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Offers an overview of the transformative nature of installation art over the past decade, including coverage of the work of Doug Aitken, Kazuo Katase, Hans Haacke, Christian Boltanksi, Damien Hirst, Vanessa Beecroft, Gary Hill, Mariko Mori, and Bill Viola.

Christian Marclay is a New York-based, Swiss American artist who emerged in both the contemporary art and music scenes during the 1980s. He works across numerous visual media - sculpture, installation performance, found objects and collage - along with music and its artifacts, to create a unique, multidisciplinary art. Also a respected composer and DJ. he has collaborated with John Zorn and Elliott Sharp, among many others. In his visual works he sometimes simply evokes the memory of music, as in The Beatles (1989), a pillow crocheted out of Beatles audio tapes. Elsewhere he examines the cliched images of music-making, for example those found on LP record covers, charismatic, classical music conductors, smiling Easy Listening girls and sultry rock stars. These are then carefully sewn together to form hybrid figures echoing the splicing of the music itself (Body Mix, 1991-93).Marclay has presented his unique sound-and-vision works at the Whitney Biennial, New York, 1991 and 2002, and at the Venice Biennale, 1995 and 1999, among many other key international exhibitions. A major travelling retrospective of his work originated at teh Hammer Museum, Los Angeles, in 2003 and ended its tour at the Barbican Art Gallery, London, in 2005. The highlight is his tour de force, Video Quartet (2003), a four-screen installation largely combining Hollywood film clips associated with music, edited together with virtuoso precision.

Christian Marclay (born 1955) explores the fusion of fine art and audio cultures, transforming sounds and music into a visible, physical form through performance, collage, sculpture, installation, photography, and video. Published in a 3-volume magazine format, this exhibition catalogue aims to capture the spontaneity of his process-oriented practice. Although the structure of the magazines is intentionally loose, there are some themes that each issue addresses: the first issue historically contextualizes Marclay’s work; the second addresses his early work and discusses the performances taking place at the Whitney; and the third looks at his later work and video scores. As a whole, Christian Marclay: Festival is a thoughtful and creatively packaged document that captures how this artist’s compelling practice has evolved over time and continues to expand and develop.

Christian Marclay is a New York-based, Swiss American artist who emerged in both the contemporary art and music scenes during the 1980s. He works across numerous visual media - sculpture, installation performance, found objects and collage - along with music and its artifacts, to create a unique, multidisciplinary art. Also a respected composer and DJ. he has collaborated with John Zorn and Elliott Sharp, among many others. In his visual works he sometimes simply evokes the memory of music, as in The Beatles (1989), a pillow crocheted out of Beatles audio tapes. Elsewhere he examines the cliched images of music-making, for example those found on LP record covers, charismatic, classical music conductors, smiling Easy Listening girls and sultry rock stars. These are then carefully sewn together to form hybrid figures echoing the splicing of the music itself (Body Mix, 1991-93).Marclay has presented his unique sound-and-vision works at the Whitney Biennial, New York, 1991 and 2002, and at the Venice Biennale, 1995 and 1999, among many other key international exhibitions. A major travelling retrospective of his work originated at teh Hammer Museum, Los Angeles, in 2003 and ended its tour at the Barbican Art Gallery, London, in 2005. The highlight is his tour de force, Video Quartet (2003), a four-screen installation largely combining Hollywood film clips associated with music, edited together with virtuoso precision.

This volume presents an exhaustive survey of Boltanski's artistic career, documenting the researches that led him to the creation of his most recent installations in Bologna.

Christian Boltanski is one of the most important European contemporary artists working today, masterful at staging rooms and situations. His work in photography and installation, among other mediums, evokes primary concerns of human existence like lifespan, identity, body, death and legacy: how will we be remembered? Christian Boltanski documents the artist's first comprehensive solo show in Germany after more than 10 years, which connects existing pieces with new creations in a unique installation transcending time and architecture. This monograph fathoms and examines the singular echo space of Christian Boltanski's art in philosophical, literary and art-historical essays by such well-known authors as Aleida Assmann and Ralf Beil, and is rounded off by an interview with the artist.

From drawing to paintings to installations, visual art in the 20th-century US has been marked by an explosion of productivity by Jews. Their work reflects profound historical and cultural issues, such as what it means to be a Jewish artist in the western tradition of Christian art, and what it means, as Jews, to be painters of the specifically American experience. Ori Soltes focuses primarily on the work of 20th-century Jewish painters to explore themes ranging from the trials of immigration, depictions of urban life and politics, renderings of the Holocaust, and the reconstitution of Judaism in recent years by feminist painters and Soviet emigrée artists. The astonishing array of work represented in this book sometimes displays overtly Jewish themes and symbols; other paintings are included for their importance in the general development of 20th-century painting. Balancing individual biographies of painters, stylistic analysis, and thematic interpretations, Soltes offers a remarkable survey of 20th-century American Jewish painting. Despite the diverse range of images, themes, a common thread among most of these paintings is the concept of tikkun olam―of repairing or fixing the world. Most of the artists represented here demonstrate an interest in the social, as well as the aesthetic, import of their work. We see this concern for social betterment in the urban paintings of the Soyer brothers, in the “political” paintings of Ben Shahn, in the Holocaust-inflected works of numerous artists, and in the more contemporary work of Joyce Ellen Weinstein decrying violence and racism. Such works of despair and repair are balanced by dozens of paintings of celebration, joyous experiments in how to convey Jewishness and Judaism on canvas into the 21st century. Concise, elegant, and sophisticated, Fixing the World is a teaching tool, a pleasure to read, and a feast for the eyes.