Mary Heilmann Livres

An expanded edition of the first-ever Marilyn Minter monograph, establishing her central position in contemporary art This expanded edition of Gregory R. Miller's hugely successful first-ever monograph on Marilyn Minter from 2007 brings her public up to speed with the inclusion of works created over the past three years, including images from Minter's 2009 video “Green Pink Caviar,” shown in New York's Times Square and featured in Madonna's recent Sticky and Sweet concert tour. Minter's ever-expanding reputation was established during the 1980s, when her work engaged formal aspects of painting as well as subject matter that remain central to her practice today. This publication features work from every period of a career that now spans over 40 years, and reproduces in full color nearly every painting Minter has made, along with a wide selection of her painterly photographs of the last several years. It also includes the seminal and haunting Coral Ridge Towers series of black-and-white photos that Minter took of her mother in 1969. Art historian Johanna Burton contributes a substantial essay that analyzes and elucidates all aspects of Minter's work; her text is complemented by a lengthy conversation between Minter and her friend, painter Mary Heilmann, as well as by “Twenty Questions,” a project assembled by Matthew Higgs to which a wide range of artists, curators, friends and others with a unique connection to Minter have contributed. The design and production of this expanded edition have been superbly realized by the award-winning New York- and Amsterdam-based design studio, COMA. This monograph firmly establishes Minter's important and central position in contemporary art.

VisionsAfter having initially studied literature and ceramics, the West Coast artist didn’t just relocate to New York, but also switched to painting. Since then her completely independent repertoire of form has become something of a trademark. Her thoroughly individual abstractions are not comparable with the palette and formal range of established abstractions, which many artists have steered towards. Mary Heilmann combines forms and colours as she sees fit; at times red or pink, occasionally a cube, a wave, or perhaps a grid structure. A number of interpretations have detected an influence from Pop Art or jazz, others have discovered that subtle childlike element or indeed, rudiments of Informel. Mary Heilmann herself has brought together ideas and influences in a small readable volume, in which she provides information, describes her sources and publishes photographs. The sixth edition of Kienbaum Artist’s Books features thus the work of an artist who has also become highly regarded in museum circles in the meantime, to which a recent exhibition at the Museum Ludwig in Cologne in 2010 bears witness.

Artwork by Mary Heilmann. Contributions by John Yau, Christa Hausler.