Josephine Meckseper

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Born 1964 in Lilienthal, Germany
Lives and works in New York, New York


EDUCATION
1990–92
MFA, California Institute of the Arts, Valencia, California

1986–90
Graduate studies, Hochschule der Künste, Berlin

SELECTED SOLO EXHIBITIONS
2008
Arndt & Partner, Berlin

2007
Josephine Meckseper, Kunstmuseum Stuttgart, Stuttgart (catalogue)
Josephine Meckseper, Galerie Reinhard Hauff, Stuttgart

2006
International Project Room, with Galerie Reinhard Hauff, ARCO 2006 Madrid

2005
%, Elizabeth Dee Gallery, New York (catalogue)
The Bulletin Board, White Columns, New York

2004
IG-Metall und die künstlichen Paradiese des Politischen, Galerie Reinhard Hauff, Stuttgart

2003
Josephine Meckseper, Elizabeth Dee Gallery, New York

2002
Lustgarten, Borgmann Nathusius Galerie, Cologne

2001
Shine—oder Jedem das Seine, Galerie Reinhard Hauff, Stuttgart

SELECTED GROUP EXHIBITIONS
2007
Bare Life, The Museum on the Seam, Jerusalem, Israel
Brave New Worlds, Walker Art Center, Minneapolis, curated by Doryun Chong and Yasmil Raymond (catalogue)
From 60 to 7, Henie Onstad Kunstsenter, Hovikodden, Norway, curated by Frank Lubbers
An Atlas of Events, Calouste Gulbenkian Foundation, Lisbon, Portugal
New York: States of Mind, Haus der Kulturen der Welt, Berlin, curated by Shaheen Merali (catalogue)
Resistance Is, Whitney Museum of American Art, New York, curated by Christina Kukielski
Second Moscow Biennale of Contemporary Art: Footnotes about Geopolitics, Markets and Amnesia, curated by Joseph Backstein, Daniel Birnbaum, Nicolas Bourriaud, Fuliya Erdemchi, Gunnar B. Kvaran, Rosa Martinez and Hans Ulrich Obrist
Just Kick it Til it Breaks, The Kitchen, New York curated by Debra Singer and Matthew Lyons

2006
Media Burn, Tate Modern, curated by Emma Dexter, London
Biennial of Contemporary Art of Seville, Seville, curated by Okwui Enwezor (catalogue)
USA Today, Works from the Saatchi Collection, Royal Academy of Arts, Burlington Gardens (catalogue), traveling to The State Hermitage Museum, St. Petersburg
Video America, The Hospital Gallery, London, curated by Neville Wakefield
Big City Lab, Art Forum Berlin, curated by Friederieke Nymphius (catalogue)
Trial Balloons, Museo de Arte Contemporaneo de Castilla y Leon, MUSAC, Leon, curated by Yuko Hasegawa, Agustin Perez Rubio and Octavio Zaya
Whitney Biennial 2006: Day for Night, Whitney Museum of American Art, New York, curated by Chrissie Iles
and Philippe Vergne (catalogue)
Cooling Out-On the Paradox of Feminism, Lewis Glucksman Gallery, University College, Cork, Ireland; concurrently exhibited at Halle Fuer Kunst, Lueneburg, Germany; Kunsthaus Baselland, Basel Switzerland

2005
Experiencing Duration: Biennale d’Art Contemporain de Lyon 2005, Lyon, curated by Nicolas Bourriaud and Jérôme Sans (catalogue)
Schwarz Brot Gold - Die Neue Republik, Oldenburger Kunstverein, Oldenburg, Germany
Girls on Film, Zwirner & Wirth, New York
Bonds of Love, John Connelly Presents, New York, curated by Lisa Kirk (catalogue)
A.B.Normal, Nyehaus, New York

2004
Heimweh: Young German Art, London, Haunch of Venison, curated by Juliane von Herz (catalogue)
The Future Has a Silver Lining: Genealogies of Glamour, Museum für Gegenwartskunst, Zurich, curated by Heike Munder and Tom Holert, Migros (catalogue)
Dresscode, Kunstverein Neuhausen, Neuhausen/Fildern, Germany
American Idyll, Greene Naftali, New York

2003
Fuckin’ Trendy, Kunsthalle Nuremberg, Nuremberg, Germany, curated by Ellen Seifermann (catalogue)
All That Glitters, Islip Art Museum, East Islip, New York
In the Public Domain, Greene Naftali, New York
Nation, Frankfurter Kunstverein, Frankfurt

2002
Bitch School, The Bronx Council on the Arts, New York, Longwood Arts Project, New York

2001
Wine, Women & Wheels, White Columns, New York

2000
New New York, Texas Fine Arts Association, The Jones Center for Contemporary Art, Austin, Texas, curated by Alejandro Diaz (catalogue)
Grok Terence McKenna Dead, Feature, Inc., New York
Flea Market, Gavin Brown’s Enterprise, New York
Wunderbar, Art Club Berlin at W139 Gallery, Amsterdam

1999
Overflow, D’Amelio Terras, Marianne Boesky Gallery and Anton Kern Gallery, New York, curated by Caroline Schneider and Meg O’Rourke (catalogue)
Criss Cross: Some Young New Yorkers III, P.S.1 Contemporary Art Center, Long Island City, New York
Free Coke: Lines, Drawing and Paper, Greene Naftali, New York
Lifer, Cardozo School of Law Gallery, New York, curated by Kenny Schachter

1998
Super Freaks: Post Pop and the New Generation. Part 1: Trash, Greene Naftali, New York
Selective Affinities, Wahlverwandtschaften, New York Security Mini-storage, New York
Art Club Berlin, Art Forum, Berlin; Au Base, New York; Artistsspace W139, Amsterdam; curated by Klara Wallner

1996
Mixing Messages: Graphic Design in Contemporary Culture, Cooper-Hewitt, National Design Museum, New York, curated by Ellen Lupton (catalogue)
Departure Lounge, P.S.1 Contemporary Art Center, Clocktower Gallery, New York
Summer Show, Greene Naftali, New York
Intervention: Tendenzen im Schatten der Stadtplanung, Stiftung Starke, Berlin (catalogue)

1995
Wheel of Fortune, Lombard-Freid Fine Arts, New York
Benefit Exhibition, American Fine Arts, New York
Verisimilitude and the Utility of Doubt, White Columns, New York, curated by Bill Arning and Gregory Crewdson

1994
This Is Your Home, Stuyvesant Town, New York, curated by Ania Corcilius
Agent Artist, P.S. 1 Contemporary Art Center, Long Island City, New York
Paranoid, M*Y*T*H Series at the Brewery, Los Angeles, curated by Sam Durant

1992
Tattoo Collection, Andrea Rosen Gallery, New York; Galerie Daniel Buchholz, Cologne; Jennifer Flay Gallery, Paris; organized by Air de Paris, Nice, and Urbi et Orbi, Paris

SELECTED BIBLIOGRAPHY
2007
Frontisi, Claude, et al. Histoire et historiographie: L’art du second XXe siecle. Le Centre Pierre Francastel et le Université Paris X-Nanterre.
Hammehle, Bernd and Sven Ahrens (curated by), “E & A Artist Insert No. 5: Josephine Meckseper,” E & A, The Glossy Zine No. 5, “The Fashions Issue,” Spring/Summer, pp. 38-45.
Kedves, Jan, “Wäschetag,” Monopol, Magazin für Kunst und Leben, No. 6, June, pp. 68-75.
Columbus, Nikki, “Previews: Josephine Meckseper,” Artforum, May, p. 206.
Baudrillard, Jean, and Sylvère Lotringer (introduction), Forget Foucault , Semiotext(e), 2nd Revised Edition, cover.
Cotter, Holland, “Just Kick It Till It Breaks,” New York Times, April 13, p. E34.
Amado, Miguel, “Just Kick It Till It Breaks,” Artforum.com.
Bryan-Wilson, Julia, “Josephine Meckseper: Display; the female form and protest culture,” Frieze No. 105, March, p. 166.
Léith, Caoimhín Mac Giolla, “Cooling Out,” Frieze No. 105, March, pp. 180-181.
Fox, Dan, “USA Today,” Frieze No. 105, March, p. 183.
Carnevale, Fulvia and John Kelsey, “Art of the Possible: An interview with Jacques Rancière,” Artforum, March, p. 259.
Schumacher, Hajo, “Gefaehrliche Liebschaften,” Sueddeutsche Zeitung Magazin, February 9, pp. 8-9.
Herbert, Martin, “2nd Seville Biennial,” Frieze No. 104, January/February, pp. 162-163.
Merali, Shaheen, “Biennials/Survey Shows,” Frieze No. 104, January/February, p. 125.
“Portfolio,” Art on Paper, January/February, cover and pp. 44-45.
Reier, Sharon, “Contemporary Art: Follow the money,” Herald Tribune, January 27-28.
Cumming, Laura, “Go ahead and shock me," The Guardian (London), January 7.
Christofori, Ralf, Checkpoint, Jan - April 2007, pp. 60-69 (excerpt from Monopol, No. 04/2005).
Deepwell, Katy, "Social Feminism and the question of difference," n.paradoxa, Vol. 19, January, p. 94.
Sansom, Anna, “This city is a riot. Josephine Meckseper,” Sleek Magazine, No. 13, Winter 2006/2007, pp. 110-115.

2006
USA Today: New American Art from The Saatchi Gallery (exhibition catalogue). London: Royal Academy of Arts, cover and pp. 248-263.
Enwezor, Okwui (editor), The Unhomely: Phantom Scenes in Global Society. Seville: Fundación BIACS.
Big City Lab, Art Forum Berlin (exhibition catalogue). Berlin: Messe Berlin GmbH, p. 30, 110-111.
Von Burg, Dominique, “Im Taumel vielfaeltiger weiblicher Lebensentwuerfe,“ Kunstbulletin, cover and pp. 36-47.
Bollen, Christopher, “Adrian Piper, Wayne Gonzales, Eric Baudelaire, Josephine Meckseper,” New York Times, December 8.
O'Brien, Treasa, "Cooling Out – on the paradox of feminism," Circa, No. 118, Winter, pp. 92-95.
Baker, R.C., “Adrian Piper, Eric Baudelaire, Josephine Meckseper, Wayne Gonzales,” Village Voice, December 6.
Porter, Charlie, “Demand Economy,” GQ Style: Luxury Edition, Autumn/Winter.
Markovits, Benjamin, “Culture sculpture,” The Times Literary Supplement, November 3, p. 18.
“American Expressions,” Harper’s Bazaar, November, p. 112.
Burn, Gordon, “Make it new,” Saturday Guardian, October 14, pp. 12-13.
“USA Today: New American Art from The Saatchi Gallery,” The Week, October 14, p. 31.
Wullschlager, Jackie, “An Ad-man’s Snapshot of America,” Financial Times, Monday, October 9, p. 11.
Falconer, Morgan, “The States They’re In,” The Times 2, October 4, p. 15.
"Cool Feminists," Irish Arts Review, October, p. 35
Ellis, Patricia, “Catching up with Charles (Saatchi),” Flash Art, October, pp.66-67.
Ward, Ossian, “Young Americans,” DB Artmag No. 38, October, p. 13.
The Josephine Meckseper Catalogue No. 2. New York and Berlin: Sternberg Press. [essay by Sylvère Lotringer].
Andrews, Max, “Trial Ballons,” Frieze, October, pp. 262-263.
Pisano, Hortense, "Bomben, Sexbomben überhaupt," die tageszeitung, September 19.
Clayton, Richard, “Legends of the Fall,” The Sunday Times Culture Magazine, September 17, p. 10.
Spiegler, Marc, “American Renaissance,” The Art Newspaper, No. 171, July-August, p. 32.
Knöfel, Ulrike, “Die Zeitgeist-Rebellin,” Der Spiegel, July 10, pp. 126-127.
Lewis, Ben, “Private View,” Prospect, July, p. 60.
Meckseper, Josephine, "A Project for Atlántica." Atlántica Magazine, Summer, p. 78-89.
Eleey, Peter, “2006 Whitney Biennale,” Frieze, June-August, pp. 256-57.
Schmidt, Jason, Artists, Edition 7L, p.14.
Johnson, Ken, “Cady Noland Approximately,” The New York Times, May 12, p. E32.
Littlejohn, Georgina, “Academy feud,” Evening Standard (News Extra), May 11, p. 19.
McKeith, Eimear, “A war on the road to nowhere,” Dublin Sunday Tribune, April 16.
Dunne, Aiden, “This Ain’t No Fooling Around,” The Irish Times, April 7.
Academy plans new US art showcase, BBC News, April 5.
Reynolds, Nigel, “Saatchi is ready for another sensation at the RA,” Daily Telegraph, April 4.
Whitney Biennial, Day For Night (exhibition catalogue). New York: Henry N. Abrams, Inc.
Lienhard, Tim, “Josephine Meckseper: Eine Deutsche bei der New Yorker Whitney Biennale,” Arte-televison (Germany, France), March 4.
Gopnik, Blake, “Red, White and Bleak,” The Washington Post, March 2, p. C1.
Rosenberg, Karen. “Ready to Watch,” New York Magazine, February 27, pp.46-48.
Scott, Andrea, “Exhibit A-list,” TimeOut New York, February 23-March 1, pp.16-22.
Coulson, Amanda, “Emerging Artists, Josephine Meckseper,” Modern Painters (London), March, pp. 60-62.
Sholis, Brian, “Josephine Meckseper,” Artforum, February, pp. 111-112.
Scott, Andrea, “Josephine Meckseper, ‘%’,” Time Out New York, January 12-18, p.58.
Smith, Roberta, “Josephine Meckseper,” The New York Times, Janurary 6, p. E34.

2005
Expérience de la durée, Biennale de Lyon (exhibition catalogue). Paris: Paris Musées.
Egan, Maura, “Au Courant,” New York Times Style Magazine, November, p. 26.
“Experiencing Duration, Biennale d’art Contemporain de Lyon, 2005,” Flash Art, December, 2005, p. 97-98.
“Neue Kunst,” Berliner Zeitung, September 29, pp. 1, 34 and cover.
Kurbjuweit, Dirk, “Putsch gegen die Wirklichkeit: Gerhard Schröder will das Wahlergebnis nicht akzeptieren,” Der Spiegel, 39, September 26, p.165.
Studer, Margaret, “Autumn Is for Art Fairs,” The Wall Street Journal Europe, September 23–25, cover and p.1.
Doran, Anne, “‘Girls on Film’: Zwirner & Wirth,” Time Out New York, September 1–7, p. 57.
Bonds of Love (exhibition catalogue). John Connelly Presents, New York. Canada: PAZAZZ.
Ammirati, Domenick, “Critics’ Picks: Bonds of Love,” Artforum.com, September.
Christofori, Ralf, “Josephine Meckseper,” Monopol, Berlin, August, p. 22-33.
Meckseper, Josephine, “Top Ten,” Artforum, Summer, p. 142.

2004
The Josephine Meckseper Catalogue. New York: Lukas & Sternberg [with essays by John Kelsey and Andrew Ross].
The Future Has a Silver Lining: Genealogies of Glamour (exhibition catalogue). Migros Museum für Gegenwartskunst, Zurich, Switzerland. Zurich: JRP-Ringier.
Ross, Andrew, Low Pay, High Profile. New York: The New Press.
Gandhi, Arun, et al. 2/15:The Day the World Said No to War. New York: Hello[NYC]; Oakland and Edinburgh: AK Press.
Harrison, Sarah, “Heimweh: Young German Art,” Art Monthly, October.
Herbert, Martin, “Heimweh: Young German Art,” Time Out London, September 29–October 6.
Heimweh: Young German Art (London: Haunch of Venison).
Gopnik, Blake, “Studio Visit: The Artist at Home with Contradictions,” The Washington Post, April 13, pp. C1, C7.
Zimmermann, Annina, “The Future Has a Silver Lining: Genealogies of Glamour,” Springerin 3, p. 69.
Mayer, Gabriele, “Frauen brauchen schusssichere Kleider,” Frankfurter Allgemeine Zeitung, January 14, p. 33.

2003
Urban, Regina, “Designerkleider als feuerfester Schutzanzug,” Nuernberger Nachrichten, December 10, p.27.
Ammirati, Domenick, “Critics’ Pick: Josephine Meckseper,” Artforum.com, May–June.
Reed, John, “Editor's Choice: Josephine Meckseper,” Bomb, Summer/Fall, p. 20.
Verwoert, Jan, “Nation-Stereotyen en iconen van het globalisme,” Metropolis M 4, p. 157.
Christofori, Ralf, “Die verlorene Heimat der Lara Croft,” Potsdamer Neueste Nachrichten, July 8.
Pisano, Hortense, “Globale und lokale Zeichentraeger,” TAZ (Berlin/Frankfurt) 5, June, p.17.
Appel, Stefanie, “Volkskunst,” Prinz (Frankfurt) 30, May.
Buhr, Elke, “Auf dem Meldeamt,” Frankfurter Rundschau, May 15.

2002
Albers, Markus, Welt am Sonntag (Berlin), September 22, p. 53.
Feist, Silvia, “Radikales Flimmern,” Vogue (Germany), February, p. 132.
Christofori, Ralf, “Pop-politische Wahlversprechen,” Frankfurter Allgemeine Zeitung, January 5.

2001
“Verkitschte Flagge,” Stuttgarter Zeitung, November 20.

2000
Chaplin, Julia, “They Like it Like That,” Smock (New York), November, p. 40.
Schachter, Kenny, “Lifer,” Zing magazine, Spring/Summer, p. 249.
Schmidt, Jason, “Beds,” Flaunt, December/January.
Freund, Michael, “Feuer unterem Hintern, Nummerngirls in Glitzerwaesche," Der Standard (Vienna), January 8, Album section, p. 5.
“Fette Welt,” Marie Claire, Germany, February, p. 21.

1999
Smith, Roberta, “Free Coke,” The New York Times, February 26, p. E41.
“Pop Art,” New York Post, March 30, p. 6.
“Criss Cross: Some Young New Yorkers III,” Zing magazine (New York), Winter, p. 5.
Levin, Kim, “Overflow,” The Village Voice (New York), August 3, p. 72.
Waldherr, Gerhard, "Die Poesie von Mord und Totschlag,"Die Sueddeutsche Zeitung (Munich), October 2/3, p. 7.
“Mob Rule: Material and Narrative,” NY Arts magazine 32, April 7.

1998
Von Schlegell, Mark, “Selective Affinities,” New York Arts Magazine, June, p. 17.
Estrela, Alexandre, “Josephine Meckseper,” Biblia (Lisbon), December, pp. 34–35.

1996
Haden-Guest, Anthony, True Colors: The Real Life of the Art World. New York: The Atlantic Monthly Press, p. 337.
Mattussek, Matthias, “Stolzes Absaufen,” Der Spiegel 4, p. 177.
Saltz, Jerry, “Summer Group Show,” Time Out, July 24–31, p. 34.
Müller, Katrin Bettina, “Zeitschleife,” Der Tagesspiegel, July 11, p. 26.
“The Eight Day Weekend,” The New York Observer, Feb. 12.

1995
“ML Mona Lisa: New York,” ZDF Television, Germany.
Held, Matthias, “Ruhm oder Rueckfahrkarte,” Allegra Magazin (Hamburg), October pp. 170–72.
Hertin, Katja, “New York/Berlin,” Der Tagesspiegel (Berlin) December 11, p. 12.
“New FAT,” Adbusters, Vol. 3, no. 3, Winter.

1994
Dalton, Jen, “Out of Site,” Fizz (Seattle) 2, pp. 104–06.

1994-2000
Editor and publisher, FAT magazine, New York

 

  • Josephine Meckseper in New Photography 2008 at MoMA 8 Aug 2008

     

    MoMA New Photography 2008: Josephine Meckseper and Mikhael Subotzky
    September 10, 2008–January 5, 2009

    New Photography is the annual fall showcase of significant recent work in photography. This year's exhibition features the work of Josephine Meckseper (German, b. 1964) and Mikhael Subotzky (South African, b. 1981). In her photographs and signature vitrine displays, Meckseper explores the media's strategy of mixing political news and advertising content. Her installation includes a selection of larger-than-life-size photographs of models dressed in vintage lingerie from the 1950s, from her 2006 Blow-Up series. Also included is Quelle International (2008), a new group of pictures culled from a mail order catalogue popular in Germany in the 1970s that have been printed on reflective Mylar. In both series the artist uses the semantic codes of advertising to address issues of power and consumerism.

    http://www.moma.org/exhibitions/exhibitions.php?id=8380&ref=calendar

  • Josephine Meckseper in "Brave New Worlds" at the Walker Art Center 15 Oct 2007

    October 4, 2007 – February 17, 2008
    Some artworks offer escape: fanciful worlds, soothing aesthetics, images and ideas made to calm and comfort. Others nudge us to question and reflect on realities facing us as individuals and as a society. The latter definition of art guides the exhibition Brave New Worlds, which considers the present state of political consciousness, expressed through the questions of how to live, experience, and dream. Organized by Walker visual arts curators Doryun Chong and Yasmil Raymond, the exhibition of some 70 works by 24 artists from 17 countries doesn’t resort to simplistic notions of “political art.” Instead, the diverse artistic voices gathered here seek different potentials for engagement and thus collectively offer a look beyond glib expressions of globalism.

    WALKER ART CENTER

  • Alex Bag and Josephine Meckseper in "Fit to Print" at Gagosian Gallery 15 Oct 2007

    The upcoming exhibition for Gagosian Gallery’s new fifth floor space at 980 Madison Avenue, Fit to Print, focuses on the medium of collage, specifically works that utilize printed media in a prominent fashion. To set a contemporary tone, every work included in this exhibition will have been made since January 2000. This focus will bring to light the work of many international artists united by the common theme of the media in print and its myriad forms.

    This exhibition seeks to expose an artist’s compulsion to react to the steady stream of information that print media supplies. The work on view will range from meditations on formal composition to personal takes on current events.

  • Josephine Meckseper solo show opens at Kunstmuseum, Stuttgart 28 Jun 2007

    14 July – 28 October 2007
    The German newsmagazine, Spiegel called the conceptual artist, Josephine Meckseper, a "rebel against the zeitgeist." The magazine, Die Zeit, characterized her as a sophisticated admirer of the works of Jean Baudrillard. A German-born artist who has lived and worked in New York since the early 90s, Meckseper has achieved international recognition with her participation in noteworthy exhibitions and biennial contemporary art shows such as the Whitney Biennale in 2006 and the Moscow Biennale in 2007. The Kunstmuseum Stuttgart is the artist's first solo museum exhibition. In the 1,200-square-meter space, over 150 works from Meckseper's oeuvre consisting of her earliest creations, to new work created especially for the Stuttgart exhibition will be on display. Meckseper is a multimedia conceptual artist using a variety of techniques: She creates large installations, window displays, sculptures, paintings, photographs and films.

    Visit the Kunstmuseum Stuttgart website for more info

  • The Josephine Meckseper Catalogue No. 2

    by Sylvere Lontringer (Author)

    Produced by Elizabeth Dee Gallery this fully illustrated, artist-designed catalogue features the most recent work of New York-based Josephine Meckseper, including her work for the 2006 Whitney Biennial. The artist suggests that our desire for luxury goods and fashion is induced by media-driven ruling regimes, and comes to the conclusion that partisan politics are just another status symbol. Radicalism quickly morphs into radical chic, which is just one more object to be fetishized and sold in a museum-gallery-boutique that samples utopian dreams ranging from the communists to the hippies.

    Paperback: 48 pages
    Publisher: Sternberg Press; Elizabeth Dee Gallery, LLC (September 1, 2006)
    Language: English
    ISBN-10: 1933128143
    ISBN-13: 978-1933128146

    To order please visit Amazon.com

  • Josephine Meckseper (Hardcover)

    by Okwui Enwezor (Author), Marion Ackermann (Author), Christian Holler (Author), Josephine Meckseper (Author), Simone Schimpf (Contributor)

    The work of the New York-based German conceptualist, Josephine Meckseper, deals with themes of consumerism and commodity fetishism in modern society. For example, her shop window installations, Shelves, juxtapose fashion accessories with regalia, such as Palesetinian kaffiyeh, taken from left wing protest movements. The connection between consumerism and politics was initially sparked by the confluence of luxury advertising and political news, but Meckseper also does straight politics--she has filmed anti-Bush demonstrations and Berlin protest marches. The resulting work is held in the Saatchi Collection among others, and appeared in the 2006 Whitney Biennial. This monograph, which also features contributions from Okwui Enwezor, Christian Holler and Simone Schimpf, presents a concise overview of Meckseper's visual worlds, in a wide range of video, collage, painting, sculpture and installation. Born in 1964, Meckseper was deemed one of the top ten artists to watch by New York magazine in 1996.

    Hardcover: 120 pages
    Publisher: Hatje Cantz (December 1, 2007)
    Language: English
    ISBN-10: 3775719865
    ISBN-13: 978-3775719865

    To order please visit Amazon.com

  • The Josephine Meckseper Catalog

    by John Kelsey (Author), Andrew Ross (Author)

    Paperback: 48 pages
    Publisher: Lukas & Sternberg; Bilingual edition (November 2004)
    Language: German
    ISBN-10: 1933128003
    ISBN-13: 978-1933128009

    To order please visit Amazon.com

  • USA Today: New American Art from the Saatchi Gallery

    By Meghan Dailey (Author), Norman Rosenthal (Author)

    Features Josephine Meckseper and Ryan Trecartin

    This 400-page blockbuster, designed in close consultation with renowned contemporary art collector Charles Saatchi, showcases 250 works—paintings, constructions, sculpture, and photography—by 40 artists from across the U.S.A.
    This is a new generation of American art; most of the works are less than two years old and focus on artists’ views of world events and America’s place in global society. Artists profiled include Banks Violette, Kelley Walker, Matthew Monahan, Terence Koh, Christoph Schmidberger, Inka Essenhigh, Dash Snow, Josephine Meckseper and many others. Together, in this stunning volume, they offer an astounding, controversial, and wide-ranging collection.

    Paperback: 400 pages
    Publisher: Royal Academy of the Arts (February 1, 2007)
    Language: English
    ISBN-10: 1903973961
    ISBN-13: 978-1903973967

    To order please visit Amazon.com

  • Brave New Worlds

    Text by Doryun Chong & Yasmil Raymond

    Features Josephine Meckseper

    Addressing contemporary international art beyond glib expressions of globalism, Brave New Worlds assesses the current state of political consciousness and its multivalent artistic manifestations in an era characterized by the unraveling of a unified world order. Guided by the questions "How do we know?," "How do we experience?" and "How do we dream about the world?," 24 artists from Southeastern Europe to South America, from the Middle East to East Asia and from North Africa to North America propose their own answers in paintings, drawings, sculptures, installations and videos. The catalogue includes several brief "correspondent" essays, inspired by newspaper reports and penned by an international cast of young art historians, critics and curators, including Max Andrews and Mariana Canepa Luna (Spain), Cecilia Brunson (Chile), Hu Fang (China), Tone Hansen (Norway), Mihnea Mircan (Romania) and Jose Roca (Colombia). Recent texts by philosopher Kwame Anthony Appiah, celebrated author and activist Arundhati Roy and award-winning foreign correspondent Janine di Giovanni provide additional perspectives on global affairs of the past decade. In addition, Brave New Worlds features an artist insert by Lia Perjovschi of Romania, entitled "Subjective Art History from Modernism to Today," and entries on each individual artist.

    Paperback: 272 pages
    Publisher: Walker Art Center (November 1, 2007)
    Language: English
    ISBN-10: 0935640894
    ISBN-13: 978-0935640892

    To order please visit shop.walkerart.org

  • 2nd Moscow Biennale of Contemporary Art (Catalogue)

    Second Moscow Biennale of Contemporary Art: Footnotes about Geopolitics, Markets and Amnesia, curated by Joseph Backstein, Daniel Birnbaum, Nicolas Bourriaud, Fuliya Erdemchi, Gunnar B. Kvaran, Rosa Martinez and Hans Ulrich Obrist

    Features Josephine Meckseper and Meredyth Sparks

    Unlike the First Moscow Biennale, the international team of curators presented a number of shows produced by individual curators or groups of curators instead of a common collective project. All these projects shared the common theme of FOOTNOTES on Geopolitics, Market, and Amnesia, and presented the works of more than 80 artists. The organizers believed that the structure of the main project, which can be figuratively compared to a book divided into chapters, helped spectators review the issues that will be presented from various points of view.
    The catalogue of the 2nd Moscow Biennale of Contemporary Art consists of three books:
    Biennale's Main Project "Footnotes on geopolitics, market and amnesia" (Russian version)
    Biennale's Main Project "Footnotes on geopolitics, market and amnesia" (English version)
    Biennale's Special Projects (Russian and English versions)

    To order please contact 2nd.moscowbiennale.ru

  • Whitney Biennial 2006: Day for Night (Catalogue)

    Features Ryan Trecartin and Josephine Meckseper

    The 2006 Whitney Biennial catalogue, with 800 pages and more than 200 images, uses an innovative book format in order to present a remarkable artists’ section, "Draw Me a Sheep." Borrowing its title from Antoine de Saint-Exupéry's The Little Prince, the section is a collection of individual artist pages done as a series of four-panel “poster” foldouts. By inviting each artist to create a page for the book, "Draw Me a Sheep" presents an image from the artist's world and explores how each artist deals with representation in his or her own time.

    Introduction and a conversation between the curators, Chrissie Iles and Philippe Vergne and the art historian Toni Burlap; foreword by Whitney director Adam D. Weinberg; and contributions by critic and teacher Johanna Burton; Bradley Eros, an artist, experimental filmmaker, curator, writer, performer, and researcher, whose work was shown in the 2004 Whitney Biennial; Lia Gangitano, founder and director of Participant Inc. and former curator of The Institute of Contemporary Art, Boston and Thread Waxing Space, New York; Bruce Hainley, a contributing editor of Artforum and Associate Director of Graduate Studies in Criticism & Theory at Art Center College of Design; Molly Nesbit, a professor of Art at Vassar College and a contributing editor of Artforum; cultural historian and media scholar Siva Vaidhyanathan; and writer and cultural commentator Neville Wakefield. In addition the book includes excerpts from a series of articles by the writer and noted French philosopher Bernard-Henri Lévy

    2006 Whitney Museum of American Art, New York, NY

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  • Biennial de Lyon 2005: Expérience de la durée

    by Nicolas Bourriaud, Jérôme Sans

    Features Josephine Meckseper 

    Hardcover: 350-351 pages
    Publisher: Paris Musées
    Language: English and French
    ISBN-10 : 2-87900-929-4
    ISBN-13 : 978-2-87900-929-2

  • New York: States of Mind, Art in the City

    by Shaheen Merali (Editor).

    Features Josephine Meckseper.

    New York: States of Mind addresses the current state of art and film as explored by artists living
    and/or working in New York. This vivid collection of artists' interviews, film synopses, and essays
    investigates the relevance of postwar artworks to contemporary artistic statements. The films about
    New York range from the silent era through investigations of post-9/11 realities, spanning
    mainstream and avant-garde practice. Key works by artists and filmmakers-from Marcel Duchamp to Fred
    Wilson, from Martin Scorsese to Mira Nair-are interwoven to present a coherent picture of the New York contemporary art world.

    Hardcover: 320 pages
    Publisher: Saqi Books (November 1, 2007)
    Language: English
    ISBN-10: 0863566812
    ISBN-13: 978-0863566813

    To order please visit Amazon.com

  • The Unhomely: Phantom Scenes in Global Society

    by Okwui Enwezor (Editor)

    Features Josephine Meckseper

    Focusing on the contemporary confluence of aesthetics and politics, The Unhomely: Phantom Scenes in Global Society is concerned with the complexities of intimacy, proximity, antagonism, and renews. Published in conjunction with the Second International Biennial of Contemporary Art of Seville (Biacs 2), The Unhomely: Phantom Scenes in Global Society functions as more than simply a catalog for the exhibition. The book features essays by Judith Butler, Okwui Enwezor, Martin Heidegger, Thomas Keenan, Achilles Mbembe, Retort, Alberto Ruiz de Samaniego, Terry Smith, and Ruti Teitel, as well as featuring images from the artwork of the ninety-one artists featured in the biennial. Focusing on the contemporary confluence of aesthetics and politics, The Unhomely: Phantom Scenes in Global Society is concerned with the complexities of intimacy, proximity, antagonism, and renews the call for neighborliness in the present condition. Edited by Okwui Enwezor, Artistic Director of Biacs 2.

    Paperback: 336 pages
    Publisher: Biacs (December 1, 2006)
    Language: English
    ISBN-10: 8493487937
    ISBN-13: 978-8493487935
    Product Dimensions: 9.3 x 6.6 x 1.1 inches

    To order please visit Amazon.com