Objekte, Installationen, Wandarbeiten
Cady Noland, Félix Gonzalez-Torres
1991
Objekte, Installationen, Wandarbeiten
Objekte, Installationen, Wandarbeiten
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This collaborative artists’ book accompanied the eponymous exhibition at the NGBK, Berlin, December 1990–January 1991. The French-folded publication offers a balanced account of Cady Noland’s and Félix González-Torres’s responses to the excesses of 1980s postmodernism, ...
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Objekte, Installationen, Wandarbeiten
Cady Noland, Felix Gonzalez-Torres
1991
Berlin: Neue Gesellschaft für Bildende Kunst
Unpaginated [72 pages]
20 × 20.4 cm

This collaborative artists’ book accompanied the eponymous exhibition at the NGBK, Berlin, December 1990–January 1991. The French-folded publication offers a balanced account of Cady Noland’s and Félix González-Torres’s responses to the excesses of 1980s postmodernism, bringing together critical texts by several art historians alongside writings by the artists themselves. Together, these contributions situate their work within a period marked by the collapse of Soviet communism and growing collective anxieties.


 


In his introductory essay, curator Frank Wagner examines how Cady Noland and Félix González-Torres use different strategies to reflect on American social and political issues. Noland confronts these subjects through chaotic installations of meticulously chained objects (beer cans, handcuffs, walking aids, and flags) as well as metal plates depicting episodes of American violence, including the assassinations of Abraham Lincoln and John F. Kennedy, the kidnapping of Patricia Hearst, and mass shootings. By contrast, González-Torres approaches similar questions with poetic ambiguity. In Mirage, for example, a pile of candies in the colors of the American flag invites visitors to take a piece, transforming political symbolism into a bittersweet, self-consuming act of participation. Though different in form and nature, the two artists’ strategies converge in their critique of a culture shaped by spectacle, violence, and individualism.

Berlin: Neue Gesellschaft für Bildende Kunst
Unpaginated [72 pages]
20 × 20.4 cm

This collaborative artists’ book accompanied the eponymous exhibition at the NGBK, Berlin, December 1990–January 1991. The French-folded publication offers a balanced account of Cady Noland’s and Félix González-Torres’s responses to the excesses of 1980s postmodernism, bringing together critical texts by several art historians alongside writings by the artists themselves. Together, these contributions situate their work within a period marked by the collapse of Soviet communism and growing collective anxieties.

 

In his introductory essay, curator Frank Wagner examines how Cady Noland and Félix González-Torres use different strategies to reflect on American social and political issues. Noland confronts these subjects through chaotic installations of meticulously chained objects (beer cans, handcuffs, walking aids, and flags) as well as metal plates depicting episodes of American violence, including the assassinations of Abraham Lincoln and John F. Kennedy, the kidnapping of Patricia Hearst, and mass shootings. By contrast, González-Torres approaches similar questions with poetic ambiguity. In Mirage, for example, a pile of candies in the colors of the American flag invites visitors to take a piece, transforming political symbolism into a bittersweet, self-consuming act of participation. Though different in form and nature, the two artists’ strategies converge in their critique of a culture shaped by spectacle, violence, and individualism.

DESCRIPTION

This collaborative artists’ book accompanied the eponymous exhibition at the NGBK, Berlin, December 1990–January 1991. The French-folded publication offers a balanced account of Cady Noland’s and Félix González-Torres’s responses to the excesses of 1980s postmodernism, bringing together critical texts by several art historians alongside writings by the artists themselves. Together, these contributions situate their work within a period marked by the collapse of Soviet communism and growing collective anxieties.

 

In his introductory essay, curator Frank Wagner examines how Cady Noland and Félix González-Torres use different strategies to reflect on American social and political issues. Noland confronts these subjects through chaotic installations of meticulously chained objects (beer cans, handcuffs, walking aids, and flags) as well as metal plates depicting episodes of American violence, including the assassinations of Abraham Lincoln and John F. Kennedy, the kidnapping of Patricia Hearst, and mass shootings. By contrast, González-Torres approaches similar questions with poetic ambiguity. In Mirage, for example, a pile of candies in the colors of the American flag invites visitors to take a piece, transforming political symbolism into a bittersweet, self-consuming act of participation. Though different in form and nature, the two artists’ strategies converge in their critique of a culture shaped by spectacle, violence, and individualism.

Berlin: Neue Gesellschaft für Bildende Kunst
Unpaginated [72 pages]
20 × 20.4 cm

This collaborative artists’ book accompanied the eponymous exhibition at the NGBK, Berlin, December 1990–January 1991. The French-folded publication offers a balanced account of Cady Noland’s and Félix González-Torres’s responses to the excesses of 1980s postmodernism, bringing together critical texts by several art historians alongside writings by the artists themselves. Together, these contributions situate their work within a period marked by the collapse of Soviet communism and growing collective anxieties.

 

In his introductory essay, curator Frank Wagner examines how Cady Noland and Félix González-Torres use different strategies to reflect on American social and political issues. Noland confronts these subjects through chaotic installations of meticulously chained objects (beer cans, handcuffs, walking aids, and flags) as well as metal plates depicting episodes of American violence, including the assassinations of Abraham Lincoln and John F. Kennedy, the kidnapping of Patricia Hearst, and mass shootings. By contrast, González-Torres approaches similar questions with poetic ambiguity. In Mirage, for example, a pile of candies in the colors of the American flag invites visitors to take a piece, transforming political symbolism into a bittersweet, self-consuming act of participation. Though different in form and nature, the two artists’ strategies converge in their critique of a culture shaped by spectacle, violence, and individualism.

MORE BOOKS

This collaborative artists’ book accompanied the eponymous exhibition at the NGBK, Berlin, December 1990–January 1991. The French-folded publication offers a balanced account of Cady Noland’s and Félix González-Torres’s responses to the excesses of 1980s postmodernism, bringing together critical texts by several art historians alongside writings by the artists themselves. Together, these contributions situate their work within a period marked by the collapse of Soviet communism and growing collective anxieties.

 

In his introductory essay, curator Frank Wagner examines how Cady Noland and Félix González-Torres use different strategies to reflect on American social and political issues. Noland confronts these subjects through chaotic installations of meticulously chained objects (beer cans, handcuffs, walking aids, and flags) as well as metal plates depicting episodes of American violence, including the assassinations of Abraham Lincoln and John F. Kennedy, the kidnapping of Patricia Hearst, and mass shootings. By contrast, González-Torres approaches similar questions with poetic ambiguity. In Mirage, for example, a pile of candies in the colors of the American flag invites visitors to take a piece, transforming political symbolism into a bittersweet, self-consuming act of participation. Though different in form and nature, the two artists’ strategies converge in their critique of a culture shaped by spectacle, violence, and individualism.

MORE BOOKS