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.

Chuck Close: Drawings of the 1970s

Chuck Close

In this body of drawings, Chuck Close uses various media including pastel, conté crayon, stamp-pad ink, graphite, and watercolor, as well as unusual media such as his own thumbprint, in intricate grid formats. An interview conducted by Joe Zucker discusses the role of the expressive mark in representational art and the artist's influences in the 1970s. Craig F. Starr Gallery, 2010 9 x 7 inches, 36 pp., illustrations Softcover, no ISBN

Cary Malone

Wayne Lindberg, Jonathan Monk

Cary Malone by Wayne Lindberg is a collaboration with artist Jonathan Monk, was published by Nothing Moments Press in the fall of 2007. Short stories included in this book are Cary Malone, Vector, Mind Workers, The Gargoyle, Outlaw, Succession Plan, Film Festival, Man-candle, Dead Puppy Love, The Good Times, She Didn’t Know, Oh Well, POP Psych, The Old Afternoon and No Brainer. Book design by Linda Byrne.

Wayne Lindberg is an author from Los Angeles.

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.

African-American Art: 20th Century Masterworks, IX

This is the seventh annual exhibition in an ongoing series which explores and celebrates the vast accomplishments of twentieth-century African-American artists. African-American Art: 20th Century Masterworks, VI presents rare museum caliber works, many recently discovered and never before exhibited. Historically, in the United States, African-American artists have encountered a society which relegated them to its periphery, but the tide has begun to change. In recent years, there has been a remarkable surge of exhibitions, publications, and articles which have dramatically increased exposure and with this exposure has come the possibility for long overdue recognition. Presenting more than forty historic works by more than thirty artists, this exhibition aspires to continue the trend toward increasing education, awareness, and much-deserved appreciation. Artists included in this exhibition: Charles Alston, Benny Andrews, William Artis, Romare Bearden, John Biggers, Eldzier Cortor, Ernest Crichlow, Beauford Delaney, Joseph Delaney, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Archibald J. Motley, Jr., Marion Perkins, Horace Pippin, Betye Saar, Augusta Savage, Charles Sebree, Henry Ossawa Tanner, Alma Thomas, Bob Thompson, Bill Traylor, James VanDerZee, Laura Wheeler Waring, Charles White, and Hale Woodruff. Michael Rosenfeld Gallery, 2002 Softcover, 64 pgs No ISBN

Boats Crosses Trees Figures 1977-78

Peter Halley

A survey of Peter Halley’s (born 1953) early works on paper made during his years as a graduate student at the University of New Orleans. Already pointing clearly to the pictorial concerns that he would focus on throughout his career these works initiate Halley’s interest in the interaction of opposites, primarily abstraction and figuration but also interior and exterior, foreground and background, light and dark, appearance and disappearance. Inspired by the color and sound of New Orleans, Halley translates the physical world into bright, geometric compositions constructed of gridded squares of color, where, through the combination of formal severity and openness as equal partners, seemingly simple compositions turn into complex amalgams of various possible views of an image and its space. Text by Richard Speer.

Andrea Fraser Collected Interviews 1990-2018

Andrea Fraser, Rhea Anastas, Alejandro Cesarco

The 560 page publication is a substantial archive and a singular point of entry with which to understand Andrea Fraser’s work and reception. The interview format provides intimate insight into Fraser’s self-positioning as a central aspect of her practice. By presenting the artist’s voice as mediated through interlocutors ranging from professional peers to popular media, it uniquely contextualizes Fraser’s practice in the artistic, institutional, and discursive fields in which she intervenes. As Fraser is engaged, challenged, and often misunderstood, from diverse perspectives, readers learn as much about her artistic commitments from the artist’s humor and affect as from her incisive analysis.

he collection spans three decades, from the early '90s to the present, and is organized chronologically with minimal editing. Its unmediated format allows Fraser’s key ideas and themes to attain deeper resonance through repetitions and subtle differentiations over multiple conversations. Andrea Fraser Collected Interviews 1990-2018 exemplifies the ways in which artistic strategies can question and recast social norms at an individual and institutional level. This collection is a singular resource for all who are concerned with art’s social roles in the broader public sphere.

Edited by Rhea Anastas, Alejandro Cesarco, and Andrea Fraser.

Designed by Scott Ponik

Between Life and Death

Frank Moore

In 1977 Frank Moore took a freighter from Montreal to Santander, Spain. He traveled through Spain, France, and Morocco, finally settling in Paris, where he obtained a residency in the Cité des Arts. Upon his return to New York, Moore began a decade-long involvement with modern dance, theater, film, and video that paralleled his development as a painter. The increasing devastation of the AIDS crisis through the eighties profoundly and irrevocably transformed his life and work. His work was included in the 1995 Whitney Biennial and is included in the collections of the Whitney Museum, the Museum of Modern Art, and the Albright Knox Art Gallery.

Text by Robert Gluck

Arthur C. Danto: Remarks on Art and Philosophy

Arthur C. Danto

What makes something a work of art? This was the question that philosopher Arthur C. Danto (1924–2013) asked himself after seeing Andy Warhol’s Brillo Box at a 1964 exhibition at the Stable Gallery in New York City. The philosophy of art was not Danto’s primary area of inquiry at the time, but Warhol’s work prompted him to return to this question over several decades. Danto, professor of philosophy at Columbia University since the 1960s and art critic at The Nation from 1984 to 2009, delivered the previously unpublished lectures presented in this volume at the Acadia Summer Arts Program in Mount Desert Island, Maine, from 1997 through 2009. They explicate the ideas that he set forth in professional philosophical papers and books, including The Transfiguration of the Commonplace (1981), which describes his philosophy of art. Informal yet deeply thought-provoking, these lectures explore how Danto analyzed art through a philosophical lens, yielding an approach that differs from most other contemporary art criticism. Danto’s thoughts on art go beyond formal analysis and taste judgments, instead focusing on questions about the nature of art and attempting to define what a work of art is. These lectures present some of his most notable ideas in terms that those with no training in philosophy can readily understand.

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.

Betye Saar: Migrations/Transformations

Betye Saar

From tribes to chains; from community to cargo; from farms to ships to plantations; from South to North; from slavery to freedom - the migration routes of black people from Africa to America form the subject of Betye Saar's series, Migrations/Transformations, exhibited by Michael Rosenfeld Gallery in 2006. In seventeen mixed media collages and assemblages, Saar narrates seventeen distinctive journeys. By layering carefully selected clues - a gold button, an African mask, a slave ship diagram, a weathered photograph, a pressed leaf, a tattered American flag - she constructs fictional biographies of nameless characters that represent the historical passages of millions. Haunted by memories of Africa or the trauma of the Middle Passage, Saar's journeys remind us that history is not simply the recording of past events - it is a living, breathing entity, filling the space of our present and shaping contemporary identities. Born in Los Angeles in 1926, Saar is known for voicing her political, racial, religious, and gender concerns in an effort to reach across the barriers of art and life, to bridge cultural diversities, and forge new understandings. This fully illustrated color catalogue with an artist statement and essays by Whitfield Lovell, Tracye Saar-Cavanaugh, Lowery Stokes Sims, and Sean Ulmer accompanied the exhibition

2 220

Daniel Turner

“The above named patient was certified for 14 days involuntary treatment pursuant to section 5250 et. seq. of the California Welfare and Institutions Code. The certification was on the basis of one or more of the criteria specific by law; danger to self, danger to others, or grave disability (strike out inapplicable).” Blurring the line between the physical and psychological, personal and professional, 2 220 is an archive of both art supply and medical bills from Daniel Turner’s life. when seen side by side along with a series of stark, clinical installation shots, the experiences documented on each scrap of paper becomes neutralized and intertwined, assuming equal meaning.

A Period of Juvenile Prosperity

Mike Brodie

At the age of 17, Mike Brodie hopped his first train close to home in Pensacola, Florida, thinking he would visit a friend in Mobile, Alabama. Instead, the train took him in the opposite direction to Jacksonville, Florida. Days later he rode the same train home, arriving back where he started.

Nonetheless, it sparked something in him and he began to wander across America by any means that were free - walking, hitchhiking, and train hopping. Shortly after his travels began he found a camera stuffed behind a car seat and began to take pictures. Brodie spent years crisscrossing the U.S., documenting his experiences, now appreciated as one of the most impressive archives of personal travel photography.

Allan McCollum

Allan McCollum

Allan McCollum reviews his work from the 1970’s to the present and discusses his ongoing obsession with the question of what makes an object an “art object.” McCollum is best known for his multiples, which by sheer power of replication force us to rethink notions of identity and uniqueness. The artist is interviewed by Thomas Lawson. McCollum: “We live in a world filled with substitutions for things that are absent, since every copy, in a certain sense, only exists because the original is gone. So copies are always about something absent, and in that way, they carry a sense of mourning, death, or loss.”

Between Artists: Nicolás Guagnini / John Kelsey

Nicolás Guagnini, John Kelsey

The work of Nicolás Guagnini and John Kelsey manifests itself in distinctly different forms; yet the two share an affinity for playing with the roles and structures of the art world. The conversation includes discussions of some of their recurring topics and themes: gossip, the jeune-fille, institutional critique, the abject, humor and their participation in collaborative ventures (Orchard and Union Gaucha Productions for Guagnini and Reena Spaulings and Bernadette Corporation for Kelsey). The publication is part of A.R.T. Press's Between Artists conversation-based series.

Chantal Akerman: Moving Through Time and Space

Chantal Akerman

Recognized as one of the most important directors in film history, Belgian filmmaker Chantal Akerman has produced over 50 film and video works, in the genres of documentary and French New Wave-inspired fictional narrative. *Moving Through Time and Space* was produced in conjunction with a major touring exhibition and presents her key films and major installations, spotlighting the crossover genres of film and visual art. It introduces her work to those who have not viewed it first-hand through interpretive and anecdotal commentary. The five featured projects–including a newly commissioned film–span more than two decades of Akerman's career and allow new insight into the shifting frames between fact and fiction that characterize Akerman's work. Exploring the politics of territorial borders, recent histories of racism, and the poetics of personal journeys, Akerman's films touch on ideas about image, gaze, space, performance, and narration. Born in Brussels in 1950, Akerman has made more than twenty-five films since 1968, and has been awarded the Lumiere Award, FIRPRESCI Prize (International Federation of Film Critics), and a Golden Lion nomination (Venice Film Festival), among other distinctions.

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.

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.

Both Ends Burning

Amy Bessone, Thomas Houseago, Matthew Monahan, Lara Schnitger

Both Ends Burning documents an exhibition of new work by Amy Bessone, Thomas Houseago, Matthew Monahan and Lara Schnitger. Bessone, Houseago, Monahan and Schnitger are dedicated to exploring and challenging notions of the figure. Finding a lack of rigor in current trends regarding figuration they look to face their practices without ironic distractions. Together they have decided to take a no-holds-barred approach to their work and find territories not before explored. Each artist confronts figuration from different angles and with various techniques. In this exhibition they continue this dialogue and the intertwining narratives between their work. Thomas Houseago, Matthew Monahan and Lara Schnitger will each be presenting new sculpture and Amy Bessone will show new paintings. Includes an interview with Amy Bessone, Thomas Houseago, Matthew Monahan, Lara Schnitger, and David Kordansky.

Between Artists: 12 Contemporary American Artists Interview 12 Contemporary American Artists

Kim Abeles

In 1989, A.R.T. Press began documenting the social world of contemporary art by asking artists to interview one another.

Between Artists presents twelve lively pairings, including Kim Abeles interviewed by Michael McMillen, Vija Celmins interviewed by Chuck Close, Jimmy DeSana interviewed by Laurie Simmons, Judy Fiskin interviewed by John Divola, Felix Gonzalez-Torres interviewed by Tim Rollins, Mike Kelley interviewed by John Miller, Allan McCollum interviewed by Thomas Lawson, Anne Scott Plummer interviewed by Viola Frey, David Reed interviewed by Stephen Ellis, Laurie Simmons interviewed by Sarah Charlesworth, Pat Sparkuhl interviewed by Kim Abeles, and Andrew Spence interviewed by Colin Thomson. The publication offers rare insight into the issues that inform the work of contemporary artists in their own words.

99 Cent Dreams

Doug Aitken

This illustrated artist's book is the largest and most ambitious publication yet produced by the Los Angeles-based video artist and photographer Doug Aitken – an artist known for his groundbreaking publications. Featuring a short text by Heidi Zuckerman Jacobson, Director and Chief Curator of the Aspen Art Museum, it focuses on Aitken's still images, more than half of which have never been reproduced before. Known primarily for his multi-screen video installations, Aitken has gained international recognition for his immersive explorations of the experience of time and location. His exhibition at the Aspen Art Museum was the first dedicated solely to his photography. From nighttime cityscapes to deserted gas stations, airports and bus depots, Aitken's dreamlike photographs contain the same spatial and temporal dislocation and narrative suggestion as his installations.

Brave New Worlds

Text: Doryun Chong, Yasmil Raymond

Addressing contemporary international art beyond glib expressions of globalism, Brave New Worlds assesses the current state of political consciousness and its multivalent artistic manifestations in an era characterized by the unraveling of a unified world order. Guided by the questions ''How do we know?'', ''How do we experience?'' and ''How do we dream about the world?'', 24 artists from Southeastern Europe to South America, from the Middle East to East Asia and from North Africa to North America propose their own answers in paintings, drawings, sculptures, installations and videos. The catalogue includes several brief ''correspondent'' essays, inspired by newspaper reports and penned by an international cast of young art historians, critics and curators, including Max Andrews and Mariana Canepa Luna (Spain), Cecilia Brunson (Chile), Hu Fang (China), Tone Hansen (Norway), Mihnea Mircan (Romania) and Jose Roca (Colombia). Recent texts by philosopher Kwame Anthony Appiah, celebrated author and activist Arundhati Roy and award-winning foreign correspondent Janine di Giovanni provide additional perspectives on global affairs of the past decade. In addition, Brave New Worlds features an artist insert by Lia Perjovschi of Romania, entitled ''Subjective Art History from Modernism to Today,'' and entries on each individual artist. This publication is fully illustrated with color and black and white images. As implied by its title, Brave New World contains a broad spectrum of images and content dealing with politics, power and social behaviors. Some content may not be appropriate for all ages. Walker Art Center, 2007 8 x 11 inches, 290 pp., illustrated Softcover, ISBN 0935640894

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

Charles LeDray: Sculpture

Charles LeDray; Essays by Linda Yablonsky

Sculpture is an exhibition catalogue of new work by Charles LeDray; it includes twelve new sculptures, as well as a fourth installment of his ongoing project Village People. Fabricated from a long and varied list of materials, LeDray’s sculptures—whether presented individually or collectively in parts—challenge notions of scale. These works, however, offer little or no indication of the complex processes by which they were created. The media for one work alone include: acrylic paint, Alumalite, brass, embroidery floss, epoxy resin, glitter, various fabrics, oil-based enamel paint, gold-plate, rhodium-plate, patina, paper, pearlescent paint, plastic, sawdust, SO Strong coloring, steel, string, thread and wood. When the extensive labors undertaken in the making of each sculpture are understood, the works take on an astonishing quality in their opposition of the familiar and the irrational. This impressive group of new works further emphasizes Ken Johnson’s statement that “LeDray is one of those rare artists who bring to art-making no ideological program but only an acutely personal way with materials and a fabulously unpredictable imagination.”

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.

Abstraction

Josh Smith

Josh Smith's work focuses on themes of authenticity and authorship. He first became known for paintings in which he used his name as a motif on the canvas–an act of ironic self-marketing. In his series Abstraction, Smith creates archetypes from abstract paintings, airy compositions in lively colors. Although he takes a stylistic cue from the Abstract Expressionist school, Smith's unusual color combinations and cartoon-like forms retain little of this weighty background. His appropriations from abstract painting are quite direct, and endow this artistic tradition with a refreshing lack of pretension. The first volume of this slipcased set features Smith's Abstraction series paintings; the second features his palette paintings–palettes on which the artist has squeezed out his brushes, pursuing a completely straightforward aesthetic of simple forms. An accompanying text booklet contains an interview with the artist. Luhring Augustine, 2007 10.5 x 13.5 inches, 280 pp., color illustrations Softcover, 2 volumes in slipcase, ISBN 978-3935567442

Christian Marclay and Steve Beresford: Call and Response

Seeing and imagining music in a pandemic: a dialogue of found scenes and inspired sounds between two protagonists of experimental music

Known for his ability to locate music and sound in the most unexpected contexts, artist Christian Marclay (born 1955) began photographing the emptied London streets when the world shut down in the spring of 2020. He found the quiet―the absence of all the city sounds―both haunting and peaceful. On his daily walks, he began to imagine that there might be music in the landscape. He snapped a photo of an iron gate adorned with decorative white balls as it reminded him of a musical score. He sent it to his friend, the composer Steve Beresford (born 1950), and asked: “How would this sound on the piano?” Beresford responded a few hours later with a recording. Over the course of the spring, he took more photographs which inspired more music.

This book collects the dialogue between Marclay and Beresford, which could only take place virtually during lockdown. In his introduction, Marclay writes, "I realized that all my pictures were of enclosures: gates, fences, windows, closed stores. A view of the world behind barriers." The correspondence between image, sound and its notation breaks through those barriers, expanding space in magical ways. Call and Response is a testament to how the world at large can be not only reflected in image but translated into sound.

Between the Frames, The Forum

Antoni Muntadas

Between The Frames: The Forum, by the Spanish born artist Antoni Muntadas, offers a collective portrait of the people and institutions influencing what art is presented and how the art reaches the public. Muntadas began working on Between The Frames: The Forum in 1982, and over the following decade he compiled interviews with more than 100 distinguished representatives of the art worlds of North America, Western Europe, and Japan. These interviews were grouped by Muntadas into eight video “chapters,” corresponding to sectors within the art world: “ The Dealers,” “The Collectors,” “The Galleries,” “The Museums,” “The Docents,” “The Critics,” “The Media,” and an “Epilogue” featuring commentary by artists themselves. This catalogue, published on the occasion of the exhibition, includes essays by Wexner Center Curator of New Media Bill Horrigan and independent curator Debra Balken.

Chris Martin

Chris Martin, Bob Nickas

“… I came to the city in 1976 and painting was a pretty narrow place—Minimalism was king and the unspoken rule seemed to be that an artist was supposed to find his or her image and stick to it. Then in the 1980s, when Schnabel, Basquiat, and all the Europeans arrived, the whole scene opened up and I started to embrace my own practice. The artists who I admire the most seem to be able to bring whatever is happening in the world and in their own lives directly into their work.” Published on the occasion of Martin’s 2014 solo show at Anton Kern Gallery, this book includes full color plates of the artist’s large, ethereal glitter paintings made in upstate New York as well as forty photographs documenting the period during which the work was created.

Burgoyne Diller: Collages

Burgoyne Diller

Burgoyne Diller: Collages documents an exhibition consisting of forty-three collages from 1935 through 1965. The collages reflect Diller’s evolution from pure Neo-Plastic compositions of the 1930s to his final studies for minimalist sculpture executed during the 1960s.

Burgoyne Diller was a pioneer of American abstraction and is among the most significant American artists devoted to geometric abstraction. Burgoyne Diller’s earliest abstractions pay homage to Neo-Plastic aesthetics in the tradition of Piet Mondrian, but in the 1940s his work evolved into a very personal, spiritual, and more simplified geometric expression of line and color. As a result, Diller is the vital link between American abstraction of the 1930s and minimalism of the 1950s and 1960s epitomized by artists Donald Judd, Ellsworth Kelly and Myron Stout.

During the late-1920s, at the age of twenty-two, Burgoyne Diller moved from Michigan to New York City, where he began studying at the Art Students League. In 1934, he became employed as an easel painter by the Public Works of Arts Project (PWAP) and in 1935, he was appointed to the influential position of Director of the New York City WPA/FAP Mural Division. In 1937 he was one of the founding members of the American Abstract Artists group, although his official affiliation with this group was short lived. From 1946 until his death in 1965, Diller was a professor at Brooklyn College, where he taught with Ad Reinhardt. Through his lifelong roles as a mentor, Diller influenced countless artists and played a vital role in encouraging the public to embrace abstract art. As Diller expressed, abstraction was "the ideal realm of harmony, stability and order in which every form and spatial interval could be controlled and measured."

In 1990 the Whitney Museum of American Art mounted a major retrospective of Burgoyne Diller. He is represented in numerous museum collections including The Art Institute of Chicago, Solomon R. Guggenheim Museum, Hirshhorn Museum and Sculpture Garden, The Metropolitan Museum of Art, The Museum of Modern Art, New York, and the Whitney Museum of American Art.

Bomb Magazine, No. 114, Winter 2010

BOMB has been publishing conversations between artists of all disciplines since 1981. BOMB's founders—New York City based artists and writers—created BOMB because they saw a disparity between the way artists talked about their work among themselves and the way critics described it. BOMB Magazine is a print quarterly publishing in-depth interviews between artists alongside artists’ essays, literature, and portfolios. BOMB Magazine 11 x 8.5 inches, 140 pp. color illustrations Softcover

Burgoyne Diller: The 1960s - Paintings, Sculpture and Drawings

Burgoyne Diller

Burgoyne Diller: The 1960s - Paintings, Sculpture and Drawings features the geometric abstractions of American artist Burgoyne Diller (1906-1965). This catalog documents an exhibition of his major paintings, sculpture and drawings from the 1960s - the most fertile period of Diller's career.

During the 1960s, Burgoyne Diller re-emerged on the New York art scene. Despite his failing health, Diller worked tirelessly to advance his pictorial ideas, intentionally employing a limited range of forms to express himself. In 1962 Diller introduced a new format in his "first theme" paintings consisting of white, black, yellow and blue squares arranged on a grey field. Furthermore, his most well known paintings of geometric forms on solid black backgrounds were completed during this period. Although Diller had been creating wooden sculptures since the 1930s, in 1963 he made a major breakthrough by using the manmade material of Formica, which reflected light and gave his sculpture a serene quality.

Toward the end of his life, Diller intended to move beyond Formica by transforming his designs for sculpture into granite, but his death in 1965 prevented that. Even though Diller's bold plans were never realized, his commitment to abstraction made him a model for a generation of abstract artists, while his elegant geometric abstractions served as a bridge between modernism and the work of Minimalist artists such as Donald Judd, Sol Lewitt and John McCraken.

This fully illustrated color catalogue includes an essay by Barry Schwabsky, a regular contributor to Artforum, and the author of The Widening Circle: Consequences of Modernism in Contemporary Art (Cambridge University Press, 1997), and Opera: Poems 1981-2002 (Meritage Press, 2003).

Benjamin Patterson: Born in the State of FLUX/us

Benjamin Patterson

Benjamin Patterson: Born in the State of FLUX/us is a retrospective of the artist's career, which now spans nearly fifty years. The exhibition includes both early and recent work that range from annotated scores and books to painting and sculpture. As a founding member of Fluxus–a loose and international collective of artists who infused avant-garde practices of the day with humor and anarchic energy–Patterson helped revolutionize the artistic landscape at the advent of the 1960s and usher in an era of new and experimental music.

Ali Banisadr: Trust in the Future

Lilly Wei

Ali Banisadr is a painter known for complex, engaging and enigmatic paintings of semi-abstract forms. Drawing references from various art historical traditions – Persian miniatures, abstract expressionism, and surrealism – Banisadr's paintings present evocative visual narratives. This catalogue was published on the occasion of the exhibition “Ali Banisadr: Trust in the Future,” presented at Sperone Westwater, New York, 4 May – 24 June 2017.

Essay by Lilly Wei.

Ab Ovo

Steven Hull

“Ab Ovo” is a multi-media visual arts project organized by Steven Hull. Hull was inspired by his two children for “Ab Ovo” or “From the Egg,” and chose to use the children’s story as the goal and framework for the show. Nineteen visual artists were given the MMPI-2TM (Minnesota Multi Phasic Personality Inventory). The test, developed over 60 years ago, remains the most widely used measure of pathology by the U.S. legal system. Customized for child custody settings, the tests produced personality profiles which were anonymously and randomly assigned to nineteen writers. They were in turn asked to base children’s stories on them. The stories were then illustrated by a second group of 19 visual artists. The gallery installation featured the illustrations, an audio track of the writers reading their stories, and a picnic table designed by Dewey Ambrosino at which viewers could sit while they peruse the test results, which have been made anonymous. The tests, stories and illustrations are being published in this hardcover book “Catalogue Raisonne: Ab Ovo,” with a forward by Hull and an introduction by Susan Morgan. Published 2005.

Test Subjects: Julie Ault, Ellen Birrell, Derek Boshier, Candice Breitz, Inka Essenhigh, Charles Gaines, Steven Hull, Mike Kelley, Mary Kelly, Glenn Ligon, Simon Leung, Cosey Fanni Tutti, Jonathan Momk, Dario Robleto, Jim Shaw, Martha Rosler, Michael Smith, Georgina Starr, Bruce Yonemoto. Participants: Gail Pickering, Gail Swandlund, Ion Birch, Rachel Kushner, Marcos Rosales, Millie Wilson, Paul Noble, Trinie Dalton, Henry Taylor, Sean Dower, Soo Kim, Tony White, Isabell Heimerdinger, wayne Lindberg, Ivan Morley, Mady Schutzman, Kelly Barrie, Leslie Davis, Kaz Oshiro, Vincent Johnson, Lamar Peterson, Kimberly Nichols, Thomas Lawson, Stewert Lindh, Junko Shimizu, Jim Krusoe, Marnie Weber, Betty Nguyen, Paul P., Marina LaPalma, Hiroki Otsuka, Terri Phillips, Tanya Haden, Ben Ehrenreich, Scott Cassidy, Benjamin Weissman, Michael Mahalchick, Lynne Tillman.

Charles Sheeler Prints: A Catalog Raisonné

Charles Sheeler, Carol Troyen

Charles Sheeler (1883-1965) created paintings, lithographs, and photographs that reflected his aesthetic interest in industrial scenes of the early 20th-century American landscape. After training in industrial drawing, he became the major exponent of Precisionism, a style of painting that emphasizes clean-cut lines, simple forms, and large areas of flat color, creating a sense of order and ''precision'' to reveal how the lines of industrial architecture structure psychological experience. The catalog includes an introduction by Carol Troyen.

Between Artists: Thom Andersen / William E. Jones

Thom Andersen, William E. Jones

In this frank and provocative conversation, Thom Andersen and William E. Jones explore an expansive number of topics in relation to their respective film and art practices, among them: the advent of HD technology; experimental filmmakers and their strategies; Los Angeles; ''militant nostalgia;'' Jesus as revolutionary; the limitations of the art world; art criticism; gay culture; William Morris; and ''the Reagans at church.''

Part of the Between Artists series.

Bruce Conner: 2000 BC

Joan Rothfuss, Kathy Halbreich, Bruce Jenkins, Peter Boswell

Bruce Conner (1933-2008) first came to prominence in the late 1950s as a leader of the assemblage movement in California. Conner had close ties with poets of the San Francisco Renaissance (particularly Michael McClure) as well as with artists such as Wallace Berman, George Herms, Jess and Jay DeFeo. Conner's use of nylon stockings in his assemblages quickly won him notoriety, and saw his work included in Peter Selz's classic 1961 Art of Assemblage show at MoMA. Around this time, Conner also turned to film-making, and produced in swift succession a number of short films that helped to pioneer the rapid edit and the use of pop music among independent film-makers. Conner's innovative editing techniques and decidedly dark vision of American culture laid the foundation for later Hollywood directors such as Dennis Hopper (a friend and collaborator of Conner's, who frequently acknowledged his influence) and David Lynch. A long overdue and significant addition to the understanding of twentieth-century American art and cinema, 2000 BC:

The Bruce Conner Story Part II represents the most comprehensive book to date on Conner's work from the 1950s to the present. The authors elucidate Conner's work in film, assemblage, drawing, printmaking, collage, and photograms, as well as his more ephemeral gestures, actions, protests and escapes from the art world. This beautifully designed clothbound monograph is a landmark publication for anyone interested in contemporary art, film, culture and the Beat era.

César Domela

César Domela

Initially a prominent member of the De Stijl group with Piet Mondrian and Theo van Doesburg, César Domela's approach evolved into three dimensional abstraction described as ''enriched Constructivism.'' His harmonious integration of materials forms a transcendent visual polyphony. Each individual material was chosen after extensive, almost obsessive, consideration of its physical properties of color, texture, opacity, sheen, and what musicians refer to as ''timbre,'' a specific resonance. RAM Publications, 2007 136 pp., illustrations Harcover, ISBN 393685968X

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.

Charles G. Shaw

Charles G. Shaw

Charles G. Shaw represents a landmark exhibition featuring thirty five major paintings from the 1930s and 1940s. Charles Green Shaw (American, 1892-1974) was a preeminent American abstract artist whose painting and writing contributed greatly to the social, artistic, and cultural dynamism of America. Shaw’s enormous range of subject matter and his dynamic approach to style have made him one of the most popular abstractionists of his time. Over the last eighty years, his work has been the subject of numerous solo exhibitions, most recently in 1997, at The Whitney Museum of American Art. His work can be found in major modern museums across the United States including the Museum of Modern Art (NYC), Metropolitan Museum of Art, Solomon R. Guggenheim Museum, Art Institute of Chicago, and San Francisco Museum of Modern Art. Charles Green Shaw died in New York City in 1974 at the age of 82. Michael Rosenfeld Gallery, 2007 Hardcover, 96 pgs No ISBN

Bob Thompson: Meteor in a Black Hat

Bob Thompson was an African-American figurative painter known for his bold and colorful canvases, whose compositions were appropriated from the Old Masters. His art has also been described as synthesizing Baroque and Renaissance masterpieces with the jazz-influenced Abstract Expressionist movement. A fully-illustrated exhibition catalogue, dedicated to Carol Plenda Thompson (the artist’s wife who passed in 2004), includes a preface by critic and historian Stanley Crouch and a reprint of Crouch’s provocative 1986 Village Voice article “Bob Thompson: Meteor in a Black Hat.”

Albert Oehlen: Self-Portraits

Albert Oehlen

By stripping the painting down to its basic rules, and by using himself as a decisive subject matter, Albert Oehlen created a body of work that diminished the limitations of previous cultural, aesthetic, and artistic obligations made on a painter and painting. This first volume to feature all of Oehlen's early self-portraits reveals his balancing of figuration with abstraction, and his simultaneous questioning of the practice and history of art. The book contains an interview between Albert Oehlen and Rainald Goetz, in German and English translation. Luhring Augustine, 2002 7 x 12 inches, 84 pp., color illustrations Hardcover, ISBN 9780970909015

Barbara Chase-Riboud

Chase-Riboud was born in Philadelphia and trained in art and architecture at Tyler School of Art at Temple University, the American Academy in Rome, and Yale University. After receiving her M.F.A. from Yale, she moved to Paris, where she quickly garnered attention for her abstract, surrealist figural sculptures and drawings. In 1969 Chase-Riboud began her groundbreaking series of Malcolm X sculptures, in which she combines undulating cast bronze forms with knotted and braided fiber elements. The imposing sculptures, named in memory of the assassinated civil rights leader, set material and thematic opposites into dynamic interaction—bronze and silk; fixed and flowing; hard and soft; brash and hushed; monumental and intimate.

A Picture Is Always a Book

Robert Seydel

Artist and writer Robert Seydel often used various personas and fictional constructs in a vast and multi-layered body of work that incorporated collage, drawing, photography, narrative and lyric writing. His primary alter ego Ruth Greisman made hundreds of exquisite collages, a selection of which Seydel collected in the artist’s book Book of Ruth (Siglio, 2011). As Ruth, Seydel explores the boundaries between the salvaged and the lost, the unknown and the unknowable, art that is made and art that is found. A Picture Is Always a Book is a first-person, fictional archive, collecting over seventy of Ruth’s “journal pages,” luminescent and startlingly original writings—typed up on paper purloined from old photo albums, adorned with drawings in colored pencils, oil pens, white-out and ink stamps—that penetrate Ruth’s consciousness with visceral honesty and poetic precision. With the acrobatics of her emblem the hare, Seydel’s Ruth makes leaps from the banalities of her daily life into an expansive, alchemical imagination that embraces the shape-shifting of meaning, the occult in letters, and the magical invocations of animals—domestic and hallucinatory. For Ruth, the creation of self is tenuous, the artistic impulse implacable, and the distance between the ecstatic and melancholic “infra-thin.” She writes, “I’ll invent who I am, against what is. My time and name: a Queens of the mind.”


A Picture Is Always a Book accompanies the exhibition “Robert Seydel: The Eye in Matter,” which will open at the Queens Museum of Art in July 2015 and the Center for Paper and Book Arts at Columbia College Chicago in 2016. The exhibition debuted at Smith College Neilson Library in Fall 2014.

"Burrowing into the pop-detritus archive somewhere between Ray Johnson’s mail art and Tom Phillips’s Humument project, Seydel’s Book of Ruth describes an allusive fantasy about his aunt and alter ego Ruth Greisman, her brother Saul, and their escapades with Joseph Cornell." —The New Yorker

As It Was Give(n) To Me

Stacy Kranitz

For the past twelve years, Stacy Kranitz has been making photographs in the Appalachian region of the United States in order to explore how photography can solidify or demystify stereotypes, and interpret memory and history in a region where the medium has failed to provide an equitable depiction of its people. Rather than reinforcing conventional views of Appalachia as a poverty-ridden region, or by selectively dwelling on positive aspects of the place and its people to offset problematic stereotypes, this work insists that each of these options are equally problematic ways of looking at place.

This work does not attempt to illustrate a certain type of injustice in the hope of remedying it. Instead, Kranitz has come to Appalachia to open up a new kind of narrative, one that examines our understanding of culture and place in a manner that is poised between notions of right and wrong.

As the narrative of As it Was Give(n) To Me unfolds, the book provides an intimate perspective on a region forced to transition away from coal extraction as its dominant source of economic stability, an opioid epidemic that has wreaked havoc on communities, and the role of Appalachia in a politically divided nation.

Clifford Odets: Paradise Lost

Clifford Odets

One is born with talent or with genius, but one makes himself an artist. Nothing is more difficult than this process of becoming an artist. For no matter how profound the instincts of the young artist, society and American folk ways are a strong befuddling drink: the creative road is strewn with wrecks, a veritable junk yard of old rusted bodies. – Clifford Odets, 1940 Known as a legendary cultural figure for his significant contributions to the American theater, Odets produced a remarkable body of paintings on paper from 1945 to 1956. Inspired by modern masters like Picasso, Matisse, Magritte and Klee – artists whom he admired and collected – Odets created magical scenes on sheets of writing paper. Odets worked at night while suffering from insomnia and writer’s block, and his paintings reveal his complex psyche. The exhibition is titled after Odets’ successful 1936 play, Paradise Lost, and his painting of the same name, which is the only visual work he created that shares a title with one of his dramatic works. The exhibition will include approximately forty paintings on paper that are colorful, anecdotal, disturbing, sexually charged, and humorous. His portraits expose a “punitive parent,” a “low comic,” and “the hermit” while fantasy landscapes capture both urban and rural America.

Andrew Spence

Andrew Spence, Richard Armstrong

Everything has a purpose that helps to define its shape: form follows function.'' – Andrew Spence

In this interview with Colin Thomson, abstract painter Andrew Spence discusses his artistic development and his experiences living in New York, Los Angeles, and Oklahoma. The interview is profusely illustrated with reproductions of Spence's work, and some of the architecture and industrial designs that directly inform it. The publication includes an essay by Richard Armstrong.

3 Short Stories About Love and Creaures of the Deep

Ben Ehrenreich, Tim Ebner

3 Short Stories About Love Other Creatures of the Deep by Ben Ehrenreich is a collaboration with artist Tim Ebner and was published by Nothing Moments Press in the fall of 2007. The three stories included are titled: "Love (II)," "The Magic Carp: A Fairy Tale Playing 19 Acts," and "Afternoon The Disaster (A Love Story)".

This book is cleverly designed to look and feel like a science text book mimicking the sea creature themes, but the stories are more about love in the murky depths. Ben Ehrenreich is an American freelance journalist and novelist who lives in Los Angeles. Ehrenreich began working as a journalist in the alternative press in the late 1990s, publishing extensively in LA Weekly and the Village Voice. His journalism, essays and criticism have since appeared in Harper's, The New York Times Magazine, The Nation, the Los Angeles Times, The Believer, and the London Review of Books.

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.

Belief and Doubt

The 2006 exhibition, Belief and Doubt featured seven artists exploring belief in a spiritual practice as part of an intellectual discourse: Slater Bradley, Paul Chan, Sarah Charlesworth, Adam Chodzko, Julie Mehretu, Brent Steen, and Artur Zmijewski. As Zuckerman Jacobson states in her catalog essay: ''Contemporary references to God–rather than to organized religion–in visual and popular culture are varied and wide ranging. Belief and Doubt is an attempt to examine this phenomenon while reclaiming belief as a highly personal and idiosyncratic practice–one that deserves the opportunity for reflection outside of politics and the popular media.''

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