The A.R.T. Library Program distributes books on art and culture free of charge to public institutions nationwide. Public libraries, schools, prisons, and reading centers that self-define as underserved are welcome to place unrestricted orders.

Steven Leiber Catalogs

David Senior (ed.)

Steven Leiber (1957–2012) was a pioneering art dealer, collector, and gallerist, focused on the dematerialized art practices of the 1960s and 1970s. As an expert in the then-nascent field of artist archives and ephemera, in 1987 he opened Steven Leiber Basement. He was an important resource for numerous scholars, curators, and other enthusiasts, with a focus on the integral role of ephemera and documentation within conceptual art and other avant-garde movements.

Across 252 pages, this book documents the full set of 52 dealer catalogs produced by Steven Leiber between 1992–2010. His reputation spread via these unique volumes that paid homage to historic publications and multiples, including Wallace Berman’s Semina journal and the exhibition catalog Documenta V (1972), and included works by John Baldessari, Lynda Benglis, Ray Johnson, Lucy Lippard, Allan Kaprow, Yayoi Kusama, Claes Oldenburg, Lawrence Weiner, and many more.

Inspired by Leiber’s often humorous borrowing for his catalog designs, the book’s format references Sol Lewitt’s Autobiography and includes an essay and contextual notes by David Senior.

Additional contributors include Ann Butler, Christophe Cherix, Marc Fischer, Adam Michaels, Tom Patchett, David Platzker, Marcia Reed, Lawrence Rinder, and Robin Wright.

Masters of Shape

Maria Ausherman, Kristen Visbal, Carol S. Ward

This book chronicles the lives of seventeen pioneering women sculptors who dared to speak their truths about inequality and injustice and overcame obstacles of gender and race in the last hundred and fifty years.

The works that these talented artists cast, carved, and molded mirror both their internal worlds and the society surrounding them. There is no better way to inspire young women to fulfill their destiny with courage than to give them these brilliantly brief and cogent portraits of great women who shaped the world of sculpting and through that, our culture, and our world. Ausherman puts the spotlight on women artists simply by celebrating them insightfully, and so well. With many helpful references for additional in-depth readings and beautiful photographs taken by Steven Taylor, this book is a gem for anyone who loves reading how immensely skillful and creative people pursue their passions through the art of sculpture.

Sanctum

Robert Stivers

"Stivers takes us into alcoholic twilight. Shuddering exiles in watery purgatory, the human figures as well as forests, clouds, plants, works of art and even architecture seem never actually to have existed. . . Each photograph visualizes the anguished lament of the current that runs through him. . . . All of this mirrors his dream books and journals, where the trials of actual experience and his mind's nocturnal dream machinery are indistinguishable. Stivers's pictures are figments of his material philosophy of escape." — Eugenia Parry

Rock in a Landslide

Geoffrey Biddle

Photography and family have been in dialogue for Geoffrey Biddle most of his life. He uniquely mediates and meditates on circles of relation, love and care through the camera’s eye. In this long-awaited memoir, Biddle narrates his photographs with a frank and moving account of surviving his wife's illness and death as a single father. Rock In A Landslide begins with the romance between Biddle and noted sculptor Mary Ann Unger, two artists who first met as picture researchers at Magnum Photos in mid 1970s New York City. He recounts their charged partnership, their parallel creative practice, and the East Village factory space they reclaimed as both home and shared studio. Their “Great Collaboration” was daughter Eve whose joyous birth was soon tempered by Unger’s breast cancer diagnosis and thirteen-year journey of treatment and recurrence. Biddle now edits and frames his images with the clarifying distance of time — making sense of the immediacy and tidal emotions enshrined in the photographs, revelatory of what so many families experience with both fear and determination.

OR

Matt Keegan

This is the first significant publication to explore the output of Matt Keegan, the New York-based artist known for his work across mediums, as well as independent publishing including the acclaimed editioned art journal North Drive Press. This monograph expands on a recent solo exhibition by the artist at Rogaland Kunstsenter; Stavanger, Norway, titled “Portable Document Format.” The show was organized as an idiosyncratic retrospective, with Keegan remaking sculptures dating from 2006 to 2015, initially fabricated in Sheetrock and steel, in cardboard. Like the exhibition, the publication serves both as a project and a reference for the artist’s work.

Essays by Tom McDonough and John Miller theorize Keegan’s production, while interviews with Sara VanDerBeek and Anna Craycroft underscore the artist’s ongoing engagement with his peer group. Furthered by contributions from colleagues Uri Aran, Leslie Hewitt and James Richards, situated alongside full-color installation photos and reproductions of work from the past decade, Matt Keegan: OR provides a solid introduction and layered overview of the artist’s multifarious practice.

Seeing and Believing

Nancy Burson

Burson's catalogued work can be divided into three distinct phases. Between 1979 and 1991 she created computer-generated images of fantastical faces: composites, aged portraits, and digitally manipulated facial anomalies. From 1991 to 1995 she made photographic portraits of what she calls "special faces," children and adults whose appearances have been altered by disease, nature, or circumstance. From 1996 to the present, she has been engaged in a range of projects that interlace her natural penchant for the fantastical, her paradoxical relationship with science, and an awareness of the spiritual connections between all living things. In each of these bodies of work, Burson has gone against the grain of technological change. Her early work with computers preceded her later "straight" photography, whereas many photographers have in recent years integrated the computer into their image-making process. Her current production combines these two strategies, with a twist.

Essay by Michael L. Sand

The Three Prophets : Stanley Fisher, Sam Goodman, and Boris Lurie

Benjamin Weissman

This is a catalog of exhibition, The Three Prophets: Stanley Fisher, Sam Goodman and Boris Lurie. The exhibition will present work by the three founders of the NO!art movement. This will be the first exhibition in Los Angeles to include these three revolutionary artists together, with the majority of this work never having been shown in LA. The NO!art movement was founded in 1959 in New York City by Fisher, Goodman and Lurie as a reaction to the commercialization of the art market that was just picking up steam in relationship to Abstract Expressionism and Pop Art. Looking through the work of these three men, one is also impressed with their ability to express the pain and struggle of their lives. The approximate dates of the movement are 1959-1964. There were many artists involved with NO!, including John Fischer, Al D’Arcangelo, Gloria Graves, Wolf Vostell, Yayoi Kusama, Lil Piccard, Dorothy Gillepsie, Guenter Brus, Ferro, and Isser Aranovici (to name a few).

Photography Box Set
(10 books)

This Box Set presents a selection of books that showcase generative uses of photography as an artistic medium. It includes titles exploring photography’s role in challenging injustices, capturing everyday life, and advancing social movements. Other titles foreground how artists use this technology to interrogate the status and nature of photographic "truth" and the ways that images uphold social norms.

This Box Set is recommended for a general readership.

Blithe Air: Photographs of England, Wales, and Ireland

Elizabeth Matheson

This is a book of full-page black-and-white photographs, reproduced in 300-line screen extended-range duotone by The Stinehour Press. Designed by Elizabeth Matheson and John Menapace (to whom the book is also dedicated.) It includes a text, "Illuminations & Pyrotechnic Display," by Jonathan Williams.

Each of Elizabeth Matheson's images bestows upon the eye rare evidence of clear focus. They receive and select, reflect; yet seem to bring their scene before us instantly. And what is beheld is literally 'held'-held in the preciousness of light, and its transportations. Ireland, England, Wales are poised in 'Blithe Air', black and white particles, ionized, vivid, and refreshing.

So firmly yet gently grasped, the things seen surprise and touch us. Statuary, hippo, wader, shadow, sofa, seaside, horse. The eye is deposited, always answering the need to care, and be cared for. Whose eye? Hers? Ours? Her lead is so subtle, that as we follow these compositions, their natural consequence convinces us that we ourselves are their vital creator.

Overland: Photographs by Victoria Sambunaris

Victoria Sambunaris

Overland is a catalogue from the title exhibition of 14 large, color photographs by Victoria Sambunaris from the Lannan Collection. Each year, for the last ten years, Victoria Sambunaris has set out from her home in New York to cross the United States by car, alone, with her camera. Her photographs capture the expansive American landscape and the manmade and natural adaptations that intersect it. The images celebrate the intersection of civilization, geology and natural history, particular to the United States, featuring trains in Texas and Wyoming, trucks in New Jersey and Wisconsin, the oil pipeline in Alaska, uranium tailings in Utah, and a unique view of Arizona's Petrified Forest. Combined, they present a sparse and vast landscape, dotted by human intervention that is distinctly American.

Victoria Sambunaris received her MFA from Yale University in 1999. She is a recipient of the 2010 Aaron Siskind Foundation Individual Photographer’s Fellowship and the 2010 Anonymous Was a Woman Award. Her work is held in the collections of the Museum of Modern Art, the Museum of Fine Arts Houston, the National Gallery of Art, the San Francisco Museum of Modern Art, and the Lannan Foundation. Her work, Taxonomy of a Landscape, was exhibited at the Museum of Contemporary Photography in January of 2013.

The Last Picture Show: Artists Using Photography 1960-1982

Photography has become an increasingly pervasive medium of choice in contemporary art practice and is even employed at times by artists who do not necessarily consider themselves to be photographers. How did this come to be? The Last Picture Show will address the emergence of this phenomenon of artists using photography by tracing the development of conceptual trends in postwar photographic practice from its first glimmerings in the 60s in the work of artists such as Bernd & Hilla Becher, Ed Ruscha and Bruce Nauman, to its rise to art-world prominence in the work of the artists of the late 70s and early 80s including Sherrie Levine, Richard Prince and Cindy Sherman. Intended as a major genealogy of the rise of a still-powerful and evolving photographic practice by artists, the checklist will include a wide array of works examining a range of issues: performativity and photographic practice; portraiture and cultural identity; the formal and social architectonics of the built environment; societal and individual interventions in the landscape; photography's relationship to sculpture and painting; the visual mediation of meaning in popular culture; and the poetic and conceptual investigation of visual non-sequiturs, disjunctions and humorous absurdities. Bringing together a newly commissioned body of scholarship with reprints of important historical texts, The Last Picture Show seeks to define the legacy that has produced a rich body of photographic practice in the art world today. Walker Art Center, 2003 8.2 x 10 inches, 304 pp., color illustrations Hardcover, ISBN 978-0935640762

Rachel Whiteread: Long Eyes

Rachel Whiteread

This is a catalog of the exhibition Rachel Whiteread: Long Eyes at Luhring Augustine in 2011.


Rachel Whiteread has a long list of distinctions which include winning the 1993 Turner Prize for her public sculpture House, representing Great Britain in the 1997 Venice Biennale and presenting solo exhibitions at such institutions as the Serpentine Gallery, the Deutsche Guggenheim, Kunsthaus Bregenz and the Hammer Museum. Notable public commissions include Monument in Trafalgar Square, Water Tower in New York, the Holocaust Memorial in Vienna, and most recently, the cast of a boathouse in Gran, Norway. The artist lives and works in London.

Ranch

Michael Light

Fascination with the life of freedom associated with cowboys and the American West is integral to the mythology of our time and culture. In his cinematic novel Ranch, Michael Light reveals as much about the myth as he does about the specific traditional California ranch that he photographs. "Depictions of the West as a vast garden of romantic innocence and male possibility abound, but the claustrophobic violence and domination required to turn the dream into reality are perhaps less familiar." Part of a new series of books with gravure illustrations, this monograph is exquisitely reproduced.

Anna Oppermann: Drawings

Dan Byers (ed)

Published on the occasion of her first solo show in the United States in twenty years, Anna Oppermann: Drawings surveys the early drawings of this underrecognized German artist. Co-published with the Carpenter Center for the Visual Arts, this book is the first on Oppermann produced in the United States and features a number of new texts on her work by Connie Butler, Chief Curator, Hammer Museum, UCLA; Meta Marina Beeck, Assistant Curator, Kunsthalle Bielefeld; and a conversation between Carpenter Center director Dan Byers and Ute Vorkoeper, Curator, Anna Oppermann Estate.

Beginning in the mid-1960s through the early ‘70s, Oppermann (1940–1993), best known for her immersive installations, created an astonishing series of surreal drawings that uniquely explode the private space of the home, a traditionally feminine sphere.

These early drawings contribute to a feminist re-centering of such spaces associated with women, casting everyday objects as symbolic, consequential protagonists: houseplants sprawl to take over the picture plane, windows and mirrors provide views into other worlds, and tables display drawings that open out into new domestic scenes.

By placing her own body—her knees, arms, the back of her head—as reference points in the work, Oppermann coaxes the viewer to take on her subjectivity and perspective, emphasizing the gendered realms of the home and the relationships that we form both within and to our private spaces.

Roxy Paine: Dioramas

Saul Anton, Mia Kang, Steven Matijcio

Brooklyn-based painter and installation artist Roxy Paine (born 1966) conceived his Dioramas in the 1990s, but only began to produce these technically ambitious works in 2012. Brilliantly reinventing the 19th-century diorama form, these works—of which he has created seven, the last completed in 2017—deepen Paine’s engagement with altered realities and the psychogeography of American life and modern culture.

Edited by Saul Anton, the volume includes an extended conversation between Paine and Wexner Center of the Arts curator Michael Goodson, who organized Serotonin Reuptake Inhibitor, a 2016 exhibition of the Dioramas at the Beeler Gallery of the Columbus College of Art & Design. It also includes essays by Blaffer Museum director Steven Matijcio and critics Saul Anton and Mia Kang that explore their rich historical and social resonance, and reflect on their place in the landscape of contemporary art and art history.

Mel Chin and Helen Nagge: Primetime Contemporary Art

Mel Chin, Helen Nagge

Primetime Contemporary Art is a publication documenting a radical, two-year intervention by the GALA Committee on the primetime television show Melrose Place. Originally published in a limited run in 1998, this extremely rare artist book is reproduced here for the first time as a facsimile edition.

Mel Chin initiated the loose collective of artists known as the GALA Committee in 1995 in response to an invitation to participate in an upcoming exhibition at the Museum of Contemporary Art, Los Angeles. The artist arranged with the producers of Melrose Place for the collective to create objects for the soap opera, resulting in an extensive series of political works used as plot devices and props across two seasons of the show. The GALA Committee’s intervention provided surreptitious commentary on reproductive rights, HIV/AIDS, the Gulf War, domestic terrorism, corporate malfeasance, and substance abuse, among other issues. Despite some of these topics having been banned by the FCC at the time, the group’s political critiques went unnoticed by censors, subverting corporate and government controls of primetime television with a progressive agenda.

These works were exhibited in Uncommon Sense at the Museum of Contemporary Art, Los Angeles in 1997 and then sold at an auction at Sotheby’s to support several charities. Primetime Contemporary Art, created by Chin and Helen Nagge, was used as the auction catalog for the evening, documented the artwork produced for the exhibition, and articulated the conceptual framework of the GALA Committee.

something else press Box Set
(6 books)

Founded by Dick Higgins in 1963 in New York City, something else press was an influential publisher of texts and artworks by artists associated with Fluxus, an international 1960s art movement that emphasized process and collaboration rather than finished objects of art. This Box Set offers five titles originally published by the press alongside the recent publication, A Something Else Reader, edited by Higgins and published by Primary Information. This collection offers a firsthand encounter with the pioneering work of this historic publisher and a glimpse into the vital scene of art publishing in 1960s and 70s New York.

This Box Set is recommended for a general readership.

Typewriter Poems

Peter Finch, Alison Bielski, Paula Claire, Thomas A. Clark, Bob Cobbing, Michael Gibbs, John Gilbert, dsh, Philip Jenkins, Andrew Lloyd, Peter Mayer, Cavan McCarthy, Edwin Morgan, Will Parfitt, Marcus Patton, I.D. Pedersen, Alan Riddell, John J. Sharkey, Meic Stephens, Charles Verey, J.P. Ward, Nicholas Zurbrugg

Co-published with Second Aeon Publications, Typewriter Poems gathers together twenty-two practitioners of the art of the typewriter poem–which relies on the limitations imposed by the machine to produce its form–in this slim volume of experimental letters. Featuring the work of British poets Thomas A. Clark, Bob Cobbing, Michael Gibbs, and many others.

Bio-Music

Manford L. Eaton

This pocket-sized edition reprints articles originally published in the experimental music journal Source that relate to the creation of music through human brain alpha waves. The introduction defines bio-music as “the term used by ORCUS research to describe a class of electronic systems that use biological potentials in feedback loops to produce powerful, predictable, repeatable, physiological / psychological states that can be controlled in real time.” The research on employing sensory stimulation towards the creation of time-rhythmic sequences is imbued with an utopian desire to create art that reaches towards a deeper human consciousness.

The Book of Hours and Constellations

Eugen Gomringer, Jerome Rothenberg

Best known as a founder of concrete poetry, Eugen Gomringer concentrates the visual element of his poems in geometrical structures. In his own words, Gomringer has noted, “Of all poetic structures based upon the word, the constellation is the simplest. It disposes of its groups of words as if they were clusters of stars. The constellation is a system, it is also a playground with definite boundaries. The poet sets it all up. He designs the play-ground as a field of force and suggests its possible workings. The reader accepts it in the spirit of play, then plays with it.”

Conversations: Jorge Pardo and Jan Tumlir

Jorge Pardo, Jan Tumlir

Conversations brings together a broad range of dialogues between author Jan Tumlir and artist Jorge Pardo, which span a period of 20 years, beginning in 1999. They encompass contemporary art, design, publishing, and music, and connect the varied contexts of Los Angeles and Mérida, Mexico, where they took place. The result is a story of a unique intellectual friendship that has defined both of their thinking and practice.

Describing his work as “shaping space” Jorge Pardo has made work that moves freely across the notional disciplines of art, architecture, and design throughout his over thirty-year career. His constructions range from a single light sculpture, to paintings, rooms or an assembly of buildings that combine all the individual elements of his artistic creation in the mode of the Gesamtkunstwerk or “total work of art.” His work contends with distinctions of private and public space, while calling to mind references as diverse as the Light and Space movement, Land art, modernist design and the color, flora and fauna of his home in Mérida, Mexico.

Jan Tumlir is an art writer and teacher, who lives and works in Los Angeles. He is a contributing editor for the art journal X-TRA, and his writing has appeared in Artforum, Aperture, Flash Art, Art Review, and Frieze. Tumlir is a member of the humanities and sciences faculty at Art Center College of Design.

Robert and Shana ParkeHarrison: The Architect's Brother

Robert ParkeHarrison, Shana ParkeHarrison

"I want to make images that have open, narrative qualities, enough to suggest ideas about human limits. I want there to be a combination of the past juxtaposed with the modern. I use nature to symbolize the search, saving a tree, watering the earth. In this fabricated world, strange clouds of smog float by; there are holes in the sky. These mythic images mirror our world, where nature is domesticated, controlled, and destroyed. Through my work I explore technology and a poetry of existence. These can be very heavy, overly didactic issues to convey in art, so I choose to portray them through a more theatrically absurd approach." — Robert ParkeHarrison

Pippa Garner: Better Living Catalog

Pippa Garner

Pippa Garner’s Better Living Catalog, originally published in 1982, takes the form of a mail order catalog featuring clever and whimsical inventions that parody consumer goods while simultaneously critiquing America’s obsession with ingenuity, efficiency, leisure, and comfort. These works, which were made as prototypes and photographed for the publication, take the form of improbable accessories, clothing, footwear, home appliances, and office gadgets.

For example, the “Reactiononometer,” a portable wristband, instantly measures social success, while the “Digital Diet Loafers” display the wearer’s weight with every step. If the “Munch-o-Matic” reduces deskwork interruptions by flinging a snack right into the user’s mouth, other items promise financial solvency (the controlled cash flow “Autowallet”), sustainable waste management, or mess-free companionship (the “Pet-a-Vision” TV console). The artist asserts that all of the products in the book are “absolute necessities for contemporary survival.”

The Better Living Catalog was a pop hit when it was published, earning Garner spots on nighttime TV talk shows and attention from magazines like Vogue and Rolling Stone. In a meme-filled culture, the works still resonate today, finding their analog in widely-circulating consumer products, and—in the case of the “High Heel Skates”—even appearing unattributed in the runway collection of a major luxury fashion brand.

A few years after the Better Living Catalog was published, Garner began her gender transition, which she has characterized as an artistic project that draws conceptual parallels to the altered consumer goods she has continued to create since the 1970s. The artist’s practice has always been about hacking—gender hacking, she stated, was “an excellent premise for maverick conceptual art and diametrically opposed to anything I’d ever done.”

Many of the prototypes Garner created for the publication were repurposed or recycled, making this previously rare gem of an artist book one of the artist’s few works to now be widely available.


Boris Lurie: NO! at Chelsea Art Museum

Donald Kuspit, Alan Antliff, Adrian Dannatt

This is a catalog of the first exhibition in New York of art from the Boris Lurie estate. It will take place at the Chelsea Art Museum, from 26 March 2011 until 15 May 2011. The show will inaugurate a series of exhibitions devoted to the NO!art Movement and its members and affiliates, as well as other long-neglected or suppressed humanist strains in the art of the latter half of the Twentieth Century. The vitriol and fury of Lurie and his cohorts still runs in the veins of their art fifty and more years after it was created; it is as fresh, powerful, and, remarkably, beautiful, as it was in the cultural near-vacuum in which it was created. Lurie is one of the legendary figures of the East Village avant-garde of the fifties and sixties, a resistor against the institutional structure of art in his day and what he called the “investment art market” and one of the powerful voices for humanity in an art world officially devoid of political or social awareness.

Johannes Kahrs: Men With Music

This is a bilingual catalog of the eponymous exhibition at GAMeC Galleria dArte Moderna e Contemporanea di Bergamo.

The exhibition illustrates the sculptural development of an artist who is known above all to the public as a painter. In fact Cucchi has never ceased to produce sculptures, or paintings that contain sculptural or indeed installational forms. Many of his earliest works expressed three-dimensionality, a spatial quality that is also apparent in his painting and drawing. He pays heed to space, consequently, his images are never flat, always being placed in a three-dimensional void. Having his output rooted in sculpture means that his works enjoy a degree of originality compared with the trends that were predominant in the late 1970s and distinguish themselves from the new purely pictorial work being done at the moment. In this way he keeps alive the experimentalism typical of the avant-gardes: his installations are made from more diverse materials, placed freely in the exhibition space, and used as supports for his painted, sculpted or drawn images. Seen from his standpoint, the exhibition at GAMeC has been conceived and will be laid out as a large installation, a single large work of art made up of many small but great works.

This catalog includes a text by Giacinto Di Pietrantonio. This was the first catalog devoted to Cucchi’s sculpture and will feature not just the works on display but also the large body of sculptural works that the artist has produced over his artistic career.

Experiments with Truth: Gandhi and Images of Nonviolence

Josef Helfenstein, Joseph N. Newland

Taking the form of a reader, this fascinating book explores the resonance of Gandhi’s ethics of nonviolence in the visual arts. Texts range across influences on Gandhian philosophy and outgrowths from it: the words of famous peacemakers, religious texts that inspired Gandhi, newly written historical essays, and reports on nonviolent action. Images include Gandhi’s own iconography; portraits of the Mahatma’s forebears and followers; photojournalism of nonviolent struggles in Africa, India, and the Americas; and artworks that speak to violence or issue from an inner space of peace. Experiments with Truth counterpoints poetry and ideas with mid-20th-century abstraction, sacred art from various traditions, and contemporary video and installations.

Martin Wong: Footprints, Poems, and Leaves

Martin Wong

Self-published in 1968, Footprints, Poems, and Leaves collects dozens of poems written by Martin Wong between 1966 and 1968. Hand-written in a signature calligraphic style that he was just beginning to develop, the poems ebb and flow visually across the page, much like the fluctuating characters, scenes, and moods that inhabit them. This was Wong’s first book of poetry and it contains a double cover showcasing intricate drawings of skeletal angels and other tableaux, as well as a folded, looseleaf broadsheet containing two poems and a drawing of a boney leaf.

The poems were written during a relatively free period for the artist, shortly after he dropped out of Berkeley and began exploring San Francisco at the height of the hippy movement. The poems range from surrealist and pastoral descriptions of the urban subculture that surrounded him to downtrodden, travel-weary biographical entries that are both lonely and tender. Footprints, Poems, and Leaves functions like a journal capturing Wong’s tumultuous life in this period, which included being arrested at a queer, drug-fueled house party (along with Rudolf Nureyev and Dame Margot Fonteyn) and a stay in a mental institution in late 1967 and early 1968. Around the time of the book’s publication, Wong enrolled in Humboldt State University to finish his degree, beginning a new chapter for the artist.

Despite the dark backdrops of many of the works, the writing displays a playfulness with form and language and a sense of humor that can be seen throughout Wong’s later work as well. Altogether, Footprints, Poems, and Leaves creates a rich tapestry of visual poetry that is both a product of its time and the budding artistic mind of a young Martin Wong.

Environment Box Set
(9 books)

The environment has been an urgent topic in contemporary discussion. With a selection of art books that address this topic from multiple perspectives, this Box Set offers an expanded understanding of the environment.

For example, No Zoning: Artists Engage Houston demonstrates how artists directly engage with their local surroundings; In the Wake of Katrina documents and examines the devastating landscape of extreme weather; and Robert Venturi, Denise Scott Brown and Steven Izenour at Acadia Summer Arts Program explores the ecological inspiration of Maine’s indigenous architecture.

This Box Set is recommended for a general readership.

No Zoning: Artists Engage Houston

This publication catalogs No Zoning: Artists Engage Houston, the first museum exhibition to consider the current and past efforts of regional artists working in the urban environment in Houston, Texas. Free from the land-use and zoning ordinances that shape other large American cities by separating residential, commercial, and industrial areas, Houston allows a mixed-use approach where disparate architectures and functions blend. In this often chaotic, jarring urban topography, many Houston artists have been able to carve out spaces and opportunities for themselves, their work, and their communities.

No Zoning will include examples and documentation of important city interventions and visionary structures from the 1980s to the present. The exhibition will incorporate a combination performance, lecture, and video screening space that will present special programs during the museum’s extended Thursday evening hours. In addition, a series of special artistic programs and educational tours will be located throughout the city.

Futureways

Rita McBride, Laura Cottingham, Nick Crowe, Aline Duriaud, Nico Israel, Matthew Licht, Peter Maass, Alexandre Melo, Glen Rubsamen, David Schafer, Rutger Wolfson, Leonard Nimoy, Joseph Beuys, Michael Sandler

Released in 2003 as a part of Printed Matter’s Emerging Artists Publication Series, Futureways imagines a prospective art world in the year 2304. The second installment in Rita McBride’s collaborative Ways series, the book exploits the malleable conventions of the science fiction genre with stories about space travel, time travel, alien contact, sexuality, robots, dystopias and countless other subjects.

Contributions from Rita McBride, Laura Cottingham, Nick Crowe, Matthew Licht, Alexandre Melo and more form an eleven chapter portrait of a future not that unfamiliar from the present. Positing artists as individuals with “time-traveling” or “shapeshifting” capabilities, the texts engage with a modernist “art of the future” approach to imagine a tumbling, unsettling destiny permeated by extremes and preoccupied with the past.

AutoPlastic

Wendell Castle

AutoPlastic: Wendell Castle (1968-1973) accompanied R & Company’s exhibition of the same name, curated by Donald Albrecht and on view at the gallery’s 82 Franklin location from April 20 to June 15, 2004.

AutoPlastic situates Wendell Castle’s plastic furniture in the context of late 1960s and early 1970s design innovations and examines, through a selection of photographs, magazine clippings, and ephemera, the relationship between the objects and their era’s social and cultural concerns. With natural, primitive, archaic, and womb-like forms, Castle’s plastic objects recall a time when novelty and fantasy were a means of individual expression (“doing your own thing”). They also highlight how environmentalism (“going back to the earth”) and escapism (“getting away from it all”) were intense reactions to the upheaval of America’s shifting values, student protests, race riots, assassinations, and the war in Vietnam.

The AutoPlastic: Wendell Castle (1968-1973) catalog featured an essay by Donald Albrecht, was designed by Lisa Steinmeyer with photographs by Eva Heyd.

New Society for Universal Harmony

Lenore Malen

We live in a network of institutional settings, each one with its own rules, goals and rewards, the ensemble of which mediates our existential reality. The cumulative effect has long been identified under the rubric of alienation for which the corporate institutional power brokers have supplied their own palliative, epitomized in the term 'spectacle.' – excerpt from The New Society for Universal Harmony

In The New Society for Universal Harmony, Lenore Malen uses pseudo-documentary photos, video and audio transcriptions, testimonials, case histories, and arcane imagery to archive the functioning of her own reinvention of the utopian society established in Paris in 1793 by the followers of Franz Anton Mesmer, known as La Société de l'Harmonie Universelle. Malen's New Society comes out of her long-term installation project and live performances of case histories and treatments performed at the fabricated Society imagined in Athol Springs, New York. The book expands the scope of the project to include original fiction and essays by fellow Harmonites Jonathan Ames, Geoffrey O'Brien, Pepe Karmel, Nancy Princenthal, Irving Sandler, Susan Canning, Barbara Tannenbaum, Jim Long, Mark Thompson, and others, as well as the first-person account of Malen's discovery and two-year involvement with the Society. The New Society examines our own culture's yearning for the perfect cure; what the Harmonites undergo and report is darkly funny and frequently impossible gesturing at the illusive search for spiritual peace and universal harmony, a search made more desperate in the present social-political-ecological climate.

Mirror Paintings

Michelangelo Pistoletto

Michelangelo Pistoletto (born 1933) is one of Arte Povera's most significant protagonists. It is with the Mirror Paintings that Pistoletto's name is mostly closely identified, an ongoing series begun in 1962 that has earned him rapid and enduring international recognition. These works are made from sheets of mirror-finished stainless steel, fitted with a full-length portrait photograph that has been meticulously traced and painted onto its surface (after 1971 the image was silkscreened on). The inclusion in the work of the viewer, his or her surroundings and his or her interaction with the photographed person in the mirror is the key to the boggling reflexivity that drives this work. This book evaluates the Mirror Paintings of the past four years. It includes an interview with the artist and a fully illustrated chronology of Mirror Paintings from 1962 to the present.

To Music

Ragnar Kjartansson

In his performances, which often extend over several weeks or months, the Icelandic artist Ragnar Kjartansson explores not only his own physical and psychological limits and the themes of early performance art, but also the artist's status and the different images of his role. For his installation "The Schumann Machine" (2008), created for Manifesta 7, he spent several hours every day for two weeks singing the 1840 song cycle Dichterliebe by Robert Schumann. A characteristic feature of his performances are the many melancholy but also absurdly comical moments.

This book, now in its second printing, unites for the first time all of Kjartansson's works related to music from 2001 to 2012. It includes contributions by Philip Auslander, Heike Munder, Markús πór Andrésson and a conversation between Edek Bartz and Ragnar Kjartansson.

KZ – KAMPF – KUNST / Boris Lurie: NO!Art

Werner Jung, Wolfgang Leidhold, John Wronoski

This is a catalog for the exhibition KZ – KAMPF – KUNSTin the former Cologne headquarters of the Gestapo in 2014.

The exhibition, developed in cooperation with the Boris Lurie Foundation in New York and under the curatorial direction of gallery owner Gertrude Stein, features the first impressive works created directly after Lurie's release from Buchenwald concentration camp, as well as works from the 1940s and 1950s that have never been seen in Europe before. A selection of his impressive sculptural works from the 1970s will also be presented for the first time in the basement.

Grímsey

Cole Barash

"As the sun fell in the west, Grímsey seemed to emit a vibration, a faint buzzing that can only be felt at certain times in that far-removed place. Its tune, persistent and dense, wove through living rooms and careened over the harbor like a slow pull on a cello. It’s a pulse that can only be sensed, if even for a fleeting moment, during periods of change. The first time, for a young boy, with his father on a fishing boat. Or the loss of a brother, his memory now living in photographs and within the folds of a sweater tucked away in a closet. Or, perhaps, the first sunset alone at the northernmost tip of the island, a place the locals call The Foot. A swooping hook of land that curves down to the water, revealing caves that always seem to be whispering—telling, with a slow exhale, the secrets of the island.”

Midnight—The Tempest Essays

Molly Nesbit

“'What Was An Author?' Right from the opening words of these Tempest Essays, we see the great Molly Nesbit at work undoing and radically repositioning the time codes for the artist. She creates a living archive of critical debates, politics and philosophies. She paints a vivid picture of the many junctions between people, objects, quasi-objects and non-objects throughout the twentieth century and into the twenty-first. This is a true protest against forgetting as well as a toolbox for contemporary art criticism. Call it a guidebook to the labyrinth of reality.” —Hans Ulrich Obrist

Midnight: The Tempest Essays returns the question of pragmatism to the everyday critical practice of the art historian. Illustrated case studies on Eugène Atget, Marcel Duchamp, Jean-Luc Godard, Cindy Sherman, Louise Lawler, Rachel Whiteread, Gabriel Orozco, Rirkrit Tiravanija, Lawrence Weiner, Nancy Spero, Rem Koolhaas, Martha Rosler, Gerhard Richter, Matthew Barney and Richard Serra, among others, build to form new book-length lines of continuity and investigation.

Molly Nesbit is Professor in the Department of Art at Vassar College and a contributing editor of Artforum. This is the second book in her Pre-Occupations series, following The Pragmatism in the History of Art (2013). Her other books include Atget's Seven Albums (1992) and Their Common Sense (2000).

House Of Anita

Boris Lurie

Boris Lurie worked on the composition of House of Anita from the 1970s almost up to the end of his life. It is his Ecce homo. In the guise of an S/M novel, if a quite surreal, absurd, and poignant S/M novel, the work attempts to come to terms with the circumstances of his traumatic youth interned in the Nazi death camp at Buchenwald, while exploring the meaning of the life of the artist and the place of art in the post-Holocaust world, and railing against the degradation of art by the market. Though not strictly speaking an allegory, and certainly not simply autobiography cloaked in leather and chains, House of Anita does employ the philosophy and vocabulary of a highly specialized mode of experience, the world of organized sado-masochism, to depict and examine the "ordinary" post-Holocaust world. In tone and sensibility the work falls in the lineage of Alfred Jarry, Franz Kafka, and Kathy Acker.

Eve and Me

Geoffrey Biddle

This book is a chronological series of father/daughter self-portraits by photographer Geoffrey Biddle. It begins with Eve's birth and concludes twenty-two years later after the death from cancer of his wife and her mother, artist Mary Ann Unger. Biddle writes directly to Eve in brief accompanying texts that illuminate sweet, happy details of their lives and acknowledge the emotional strain of Unger’s diagnosis and long battle to stay alive. Eve and Me was conceived as a gift from father to daughter, testimony to their shared experience and singular bond. It traverses their closest years, from city playgrounds to country fields, without and within the shadow of illness and loss. “I put myself on both sides of Eve and Me. Telling our story this way gave me clarity and a measure of control that catastrophic illness and daily parenting withhold.” By the end of this companion volume to Biddle's memoir Rock In A Landslide, the circle of life issues new chapters when both Eve and her father find love and he hints at a future with “our blended family at one table....and I get to take pictures."

Trinh T. Minh-ha: The Twofold Commitment

Trinh T. Minh-ha

The Twofold Commitment is an artist book by filmmaker, writer, and theorist, Trinh T. Minh-ha. While contextualizing the wider scope of her filmmaking practice, this publication centers on Trinh’s feature film Forgetting Vietnam (2015), which takes up one of the myths surrounding the creation of Vietnam: a fight between two dragons whose intertwined bodies fell into the South China Sea and formed Vietnam’s curving, S-shaped coastline. Commemorating the fortieth anniversary of the end of the Vietnam War, the film draws inspiration from ancient legend to stage an ongoing, contemporary conversation between land and water, creating a third space for historical and cultural re-memory.

The book features the film’s lyrical script, along with rhythmically distributed cinematic stills. Expanding on this central focus is a series of conversations between Trinh and film and sound scholars Patricia Alvarez Astacio and Benjamín Schultz-Figueroa; Erika Balsom; Lucie Kim-Chi Mercier; Domitilla Olivieri; Stefan Östersjö; Irit Rogoff; and Xiaolu Guo. These conversations date from 2016 to 2022 and are accompanied by an index of key concepts in the artist’s work.

Johannes Kahrs: Therapy

Johannes Kahrs

As the starting point for all his paintings and drawings, Johannes Kahrs uses photos culled from the mass media, advertisements, film stills, and sometimes images from his own photographic archive. Through the use of various pictorial treatments including shifting tones, blurring, cropping, repositioning, fragmenting and erasing, Kahrs abstracts and ambiguates his subjects, while echoes of the original source image remain visible. Disassociated from their original context, any explicit meaning or narrative connected with each subject is suspended – the viewer is left guessing about what exactly is being portrayed and why.

In works like Therapy (stich) (2004), a close-up view of a male torso is presented. The subject has been “beheaded” out of the composition, and the edges of his body blurred into a deep black ground. Through a shift of perspective, the subject in Untitled (2005) also appears to be headless and out-of-focus. In both paintings, Kahrs renders his figure in a fleshy, carnal, bruise-toned palette. The images are imbued with a raw and intense physicality – a sensation of eroticism is mixed with violence.

Michelangelo Pistoletto: The Minus Objects 1965-1966

Michelangelo Pistoletto, Roland Augustine, Carlos Basualdo, Germano Celant, Jenni Lomax, Ulrich Loock, Lawrence R. Luhring, Peter Pakesch, Christian Rattemeyer

Published by Prestel Inc. in association with Luhring Augustine, this book is a comprehensive overview of Michelangelo Pistoletto's Minus Objects. Four years after his iconic mirror paintings catapulted him to international acclaim, Pistoletto took an abrupt left turn with his series, the Minus Objects. Comprised of 28 disparate objects—an oversize cardboard rose; an industrial lamp casting green light; a minimalist iron sculpture—the Minus Objects break with the notion of a signature style and are symbolic of infinite creative possibilities. As an ensemble, it minimizes the role of authorship, permitting each enigmatic object to speak for itself as autonomous and self-sufficient.

Pistoletto is one of Italy’s most important and influential artists, and this book celebrates the creation of the Minus Objects as a radical turning point in postwar sculpture and conceptual art. The installation is represented in double-page spreads and the entire volume is designed to appear as a discrete object itself. Along with Pistoletto’s original artist statement and transcripts of conversations about his work, this volume brings together critical analyses from some of the leading voices of the contemporary art world. Together, the images and texts in this book serve to position the Minus Objects as a work of stunning originality and historical significance.

Contributions from Roland Augustine, Carlos Basualdo, Germano Celant, Jenni Lomax, Ulrich Loock, Lawrence R. Luhring, Peter Pakesch, and Christian Rattemeyer.

Painting Box Set
(16 books)

Painting is one of the most celebrated mediums in the history of art. This Box Set is a selection of exhibition catalogs that feature artists who have developed various approaches with this medium in the 20th century.

For instance, Vija Celmins explores the limit of figuration with photo-realistic renderings of nature; Louise Fishman complicate and enrich abstract painting with questions of identity; and Philip Guston renounces Abstract Expressionism for a more symbolic and direct engagement with social themes, including racism and American identity.

This Box Set is recommended for a general readership.

Louis Stone: American Modernist - Major Abstract Paintings, 1938-1942

Louis Stone

This exhibition catalog documents the first solo exhibition by Louis Stone (American, 1902-1984), including twenty-five major oil paintings dating from 1938 to 1942. Created during a critical moment in the rise of American abstraction, Stone’s paintings are distinctive in their vibrant hues and dynamic compositions. The paintings reflect his studies in the 1920s with Hans Hofmann in Germany and Andre L’hote in France, and his lifelong interest in jazz. This exhibition is a rare opportunity to view a selection of Stone’s finest paintings, many of which are being exhibited for the first time.

Louis Stone was born in Findlay, Ohio and received formal art training at the Art Academy of Cincinnati (1923), the Pennsylvania Academy of Fine Arts summer sessions (1926), and the Art Students League in New York City (1926-27). While painting in Gloucester, Massachusetts during the summer of 1927, Stone met artist Carolyn Hoag, whom he married later that fall. Following their marriage, the Stones lived in Europe for five years, spending most of their time in Southern France. While abroad, Stone studied with Hans Hofmann at the Hofmann School of Fine Arts in Munich, the Academie Colorossi in Paris, and with André L’hote at the artist’s summer school in Mirmande, France. He also lived and painted in Paul Cézanne’s former home/studio in Aix-en-Provence. Stone’s studies in Europe laid the foundation for his early non-objective work. Stone returned to the United States in 1933 and lived for a brief period in Woodstock, New York before traveling to Florida where he co-founded the Stone-Morris School of Fine Arts in Jacksonville. In 1935, he settled in Lambertville, New Jersey, a town near New Hope, Pennsylvania that was home to an artistic and intellectual community, which included a group of modernist artists called the Independents. Like other organizations of American artists during this period (such as the American Abstract Artists and the Transcendental Painting Group), the Independents were struggling to gain recognition in a culture that was not particularly receptive to abstract art. Stone was a leading member of the Independents, exhibiting regularly and working with group members Charles Evans and C.F. Ramsey to establish the Cooperative Painting Project. Although Stone frequently collaborated and exchanged ideas with other members of the Independents, his work from the mid-1930s and 1940s retains a distinctive style that demonstrates a mastery of the modernist lessons he learned in Europe, while asserting an innovative use of flat color to suggest three dimensional space. Stone once remarked that he wanted “to keep his colors alive,” and consequently, his work contains visually complex color harmonies that demonstrate his willingness to break the stylistic conventions of the School of Paris in favor of a more idiosyncratic palette. In addition to his association with the Independents, Stone exhibited in the New York Worlds Fair in New York City (1939), as well as in museums and galleries throughout New Jersey, Pennsylvania and New York. He also worked for the New Jersey WPA (1935-37), designing murals for various public buildings throughout the United States. Stone continued to paint and travel extensively with his family throughout North America until his death in 1984 at the age of 82.

Sean Scully, Paintings 89/90

Since the early 1980s, Sean Scully has made work comprised of blocks and bands of color laid down in grid structures that are mediated through an intuitive organic response to the medium. The hand of the artist is strongly present in surfaces that are rich, luminous, and infused with an essence of humanity, sensuality and intimacy that embraces their materiality. The painted surfaces are applied in numerous layers, which through their translucency reveal the history of their making. In recent years, Scully has felt the need to disrupt and subvert evidence of an all-over pattern, which has led to the establishment of a disordered geometry in a palette that is both gloomy and fiery.

This catalogue features Sean Scully's paintings from 1989-1990.

Mario Schifano: Paintings 1960-1966

Mario Schifano

A radical figure who considered painting to be the true frontier of the avant-garde, Schifano was one of the few European artists included in the “New Realists” exhibition at Sidney Janis Gallery in 1962, the groundbreaking international survey of contemporary Pop and related movements. However, aside from this early exposure in New York, Schifano and his work remain relatively unknown in this country. In the 1960s, Schifano began painting monochromes using enamel house paint as his medium, a revolutionary use of non-traditional art materials that aligned the artist with his Arte Povera colleagues whose work developed later in the decade. Schifano was also interested in television and the moving image and believed that the future of painting lied therein.

According to Luca Beatrice, “Schifano sensed that painting should be seen with a contemporary eye and, after its aura is removed, needs to be hurled into the indistinct flow of words, sounds, and images—what constituted the very lifeblood of post-war culture.” Many of his canvases from the 1960s present a square shape of color, itself a reference to a television screen, with drippings, gestural expressions and traces of dirt to remind the viewer that these are indeed paintings, in contrast to the flat monochromy favored by other European artists at the time. The exhibition and accompanying catalogue was curated by Gian Enzo Sperone, a veteran Italian dealer who showed Schifano’s work in Italy during the 1960s.

Vija Celmins: New Work

Vija Celmins is a Latvian-American visual artist best known for photo-realistic paintings and drawings of natural environments and phenomena such as the ocean, spider webs, star fields, and rocks. Her earlier work included pop sculptures and monochromatic representational paintings. Based in New York City, she has been the subject of over forty solo exhibitions since 1965, and major retrospectives at the Museum of Modern Art, Whitney Museum of American Art, Los Angeles County Museum of Art, San Francisco Museum of Modern Art, Institute of Contemporary Arts, London and the Centre Pompidou, Paris. This catalogue features Vija Clemins' recent work and an essay by Bill Berkson.

Jeremy Moon: Starlight Hour

Jeremy Moon

Jeremy Moon: Starlight Hour, published by Luhring Augustine, is the first comprehensive monograph of the artist’s work. The publication presents a chronology of Moon’s paintings, sculptures, and works on paper as well as illuminating and in-depth scholarly essays by Clarrie Wallis, Matthew Jeffrey Abrams, and Sam Cornish. A personal reflection written by Moon’s friend and fellow artist Phillip King is also reproduced along with a 1973 interview with the artist by Barry Martin. An illustrated timeline offers an intimate view into Moon’s personal relationships as well as his professional encounters over the course of his life and career.

A Storybook Life

Philip-Lorca diCorcia

"The disparate photographs assembled here were made over the course of twenty years. None of them were originally intended to be used in this book. By ordering and shaping them I tried to investigate the possibilities of narrative both within a single image and especially in relation to the other photographs. A Storybook Life is an attempt to discover the possibilities of meaning in the interaction of seemingly unrelated images in the hope that content can constantly mutate according to both the external and internal condition of the viewer, but remain meaningful because of its inherent, but latent content. The conscious and subconscious decisions made in editing the photographs are the real work of A Storybook Life." —Philip-Lorca diCorcia

Nummer vijftien, at war with oneself

Guido van der Werve

As the protagonist of his own films, Dutch video and performance artist Guido van der Werve makes great physical demands upon himself. His works chart approaches to the experience of self and the world by staging an existentialist competition with himself. However, he not only documents the realisation of the conceived events; this documentation is also taken as a starting point from which to condense them into complex narratives about physical endurance, struggling with (one’s own) nature, the passage of time, and the uncontrollable dynamics of chance.

NO Complaciente: Boris Lurie en México

Eckhart Holboog, Jürgen Joseph Kaumkötter, Reynier Valdés Piñeiro

This is a catalog of the exhibition NOT complacent: Boris Lurie in Mexico at el Museo Nacional de las Culturas del Mundo (MNCM).

After surviving the Holocaust, the Russian-American artist BorisLurie (1924-2008) developed a work in which he poured out his memories of that event and, once installed in New York City, he founded one of the artistic movements that they criticized. the trivialization and mercantilism of American art called “NO!art”.

The # exhibition “NOT complacent: Boris Lurie in Mexico” traces his career

Unspeaking Likeness

Arne Svenson

Unspeaking Likeness is a series of images of forensic facial reconstruction sculptures. Occasionally, when investigators call for it, shortly after an unidentified corpse (or part thereof) is found, a forensic artists constructs an artificial face made of clay or plaster to better aid in victim identification.

"We are all too aware that when we die, the flesh goes. Memories of us may die more quickly or slowly, depending on how we were known and loved. But in both cases no one escapes decay. The transition between flesh and dust is, to those of us who witness any part of it, a nightmare. What is there beneath the skin that love or friendship would ever wish to see? And when the matter reveals itself to anyone but a surgeon, and moreover when it is rotting, it becomes an observer’s enemy. This is hardly putting the case too strongly. Our life-force naturally denies its own finitude and with all its horrified strength rejects evidence of futurity."

Essay by William T. Vollmann

Till They Listen: Bill Gunn directs America

Hilton Als, Ishmael Reed, Run Nour, Michael Boyce Gillespie, Nicholas Forster, Pearl Bowser, Bill Gunn

Published by Artists Space to accompany the exhibition Till They Listen: Bill Gunn Directs America, organized by Hilton Als and The Film Desk’s Jake Perlin. Contains writing by Bill Gunn, Hilton Als, Ishmael Reed, Run Nour, Michael Boyce Gillespie, Nicholas Forster and Pearl Bowser, along with an archival interview with Gunn.

The exhibition and a series of public programs celebrates the life and towering, multi-faceted work of the filmmaker, playwright, novelist, and actor Bill Gunn (1929–1989). As a Black artist working simultaneously in Hollywood and the New York theatre world, Gunn persistently struggled to produce his work as a writer and filmmaker, and these hardships are reflected in both his art and his archive. In a 1973 letter to the New York Times, Gunn states: “It is a terrible thing to be a black artist in this country. If I were white, I would probably be called ‘fresh and different.’ If I were European, Ganja & Hess might be ‘that little film you must see.’ Because I am black, I do not even deserve the pride that one American feels for another when he discovers that a fellow countryman’s film has been selected as the only American film to be shown during Critics’ Week at the Cannes Film Festival… Not one white critic from any of the major newspapers even mentioned it.”

Three decades after his death, Bill Gunn’s work has begun to gain long overdue visibility through film retrospectives, restorations and increased availability of his published writings. Adding to the recent scholarship around Gunn’s work, this exhibition opening will elucidate Gunn’s profound artistic vision through an unprecedented gathering of archival materials from both private collections and the Schomburg Center for Research in Black Culture’s unparalleled holdings, most exhibited for the first time. This curated selection of ephemera, media, literature, and original artworks offers a complex and intimate portrait of Gunn’s seminal output, with a focus on his many unrealized projects. In conjunction with the exhibition, Artists Space will present a series of public programs, including film screenings, conversations, live musical performances, staged readings, and a publication of newly commissioned and previously uncollected writing.

Reneé Green: Pacing

Renee Green

American artist Renée Green (born 1959) spent two years engaged with the Carpenter Center for the Visual Arts at Harvard University, during which she presented a series of interlinked public programs and exhibitions, culminated with her major exhibition Within Living Memory (2018). Green’s Carpenter project, Pacing, is a meditation spurred by inhabiting an architectural icon―Le Corbusier’s Carpenter Center―while exploring the historical and institutional legacies of modernism’s other forms, including cinema, visual art, poetry, music and literature.

This handsome publication illuminates Green’s unfolding process, with a sequence of exhibitions that took place from 2015 and culminating in Pacing: Facing in Toronto; Tracing in Como, Italy; Placing in Berlin; Spacing in Lisbon; and Begin Again, Begin Again in Los Angeles. The result is a meditation on creative processes across histories and media, partially inspired by two architectural icons: Rudolf M. Schindler and Le Corbusier. Despite grand ambitions, Le Corbusier was only able to realize two buildings in the Americas, the Carpenter Center in Cambridge, Massachusetts, and Casa Curuchet, in La Plata, Argentina. In Pacing, dreams, projections and geographically distant buildings are put into dialogue through time, weaving a layered constellation of unexpected relations.

Lavishly illustrated, Renée Green: Pacing features new texts by Gloria Sutton and Fred Moten, and brings together a series of previously unpublished conversations between the artist and Yvonne Rainer, Nora M. Alter and Mason Leaver-Yap. Additional contributions are provided by Nicholas Korody, William S. Smith and Carpenter Center director Dan Byers.

Architecture Box Set
(14 books)

Architecture has long been a productive site for artistic practices that address society, politics, technology, and the environment. This Box Set features publications that explore how architecture informs contemporary experiences and propositions in the arts and culture.

Beyond architecture's professional boundaries and disciplinary mandates, the publications in this Box Set highlight alternative modes and spaces in which architecture takes hold: Yona Friedman’s About Cities presents the late Hungarian-born architect’s drawings of his ever-radiant urban vision; Elizabeth Gill Lui’s Building Diplomacy provides a photographic atlas mapping the politics and desire of American ambassadorial architecture abroad; and, Benjamin H. Bratton’s Dispute Plan to Prevent Future Luxury Constitution delivers a delirious theory-fiction of architecture’s dystopian fantasies of control and violence—to name only a few.

This Box Set is recommended for a general readership.

Andrea Zittel: Critical Space

Andrea Zittel

This catalogue of a travelling American exhibition is the first comprehensive publication on the influential contemporary artist Andrea Zittel. It focuses on the experimental nature of her signature objects, inhabitable sculptures and other projects. In her work as an artist, Zittel investigates domestic and urban life in Western societies. Exploring the various aspects of living, the artist designs her own household settings to serve as a test case for her experimental living structures. Her work has provoked debates about the changed meaning of domestic and collective space and the possibilities for new adaptations to urban conditions today.

Richly illustrated, Andrea Zittel: Critical Space includes nearly two hundred reproductions of Zittel's works of art, many of which are published here for the first time. The book includes over one hundred sculptures and drawings, documentation of early work and recent site-specific work in the Mojave Desert of California. With essays that touch on urbanism, architecture, design and consumer culture, this catalogue offers an extensive analysis of Zittel's contribution to contemporary trends in art and architecture.

Office US Atlas

Eva Franch i Gilabert, Ana Miljački, Ahsley Schafer, Michael Kubo

OfficeUS, the U.S. Pavilion for the 2014 International Architecture Exhibition, La Biennale di Venezia, reframes the history of U.S. architecture through the lens of export in two interrelated constructs: “The Office” and “The Repository”. The “Repository” presents 1000 projects designed by 200 US offices working abroad in a chronological archive of the last 100 years. Collectively these projects tell multiple, imbricated stories of U.S.

firms, typologies, and technologies, as well as a broader narrative of modernization and its global reach. The “Office” engages these projects, revisiting their premises and conclusions over the

course of the Biennale. It functions as a laboratory staffed by a diverse group of resident design partners collaborating with outpost offices and a rotating cast of visiting experts. Together, these two halves of OfficeUS create both an historical record of the U.S. contribution to global architectural thought, and a petri dish in which that record is submitted to contemporary agents of disruption and critique.

Contemporary States of Emergency: The Politics of Military and Humanitarian Interventions

Didier Fassin, Mariella Pandolfi

From natural disaster areas to zones of conflict around the world, a new logic of intervention has emerged. This new post-Cold War international order combines military action and humanitarian aid, conflates moral imperatives and political arguments, and confuses the concepts of legitimacy and legality. The mandate to protect human lives, however and wherever endangered, has thus promoted a new form of military and humanitarian government that operates in a temporality of urgency, moving from one crisis to the next, applying the same battery of technical expertise — from army logistics to epidemiological management to the latest administrative tools for forging “good governance.” In the name of the right to intervene, this new strategy challenges national sovereignties and deploys economic powers. Not only does it take charge of people’s lives, it also reduces their histories and expectations to bare lives to be rescued.

Drawing on the critical insights of anthropologists, legal scholars, political scientists, and practitioners from the field, Contemporary States of Emergency first examines the historical antecedents as well as the moral, juridical, ideological, and economic conditions that have made military and humanitarian interventions possible today. It then addresses the practical process of intervention in global situations on five continents, illustrating the diversity as well as the parallels between contemporary forms of military and humanitarian interventions.

Finally, it investigates the ethical and political consequences of the generalization of states of emergency and the humanitarian government that they entail. The authors thus seek to understand a critical question that confronts the world today: How and why have military and humanitarian interventions transformed the international order such that what was once a logic of exception has now become the rule of contemporary global politics?

Dispute Plan to Prevent Future Luxury Constitution

Benjamin H. Bratton

Equal parts Borges, Burroughs, Baudrillard, and Black Ops, Dispute Plan to Prevent Future Luxury Constitution charts a treacherous landscape filled with paranoid master plans, failed schemes, and dubious histories. With a foreword by Keller Easterling. Benjamin H. Bratton’s kaleidoscopic theory-fiction links the utopian fantasies of political violence with the equally utopian programs of security and control. Both rely on all manner of doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns to realize their propagandas of the deed, threat, and image. Blurring reality and delusion, they collaborate on a literally psychotic politics of architecture. The cast of characters in this ensemble drama of righteous desperation and tactical trickery shuttle between fact and speculation, action and script, flesh and symbol, death and philosophy: insect urbanists, seditious masquerades, epistolary ideologues, distant dissimulations, carnivorous installations, forgotten footage, branded revolts, imploding skyscrapers, sentimental memorials, ad-hoc bunkers, sacred hijackings, vampire safe-houses, suburban enclaves, big-time proposals, ambient security protocols, disputed borders-of-convenience, empty research campuses, and robotic surgery. In this mosaic we glimpse a future city built with designed violence and the violence of design. As one ratifies the other, the exception becomes the ruler.

e-flux journal Series edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle Design by Jeff Ramsey, cover artwork by Liam Gillick.

Luhring Augustine: 25 Years

This is a catalog published in conjunction with exhibition Luhring Augustine: 25 Years.

Among the works included in 25 Years are Janine Antoni’s Lick and Lather, 1993, a series of two self-portrait busts made of chocolate and soap; Joel Sternfeld’s iconic McLean, Virginia, December, 1978, from his American Prospects series; Rachel Whiteread’s Untitled (Black Bed), 1991; Cady Noland’s Crate of Beer, 1989; Christopher Wool’s Minor Mishap II, 2001; and the cover of Larry Clark’s 1983 book Teenage Lust. Many of the works in the exhibition are emblematic of milestones in the artists’ careers. For example, a meticulously-staged large-scale photograph by Gregory Crewdson referencing the Shakespearean character Ophelia, which later became the cover of his book Twilight in 2003; Yasumasa Morimura’s Angels Descending a Staircase, 1991, which illustrates the artist’s pioneering use of photographic manipulation; and a 1992 self-portrait by Martin Kippenberger, with whom the gallery maintained a long relationship and who was featured in solo shows at Luhring Augustine in New York and Los Angeles.

Live

Oscar Tuazon, Anna Brohm, Philipp Kaiser, Miwon Kwon, Nico Machida, Antek Walczak

Oscar Tuazon: Live, published in conjunction with the 2014 exhibition Alone In An Empty Room at Museum Ludwig in Cologne, is the second major book from this American artist. Composed of two volumes, the first volume in this artist’s book/exhibition catalogue concentrates on Tuazon’s major exhibition of new sculptural works at Museum Ludwig. A full-scale reproduction of fragments of the artist’s Los Angeles house grafted onto the architecture of the museum, Alone In An Empty Room collapsed two spaces together, producing a unique third space. This volume provides extensive documentation of this project, from the artist’s preliminary sketches through installation. It also includes new essays by Philipp Kaiser, Anna Brohm, and Antek Walczak, and a wide-ranging conversation between Tuazon, Miwon Kwon, and Nico Machida on the practice of sculpture, architecture, and art.

Quarry: A Collection in Lieu of Memoirs

Lincoln Kirstein

Lincoln Kirstein's life in the arts spans two thirds of a century. Many of the artists he championed, often against great odds, are indispensible in our consideration of twenttieth century art today. In lieu of written memoirs, Lincoln Kirstein has commissioned the great works in his personal collection to be photographed in a remarkable series of eight by ten, four color transparencies. to these he has added extensive captions revolving around anecdotes and aesthetics. It is the perfect way to view his accomplishments. the collection is reproduced in full page, four color plates, each object and room exquisitely photographed.

With

Ken Ohara

Ken Ohara’s photographic series of one-hour-exposure portraits create in their final form a new identity for each subject. The traditional evaluations we make of a portrait, i.e., “How do you look?” are lost in the blur of a passing hour. The soft outlines of heads and bodies take on a new power in their loss of detail, and we look to the objects that frame each sitter to give us a context for identity. Like Meatyard before him, Ohara’s collective subjects create a wry and melancholy portrait of the absent artist.

Greer Lankton: Sketchbook, September 1977

Greer Lankton

Sketchbook, September 1977 is an early journal by Greer Lankton written during her time as an art student at the School of the Art Institute of Chicago. It offers key insights into the artist’s mind before her move to New York in 1978, where she would go on to have a prolific career making lifelike dolls, theatrical sets, photographs, drawings, and paintings.

Containing drawings, behavioral diagrams, and occasionally confessional writing, the journal is a record of imagining the body and mind reconciled through transformation. In these pages, the nineteen-year-old turns an inquisitive, sociological eye toward the emotional landscape and somatic effects of her days recorded here—the time period leading up to her decision to undergo hormone treatment and gender-affirming surgery in 1979. Lankton reflects with raw vulnerability and keen self-awareness on critical questions of self-image, social perception, gender normativity, and human behavior.

The book also includes an afterword by Lankton’s lifelong friend, Joyce Randall Senechal. Sketchbook, September 1977 is one of the earliest of Greer Lankton’s journals, sketchbooks, and daybooks to appear in the artist’s archives housed in the Department of Film at The Museum of Modern Art. The majority of Lankton’s papers and archives are housed at the Mattress Factory, Pittsburgh.

Maine

Gary Briechle

Gary Briechle has forged many long-term relationships with the people he has photographed since moving to Maine nearly 20 years ago. This gives his work a peculiar intimacy, as if the pictures were made by a family member. He lives and works in midcoast Maine and doesn’t see a need to travel to make photographs: “Most everything that inspires me is within a few miles of my home. Sometimes I think that Maine is like my foster family; I’m not really entirely comfortable and will probably never feel completely settled, but Maine keeps feeding me.”

Live Audio Essays

Lawrence Abu Hamdan

Live Audio Essays presents transcripts from performances and films by Lawrence Abu Hamdan, an artist known for his political and cultural reflections on sound and listening.

Abu Hamdan’s intricately crafted and heavily researched monologues are at times intimate, humorous, and entertaining, yet politically disquieting in their revelations. Using personal narratives, anecdotes, popular media, and transcripts rooted in historical and contemporary moments, the artist leads the reader through his investigations into crimes that are heard but not seen. These live audio essays turn our focus to acoustic memories, voices leaking through walls and borders, the drone of warfare, cinematic sound effects, atmospheric noise, the resonant frequencies of buildings, the echoes of reincarnated lives, and the sound of hunger.

Live Audio Essays collects seven iconic works, which were originally presented as performances, films, or video installations from 2014 through 2022. Featured pieces include Contra Diction (Speech Against Itself), Walled Unwalled, After SFX, Natq, A Thousand White Plastic Chairs, Air Pressure, and the newly-completed The 45th Parallel.

All the texts were transcribed and edited with the artist and are available here in a single volume for the first time.

Life After Death

Robet C. Morgan, Dr. Wener Jung, Dore Ashton

On the occasion of the 100th anniversary of Boris Lurie’s birthday the catalogue Life with the Dead presents more than fifty works from 1950 to 1970 that illustrate his active commitment to social justice and the memory of the Holocaust. The Jewish artist bore witness in many ways to the horrors of the Holocaust in the German concentration camps. However, his works of art are not only expressions of suffering, but also symbols of hope for the integration of someone who would henceforth belong to the minority of survivors. Friends and companions describe Lurie’s development from his beginnings in the 1950s, through the NO! art movement, to his renaissance as one of the main representatives of Holocaust art. Tom Wolfe published his text on an exhibition at Gertrude Stein’s gallery, New York in 1964. René Block exhibited Lurie in Berlin, and Achille Bonito Oliva met Boris Lurie’s art in 1962 on the occasion of the exhibition Doom Show Boris Lurie and Sam Goodman at the Galeria Arturo Schwarz in Milan. Rafael Vostell and Jürgen Kaumkötter provide the contextual framework for the book, which is complemented by words of greeting from Gertrude Stein, Boris Lurie's lifelong friend and Jürgen Wilhelm from the Landschaftsverband Rheinland.

Yasumasa Morimura: Las Meninas Renacen de Noche

This is a catalog published alongside exhibition Yasumasa Morimura: Las Meninas Renacen de Noche (Las Meninas Reborn in the Night) at Luhring Augustine in 2014.

Morimura has been working as a conceptual photographer and filmmaker for more than three decades. Through extensive use of props, costumes, makeup, and digital manipulation, the artist masterfully transforms himself into recognizable subjects, often from the Western cultural canon. Morimura has based works on seminal paintings by Frida Kahlo, Vincent Van Gogh, and Édouard Manet, and he also uses images culled from historical materials, mass media, and popular culture in his practice. His reinvention of iconic photographs and art historical masterpieces challenges the viewer’s common associations with the subjects while also commenting on Japan’s complex relationship with and absorption of Western culture.

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