This new anthology brings together visions, experiences and critical interdisciplinary methodologies that have been instrumental in the development of the language of moving images since 2010. New essays and conversations reflect on radical technological and poetic transformations in the works of the generation of digital native artists.
Center of the Frame is the artist’s first monograph and brings together paintings made between 1997 and 2024. The publication provides an in-depth look at Eisler’s fascination with cinema and with the transmission of images through the various formats of analog film, television broadcasts, Internet video and, of course, the painted canvas.
On the occasion of PROVENCE’s 15th anniversary, the reader My Alphabet presents 26 texts published by PROVENCE between 2009 and 2024, either in print or digitally in the weekly newsletter. These texts are sorted alphabetically, ranging from A for Amphetamine to N for Ne travaillez jamais to Z for Gen Z.
This publication is devoted exclusively to the metal works of Sidsel Meineche Hansen. Catalogued here is every cast, forged, and fabricated metal sculpture made since 2017. Poems by the artist Diego Marcon annotate and respond to the individual pieces.
This compelling artist’s book is built around KOOL (“cabbage” in Dutch), an original font designed by Reus, somewhere between a plant alphabet and concrete poetry. The publication draws on the type specimen book tradition to present new typefaces.
Through a rich selection of images, this artist’s book, published in two editions—gold and silver—explores the birth, life and death of Francesco Gennari’s work Vorrei perdermi e non trovarmi più, 2022, exhibited for the first time at the Ciaccia Levi Gallery in Paris.
Texts by Kirsty Bell, Christopher Bollen, Judith Eisler, Wade Guyton
Design by Joseph Logan
2024, English, hardcover, 19.6 x 28.5 cm, 176 pages
ISBN 979-12-80579-56-0
Center of the Frame, which brings together paintings made between 1997 and 2024, is Judith Eisler’s first monograph. The artist’s paintings depict paused moments in cinematic time in which predominantly female subjects are caught midnarrative, cropped, and recontextualized by the fundamental elements of painting: form, color, and light. Using preexisting material borrowed from moving images, Eisler defines the abstractions inherent in the representational image with shifting marks of paint. The structure of the painting is informed by the information in the source as well as the more intangible issues of perception, desire, and mediation.
Featuring an essay by Kirsty Bell, an introduction by Christopher Bollen, and an interview with Wade Guyton, the texts delve into the artist’s fascination with cinema and the transmission of images through the various formats of analog film, television broadcasts, internet videos, and of course, the painted canvas.
“Eisler seizes on the information within the cropped still image in an entirely structural sense, beyond any cognitive meanings of expression, action, or emotion, focusing in on these differentiations as if examining the very infrastructure of vision.”
—Kirsty Bell
Judith Eisler’s exhibition Dreams, Jokes, Mistakes is on view at Casey Kaplan, New York through October 26, 2024.
