Jonny Star. See Me, Feel Me, Touch Me, Heal Me
German/English
16,5 x 24 cm
144 pages, 110 color images, Hardcover
Release: September 2016, Distanz Verlag
Authors: Eva Meyer-Hermann, Tina Sauerländer, Ralf Hanselle
Graphic design: Büro Otto Sauhaus, Berlin
Photos: Jens Bösenberg, Christian Jungeblodt, Michael Jungblut, Jonny Star
€ 34.90 plus shipping
ISBN 978-3-95476-148-7
Private Mythologies
“Art has an enormous power to transform,” Jonny Star (b. Düsseldorf, 1964; lives and works in Berlin and New York) believes. Star’s work combines a variety of materials and media such as bronze, photography, and fabrics with elements of installation art. Her ensembles explore biographical experiences, sexuality, gender roles, and identity and how it is perceived by society. "See Me, Feel Me, Touch Me, Heal Me" is the artist’s first monograph and presents a survey of her oeuvre of the past two decades. Three essays round out the volume: The art historian and exhibition organizer Eva Meyer-Hermann discusses Jonny Star’s most recent works, the tapestries Free Your Soul, and traces an arc to the artist’s curatorial projects. The curator and author Tina Sauerländer offers an introduction to Star’s oeuvre and describes her approach and evolution as an artist. The art critic and writer Ralf Hanselle’s contribution examines Star’s utopian vision, focusing on an early work, the installation
Weltstadt Berlin (1996).
Jonny Star. The Cycle Room
German/English, 84 x 55 cm
42 x 27 cm (kinked twice)
Release: September 2017
Author: Eva Meyer-Hermann
Graphic design: Büro Otto Sauhaus, Berlin
Photos: Volker Roloff
€ 12.00 plus shipping
The Cycle Room or: The Later Is the Earlier /
The Cycle Room oder: Das Spätere ist das Frühere by Eva Meyer-Hermann, accompanying text solo show Jonny Star. The Cycle Room, 2017.
"“It is not a retrospective,” she emphasizes. This exhibition perhaps might be her last. Essential, it has come full circle. Existential. Rather than draw a straight line, she strives for the circular. In a horoscope, it is the opposition aspects that count. Both cosmos and life are cyclical. I do not believe that this is her last exhibition. But artists must think like that. The current exhibition is always the last, and therefore only a point on a winding path, which ideally comes full circle. It becomes a four-dimensional space, a curved surface in which—as in a theater—three-dimensionality and time unite. Everything collapses in on itself there is nothing to prove. Only the personal survives. What is it that remains at the end of an artistic life? Is success already achieved or is it that one is to become a late discovery? Might the work sink into oblivion? What was and what endures? For whom did one expose one’s most prized intimacies?" Eva Meyer-Hermann, The Cycle Room or: The Later Is the Earlier, 2017
