DENNIS ADAMS

Dennis Adams’s Double Feature is a series of composite “stills” collaged from individual frames grabbed from Jean-Luc Godard’s Breathless (1959) and Gillo Pontecorvo’s The Battle of Algiers (1965).  In these constructed images Jean Seberg walks out of Breathless  and into the demonstrations, checkpoints, and skirmishes of the Algerian revolution.  Seberg, a flirtatious young American hawking newspapers in Paris, is recast as an allegorical figure wandering the war-torn streets of Algiers, where she traces the fault line between the roles of messenger bearing the news and frontline witness to its making.

Dennis Adams is internationally recognized for his urban interventions and museum installations that reveal historical and political undercurrents in public space and architecture. Over the last two decades he has produced more than fifty projects worldwide in cities from Antwerp to Zagreb. His work has been the subject of numerous one-person exhibitions in museums and galleries throughout North America and Europe, and is included in major public collections both here and abroad.  He is currently a Professor in the School of Art at the Cooper Union in New York.

Hardcover, 5x7 in.
ISBN: 978-1-878607-77-5
92 pages, 40 black and white
Price U.S $14.95
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LLYN FOULKES

Llyn Foulkes’ tableaus may be read as an emotional response to the political and economic climate of our time.  Using found objects laminated into the painting surface, Foulkes expresses a sense of an aborted utopia.  His unique manipulations of materials and perspective convey a moral imperative to come to terms with extraordinary states of distress and alienation.   Foulkes began exhibiting with the Ferus Gallery, Los Angeles in 1959.  Through the late sixties into the seventies, Foulkes would create trademark landscape paintings that utilized the iconography of postcards, vintage landscape photography, and Route 66 inspired hazard signs transformed into sly symbols of the broken promise of freedom once embedded in the American fantasy of the open road.  Since the early 1980s, Foulkes has turned to working on a series of tableaux beginning with O’Pablo (1983). His work POP, (1986-1990), in the collection of the Museum of Contemporary Art, Los Angeles, utilizes fragments of real clothing, real upholstery all conjoined with the painted surface. Paul Shimmel included POP, along with a new group of paintings, in his "Helter Skelter" exhibition of 1992. His most recent large scale projects are The Lost Frontier (1997-2004) and Deliverance (2004-2007).

Softcover, 7 x 5 in.
ISBN: 978-1-878607-66-9
72 pages, fully illustrated
Price U.S $14.95
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BEVERLY MCIVER – INVISIBLE ME, by Irving Sandler

Beverly McIver paints her life. Her “preparatory sketches” are either family photos she has snapped or costumed self-portraits that she sets up. McIver transforms these photographic images into works of painterly bravura and expressionist force. As Irving Sandler writes in his essay, “McIver’s portraiture bridges specific ‘realism’ and emotional ‘expressionism.’ Her brush . . . penetrates the photograph’s surface, opening the image to new depth and dimension.” In McIver’s work, autobiographical portraiture becomes a means to explore “otherness” and its many manifestations, from family roles to racial identities.

The writer, Irving Sandler has been a prominent writer on American art since the 1950s, when he began reviewing for Art News and Art International. His first book, The Triumph of American Painting: A History of Abstract Expressionism, was published in 1970 and quickly became a standard text of the period. In 1972 he co-founded Artists Space, one of the earliest alternative spaces in New York. His academic career has included teaching positions at New York University, SUNY Purchase, and Hunter College. Irving Sandler lives in New York, where he continues to write and teach.

Hardcover, 7 x 6 in.
ISBN: 1-878607-96-0
56 pages, 23 color plates
Price U.S $14.95
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DOROTHEA TANNING – INSOMNIAS, 1954-1965 by Charles Stuckey & Richard Howard

Dorothea Tanning's Insomnia paintings represent a major and pivotal period in the work of one of America's major surrealists. Tanning, who was born in 1910 in Galesburg, a town on the Illinois prairie, first came to fame in the 1940s as one of the painters in the gallery of Julien Levy, New York's preeminent dealer of surrealism. However, in the 1950s she felt a growing need to move beyond the prevailing idiom of surrealist representation. She describes what happened: "Around 1955 my canvases literally splintered . . . I broke the mirror, you might say." The resulting paintings are vibrant with faceted colors and shifting spaces that both conceal and reveal figures engaged in actions that can never be fixed or wholly known. The Insomnias -- the group takes its name from a painting of the same title that Tanning made in 1957 -- are forays into the realm of conjured energies; they represent a forceful expansion of both form and content at a crucial historical moment. Charles Stuckey describes these "seemingly multidimensional mindspaces" as "among the most ambitious and sophisticated paintings to address the dilemmas of imagination and culture in a new atomic, space-race age."

The writer, Charles Stuckey, is an art historian specializing in the nineteenth and twentieth century. He has been curator of nineteenth- and twentieth-century art at the National Gallery of Art in Washington, D.C., the Art Institute of Chicago, the Minneapolis Institute of Art, and the Kimbell Art Museum in Fort Worth. He has written widely on impressionism, post-impressionism, surrealism, and postwar American art, and is currently teaching museum history and the history of the art market. Stuckey is a contributing editor at Art in America and serves as a senior advisor to Tout-Fait: The Marcel Duchamp Studies Online Journal.

The writer, Richard Howard, is a poet, critic, and translator. He has published eleven books of poetry and over 150 translations of modern French authors. Howard's poetry has been honored with several awards including the Pulitzer Prize, the National Institute of Arts and Letters Literary Award, and Guggenheim and National Endowment for the Arts fellowships. In 1996 he received a MacArthur fellowship. Howard has been poetry editor at the Western Humanities Review, the Paris Review, the New American Review, and the New Republic.

Hardcover, 7 x 6 in.
ISBN: 1-878607-95-2
80 pages, 14 color plates
Price U.S $14.95
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HEIDE FASNACHT by Nancy Princenthal

Seen from a certain perspective, or at a certain magnification, all that is sold melts into air -- or clouds of atoms, or drifts of luminous vapor. Bodies, whether of land, water, or flesh, are unstable aggregates; they are accidents, caught only by coincidence in forms we recognize. For several years, Heide Fasnacht has been tracking the energy released when that familiar cohesion is ruptured, and the always-present world of particles in collision is made manifest. Thus her images, in two dimensions and three, of detonations, implosions, geysers, volcanoes, fireworks, ticker tape parades, sneezes. . . . The drawings are meticulous but lively, heavily worked but crisp and fresh. They are based on photographs and executed in pencil, the strokes short and deliberate, though in some passages, the surface is smudged or scuffed. Patterns associated with various techniques in mechanical reproduction, including parallel hatchmarks and raster dots, come into play. Sometimes in the black and white drawings -- those of explosions at sea, for instance -- the paper is treated as if it were an etching plate, or a stencil: it is stippled, scratched, pitted, even perforated. The colored pencil drawings of volcanoes, on the other hand, can be as silky as a finely worked tapestry, and as luxuriant. (Excerpt)

The writer, Nancy Princenthal, is a Contributing Editor at Art in America, as well as Art on Paper. Her articles have also appeared in the New York Times, Artforum, Bookforum, Parkett, Artnews and others. Recent essays have included contributions to Phaidon monographs on Doris Salcedo and Robert Mangold. Since 1994, she has been Guest Lecturer in the Visual Arts Program at Princeton University. Princenthal is based in New York City.

Hardcover, 7 x 6 in.
80 pages, 20 colorplates
ISBN: 1-878607-53-7
Price U.S $14.95
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THE PHOTOGRAPHY OF JOHN BRILL by Leah Ollman

John Brill earned a degree in physiological psychology, steeping himself in the scientific method -- the practice of discriminating fact from hypothesis -- before committing himself in 1981 to art-making. Beginning with staged portraits and self-portraits, his imagery became increasingly nebulous, reflecting his interest "in how resonance could remain unaffected by the systematic removal of content." He scavenged for pictures, made some from life and others from the television screen, then worked to distance the images from their origins through multiple printings, fragementation, tonal shifts and value reversals. In the end, the pictures derive more from mind than from matter. They're projections of his will, contrived out of pure desire. (Excerpt)

The writer, Leah Ollman, is an art critic for the Los Angeles Times and a frequent contributor to Art in America. She received her degree in Art History from the Institute of Fine Arts, New York University. In another photography-related project, Ollman curated the exhibited and published project:Camera as Weapon: Worker Photography between the Wars. She lives in San Diego with her husband, Arthur, and their two children.

Hardcover, 7 x 6 in.
104 pages, 47 colorplates
ISBN: 1 - 878607-79-0
$14.95
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LEANDRO ERLICH/JUDI WERTHEIN: TURISMO

This publication documents a project undertaken for the VII Bienal de la Habana in Cuba in November 2000. The artists created a photographic setting of an unreachable Austrian Alps landscape which they transported from their Brooklyn studios to Cuba where it was installed at"La Cabaña", a historical fortress dating back to the colonial period and which in later times was used for other purposes, such as the residence of Fulgencio Batista, a jail, and, after the 1959 revolution, the headquarters of the Comandancia, led by the Che Guevara. The alpine backdrop was set up with artificial snow, skis, sleds and all other accompanying decorative items that helped create the magical illusion. Cubans residents were then invited to come and take their picture in front of the backdrop and thus completing the work of art.

Text by the artists, 64pp., 29 color plates, hardcover cloth bound.
ISBN- 1-878607-99-5
available from Kent Gallery at $16.50
postage prepaid plus NYC Sales Tax
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Unique polaroids $200.
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HERBERT BAYER - THE BAUHAUS LEGACY by Douglas Walla (in preparation)

No institution affected the course of 20th Century design so profoundly as the Bauhaus, and no artist in the United States practiced its principles more enthusiastically than Austrian-born Herbert Bayer (1900 - 1985). In the tradition of the Bauhaus, Bayer believed that art, technology, and nature should share a unity. For more than six decades, Bauhaus ideals stood at the core of his artistic approach. The ability of Bayer, as well as his contemporaries (Walter Gropius, Laszlo Moholy-Nagy, Marcel Breuer, and El Lissitzky), to move between private, autonomous expression and public projects made them unique in their creative depth and scope. Herbert was one of the few "total artists" of the twentieth century producing works that expressed the needs of an industrial age as well as mirroring the advanced tendencies of the avant-garde.
Included in this publication, we wanted to provide an updated source of information for future inquiries into Bayer's achievements in the visual arts. Further, no studio records were found following Bayer's death in 1985, so the research included here is was largely compiled through the generous availability of the Bayer holdings of the Museum of Modern Art Library. Finally, despite his accomplishments as a graphic designer, exhibition designer, architect and urban planner, Bayer thought of himself first and foremost as a painter. Therefore, this publication focuses largely on a cross section of his painting oeuvre as well as an illustration of the reciprocity between his experiments in photography related to his development as a painter.

"painting is the continuous link, connecting the various facets of my work" -herbert bayer

The writer, Douglas Walla, has been the publisher of over 35 books examining modern as well as contemporary art. Originally from California, he moved to New York to work for the Marlborough Gallery before founding Kent Gallery in 1985. This book is dedicated to the memory of Herbert Bayer with whom he was associated from 1976 to 1983, and to the legacy of his oeuvre which he has represented since 1995.

Hardcover, 7 x 6 in.
ISBN: 1-878607-87-1
120 pages, 32 colorplates
Price U.S $16.95
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DENNIS ADAMS : THE ARCHITECTURE OF AMNESIA

This survey documents Adam's explorations of the unstable relationship between image, memory, and architectural form. Monograph with text by Mary Anne Staniszewski which documents the work of the artist from 1979 through 1989.

112 pp., 30 color plates, 61 black and white reproductions.
ISBN-1-878607-07-3
$ 30.
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DENNIS ADAMS: TRANSACTIONS

Published in conjunction with the retrospective exhibition organized by the Museum Van Hedendaagse Kunst, Antwerpen curated by Florent Bex. Essays by Florent Bex, Jan Fonce, Yves Michaud

128 pp., 44 works illustrated.
out of print




DENNIS ADAMS: SELLING HISTORY

Published in conjunction with the mid-career survey exhibition curated by Peter Doroshenko for the Contemporary Arts Museum, Houston. c. 1994-1995

80 pp., 30 works illustrated.
out of print

ALTERED STATES

Special issue of the original London based ZG Magazine edited by Rosetta Brooks. Essays by Vito Acconci, J.G. Ballard, Douglas Blau, Rosetta Brooks, Robin Cembalest, Charles Hagen, Paula Jean Hoffman, Ronald Jones, Richard Ledes, Jonathan Miels, Oliver Sacks, Jerome Schulze, Michael Ventura, Paul Virillo, Robert Wright.

76 pp. Illustrated throughout.
$10.
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ATTENTION'S LOOP (A SCULPTOR'S REVERIE ON THE COEXSISTENCE OF SUBSTANCE AND SPIRIT)

"This is a book about attention and memory. I am a sculptor, so it is also a book about size, dirt, artifice, work, and eye. The text is a set of stories and interruptions that pile up to make a play of overlapping loops. My organizing principle is the image of the round-trip, so one may open the book and step into it at any point. Most of [the] photographs are of a single sculpture. It is a self-portrait, a particular kind of round-trip, and it is small: one-half life-size. Called Pupil, it is jointed and movable and I pose it. I think of it as an instrument."
So writes the sculptor Elizabeth King in this compelling volume. While the sculpture photographed in this book is figurative, King's work is about much more than representation.
Both an artist's book and a philosophical essay, Attention's Loop grew out of King's interest in finding ways to articulate how the mind experiences time. It combines visually arresting images of a single sculpture photographed in a variety of ways with a thought-provoking series of stories that accumulate crossmeanings, coincidences, and interconnections to create a kind of mental journey into the nature of existence.
Pupil, the sculpture featured in Attention's Loop is in the collection of the Hrishorn Muesum and Sculpture Garden, Washington, DC.
Elizabeth King is a professor of sculpture at Virginia Commonwealth University, Richmond. She has received numerous honors and awards and was 1996-97 Fellow in the Visual Arts at the Mary Ingraham Bonting Institute of Radcliffe College.
Katherine Wetzel photographs art for museums, galleries, collectors, and artists. She lives in Richmond,Virginia.

Text by Elizabeth King, Photographs by Katherine Wetzel
88 pages, 45 illustrations, 40 in tritone, hardcover clothbound
ISBN 0-8109-1998-2
Available from Kent Gallery at $29.95
Postage prepaid plus NYC sales tax
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EUGENE CARRIERE: THE SYMBOL OF CREATION

Concerned with "mysterious centers of thought", Gauguin, Redon and Carriere believed that to define a form too precisely was to rob it of its imaginative resonance and nuanced feeling. The French artists and poets of this circle became known as the "Symbolists" within which Carriere was a central figure.

Monograph with introduction by Robert Rosenblum and extensive text by Dr. Robert Bantens
132 pp., 52 color plates, 28 black and white reproductions. Clothbound.
ISBN-1-878607-08-01
$40.
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JOHN HEARTFIELD: AIZ/VI 1930-1938

Heartfield and Groaz began experimenting with photomontage, a term coined by the Berlin Dadaists, in 1915 or 1916. During the 1920's and 1930's Heartfield developed photomontage into a powerful satirical tool he was to use throughout his career. This is the catalogue raisonne for his best known body of work published between 1930 and 1938 in the magazine Arbeiter-Illustrierte Zeitung (Worker's Illustrated Paper, renamed Volks Illustrierte from 1936 to 1938).

Extensive text and plate notes by David Evans. Edited by Anna Lundgren.
Conceived and Published by Kent Gallery, 1992
524 pp., 247 color plates. Clothbound.
ISBN-1-878607-28-6
$250.
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INSIDE WORLD

Prince's visual narrative of aggression and sexuality in the media, composed of "found photography" and works by Man Ray, Warhol, Richter, Picabia, Sherman, and others. The first artist's book compiled by Richard Prince.

88 pp., 88 color plates.
$175.
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PAUL LAFFOLEY: THE PHENOMENOLOGY OF REVELATION

This book of the artist's writings recounts a pivotal dream that Laffoley had in 1961. Since that time, Laffoley's work has been a constant, interdisciplinary quest to explore the structure, and mystery of knowledge and transcendence. His dense diagramatic paintings bring together philosophy, history, science and the meaning and power of symbols.

Edited by Jeanne Marie Wasilik.
112 pp., 8 color plates, 56 black and white illustrations from popular culture. Clothbound.
ISBN 1878607057

Limited availability direct from the gallery only
$ 100. plus $5.00 shipping US only, $15.00 overseas
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MUNTADAS: TRABAJOS RECIENTES: TWO VOLUMES

Published on the occasion of the 1992 exhibition organized by IVAM, Valencia as curated by Vicente Todoli. Essays by Carmen Alborch, Margaret Morse, Eugeni Bonet.

Volume I, 130 pp., plus CD.
Volume II, 180 pp.
out of print




IRVING PETLIN: PASTELS 1961-1987

Petlin's images result from the action of the memory building on its own mysterious world of fantastic resources. One of the most gifted members of the mid-fifties Art Institute generation, Petlin's magical and eerie mastery of the pastel medium is explored here.

Text by Paul Cummings.
84 pp., 28 color plates. Clothbound.
ISBN-1-878607-01-4
$20.
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FRANCIS PICABIA: ACCOMODATIONS OF DESIRE

In commenting on the artist's most influential period of 1924 to 1932, Duchamp stated that Picabia had added a fourth dimension to painting. Concurrent with investigations by Duchamp and May Ray, Picabia investigated layers of literal and figurative meaning by juxtaposing Old Master painting subjects and techniques with references to biblical, optic, photographic, opium-inspired, Freudian, and occult sources.

Text by Sarah Wilson, Courtauld Institute, London.
80 pp., 18 color plates, 10 black and white illustrations. Clothbound.
ISBN-1-878607-04-9
$40.
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MEDARDO ROSSO: IMPRESSIONS IN WAX AND BRONZE

"Il caso Medardo Rosso" is the title of a book published ninety years ago by Ardengo Soffici, the Italian man of letters and painter who had recognized the greatness of the sculptor in Paris. Despite the refinements in critical analysis and the enrichment of opportunities to evaluate Rosso in the context of Impressionism, Post-Impressionism, and his place in the development of modern sculpture- from Picasso and Boccioni to Brancusi- the case is, in fact, still open. Comprehensive investigation of the lifecast works of this 19th century Italian master.

Text by Luciano Caramel.
112 pp., 13 color plates. Clothbound.
ISBN-1-878607-030
$ 100.
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MEDARDO ROSSO

This exhibition, curated by Gloria Moure, was the most extensive survey of this highly influential Italian sculptor of the late 19th to early 20th Century. Published by Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain. This publication is extensively illustrated with the variations on each sculptural theme, as well as a generous amount of Rosso's own photography.

Essays by Gloria Moure, Francisco Calvo, Luciano Fabro, Juan Munoz, Thomas Schutte, as well as the writings of Rosso.
326 pp., 232 plates, fully illustrated in color. Includes Biography as well as full Bibliography.
out of print




  Other Kent Publications
(out of print)

AMERICAN MYTHS
ARTSCHWAGER/SHAPIRO/BYARS
DOROTHEA TANNING
DOROTHEA TANNING: ON PAPER
FICTIONS
HENRY MOORE: FROM MODEL TO MONUMENT
IMPORTANT AFRICAN AND MODERN MASTERWORKS
IRVING PETLIN: WEISSWALD
JERRY KEARNS: RISKY BUSINESS
LLYN FOULKES: THE SIXTIES
MERET OPPENHEIM
METAPHOR
MYRON STOUT (with RICHARD BELLAMY)
OF ABSENCE AND PRESENCE
PASTE-UP
REALITY REMADE
THE TIMES, THE CHRONICLE & THE OBSERVER
VISIONARIES