Blog

  • In February 2017, Artifex Press will offer its digital catalogues raisonnés through a subscription service.

    We will offer two types of subscriptions: All Catalogues subscriptions and Single Catalogue subscriptions.


    All Catalogues subscriptions are for academic, museum, and public libraries; art galleries, auction houses, and art professionals; and interested individuals. These annual subscriptions entitle you to all existing Artifex Press catalogues raisonnés, updates to those catalogues, and any new catalogues published during your subscription period.

    For institutions, access is through an IP block, providing you the ability to have an unlimited number of users. Our subscription rate is based on the size and type of your institution, and follows the Carnegie Classification of Institutions of Higher Learning.


    Single Catalogue subscriptions are for those whose interest is limited to a specific artist. If you are interested in two or more catalogues, we encourage you to consider an All Catalogues subscription.


    Please contact our Sales and Marketing Director, James Whittaker, for rates and/or a free demonstration at jwhittaker@artifexpress.com.

    More information about our subscriptions will be added to the website shortly.

  • We are honored to introduce the Artifex Press Advisory Board, comprised of six accomplished art professionals from such institutions as Columbia University, the Frick Collection, Hunter College, Pace Gallery, the Pollock-Krasner Foundation, and Princeton University.

    The members are William C. Agee, Curator and Evelyn Kranes Kossak Professor Emeritus of Art History, Hunter College; Sandra Ludig Brooke, Director, Marquand Library of Art and Archaeology, Princeton University; Carole Ann Fabian, Director, Avery Architectural and Fine Arts Library, Columbia University; Deborah Kempe, Chief, Collections Management and Access, Frick Art Reference Library; Jon Mason, Director, Research and Archives, Pace Gallery; and Samuel Sachs, President, Pollock-Krasner Foundation.

    Our advisory board offers advice on issues ranging from digital preservation strategies to new cataloguing projects to the launch of our subscription service. We are grateful for their ideas, contributions, and commitment to helping us make Artifex Press the best resource it can be.

    Please find extended biographies of the members of our advisory board here.

  • It was our pleasure to co-host the first ever symposium on catalogues raisonnés in the United Kingdom with Lund Humphries on Friday, November 18, at London's Chelsea College of Arts.

    For those who were not able to attend, we're pleased to share this video from the event with you:

  • Publishers Lund Humphries and Artifex Press are co-hosting a one-day international symposium on the importance, challenges, and practicalities of compiling a catalogue raisonné, including the new publishing options afforded by digital technology. The symposium, "The Catalogue Raisonné in the 21st Century," will be held on Friday, November 18, 2016, at London's Chelsea College of Arts.

    CONFIRMED SPEAKERS:

    • Dr. David Anfam, Author, Mark Rothko: The Works on Canvas, Yale University Press, 1998

    • Lindsay Aveilhé, Editor, Sol LeWitt: Wall Drawings Catalogue Raisonné

    • Dr. Lee Beard, Editor, Ben Nicholson: Catalogue Raisonné of Paintings & Carved Reliefs

    • Susan Cooke, Director of Programming, the U.S. Catalogue Raisonné Scholars Association; and Associate Director of David Smith Sculptures: A Catalogue Raisonné

    • Dr. Dietmar Elger, Director of the Gerhard Richter Archive at the Staatliche Kunstsammlungen Dresden; and editor of the Gerhard Richter Catalogue Raisonné

    • Dr. Jo Melvin, Director Barry Flanagan Estate; and Reader in Fine Art Theory, Archives and Special Collections at Chelsea College of Arts

    • James Rawlin, Independent advisor and curator, formerly Head of Modern and Post-war British Art at Sotheby's

    • Karen Sanig, Head of Art Law, Mishcon de Reya

    • Mark Waugh, Head of Research and Innovation, Design and Artists Copyright Society (DACS)

    • Sarah Whitfield, Editor, William Scott: Catalogue Raisonné of Oil Paintings, Thames & Hudson, 2013

    The day will be chaired by art historian Dr. Nicholas Tromans, curator of Watts Gallery.

    Register for the symposium here.

  • This July, a new permanent large-scale installation by Robert Irwin opened to the public at the Chinati Foundation in Marfa, Texas. We congratulate the artist on this major achievement.

    The Robert Irwin catalogue raisonné is forthcoming from Artifex Press and will be edited by Marianne Stockebrand.

    Below is a sampling of articles related to the new installation.


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    Robert Irwin, untitled (dawn to dusk), installation interior, 2016 © 2016 Robert Irwin/Artist Rights Society (ARS), New York. Photo © 2016 Philipp Scholz Rittermann, courtesy of the Chinati Foundation


    The Art Newspaper:

    "Robert Irwin Plays with Light and Dark in Marfa" by Dan Duray, July 12, 2016.


    Artforum:

    "Robert Irwin" by Janelle Zara, July 19, 2016.


    Texas Monthly:

    "Miracle in the Desert" by Michael Agresta, July 2016.


    W Magazine:

    "Robert Irwin's Grand Stand in Marfa" by Ally Betker, July 21, 2016.


    89.3 KPCC's The Frame:

    "Artist Robert Irwin Checks out the Light in West Texas" by Tom Michael, July 18, 2016.


    The Creators Project:

    "Inside Robert Irwin’s Dazzling New Monument to Light and Space" by Naila Perez-Stringari, August 21, 2016.


    Architect's Newspaper:

    "Artist Robert Irwin's Largest Work Ever, 16 Years in the Making, Is on Display in Marfa, Texas" by Jason Sayer, August 30, 2016.

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    Lee Ufan, From Line, 1982. © 2016 Artists Rights Society (ARS), New York / ADAGP, Paris. Photo by Kerry Ryan McFate, courtesy Pace Gallery


    Artifex Press is pleased to announce that it will partner with internationally celebrated Korean artist Lee Ufan to publish the Lee Ufan Catalogue Raisonné. The publication will establish the definitive inventory of works by the artist in various mediums, including paintings, sculptures, and works on paper.

    “The primary purpose of creating a catalogue raisonné is to organize and evaluate my work,” said Lee Ufan. “I trust that I will be able to make widely known the path that I have walked and my ideas.”

    For nearly five decades, Lee Ufan (b. 1936, Gyeongsangnam-do, Korea) has traveled between South Korea, Japan, Europe, and the United States, and created an internationally recognized body of work that draws from all of these influences. Lee first came to prominence in Japan in the late 1960s as the key theoretician of the Mono-ha (“School of Things”) group, who criticized modernism for viewing the world through abstracted representations. In his sculptural works, titled Relatum, Lee juxtaposes natural and industrial materials, usually stone and steel, and encourages a phenomenological encounter between the viewer, these objects, and the surrounding space. Beginning in the 1970s, Lee developed his iconic From Point and From Line series of paintings, whose repetitive marks across the canvas record the passage of time. In his recent paintings series titled Correspondance (1991-2006) and Dialogue (2006 – ), Lee uses a wide-tipped, flat brush to apply broad rectangular strokes on a large white canvas. The painted and unpainted areas suggest the metaphysical relationship between being and nothingness, evoking a sense of infinity.

    “Lee Ufan has a unique sensibility that is immediately apparent, but the full story of his creative life has yet to be told,” said David Grosz, President of Artifex Press. “Mr. Lee's works have been exhibited and collected throughout the world, and it is only with a catalogue raisonné that we can begin to understand the full scope of his achievement. It's a great honor that he has entrusted us to help him realize this career-defining publication.”

    Lee Ufan has been the subject of more than one hundred solo exhibitions, including a career retrospective at the Solomon R. Guggenheim Museum, New York, in 2011, and a major presentation of site-specific works at the Château de Versailles, France, in 2014. Works by Lee are in the collections of the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Tate Modern, London; the National Museums of Modern Art in Tokyo and Kyoto; and the National Museum of Contemporary Art, Seoul, among other public institutions. The Lee Ufan Museum, designed by Tadao Ando, opened on the island of Naoshima, Japan, in 2010. Lee was a professor of art at Tama University in Tokyo from 1973 to 2007, and has authored numerous critical texts throughout his career. He lives and works in Kamakura, Japan, and Paris.

    Further details about the Lee Ufan Catalogue Raisonné are forthcoming.

    Download the full press release here, and visit our press page for other Artifex Press news.

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    © 2015 Frank Stella / Artist's Rights Society (ARS), New York. Photo by Bill Orcutt


    Artifex Press is pleased to announce a collaboration with Frank Stella, whose retrospective is currently on view at the redesigned Whitney Museum in New York. We will be announcing further details about this forthcoming catalogue in the new year. Current and past owners of Frank Stella's paintings are encouraged to contact editor Rebecca Ann Siegel at rebecca@frankstella.us.

    Visit our press page for other Artifex Press news.

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    Lucas Samaras, Box #70, 1986. © Lucas Samaras. Photos by Ellen Labenski, courtesy Pace Gallery


    Artifex Press is pleased to announce that it will publish a catalogue raisonné of Lucas Samaras Boxes, a series of mixed media works that explore the boundary between outer appearance and inner psyche. The catalogue is being compiled by Hannah Barton, Research Associate, Artifex Press. Barton is building upon work done by Vanessa Wildenstein, who inaugurated this catalogue in 2004 and is serving as Consulting Editor.

    Samaras began creating boxes in the early 1960s. In the catalogue for his 1972-73 show at the Whitney Museum of American Art, he wrote, “We live in boxes, see and eat with boxes, travel in boxes, and even our days and nights are boxes… I found myself making boxes. And I thought that box was as important a form as the rest of the art forms or categories. The professional scribblers were not willing to consider it as mainstream art. I stubbornly persisted in waiting for new verbal criteria to be formulated.” Samaras’s boxes often delve into the subject of the self, allowing viewers access into the mind of the artist in the form of personal and found objects or manipulated self-portraits, which are often guarded by pins, razor blades, or broken glass. In addition, many of these works are distortions of the form of the box itself, with playful multi-colored appendages or constructions made entirely of chicken wire.

    Samaras has been the subject of more than one hundred solo exhibitions and seven major career retrospectives. He works in a variety of mediums, from photography to painting to collage, and frequently manipulates, distorts, and appropriates his own image to create complex reflections on identity. As exemplified in the boxes, his work emphasizes the duality of interior and exterior expression.

    Current and past owners are encouraged to contact Editor Hannah Barton at hbarton@artifexpress.com.

    Download the full press release here, and visit our press page for other Artifex Press news.

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    Niki de Saint Phalle with Tea Party, 1971 © Niki Charitable Art Foundation, All rights reserved. Photo: © Robert Doisneau/Gamma-Rapho/Getty Images


    Artifex Press is pleased to announce that it will publish the second volume of the Niki de Saint Phalle catalogue raisonné, created in partnership with the Niki Charitable Art Foundation, which has maintained the artist’s archive since her death in 2002. The catalogue will establish the definitive inventory of Saint Phalle’s women sculptures, focusing on Nanas, the artist’s large-scale and brightly colored sculptures of women, a series introduced in 1965 and that continued throughout her career. The catalogue raisonné will be compiled under the supervision of Jana Shenefield, Director of the Archives, Niki Charitable Art Foundation.

    This will be the second catalogue raisonné of the the artist’s work, following Niki de Saint Phalle : Catalogue Raisonné 1949-2000 : Paintings, Tirs, Assemblages, Reliefs, published by Editions Acatos in 2001.

    A retrospective of Saint Phalle’s work opened at the National Art Center, Tokyo, on September 18, and runs through December 14, 2015. This is the third and final venue for this traveling retrospective, after stops at the Réunion des Musées Nationaux, Grand Palais, Paris, from September 17, 2014 to February 2, 2015; and at the Guggenheim Museum Bilbao, from February 27–June 7, 2015.

    Current and past owners of Saint Phalle works are encouraged to contact the Niki Charitable Art Foundation at nanacatalogue@gmail.com and to register their works here.

    Download the full press release here, and visit our press page for other Artifex Press news.

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    John Hoyland, Scando 2.10.80, 1980. © The John Hoyland Estate. Photo by Prudence Cuming Associates


    Artifex Press is pleased to announce that it will partner with the Estate of John Hoyland on a catalogue raisonné of the artist’s paintings. One of Britain’s leading abstract artists, Hoyland (1934-2011) has been the subject of nearly 100 solo exhibitions in the UK and internationally. He made a definitive break with figurative painting while at the Royal Academy Schools in the late 1950s, becoming a vocal proponent of non-figurative imagery, which possessed, he once wrote, “the potential for the most advanced depth of feeling and meaning.” Hoyland disliked the term “abstract,” which he said, “smacks always of geometry to me, of rational thought. There's no geometry, there's no rectangles in nature... There's only the circle, the one really powerful form in nature I keep getting drawn back to.” He worked in loose series, treating each painting as independent—communicating a vivid, sensory experience, accomplished through his expert use of color and scale.

    This fall, fellow British artist Damien Hirst will inaugurate his new gallery, Newport Street Gallery in London, with a show entitled John Hoyland: Power Stations (Paintings 1964–1982). The exhibition, which opens today, October 8, 2015, features Hoyland works drawn entirely from Hirst’s personal collection. Hirst has called Hoyland “by far the greatest British abstract painter.”

    Current and past owners of John Hoyland works are encouraged to contact catrais@johnhoyland.com.

    Download the full press release here, and visit our press page for other Artifex Press news.

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    Hercules (for Goltzius), 2006, Enamel on aluminum, 29 1/16 x 22 11/16 in. (73.8 x 57.6 cm).
    © 2015 James Siena. Photo courtesy Pace Gallery


    The James Siena Catalogue Raisonné is now requesting provenance information from collectors of the artist's work. We kindly ask that owners of these works fill out a registration form (PDF). Please return it to Artifex Press, 109 W. 27th St, 8B, New York, NY 10001, submit it online here, or email it to Ariela Alberts, at aalberts@artifexpress.com, who may also be contacted with any inquiries.

    All information will be kept strictly confidential upon request.

  • JIM DINE SCULPTURE CATALOGUE RAISONNÉ

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    Man Wears All Black, 2013, Painted wood, 79 x 49 x 26 in. (200.7 x 124.5 x 66 cm), Catalogue #2013.05


    The Jim Dine Sculpture Catalogue Raisonné, published in early 2013, now includes all new works by the artist from 2013 to the present. The new work comprises the artist's classic Pinocchio and Venus motifs, as well as a new series of work using blown glass. Also included is new information about previously published works, including the fabrication of new casts. All artworks with newly added or updated information are published in a chapter titled "2015 Update." (Subscription required to access link. Become a subscriber here.)


    TIM HAWKINSON CATALOGUE RAISONNÉ

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    Möbius Ship, 2006, Wood, plastic, Plexiglas, rope, staples, string, twist ties, and glue, 104 x 122 x 51 in. (264.2 x 309.9 x 129.5 cm), Catalogue #2006.01


    The Tim Hawkinson Catalogue Raisonné was published in January 2015 with complete artworks, exhibition history, and literature history. We have now added provenance for approximately 125 artworks. Provenance research is ongoing, and collectors are encouraged to contact the editor, Hannah Barton, at hbarton@artifexpress.com.


    Photo credits: © 2015 Jim Dine/Artists Rights Society (ARS), New York. Photo by Melissa Christy, courtesy Walla Walla Foundry; © 2015 Tim Hawkinson. Photo by Steve Oliver, courtesy Pace Gallery

  • Agnes Martin, the retrospective that opened at the Tate Modern on June 3, and will travel to Kunstsammlung Nordrhein-Westfalen, Düsseldorf, the Los Angeles County Museum of Art, and the Solomon R. Guggenheim Museum, New York, has been drawing rave reviews.

    Below is a sampling of articles related to the show, which was co-curated by Tiffany Bell, Editor of the forthcoming Agnes Martin catalogue raisonné, and Frances Morris, Head of Collections, International Art at Tate Modern.


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    Artforum:

    "The Rest Is Silence: The Art of Agnes Martin," Summer 2015.
    Ten artists and scholars revisit Martin’s abstraction: Anne M. Wagner, Glenn Ligon, Molly Warnock, Matt Saunders, Prudence Peiffer, Jo Baer, Christina Rosenberger, Robert Indiana, Catherine de Zegher, and Dorothea Rockburne.


    Economist:

    "Agnes Martin at Tate Modern: Sublime Simplicity" by A.C., June 3, 2015.


    Guardian:

    "Agnes Martin: The Artist Mystic Who Disappeared into the Desert" by Olivia Laing, May 22, 2015.

    "Off the Grid: The Quiet, Controlled Paintings of Agnes Martin" by Adrian Searle, June 1, 2015.


    New York Times:

    "On the Grid: Two New Books about Agnes Martin" by Patricia Albers, June 25, 2015.


    Telegraph:

    "Agnes Martin, Tate Modern, Review: 'Immaculate'" by Alastair Sooke, June 1, 2015.

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    "A catalogue raisonné is not just a compendium of dry details but can in fact tell stories," writes Carina Evangelista, Editor of the Chuck Close Catalogue Raisonné, in a recent article published in Art Libraries Journal (vol. 40, no. 2).

    The article, titled "The Digital Catalogue Raisonné: When Form Is Function," was part of a special issue dedicated to catalogues raisonnés, collection catalogues, and the future of artwork documentation, which can be purchased at Art Libraries Journal's website.

    The article is available courtesy Art Libraries Journal, published by ARLIS/UK and Ireland.

  • We congratulate Tiffany Bell, Editor of the forthcoming Agnes Martin Catalogue Raisonné, on co-curating Agnes Martin, a large-scale retrospective exhibition, with Frances Morris, Head of Collections, International Art at Tate Modern, with assistance from Dr. Lena Fritsch, Assistant Curator, Tate Modern.

    Bell has also co-authored the exhibition catalogue. The British and American covers are reproduced below.

    martin_book_covers.jpg Left: Tate Publishers Exhibition Catalogue; Right: Distributed Art Publishers Exhibition Catalogue


    The retrospective includes paintings, drawings, watercolors, and constructions, and spans Martin's entire career—her early, experimental and biomorphic works, her penciled grid paintings, both gray and colored stripe paintings, and her final works, which reintroduce bold forms. The exhibition is on view at the Tate Modern from June 3 to October 11, 2015.

    After the Tate, the show will travel to the Kunstsammlung NRW, Düsseldorf, the Los Angeles County Museum of Art, and the Solomon R. Guggenheim Museum, New York.

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    Agnes Martin, Friendship, 1963. © 2015 Agnes Martin /Artists Rights Society (ARS), New York. © 2012. Digital Image, The Museum of Modern Art, New York/Scala, Florence.

  • IRWIN_SCRIM_VEIL_WHITNEY_0051_53_54.jpg Robert Irwin, Scrim veil—Black rectangle—Natural light, 1977. Installation view, Whitney Museum of American Art, New York. Cloth, metal, and wood. 144 × 1368 × 49 inches. © 2015 Robert Irwin / Artists Rights Society (ARS), New York. Photo © Philipp Scholz Rittermann.


    Artifex Press is pleased to announce that it will publish the Robert Irwin Catalogue Raisonné, and that Marianne Stockebrand has been named Editor of the project.

    Stockebrand, former Director of the Chinati Foundation, Marfa, Texas, and organizer of an Irwin retrospective during her time as Director of Kölnischer Kunstverein, Cologne, Germany, will edit the catalogue raisonné of Robert Irwin’s complete works, spanning six decades, beginning in the 1950s and continuing today.

    Irwin began his career as a painter, but gave up painting at the end of the 1960s, when he closed his studio and decided to work in given architectural, or natural, environments and develop work in response to them. Beginning in 1970, Irwin worked in, and with, entire rooms or spatial settings, both interior and exterior, intervening in these spaces in order to enhance or alter certain features. Irwin exemplified his approach in numerous museum and gallery exhibitions, many of which were temporary and have therefore been dismantled. He also received commissions for urban projects of considerable scope, including the Arts Enrichment Master Plan for Miami International Airport, the outdoor sculpture Portal Park Slice in the John W. Carpenter Park, Dallas, and the Central Gardens for the Getty Center in Los Angeles. In addition to the paintings from the ‘60s and the site-specific projects dating back to 1970, Irwin has since 2008 created a series of pieces made with fluorescent lamps.

    Works by Robert Irwin are in the collections of, among others, The Museum of Modern Art, New York; The Whitney Museum of American Art, New York; Dia Art Foundation, New York; The Art Institute of Chicago; Centre Georges Pompidou, Paris; Los Angeles County Museum of Art; The J. Paul Getty Museum, Los Angeles; The Museum of Contemporary Art San Diego; and The Indianapolis Museum of Art. He also has the distinction of being the first artist to receive the John D. and Catherine T. MacArthur “Genius” Award, which he won in 1984.

    The Robert Irwin Catalogue Raisonné will feature a comprehensive inventory of paintings, sculptures, and installations by the artist with complete artwork information, provenance, installation details, exhibition and publication histories, plus high resolution images and additional multimedia. The publication will be a sortable, searchable, web-based catalogue published by Artifex Press using its patented software platform.

    Current and past owners of Robert Irwin works are encouraged to contact Stockebrand at IrwinCR@artifexpress.com.


    About the Editor

    Marianne Stockebrand received her Ph.D. in Art History from Ludwig-Maximilians-University, Munich, in 1979. She organized a retrospective of Robert Irwin’s work at the Kölnischer Kunstverein, Cologne, Germany, where she served as Director from 1989 to 1994. Earlier positions include serving as Director of Westfälischer Kunstverein, Münster, Germany, from 1985 to 1989; and as Curator of Krefelder Kunstmuseen, Krefeld, Germany, from 1979 to 1985. From 1994 to 2010, she was Director of the Chinati Foundation, during which time the foundation’s collection expanded to include an installation of poems by Carl Andre (1995); an installation in fluorescent light for six buildings by Dan Flavin (2000); and the John Wesley Gallery (2004). Stockebrand continues her scholarly work and lectures at museums internationally.


    Download this press release as a PDF.

  • Thank you to all who joined us for the launch of Tim Hawkinson's catalogue raisonné on March 10, 2015! For those who could not attend, or would like to access a recording of the event, please listen here:

    Pictured below are Tim Hawkinson, Peggy Fogelman, Acting Director of the Morgan Library, and Hannah Barton, Editor of Tim Hawkinson's Catalogue Raisonné, who participated in a lively and engaging discussion of Tim Hawkinson's catalogue and work.

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    Artifex Press is pleased to announce the publication of Tim Hawkinson's Catalogue Raisonné. This online catalogue raisonné contains detailed records for all of the artist’s works from 1986 to the present, with select meaningful student works dating back as far as 1979, encompassing his entire boundary-breaking career thus far. This is the third publication from Artifex Press, following catalogues raisonnés for Chuck Close and Jim Dine.

    The Tim Hawkinson catalogue raisonné was released online on January 15, 2015. It will be celebrated with a public launch on March 10, 2015, at 6PM, at the New York Public Library. Hawkinson will participate in a discussion about the creation of his digital catalogue raisonné, on which he has been an active collaborator, along with Editor Hannah Barton and President David Grosz, both of Artifex Press. The event is free and open to the public.

    The Tim Hawkinson catalogue raisonné contains extensive records for more than 520 works, approximately 1500 high-resolution images—including detail shots, multiple views of three-dimensional works, and installation images—and a video archive showing kinetic works in motion. Complete exhibition and literature histories are available for each artwork record, and indexes of publications and exhibitions are hyperlinked to illustrated checklists of major solo exhibitions and important critical texts. Hawkinson’s presence is seen throughout the catalogue, including in his artist's descriptions of key artworks.

    The Tim Hawkinson catalogue raisonné is the latest example of Artifex Press’s “living catalogues raisonnés,” our new take on this essential, authoritative artist catalogue, which allows us to document in real time the most up-to-date incarnation of an artist’s complete body of work. Hawkinson’s ongoing participation in the publication’s future development will ensure the catalogue grows as his œuvre expands. The catalogue will be further extended with our ongoing provenance research.

    Access to the catalogue is subscription-based, though for a limited time we are offering free access to this catalogue, as well as to Artifex Press’s previously published catalogues raisonnés for Chuck Close and Jim Dine. Forthcoming Artifex Press catalogues include Sol LeWitt, Agnes Martin, and several others.

    If you have any information about the ownership of Hawkinson artworks, please contact the editor, Hannah Barton, at hbarton@artifexpress.com.

    Download the full press release here.

  • The Tate Modern has announced plans for a large-scale retrospective exhibition on the works of Agnes Martin. The show, which opens in June 2015, will be the first retrospective of the artist's work since her death in 2004.

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    Agnes Martin, Happy Holiday, 1999. © 2014 Agnes Martin /Artists Rights Society (ARS), New York. Photo by G.R. Christmas, courtesy Pace Gallery

    The retrospective will span Martin's entire career, including paintings, drawings, and watercolors, beginning with early, experimental works, encompassing her penciled grid paintings, both gray and colored stripe paintings, and concluding with her final works, which reintroduce bold forms.

    After the Tate, the show will travel to the Kunstsammlung NRW in Düsseldorf, the Los Angeles County Museum of Art, and the Solomon R. Guggenheim Museum in New York.

    The exhibition will be co-curated by Frances Morris, Head of Collections, International Art at Tate Modern, and Artifex Press's Tiffany Bell, Editor, Agnes Martin Catalogue Raisonné, with assistance from Dr. Lena Fritsch, Assistant Curator, Tate Modern.

  • September 30, 2014 3:44 PM

    We are pleased to announce that the Artifex Press digital catalogue raisonné platform is no longer "patent-pending." Now it's patent-approved! We pride ourselves on the unique capabilities of our software, which unites a robust digital archive system with a sophisticated publishing tool, enabling users to create catalogues that can be constantly updated. And we are honored to receive this official recognition of our creation.

    This patent is a tribute to our talented design and engineering teams, and also to the useful feedback from our artist partners and our editorial team.

    For those who are interested in learning more about our patent, you may view it here.

  • September 11, 2014 3:17 PM

    In October 2001, the Fine Arts Work Center of Provincetown, Massachusetts, honored Chuck Close. In a video interview, Chuck Close accepts the award and talks about about being in Lower Manhattan on and just after September 11, 2001. We share this with you on the anniversary of 9/11.

    Producer: Stephanie Vevers
    Editor: Erik Moskowitz
    Video courtesy Stephanie Vevers

    To view the entire interview, please visit our Video and Audio Archive in Chuck Close's Catalogue Raisonné.

  • August 6, 2014 12:41 PM

    This month, Michael Dashkin reviewed Artifex Press's digital catalogues raisonnés for the Art Libraries Society of North America (ARLIS/NA).

    "Artifex’s [catalogues raisonnés] offer the flexibility and accessibility that will benefit any number of researchers and arts organizations; these resources can be regularly updated which is not a reality for their print counterparts. The platform’s mobility will, in particular, benefit those users who work across dispersed locations. The search functionality and the common user interface provides a consistent experience across the two published catalogues and those that are forthcoming, all while accomplishing the mission of a catalogue raisonné. Artifex’s catalogue platform promises a whole new category of accessibility, opening up an artist’s oeuvre to broad audiences across the world."

    Read the entire review here.

  • We are excited to announce the addition of a new segment to the Chuck Close catalogue raisonné, which, to date, includes all paintings by Chuck Close from 1967 to the present, selected early paintings from Close's undergraduate and graduate school years, and the sole film he has created, Slow Pan for Bob (1970).

    Now, we have also added a chapter titled "Selected Daguerreotypes: A Couple of Ways of Doing Something." Chuck Close first experimented with daguerreotypes in 1997 but was dissatisfied with the results. In September 1999, he began exploring ways to solve some technical problems with the daguerreotype process with Jerry Spagnoli. In 2002, a portfolio of 20 prints pairing daguerreotypes and praise poems written by Bob Holman was published in an edition of 75 by Art of this Century in conjunction with Harry Jancovici. Digital pigment prints were then produced for the exhibition catalogue A Couple of Ways of Doing Something, published by Aperture Foundation in 2006.

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    We have published records for these 20 works, each of which includes high-resolution images, and, particularly thrillingly, audio recordings of poet Bob Holman reading the praise poems. This selection of daguerreotypes precedes the release of a chapter on another photographic body of work, the Photo Maquettes, for which research is ongoing.

    Below, we're sharing a sneak preview of this new chapter including Chuck Close's daguerreotype of James Turrell with the accompanying audio of Bob Holman's praise poem, along with the typeset poem.

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    James, 2001
    Daguerreotype
    Image: 8 1/2 x 6 1/2 in. (21.6 x 16.5 cm)
    Verso, in permanent marker: signed, titled, and dated
    Made in association with Jerry Spagnoli, New York
    Catalogue #DG 2001.05

    © Chuck Close. Photo courtesy David Adamson, Washington, D.C.

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    James Turrell, 2006
    Digital pigment print of daguerreotype by Chuck Close and poem by Bob Holman
    Original typography and letterpress printing by Ruth Lingen; made in association with David Adamson

    Artwork © Chuck Close; Poem © Bob Holman. Photo courtesy David Adamson, Washington, D.C.

    Audio recording of the poem courtesy Bob Holman

    If you have already registered for Artifex Press, you can view the entire selection of daguerreotypes here (registration required). To register for access to our catalogues, click here.

  • Artifex Press seeks a detail-oriented, organized, and dedicated Research Intern to contribute to the preparation of the definitive catalogue raisonné of Sol LeWitt wall drawings.

    Position details:
    Duration: One year
    Type: Full-time / Temporary
    Start date: September 2014

    Responsibilities:
    The responsibilities will include:

    • Gathering and organizing material pertinent to the artist’s body of work;
    • Documenting literature and exhibition histories;
    • Entering information into the catalogue raisonné database;
    • Sourcing images and obtaining rights for publication.

    Background and qualifications:

    • Master’s degree in Art History, Art Criticism, or Art Theory
    • Knowledge of late 20th century American art, and conceptual art in particular
    • Reading knowledge of Italian, French, and/or German preferred
    • Proficiency in major word processing and database programs; Familiarity with content management systems and other web-based platforms a plus

    Required experience:

    • Curatorial and/or editorial work experience
    • In-depth research experience

    Interested candidates may send their resume and a cover letter to LeWittCR@artifexpress.com. Subject header: Sol LeWitt Research Intern Website: https://artifexpress.com/pages/sol-lewitt

    See the listing at NYFA.org.

  • June 19, 2014 1:46 PM

    Artifex Press, a publisher of digital catalogues raisonnés, is seeking an energetic and highly organized individual for a paid summer photography archives internship.

    Artifex Press is the first publishing company dedicated to the creation of comprehensive, publicly accessible, online catalogues raisonnés. Artifex Press’s first two catalogues are Chuck Close: Paintings, 1967-present and Jim Dine: Sculpture, 1983-present. We are also working on catalogues for Sol Lewitt and Agnes Martin, with several more to follow.

    The intern will be responsible for assisting the Archivist and Artifex staff with a range of photography-related tasks, including but not limited to:

    -Handling original photographic materials including color transparencies (4x5, 5x7, 8x10, etc.), 35mm slides, photographic negatives, and photographic prints.
    -Scanning, editing, retouching, and color correcting artwork photography using Adobe Photoshop.
    -Digitizing moving images using various video capturing software.
    -Embedding digital photographs and moving images with metadata according to IPTC standards.
    -Utilizing a digital asset management system to organize digital photographs, videos, and audio recordings.
    -Assisting with graphic design projects for Artifex promotional materials
    -Performing administrative tasks as necessary

    This paid internship starts immediately and requires a commitment of 2-3 days a week through August, with the possibility of an extension.

    Qualifications:
    -BA in fine art, graphic design, photography, or related field preferred (BA candidates welcome). MA/MLIS candidates concentrating in library or archival studies and possessing adequate photo-editing skills are also highly encouraged to apply.
    -Interest in contemporary art
    -Familiarity with the Adobe Creative Suite
    -Familiarity with flatbed scanner and slide scanning
    -Familiarity with IPTC metadata schema
    -Basic photography and color correcting knowledge
    -Keen attention to detail
    -Proficiency in Microsoft Office
    -Excellent interpersonal and organizational skills

    Application Instructions:
    To apply, candidates should email a resume and cover letter to Artifex Press Archivist, Ashley Levine, at alevine@artifexpress.com.

  • Carina Evangelista, Editor, Chuck Close Catalogue Raisonné

    At the launch of Chuck Close: Paintings, 1967 to the Present at the New York Public Library in December 2012, Close announced that his latest painting at the time, Cindy (2012), would be the last of its style. And indeed, his three newest paintings since then, artwork records for which have been added to the catalogue raisonné, reflect a shift.

    When Cindy Sherman posed for the photograph on which the 2012 Cindy is based, she wore a busily patterned scarf. Close painted Cindy on a diagonal grid, with the canvas fractured into his trademark blocks of brightly colored abstract shapes that critics have compared to bits of Murano glass.

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    Left: Cindy, 2012. Right: Cindy, 2013. Photos by Kerry Ryan McFate, courtesy Pace Gallery

    All artwork images © Chuck Close

    The 2013 paintings—Cecily, Cindy, and Cindy II—retain the grid format, but the cell blocks comprising layers of abstract shapes have been replaced by layers of monochromatic 'washes' of oil, thinly applied to approximate the lighter effect of watercolor. Much has been written about how the individual cells within each of Close’s paintings from the early 1990s until 2012 stand as small abstract paintings that collectively form a figurative portrait. Close has drawn an analogy to musical composition, with the orchestration of visual chords from colors “played together” capturing varying chromatic registers within the larger whole. In the pre-2013 paintings, these visual chords reveal discernible shapes and forms—lines, squares, circles, ovals, and triangles that call to mind donuts, lozenges, jelly beans, bottles, boomerangs, crosses, and amoeboid blobs.

    The chromatic chords in the 2013 paintings have completely shed these shapes. Still viable as small abstract paintings, from afar they look like rounded tiles in gemstone colors. The 2013 version of Sherman’s riotously patterned scarf is rendered in pulsating orbs of jewel tones. Viewed up close, the brushstrokes are visible as are the overlaid swatches of yellows, cyans, and magentas. A first pass of amber might glint beneath a unit that ultimately registers as mauve.

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    Detail, Cindy, 2013 [oil on canvas]

    Close has always claimed that the activity of work is the wellspring of ideas. The process in one medium might inform that of another, thereby triggering innovations across his entire practice. The transition between the 2012 Cindy and the 2013 Cindy was made possible by his experimentation with archival watercolor pigment prints in 2012. These were created by overlaying specific swatches of color selected from hundreds of small watercolor strokes that Close made to produce tiles of the full color chart and grayscale. In a way, these new paintings are a hybrid of his incremental grids in oil and his earlier continuous-tone paintings, in which colors were mixed right on the canvas.

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    Left: Close making the watercolor swatches for the archival watercolor pigment prints. Right: Cindy, 2012 [archival watercolor pigment print (90 degrees) on Hahnemühle rag paper]. Photos courtesy Magnolia Editions

    As a child, Close wanted to be a magician or an artist. He sees paintings, prints, and drawings as magical things because their material reality–colored dirt on a piece of cloth, ink on paper–is transcended. The 2013 paintings illustrate his predilection, à la Penn and Teller, for creating magic while also showing the trick. These paintings are deliberately unfinished at the bottom to reveal the process by which the chromatic chords are achieved. Cecily (2013) in particular shows the gradation of finish from bottom to top.

    But with Close, every transition is also a recycling. The 2012 watercolor pigment prints inspired his shift in 2013, but his newest paintings are also anticipated by 35 years with the 1978 drawing, Mark/Watercolor/Unfinished.

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    Left: Mark/Watercolor/Unfinished, 1978. Photo courtesy Pace Gallery. Right: Cecily, 2013. Photo by Kerry Ryan McFate, courtesy Pace Gallery

    Please note that the newly published artwork pages for the 2013 paintings will be continually updated as our research for provenance, exhibition, and literature histories progresses.


    Other Chuck Close Catalogue Raisonné Updates

    Solo Exhibitions

    Close’s solo exhibition history has been published in the catalogue. Select exhibition entries link to their respective exhibition pages, featuring paintings that appeared in those exhibitions.

    Chuck Close and Freedom of Speech, 1967

    For an artist most known for straightforward portraiture—a rather benign art form—Close has not been immune to, or apolitical about, censorship. In 1991, on the heels of the public trial against works such as Robert Mapplethorpe’s homoerotic photography and Andres Serrano’s 1987 Piss Christ, Close testified at a Congressional hearing against stronger anti-obscenity restrictions. But his stance on artistic freedom of speech dates back to 1967, when his first solo exhibition at the University of Massachusetts drew enough controversy that it was immediately taken off the walls without his knowledge. A link to the transcript of the court case that came out of this dispute, “Charles Close v. University of Massachusetts,” has been published. It is cited regularly as the first legal action asserting the extension of freedom of speech to the visual arts.

    Audio and Video Archive

    This section is expanded with the assistance of Artifex Press Archivist/Digital Resource Manager Ashley Levine and Research Assistant Ariela Alberts as more material is acquired. Recently added videos include a recording of the full performance of C to C (Close to Chuck), restaged by the Boston Ballet in February 2014. The ballet, which originally premiered at the American Ballet Theatre in New York in 2007, was choreographed by Jorma Elo to the musical portrait of Close composed in 2004 by Philip Glass. Close’s 1969 painting of Glass has become one of the artist’s iconic works.

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    To collect information for the catalogue raisonné and an upcoming retrospective of the work of Agnes Martin, Tiffany Bell, Editor, Agnes Martin Catalogue Raisonné, recently made a trip to Texas and New Mexico. Martin spent several formative years in New Mexico and returned to make it her home for the last three decades of her life.

    The visit was filled by meetings with friends of the artist who have added details to the chronology of her life such as an account of a boat and camping trip up the Mackenzie River in northwest Canada; with collectors who have stories and information about works from Martin’s earliest period as an artist; and by a visit to the Harwood Museum of Art in Taos, which hosts a permanent installation of the artist’s paintings and a growing archive of photos and documents about her work.

  • May 12, 2014 2:38 PM

    Hannah Barton, Research Associate

    After about a year of research on the Tim Hawkinson catalogue raisonné, I was graciously invited by the artist to his home studio in the hills above Pasadena to discuss his work and review the catalogue. Tim and his wife, painter Patty Wickman, share a studio, which they had built behind their house. The studio is large enough to accommodate both artists easily, giving Tim the space he needs to experiment with the multitude of materials he collects. Entering the studio was thrilling; immediately I was surrounded by a plethora of bizarre materials: stacks of eggshells, shelves full of nuts and bolts, containers full of feathers, piles of paint cans, glue bottles, and plastic bags. It is inspiring to think that within months these mundane, mostly recycled materials could turn into perfectly constructed eggshell sculptures, unconventional self-portraits, or imaginative and deceptive timepieces.

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    Left: Tim Hawkinson holds two recent plaster casts of his head and hands. Right: A model for a project in progress at the Transbay Transit Center in San Francisco.

    After digging into the details of Tim’s digital catalogue raisonné, to resolve discrepancies concerning titles, mediums, and other aspects of his work, he took me on a tour of the space and showed me the newest work. One recently completed piece was a cratered orb assembled completely out of eggshells. Still untitled, the work hung delicately from a wire in the corner of the studio. As Tim removed it, he began to explain that a hairline crack in one eggshell fragment had caused weeks of repair. His patience for this type of construction is what makes his work so unique; though many of his pieces seem inspired by a child-like curiosity, it is his enduring mindfulness toward the materials he uses that transforms these everyday objects, so easily taken for granted, into sources of awe.

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    Tim stands next to the still untitled eggshell orb, with the plaster model used to cast Samoa (2013) on the right.

    Our meeting culminated with a tour of the tree house Tim built for his young daughter, Clare. Sitting atop the studio, the structure is accessible by a ladder built into the trunk of an adjacent olive tree. Putting my camera in the basket dumbwaiter, I scrambled up the tree after Tim. Most of the structure was built using reclaimed wood from a recent home remodel. Found stained-glass windows let in a warm, colorful light. A small turret extends out to one side of the structure and a twisting staircase, its railing constructed out of recycled Christmas tree branches, leads up to an observation tower, whose ceiling is a sturdy old umbrella. Like all of his creations, the tree house is a model of resourcefulness. My visit with Tim was meant to resolve several crucial unanswered questions about his work, but along the way I had a chance to experience firsthand the artist’s daily practice and the whimsical, fantastical world that he creates all around him. Tim’s work requires the same kind of diligence and meticulousness that is necessary to create a catalogue raisonné, but it is the unceasing exploration and play that he brings to his life and work that I was most privileged to experience on this visit.

    To see more images of the tree house, take a look at this article from the New York Times in 2012.

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    The first volume of the digital publication, which covers the years 1983 to the present, is available for a limited-time free subscription here.

    Works from 1959-1982

    We are continuing the project by collecting information on the ownership of sculptures from 1959 to 1982. Collectors are encouraged to assist us by filling out this worksheet (PDF) for any of the artist’s sculptures in your collection or previously owned by you. We would also welcome images, which you may submit here.

    Works 1983-Present

    We will be adding new artworks created in 2013 and beyond, and we will continue to track the provenance of sculptures already included in the catalogue. Kindly complete the worksheet (PDF) if you have further ownership information on sculptures from any date. To submit images, please click here.

    Please address submissions to editor Sara Davidson at sdavidson@artifexpress.com.


    Image:
    Nancy and I at Ithaca, 1966-1969
    Sheet metal and straw
    62 x 72 x 14 in. (157.5 x 182.9 x 35.6 cm)
    © 2014 Jim Dine/Artist Rights Society (ARS), New York. Photo courtesy Pace Gallery

  • March 27, 2014 11:34 AM

    This week is #MuseumWeek on Twitter and today we go #BehindTheArt. Below, a video that Artifex Press produced takes us behind Jim Dine's Crommelynck Gate with Tools, 1983, with editions in the collections of some remarkable museums:

    Edition 1 Collection Walker Art Center, Minneapolis

    Edition 2 Yale University Art Gallery, New Haven, Connecticut

    Edition 3 Toledo Museum of Art, Toledo, Ohio

    Edition 4 Nelson-Atkins Museum of Art, Kansas City, Missouri

    Edition 5 The Israel Museum, Jerusalem

    Edition 6 The Metropolitan Museum of Art, New York

    For further information on the artwork, please register for free access to our catalogues and click here.

    Follow Artifex Press on Twitter.


    Photo credits: Edition 1 ©2014 Jim Dine/Artist Rights Society (ARS), New York. Photo courtesy Walker Art Center, Minneapolis Edition 2 ©2014 Jim Dine/Artist Rights Society (ARS), New York. Courtesy Yale University Art Gallery, New Haven, Connecticut Edition 3 ©2014 Jim Dine/Artist Rights Society (ARS), New York. Photo by Tim Thayer, Oak Park, Michigan, courtesy Toledo Museum of Art Edition 4 ©2014 Jim Dine/Artist Rights Society (ARS), New York. Photo by Tiffany Mason, courtesy The Nelson-Atkins Museum of Art, Kansas City, Missouri Edition 6 ©2014 Jim Dine/Artist Rights Society (ARS), New York. Photo by Lynton Gardiner, © The Metropolitan Museum of Art/Licensed by Art Resource. Historical photos ©2014 Jim Dine/Artist Rights Society (ARS), New York. Courtesy the artist and Pace Gallery.

  • January 23, 2014 4:08 PM

    This month, we released our inaugural newsletter which can be viewed here.

    To receive the latest news and updates about Artifex Press, please subscribe to our mailing list.

    Also, take a look at our improved About Artifex Press pages: Learn about our catalogues raisonnés, watch our how-to-use video, and meet our editors.

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    The Agnes Martin catalogue raisonné project is accepting submissions from owners of paintings and unique works on paper by Agnes Martin. Prints will not be included at this time. We kindly ask that owners of these works fill out an examination agreement (PDF) and return it to Artifex Press, 109 W. 27th St, 8th FL, New York, NY 10001. Submissions for entry will be considered by a committee of art professionals. Please address inquiries to Tiffany Bell, editor of the project, at tbell@artifexpress.com.

    All information will be kept strictly confidential upon request.

    Catalogue homepage photo by Charles R. Rushton

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    Artifex Press is pleased to announce the forthcoming catalogue raisonné for Tim Hawkinson. Since the mid-1980s, Hawkinson has been creating an inventive and highly eccentric body of work that touches on such diverse subjects as music, the passage of time, and his own body. He frequently works with non-traditional media such as latex, eggshell, fingernail clippings, slide whistles, and aluminum foil, as well as a range of discarded and scavenged objects. His art encompasses two- and three- dimensional objects and ranges in scale from the minute to the gigantic. His materials and artistic process are indelible parts of the finished works, many of which are kinetic or interactive.

    Artifex Press has been actively researching Hawkinson’s artworks, publications, and exhibitions in an effort to ensure the accuracy of this comprehensive publication. We are working in close collaboration with the artist to produce this catalogue, which is expected to be an ongoing project as Hawkinson continues to create work. We would like to take this opportunity to solicit any and all pertinent information about Hawkinson’s work, including information that pertains to exhibitions, publications, and ownership, either past or present. Please note that Artifex Press maintains strict confidentiality of collector identity and contact information, and respects requests for privacy and anonymity.

    Please email Hannah Barton, Research Associate, at hbarton@artifexpress.com with any relevant information or queries.

    Hawkinson’s work is currently showcased in a group exhibition at Pace Gallery titled Grounded, on view at 534 West 25th Street until February 14, 2014.

  • Artifex Press has produced 35 original videos of Jim Dine discussing his body of work in a series of conversations held with Editor Sara K. Davidson. Here, we present a sample video, in which Jim Dine discusses a central theme in his work: Tools.

    To access all of the videos we have produced, please sign in or register for Artifex Press. Subscriptions are free of charge for a limited time. Once you have logged in, you can access the first four videos of Dine discussing key recurring subjects here.

    In other videos, which will be added to the catalogue in upcoming weeks, Dine discusses technique and medium as well as specific artworks; these videos can be found on individual artwork pages.

    Stay tuned: the remaining videos will be added within the next month.

  • January 16, 2014 5:42 PM

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    Artifex Press is pleased to announce the forthcoming publication Chuck Close: Photo Maquettes, a new volume in the artist’s catalogue raisonné. Photography is central to the artist’s practice, and this new volume will document the gridded photographs from which Close has created works in other mediums, including paintings, drawings, prints, and tapestries.

    Close has likened his photography to “a well to which you can return again and again and each time get a bucket full of different stuff from it.”(1) For example, his 1969 photograph of Philip Glass has generated dozens of works, including the monumental and iconic grisaille painting at the Whitney Museum of American Art; fingerprint drawings of various sizes and formats (including one on paper watermarked with flowers); works in wet paper pulp, watercolor, and rubber stamp ink; houndstooth-patterned drawings; silk tapestry; and even an anamorphic print in which the image resolves as a reflection on a steel cylinder. Glass has fittingly stated that his face was to Close what haystacks were to Monet.(2)

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    Curator Madeleine Grynsztejn has described Close’s process as “the meeting of the frozen instant of the snapshot with the long, unhurried duration of a hand distributing paint over a surface.”(3) If his entire oeuvre is the mediation of gridded photographs, each maquette bears the marks of the meditative process of looking at a photograph and translating its information onto canvas, paper, or textile. Close has explained, “If I am looking for a certain thing in the photograph, then I make one kind of work, and if I deal with some formal aspect of it or make a different choice of material and technique, I will find entirely different elements embedded in the photograph.”(4)

    Each maquette also bears evidence of the artist’s use of the grid — which he has referred to as a visual metronome whose orientation and size arbitrate the final work’s ocular rhythm. How tight or loose is the grid in relation to the scale of the canvas? Will an iris be boxed in or sliced through? Is the grid horizontal or diagonal? (The same nose in profile will be transformed by this choice.) “This is the great thing about the maquettes,” Close has said. “You see the decisions that I made, where those lines fall… That’s really what it is all about. And if someone were to take a lot of time analyzing them, I think they would find that there’s a method in the madness.”(5)

    In preparation for the publication of the Photo Maquette volume, kindly contact Carina Evangelista, Editor of the Chuck Close Catalogue Raisonne, at cevangelista@artifexpress.com with information pertaining to the exhibition, publication, or ownership of any of the artist’s maquettes. Please note that Artifex Press maintains strict confidentiality of collector identity and contact information, and respects requests for privacy and anonymity.

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    (1) Chuck Close, in Joanne Kesten, ed., The Portraits Speak: Chuck Close in Conversation with 27 of His Subjects (New York: A.R.T. Press, 1997): 219.
    (2) Philip Glass, “I’m Just a Haystack,” in Demetrio Paparoni, Daguerreotypes (Milan: Alberico Cetti Serbelloni Editore and Gabrius S.p.A., 2002): 6.
    (3) Madeleine Grynsztejn, “A Constant-in-Process: Chuck Close’s Self-Portraiture,” in Siri Engberg and Madeleine Grynstejn, Chuck Close: Self-Portraits 1967-2005 (San Francisco: San Francisco Museum of Modern Art; Minneapolis: Walker Art Center, 2005): 15.
    (4) Close, in The Portraits Speak: 219.
    (5) Close, in Jonathan Weinberg, Chuck Close: Photo Maquettes (New York: Eykyn Maclean, 2013): 52.

    List of images from top, left to right:

    Phil/maquette, 1969 © Chuck Close. Photo courtesy Chuck Close Studio
    Phil, 1969 © Chuck Close. Photo by Ellen Page Wilson, courtesy Pace Gallery
    Drawing for Phil/Rubber Stamp, 1976 © Chuck Close. Photo by Al Mozell, courtesy Pace Gallery
    Phil/Fingerprint, 1978 © Chuck Close. Photo by Bevan Davies, courtesy Chuck Close Studio
    Phil Fingerprint/Random, 1979 © Chuck Close. Photo by Al Mozell, courtesy Pace Gallery
    Phil with Flowers, 1980 (and detail) © Chuck Close. Photo by Al Mozell, courtesy Chuck Close Studio
    Phil, 1991 © Chuck Close. Photo courtesy Chuck Close Studio
    Phil/Wet Paper Pulp, 1983 © Chuck Close. Photo by Ellen Page Wilson, courtesy Pace Gallery
    Phil (Anamorphic), 2007 © Chuck Close. Photo courtesy Chuck Close Studio
    Chuck Close working on Large Phil Fingerprint/Random, 1979 © Chuck Close. Photo courtesy Chuck Close Studio

  • We congratulate Carina Evangelista, Editor of the Chuck Close Catalogue Raisonné, for her contributions to two recently released publications.

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    Carina has contributed four essays to Roberto Chabet: 50 Years, a compendium published by King Kong Art Projects on the occasion of the Filipino conceptualist's retrospective that traveled to 15 venues in Manila, Hong Kong, and Singapore from 2011 to 2012.

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    Carina is also a contributing author to the catalogue for Constancio Bernardo, the Filipino modernist's centennial exhibition at the Ayala Museum in Manila, which runs through February 28, 2014. The catalogue was published by Soumak Collections.

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  • January 8, 2014 4:10 PM

    Our offices are now located at:

    109 W. 27th Street, 8th Floor
    New York, NY 10001

    Our new telephone number is:

    (212) 414-1482

    1545184_347598422049647_878072798_n.jpg Artifex Press Staff toasts the move and the new year

    1536535_346956165447206_2004080541_n.jpg The view at sunset from our offices

  • Lindsay Aveilhé, Research Associate for the Sol LeWitt Wall Drawings Catalogue Raisonné, helped organize an installation of Wall Drawing #84 at The Artist's Institute on November 20, 2013. In order to install the work, "a drafter uses every single color from the original Crayola 12-pack — Red, Yellow, Blue, Green, Orange, Purple, Black, White, Brown, Carnation Pink, Indigo, Gray — and wears down the crayons in their entirety to form a dense twelve-inch square." John Hogan, senior draftsperson and Mary Jo and Ted Shen Sol LeWitt Wall Drawings Installation Director and Archivist, Yale University Art Gallery, led the installation with the help of graduate students from the Hunter College Art Department and staff members of Artifex Press. Below are some photographs illustrating the installation in process.

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    Artwork © 2013 Estate of Sol LeWitt/Artists Rights Society (ARS), New York. Photos by Hannah Barton, Artifex Press

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    On November 11, Chuck Close invited the staff of Artifex Press to visit his studio and private collection of art. Carina Evangelista, Editor of the Chuck Close catalogue raisonné, and several additional Artifex staff members and interns were able to put aside their archival work and spend a relaxed afternoon with Chuck Close, as he talked about his life and his art, giving us a tour of his studio and his apartment. Below are some photos from our visit.

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    All artworks © 2013 Chuck Close. Photos by Manolo Bustamante.

  • September 19, 2013 1:53 PM

    Yesterday Artifex Press was excited to join the conversation on Twitter for #AskACurator day, with over 600 arts organizations participating from 37 countries. At Artifex Press, we are fortunate to communicate regularly with curators from around the world, but yesterday offered a public forum for these interactions, encouraging new conversations and access to expertise.

    A highlight from our twitter exchanges for #AskACurator is this conversation with the Georgia O'Keefe Museum:

    Another highlight is our conversation with the Santa Monica Museum of Art:

    Follow us on Twitter, Facebook, and Instagram.

  • September 10, 2013 5:54 PM

    Artifex Press has joined Facebook, Instagram, Twitter, and LinkedIn. Like and follow us for updates on our catalogues raisonnés, news about our artists, photos from our archives, and much more. Be sure to keep up with us to hear the news first.

    Find us here:

    https://www.facebook.com/artifexpress

    http://instagram.com/artifexpress

    https://twitter.com/ArtifexPress

    http://www.linkedin.com

  • September 10, 2013 5:16 PM

    Digital Resource Manager/Archivist

    Artifex Press is looking for a Digital Resource Manager/Archivist to oversee its growing digital image collection and to execute a strategy for future publication and archival needs.  

    The Resource Manager/Archivist will report to Artifex Press’s President and work collaboratively with the Editors of Artifex Press's several catalogue raisonnés projects. Current publications include Chuck Close, Jim Dine, Sol LeWitt, and Agnes Martin.  

    For more information on this opening, please view the job listing at NYFA or VRA.

  • April 10, 2013 12:39 PM

    Artifex Press will be an exhibitor at the 41st annual conference of the Art Libraries Society of North America in Pasadena, from April 25 to April 29.

    Editor in Chief David Grosz will be on hand to demonstrate the Chuck Close and Jim Dine catalogues raisonnés and discuss Artifex Press's proprietary software platform and digital publishing program.

    Come visit him at booth 1107.

  • Artifex Press and the LeWitt Estate are pleased to announce that they have named Béatrice Gross Editor of the Sol LeWitt Wall Drawings Catalogue Raisonné.

    Gross, an independent curator and critic based in New York, will edit the catalogue raisonné featuring complete caption information, installation views, and diagrams for all of LeWitt’s approximately 1300 wall drawings, as well as provenance information, and selected exhibition, literature, and installation histories. The publication will be a sortable, searchable, web-based publication hosted by Artifex Press’s proprietary software platform.

    Current and past owners of wall drawings, all members of wall drawing installation teams, and all others who have worked with the wall drawings are encouraged to contact Artifex Press’s LeWitt catalogue raisonné research team at LeWittCR@artifexpress.com.

    Read the full press release here.

  • February 28, 2013 3:35 PM

    To mark the launch of Jim Dine's digital catalogue raisonné, Artifex Press and the New York Public Library hosted a talk between the artist; Sara Davidson, editor of the Jim Dine Catalogue Raisonné; and David Grosz, Editor in Chief of Artifex Press. 

    Please listen to the discussion here.

  • On February 27, Artifex Press and the New York Public Library will present an artist talk with Jim Dine in celebration of the launch of his digital catalogue raisonné,___ Jim Dine: Sculpture 1983-present___.  

    The event will feature a demonstration of the digital catalogue raisonné, followed by a discussion between Dine; Sara Davidson, Editor of the Jim Dine Catalogue Raisonné; and David Grosz, Managing Partner/Editor in Chief of Artifex Press.

    Read the press release.

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     © 2013 Jim Dine/Artist Rights Society (ARS), New York. Photo courtesy Walla Walla Foundry.

  • February 14, 2013 3:50 PM

    On February 12, the New York Public Library hosted a panel discussion on The Future of Art Book Publishing. The talk featured Margaret Chace, Associate Publisher, Skira-Rizzoli; artist and publisher Paul Chan; Sharon Gallagher, President of Artbook/D.A.P; MoMA Associate Publisher Chul R. Kim; and moderator Arezoo Moseni.

    During the talk, Artifex Press Editor-in-Chief David Grosz was invited to give an impromptu talk about Artifex's digital catalogue raisonné publishing program.

    Please listen to the discussion here.

  • To mark the launch of Chuck Close’s digital catalogue raisonné, Artifex Press and the New York Public Library hosted a talk between the artist; Carina Evangelista, editor of the Chuck Close Catalogue Raisonné; and David Grosz, Editor in Chief of Artifex. 

    The audio stream of the discussion is currently available through the internet art radio station, ArtonAir.org, located in the Clocktower Gallery in Tribeca. 

    UPDATE: Listen to the podcast for the Dec. 19 Artifex inaugural event featuring Chuck Close at the New York Public Library.

  • January 14, 2013 5:48 PM

    Research Associate

    Artifex Press seeks a research associate (4 days a week) to assist on the preparation of a new catalogue raisonné.

    Under the supervision of the Catalogue Raisonné Editor, the associate’s responsibilities will include, but are not limited to: documenting and organizing material pertinent to the artist’s work; gathering information on literature references, exhibition histories, provenance, etc.; sourcing images and obtaining rights for publication; and helping with general duties and office management.

    Requirements:

    • Knowledge of late 20th century American art
    • In-depth research experience
    • Organized, detail-oriented, independent worker
    • Proficiency with major word processing and database programs

    Additional experience that would be helpful:

    • Work experience in museums or galleries – curatorial and/or editorial
    • Experience working in content management systems and other web-based platforms
    • Reading knowledge of Italian, French, and German

    Please send resume and cover letter to JOBS@artifexpress.com. Subject header: Research Associate

  • December 17, 2012 5:22 PM

    Artifex Press is a new company dedicated to the production of digital catalogues raisonnés.

    We're launching on December 19, 2012, with our first two catalogues: Chuck Close: Paintings, 1967-present,

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    and Jim Dine: Sculpture, 1983-present.

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    For the next several months, we're offering free, limited-time subscriptions to both catalogues. Access will be granted on a rolling basis. Please register at the top of any page of this website to request access. We will email you when your free subscription begins.

    Artifex Press has also been named publisher of the catalogues raisonnés for the estates of Sol LeWitt and Agnes Martin along with contemporary artists Chuck Close, Jim Dine, Tara Donovan, Loris Gréaud, Tim Hawkinson, Thomas Nozkowski, James Siena, Bosco Sodi, and Richard Tuttle. In the upcoming months, we will announce several more collaborating artists and estates.

    Please check our blog for information about upcoming catalogues and announcements about participating artists.

    To learn more about Artifex Press, please email info@artifexpress.com.

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  • Artifex Press, a new company dedicated to the production of digital catalogues raisonnés, will launch next month with the web-based catalogue raisonné for artist Chuck Close.

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    On December 19, Artifex Press and the New York Public Library will present an artist talk with Close in celebration of the launch.

    The first of Artifex Press’s digital catalogues raisonnés, Chuck Close: Painting, 1967–present, is a searchable, sortable interactive web publication detailing the artist’s iconic photo-based portraits.The launch event on December 19 will feature a demonstration of this interactive catalogue, followed by a discussion between Close and David Grosz, Managing Partner/Editor in Chief of Artifex Press, and Carina Evangelista, the editor of the Chuck Close Catalogue Raisonné, whose professional credentials include curatorial and editorial experience at institutions such as the Museum of Modern Art where she worked on the 1998 retrospective of Chuck Close organized by Robert Storr.

    Read the full press release

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