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We keep the following books in our resource library. Please stop by to browse…

 

Altshuler, Bruce, ed. Collecting the New: Museums and Contemporary Art. Princeton, NJ: Princeton University Press, 2007. Collecting the New is the first book on the questions and challenges that museums face in acquiring and preserving contemporary art. Because such art has not yet withstood the test of time, it defies the traditional understanding of the art museum as an institution that collects and displays works of long-established aesthetic and historical value. By acquiring such art, museums gamble on the future.
Amirsadeghi, Hossein, ed. Art & Patronage: The Middle East. New York: Thames and Hudson, 2010. This book is the first attempt to capture the new wave of art patronage in the near and Middle East. Profiling fifty leading collectors and patrons in the the Middle East, Turkey, Iran and North Africa, it goes behind closed doors to take a peek at their collections, and explore the motivation and passion behind their inspiring visions.
Aranda, Julieta, Brian Kuan Wood, Anton Vidokle, et al., eds. E-Flux Journal: What is Contemporary Art? Berlin: Sternberg Press, 2010. This book began as a two-part issue of e-flux journal devoted to the question: What is contemporary art? At this point, has modernity become our antiquity? A single hegemonic ‘ism’ has replaced clearly distinguishable movements and grand narratives. But what exactly does it mean to be working under the auspices of this particular ism?
Bellini, Andrea, ed. Collecting Contemporary Art. Zurich: JRP-Ringier, 2008. The world of the collector overlaps with that of the artist but is also a realm of stratospheric prices, occasional plunges in value and gestures of bold speculation. As a public figure and commentator, the collector has regained a prominence and a spotlight role little seen in earlier decades, and Collecting Contemporary Art has been assembled to address the emergence of the twenty-first century collector.
Birnbaum, Daniel; Butler, Cornelia; Cotter, Suzanne; Curiger, Bice; Enzwezor, Okwui; Gioni, Massimiliano; Nickas, Bob and Obrist, Hans Ulrich. Defining Contemporary Art. 25 Years in 200 Pivotal Artworks. New York/London: Phaidon Press, 2011. Defining Contemporary Art is a groundbreaking study of the emergence of art as we now know it. Assembled and written by eight of the most highly respected curators working today, each of whom has both witnessed and shaped the period in question, the book tells the story of two hundred pivotal artworks from the past quarter century.
Boll, Dirk. Art for Sale: A Candid View of the Art Market. Berlin: Hatje Cantz, 2011. How is an English auction different from a Dutch auction? What distinguishes a vintage print from a period, modern or estate print? Dirk Boll, Managing Director of Christie’s in Zurich, explains these and other technical terms, providing invaluable insights into the machinations of the art market.

Bonami, Francesco. Plus Ultra. Opere dalla Collezione Sandretto Re Rebaudengo/Works from Sandretto Re Rebaudengo. Venezia: Grafiche Nardin, 2010. This catalogue of the exhibition “Plus Ultra” at MACRO in Rome from December 2010 to March 2011 shows a selection of significant works from the Sandretto Re Rebaudengo Collection.

Bonami, Francesco. Spirit and Space: Sandretto Re Rebaudengo Collection. Madrid: T.F. Editores, S.L.C., 2011. This catalogue shows a select sample of works from the Sandretto Re Rebaudengo Collection, a result of the personal involvement of its founder, Patrizia Sandretto Re Rebaudengo, whose vision and drive to discover young contemporary artists dates back to the 1990s, with the aim of showcasing them to an increasingly wider audience.
Boros Foundation, ed. Boros Collection/Bunker Berlin. Berlin: Hatje Cantz, 2009. In June 2008, Christian Boros opened part of his valuable collection of contemporary art to the public in a bunker built in 1942 in the center of Berlin. This volume documents the pieces in the first exhibition context and invites the reader to discover lesser-known stances and young talents.
Buck, Louisa, and Judith Greer. Owning Art: The Contemporary Art Collector’s Handbook. London: Cultureshock Media Ltd., 2006. Louisa Buck and Judith Greer’s analyses of buyers’ interests and responsibilities make Owning Art a guidebook of interest to armchair travelers as well as its ostensible target market–it’s not just collectors who seek to understand more about dealers, auction houses, art fairs, selection, pricing and conservation.
Cardinal, Roger, and John Elsner, eds. The Cultures of Collecting. London: Reaktion Books, 1994. This book traces the psychology, history and theory of the compulsion to collect, focusing not just on the normative collections of the Western canon, but also on collections that reflect a fascination with the ‘Other’ and the marginal–the ephemeral, exotic, or just plain curious.
Cohen-Solal, Annie. Leo and His Circle: The Life of Leo Castelli. New York: Knopf, 2010. Drawing on her friendship with Leo Castelli, as well as an uncanny knack for archival excavation, Annie Cohen-Solal gives in full the elegant, shrewd, irresistible, and enigmatic figure at the very center of postwar American art, bringing an utterly new understanding of its evolution.
David, Adrian. Homo Arte Omnibus: 101 Confidences of an Art Collector. Tielt, Belgium: Lannoo Publishers, 2011. 101 modern art pieces selected by Adrian David in a very personal format: with quotes on art and confessions of a passionate art lover.
de Maison Rouge, Isabelle. 10 Clefs pour Collectionner l’Art Contemporain. Paris: Archibooks, 2010. History professor at New York University in France, Isabelle de Maison Rouge writes about 10 keys for collecting contemporary art.
Doroshenko, Peter. Private Spaces for Contemporary Art. Brussels: Rispoli Books, 2010. This collection of interviews, images and descriptions is a presentation of the most important private spaces from around the world that house the best contemporary art collections in the world of the late 20th and early 21st century.
Ebersberger, Eva, and Daniela Zyman, eds. The Collection Book: Thyssen-Bornemisza Art Contemporary. Koln: Walther Konig, 2009. In the 1920s, the Thyssen-Bornemisza family began amassing an art collection which now comprises almost 1,000 works, from the thirteenth century through the close of the twentieth. Herein, works from Madrid’s Thyssen-Bornemisza Museum–with works by Holbein, Titian, Rembrandt, Monet, Picasso, Hopper and others.
Gludowacz, Irene and Susanne van Hagen, eds. A Passion for Art: Art Collectors and their Houses. New York: Thames & Hudson, 2005. Art and antiques experts, designers and couturiers, artists and entrepreneurs open their doors to offer a rare view of some of the world’s most intriguing collections.
Heimo Zobernig VIDEO bei. Exhibition catalog. Berlin: haubrokshows, 2009.  VIDEO is a catalog designed by Heimo Zobernig of his video works from 1981 until today. The publication offers a subjective history of the medium video and begins with his early works by focusing on the subject “artist” over to documentations of performances and the technical possibilities of the chroma-key-technique.
Horowitz, Noah. Art of the Deal: Contemporary Art in a Global Financial Market. Princeton, NJ: Princeton University Press, 2010. Noah Horowitz exposes the inner workings of the contemporary art market, explaining how this unique economy came to be, how it works, and where it’s headed. He takes a unique look at the globalization of the art world and the changing face of the business, offering the clearest analysis yet of how investors speculate in the market and how emerging art forms such as video and installation have been drawn into the commercial sphere.
Jensen, Diane McManus. The Art of Collecting: An Intimate Tour Inside Private Art Collections with Advice on Starting Your Own. New York: Antique Collectors Club Dist., 2010. Through intimate interviews with collectors, this book unveils the passion behind the pursuit of art objects, with advice from experts, while demystifying the process of collecting.
Jonas, Maurice. Notes of an art collector. Reprinted from the original. London: Routledge Kegan Paul, 1908. This early collection of a collector’s musings has essays on Wedgwood portrait medallions and early Shakespeare editions. The author collected both assiduously, and if his glee over his triumphs seems uncouth at times, that is balanced by his almost boyish enthusiasm.
Lindemann, Adam. Collecting Contemporary Art. New York: Taschen, 2010. Adam Lindemann started collecting tribal art as well as works of artists of the 80s before turning to contemporary art, which has been his passion for the past several years. This book was conceived as a short handbook of information and advice for new collectors, but Lindemann’s research eventually led him to an international tour of the art world and personal interviews with some of its leading figures.
Luckow, Dirk, and Gunda Luyken, eds. Collection Videos and Films: Isabelle and Jean-Conrad Lemaître. Koln: Walther Konig, 2008. London-based Isabelle and Jean-Conrad Lemaitre are among the most ambitious international contemporary film and video collectors. This comprehensive overview of their collection includes highly sought after works by well known artists like Tacita Dean and Mark Wallinger, as well as lesser known pieces by emerging artists such as Keren Cytter and Sigalit Landau.
Marincola, Paula, ed. What Makes a Great Exhibition? London: Reaktion Books, 2007. This book investigates the challenges facing American and European contemporary art in particular, exploring such issues as group exhibitions, video and craft, and the ways that architecture influences the nature of the exhibitions under its roof.
Megumi, Sasaki. Herb and Dorothy. USA: 2009. DVD. Herb & Dorothy tells the extraordinary story of Herbert Vogel, a postal clerk, and Dorothy Vogel, a librarian, who managed to build one of the most important contemporary art collections in history with very modest means.
Obrist, Hans Ulrich. Hans Ulrich Obrist: Interviews Volume 2. New York: Charta, 2010. The 70 published interviews here are taken from Obrist’s archive containing nearly 2,000 hours of recordings and organized by interviewees’ dates of birth. Encyclopedic in scope but intimate in tone, these exchanges provoke unexpected torrents of biographical trajectories, theoretical adventurings and inklings of projects to come.
Obrist, Hans Ulrich. A Brief History of Curating. Zurich: JRP-Ringier, 2011. This publication comprises a unique collection of interviews by Hans Ulrich Obrist mapping the development of the curatorial field–from early independent curators in the 1960s and 70s and the experimental institutional programs developed in Europe and the U.S. through the inception of Documenta and the various biennales and fairs.
Robertson, Iain. A New Art from Emerging Markets. London: Lund Humphries, 2011. This book sets out to introduce and examine three types of emerging market for contemporary art: the very recently established, the maturing and the mature. As well as providing a survey of emerging art markets throughout the world, the book is concerned with looking at how value in non-Western contemporary art is constructed largely by external political events and economic factors rather than aesthetic considerations.
Rowles, Sarah. 12 Gallerists-20 Questions: A Collection of Interviews with 12 London Gallerists. London: Q-Art London, 2009. This book seeks to demystify the world of contemporary art. Sarah Rowsles asks 12 respected London galleries how the world works.
Saatchi, Charles. My Name is Charles Saatchi and I am an Artoholic: Everything You Need to Know About Art, Ads, Life, God and Other Mysteries and Weren’t Afraid to Ask. London: Phaidon, 2009. One of the most influential art collectors of our time and founder of the global advertising agency, Charles Saatchi reveals his opinions on collecting, artists, dealers, advertising and investing in art with unflinching honesty. Famously reclusive, he has answered questions asked to him by journalists, critics and the general public about the art world and his personal life.
Smith, Terry. What is Contemporary Art? Chicago, IL: The University of Chicago Press, 2009. “Who gets to say what counts as contemporary art? Artists, critics, curators, gallerists, auctioneers, collectors, or the public? Revealing how all of these groups have shaped today’s multifaceted definition, Terry Smith shows that an historical approach offers the best answer to the question: What is Contemporary Art?”
Stourton, James. Great Collectors of Our Time. London: Scala Publishers, 2008. This book is the first major survey of contemporary collecting and collectors since Douglas Cooper’s Great Private Collections, published in 1963. It examines many of the greatest collectors of our time in Europe, North America and the Far East, and follows their tastes – whether in the Old Masters or the avant garde – from the 20th century into the 21st.
Thompson, Don. The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art. London: Aurum Press, 2008. This book is a Freakonomics approach to the economics and psychology of the contemporary art world. Why were record prices achieved at auction for works by 131 contemporary artists in 2006 alone, with astonishing new heights reached in 2007? Don Thompson explores the money, lust, and self-aggrandizement of the art world in an attempt to determine what makes a particular work valuable while others are ignored.
Thornton, Sarah. Seven Days in the Art World. London: Granta Books, 2009. Sarah Thornton investigates the drama of a Christie’s auction, the workings in Takashi Murakami’s studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life.

Publications related to Collectorspace exhibitions

Bond, Bryony and Fiona Boundy. Goshka Macuga: Sleep of Ulro. Rotterdam: Veenman Publishers, 2008. Published on the occasion of Goshka Macuga’s exhibition at A Foundation, Liverpool this deluxe, oversized volume combines newly commissioned texts and images of the completed installation with research images, found poetry and writings that inspired the piece. Tipped-on images and a supplemental booklet are bonus materials.

Macuga, Goshka and Dieter Roelstraete. Goshka Macuga: The Nature of the Beast. London: Whitechapel Art Gallery, 2010.This new catalogue provides a comprehensive document of Goshka Macuga’s Bloomberg Commission, The Nature of the Beast, exhibited at the Whitechapel Gallery from April 2009–April 2010.

Familian, David. Constant World: Jennifer and Kevin McCoy. Irvine, CA: UC Regents and Beall Center for Art + Technology, 2009. The Beall Center publishes its first catalog with the Center’s first touring exhibition, ‘Constant World.’

McQuay, Marie-Anne. Tiny, Funny, Big and Sad: Jennifer and Kevin McCoy. London: British Film Institute, 2007. Over the last 15 years, Jennifer and Kevin McCoy have earned international renown for making works that reflect on personal experience in a media-saturated world. For their debut London exhibition ‘Tiny, Funny, Big and Sad’, the artists present works that mix live video, custom computer software and model-making hobby skills.

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