilver and Dominic Eichler
Documenting the unprecedented joint exhibition of the Turner-nominated British artists, this richly illustrated publication explores the many common themes found in each practice. Both artists willfully interrogate and refashion standards from the art world's multiple histories. Seen together Brown’s paintings and Warren’s sculptures acquire new references and new appropriations. The Brown canvases are a nightmarish review of art history that revises and reframes the work of masters and sci-fi illustrators alike. Included is his first diptych, They Threw Us All in a Pit and Built a Monument On Top, which debuted at the 2003 Venice Biennale, and also his massive The Ever Popular Dead, which debuted at Brown’s Turner Prize show in 2000. Produced between 1997 and 2005, these works represent Brown’s broad scope as much as his singular Mannerist vision. The Warren works are equally disruptive. Her sculptures are mangled and tumescent, responding to the manicured forms of classical statuary by making obvious the kneading and manipulation that calls form into being. Offsetting the clay work is Warren's monolithic Cube, a five-foot block of rough-hewn bronze that may remind us of the origins and inscrutable promise of core materials. These works constitute a distinct series originally displayed at the 2006 Tate Triennial. Glenn Brown’s work has been exhibited at, notably, Guggenheim Bilbao, Museum of Contemporary Art Los Angeles and Tate Liverpool. Rebecca Warren’s work has been exhibited at, notably, The Art Institute of Chicago, Serpentine Gallery, New Museum, Tate Britain and Tate Liverpool.. John Chilver is Lecturer in Fine Art at Goldsmith’s College, University of London. Dominic Eichler is Contributing Editor at Frieze magazine and author of Wilhelm Sasnal (Phaidon 2011). In English and French.
Rennie Collection (04/2015) 112 pp col. ill. 11 x 8.5 in hardcover 9780986596179 $25.00 Can. $28.00 U.S.
Robert Beck Robert Buck
In 2008, American artist Robert Beck changed his surname by a single vowel to Buck. This act of artistic self-nomination was precipitated by what he had achieved as Beck, an oeuvre often autobiographical in content and persistently diverse in form. Working in various mediums (drawing, sculpture, photography, and video) the artist has returned repeatedly to the universal themes of family, memory, identity, authorship, and loss. While his own experiences are central, the artist deliberately withholds information to solicit the viewer's own unique associations. He has described his work as a way to “create an index by which I could make sense of earlier, often traumatic experiences so to transcend them. Evidence of this riddles my work: bodies, holes, camouflage, mimicry, memorials, erasure, guilt, corruption, sex, and death.” Several works discussed herein are again relevant in the wake of recent shootings in the United States, with the images of teen shooters in Beck's Thirteen Shooters, 2001 echoing Andy Warhol's 1964 mural Thirteen Most Wanted Men. Robert Buck lives and works in New York City. His work has been exhibited internationally, including a solo show at the Wexner Museum of Art (2007), as well as in group exhibitions such as The San Francisco Museum of Art’s “The Air We Breath” (2011). James Voorhies is director of Bureau for Open Culture, an itinerant curatorial initiative that receives support from museums, universities and foundations to make projects in dialogue with artists and writers.
Rennie Collection (03/2014) 96 pp 39 col. ill. 11 x 8 in hardcover 9780986596162 $25.00 Can. $30.00 U.S.
Scottish-born Andrew Grassie's diminutive, hyper-realistic tempera paintings have a presence that neither photography nor oil painting can rival. This publication documents new works commissioned by Vancouver's Rennie Collection. Following the museum's programming from its 2009 inception, Grassie created paintings from its previous five exhibitions: Mona Hatoum, Richard Jackson, Thomas Houseago and Amy Bessone, Martin Creed, and Damian Moppett. Grassie's photographic source material from the life of the Collection results in depictions of the collectors' home, where contemporary artworks dwell alongside domestic traces, as well as of the Collection's warehouse, where artworks can be seen in storage. With these paintings, Grassie allows the viewer a glimpse into a moment seldom experienced - a museum in a transitional state. Most importantly, these pictures within pictures provide a recursive portrait of one of North America's most significant collections of contemporary art. Andrew Grassie’s work has been the subject of solo exhibitions at Tate Britain, The Whitechapel Gallery, and Johnen + Schöttle, Cologne. Darian Leader is the author of Stealing the Mona Lisa: What Art Stops Us From Seeing. He has also written on Martin Creed, Anthony Gormley and Christian Marclay.
Rennie Collection (08/2013) 72 pp 40 col. ill. 11 x 8.5 hardcover 978-0-9865961-5-5 $25.00 Can. $29.00 U.S.
The work of Damian Moppett charts a self-reflective studio practice spanning photography, sculpture, drawing, painting and video, often using one medium to examine another. Documenting works created especially for the occasion this new monograph provides a long-overdue career overview and accompanies the largest exhibit ever dedicated to the work of the Vancouver-based artist. Lauson’s essay, Damian Moppett’s Balancing Act, outlines the artistic process of reference and representation that marks Moppett’s work, as well the nature of a his personal romantic imagery. Currently living and working in Vancouver, Damian Moppett has exhibited widely including at The Power Plant, The National Gallery of Canada, Musée d'art contemporain de Montréal, and the Witte de With, Rotterdam. Cliff Lauson is Curator of the Hayward Gallery, London, England.
Rennie Collection (12/2012) 96 pp 40 col. ill. 11 x 8.5 hardcover 978-0-9865961-4-8 $25.00 Can. $28.95 U.S.
This elegant volume accompanies the exhibition Martin Creed: Collected Works held at the Rennie Collection at Wing Sang (Vancouver), which holds one of the world’s largest collections of the British artist. Renowned for his straightforward approach to making art and his economy of means, Creed creates sculptures, installations, drawings, films, performances, music, and text, each of which has found its inspiration in the objects and activities of everyday life. Fourteen seminal works, including some making their North American premiere, span more than a decade of creation and provide an eye-popping overview of the career of the 2001 Turner Prize winner. An original essay by art scholar Briony Fer looks at the overriding tendency toward repetition and seriality that marks Creed’s work, whereby he recalls and transforms the work of an earlier generation of artists such as Eva Hesse, Dan Flavin and Agnes Martin. Profusely illustrated. In English and French. Professor of Art History at University College London, Briony Fer is the author of numerous publications on contemporary artists, notably Eva Hesse (The Friutmarket Gallery, 2009), Roni Horne (Steidl, 2009) and Gabriel Orozco (The Museum of Modern Art, 2009).
Rennie Collection (12/2011) 164 pp 60 col. ill. 11 x 8.5 in hardcover 978-0-9865961-3-1 $35.00 Can. $40.00 U.S.
Amy Bessone / Thomas Houseago
Rachel Rosenfield Lafo & Philipp Kaiser
This first monograph on the work of British artist Thomas Houesago and American artist Amy Bessone is an event on several levels. Each artist has her/his distinct artistic practice: Bessone is a painter; Houseago a sculptor. Yet neither has been the subject of a thorough monograph. Presenting and discussing their works together in this duo-monograph format allows the reader not only to discover the singular path each artist has chosen, but the places where those paths have crossed and merged. Houseago's plaster and iron sculptures recall Picasso and Henry Moore and yet resemble the work of neither. Bessone's monumental paintings reflect Picasso and Matisse yet remain entirely anti-modernist. Viewed side-by-side their works gain meaning and resonance and provide a rigorous exploration of the figure through the lens of popular culture and art history. Philipp Kaiser is Senior Curator at MOCA Los Angeles and was formerly curator at the Museum fur Gegenwartskunst Base. Rachel Rosenfield was long time Director of Curatorial Affairs at DeCordova Museum and Sculpture Park. Essays in English, French and German.
Rennie Collection (06/2011) 98 pp 40 col. ill. 11 x 8.5 in hardcover 978-0-9865961-2-4 $25.00 Can. $28.95 U.S.
Mona Hatoum works in a diverse and unconventional range of media, including installation, sculpture, video and photography with her artistic practice discussed almost exclusively in sociopolitical terms. In her essay, Grenier brings other influences to the surface, notably Surrealism - the first Western art Hatoum discovered as a young girl - and Minimalism - the dominant aesthetic she encountered in art school in London. In exploring these seemingly contradictory impulses, the author uncovers artistic and personal concerns that go beyond a simple journalistic reading of Hatoum’s artistic practice. Mona Hatoum has exhibited widely, notably at the Centre Pompidou (Paris), New Museum of Contemporary Art (New York), Tate Britain (London) and Magasin 3 (Stockholm). Catherine Grenier has authored numerous studies, notably on Christian Boltanski, Annette Messager and Giuseppe Penone. She is deputy director at the Musée national d’Art Moderne, Centre Pompidou. In English and French.
Mona Hatoum travaille un éventail de médiums divers et non-conventionnels, incluant l’installation, la sculpture, la vidéo et la photographie. Les discussions sur son œuvre portent généralement sur le contenu sociopolitique. Dans son texte Grenier fait ressortir d’autres influences de l’œuvre de Hatoum, dont le surréalisme - soit le premier mouvement artistique occidental découvert par Hatoum durant sa jeunesse - et le minimalisme - soit l’esthétique dominante rencontrée à l’école des beaux-arts de Londres lors de la formation de l’artiste. En explorant ces impulsions qui, selon toute apparence, semblent contradictoires, l’auteure dévoile des préoccupations artistiques et personnelles qui vont au-delà de la simple lecture journalistique de la carrière artistique de Hatoum. Catrherine Grenier a écrit de nombreux ouvrages, notamment sur Christian Boltanski, Annette Messager et Giuseppe Penone. Elle est directrice adjointe au Musée national d’Art moderne au Centre Pompidou. En français et anglais.Rennie Collection (09/2010) 84 pp 30 ill. 11 x 8.5 hardcover / rigide 978-0-9865961-0-0 $25.00 Can. $28.95 U.S.
This original monograph on the work of the Los Angeles-based artist accompanies the first major North American exhibition in over twenty years and documents site-specific paintings and other works created especially for this occasion. Trained as an engineer, Jackson juxtaposes his considerations of labor with the legacy of painting producing an astonishing range of unconventional forms. Several of Jackson’s iconic works are featured and discussed, including 1250 Stacked Paintings (2006-07), Glass Head (2006), as well as Jackson’s large scale re-creation of Georges Seurat’s A Sunday Afternoon on the Island of La Grande Jatte. Jackson has exhibited at Galerie Nationale du Jeu de Paume (Paris), Hauser & Wirth (Zurich), David Zwirner Gallery (New York) and the Los Angeles County Museum of Art. Andrew Berardini writes for art journals including Frieze, Art Review, and Mousse, where he is a contributing editor. In English and French.
Publiée afin d’accompagner la première exposition nord-américaine de Richard Jackson depuis une vingtaine d’années, cette publication originale nous présente l’œuvre de l’artiste, désormais basé à Los Angeles, et documente des peintures spécifiques au site, ainsi que d’autres œuvres créées spécialement pour l’exposition. Formé en tant qu’ingénieur, Jackson juxtapose sa vision du travail avec l’héritage de la peinture, produisant ainsi une gamme étonnante de formes peu conventionnelles. Parmi les œuvres discutées notons son immense réinterpretation de Un dimanche après-midi à l'Ile de la Grande Jatte de Seurat. Richard Jackson a exposé à la Galerie Nationale du Jeu de Paume (Paris), Hauser & Wirth (Zurich), David Zwirner Gallery (New York) and the Los Angeles County Museum of Art. Andrew Berardini écrit régulièrement pour les revues d’art tel que Frieze, Art Review et Mousse. En français et anglais.
Rennie Collection (09/2010) 84 pp 30 ill. 11 x 8.5 hardcover / rigide 978-0-9865961-1-7 $25.00 Can. $28.95 U.S.