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.
This is a catalogue for the exhibition of work by Aaron Siskind, held at the Glenn Horowitz bookstore in East Hampton, NY, May 31 - June 24, 1997. Photographs by Aaron Siskind; essay by Peter C. Bunnell; curated by Andrew Roth.
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.
A Bullet for Buñuel: Fragments of a Failed Bullet documents Rick Myers’ attempt to complete a project begun by the late filmmaker Luis Buñuel: to create a bullet possessing such a weak charge that it would simply bounce off the filmmaker’s shirt when fired at him. Consulting with the estate and sources ranging from online forums for bullet makers to a ballistics lab associated with the United States Secret Service, Myers sought to make the bullet and fire it at a shirt that had been worn by Buñuel. While trying to bring this absurdist endeavor to completion, the artist was met with a colorful cast of characters and failures at almost every turn. A Bullet for Buñuel has taken many forms—a video work, a multiple, and a performative lecture—all of which are represented in this publication. Myers’ writing, research, correspondence, and photographs are also included in the book, which synthesizes years of work into a singular meditation on the poetics of failure. Primary Information, 2017
Softcover, 116 pp.,
6 x 9 inches
isbn: 9780991558544
A superb facsimile of the only known notebook of legendary artist Anni Albers, this publication offers insight into the methodology of a modern master.
Beginning in 1970, Anni Albers filled her graph-paper notebook regularly until 1980. This rare and previously unpublished document of her working process contains intricate drawings for her large body of graphic work, as well as studies for her late knot drawings. The notebook follows Albers's deliberations and progression as a draftsman in their original form. It reveals the way she went about making complex patterns, exploring them piece by piece, line by line in a visually dramatic and mysteriously beautiful series of geometric arrangements.
An afterword by Brenda Danilowitz, Chief Curator of The Josef and Anni Albers Foundation, contextualizes the notebook and explores the role studies played in the development of her work.
Beginning in 1937, the three painters, Cadmus, French, and French, vacationed together in Provincetown and Fire Island. With a shared camera, they photographed themselves and their friends against a background of vast, empty beaches. Driftwood, umbrellas, white sheets and old fishing nets were arranged with models, to form oddly surreal compositions. Many such arrangements were later adapted for use in the artists' paintings, several examples of which are also reproduced here. "These small photographs are revealing in their beautiful compositions, and provide insights as to how these painters interpreted their visual richness for their painting.”
Queens Museum and Autonomedia are proud to co-publish Agents & Assets: Witnessing the war on drugs and on communities, a publication focused on a decade of Agents & Assets performances and conversation.
AGENTS & ASSETS reenacts a 1998 hearing transcript from the House Permanent Select Committee on Intelligence investigating alleged CIA involvement in crack cocaine trafficking into the Los Angeles area. This book contains the script for the reenactment, and a narrative constructed from transcriptions of panels and conversations that follow.
THE LOS ANGELES POVERTY DEPARTMENT (LAPD) was
founded on L.A.’s Skid Row in 1985. LAPD creates performances and
multidisciplinary artworks that connect the experience of people living
in poverty to the social forces that shape their lives and communities. Los Angeles Poverty Department’s AGENTS & ASSETS reenacts a 1998
hearing transcript from the House Permanent Select Committee on
Intelligence investigating alleged CIA involvement in crack cocaine
trafficking into the Los Angeles area. This book contains the script for
the reenactment, and a narrative constructed from transcriptions of
panels and conversations that follow.
AGENTS & ASSETS was first performed in LA in 2001 and has toured internationally.
Antony Gormley is internationally renowned for his sculptures, installations and public artworks that explore the relationship between the human body and space.Often casting his own body as a base, he then develops his works using a variety of forms and materials that provoke questions about how humans relate to nature and the cosmos.
Gormley’s new commission at the Ng Teng Fong Roof Garden Gallery, Horizon Field Singapore (2021), invites visitors to walk through a vast matrix of aluminium rings, allowing them to co-create the experience by stepping through the rings.
An insider's history of the "Beat" movement and its personalities through the personal photographs of one of its principle figures. Pointing his camera randomly at the counterculture around him, the poet created a unique visual record of his friends and companions covering a period of almost forty years. His subjects include Jack Kerouac, William Burroughs, Neal Cassady, Robert Frank, Paul Bowles, Timothy Leary, and dozens of other writers, painters, friends, as well as several revealing self-portraits. Beneath each photograph are Ginsberg's handwritten reminiscences of the circumstances, people, and places relating to the photograph.
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.”
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.
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.
Born and raised in Mississippi and Tennessee, William Eggleston began taking pictures during the 1960s after seeing Henri Cartier-Bresson’s The Decisive Moment. In 1966 he changed from black-and-white to color film, perhaps to make the medium more his own and less that of his esteemed predecessor. John Sarkowski, when he was curator of photography at the Museum of Modern Art, called Eggleston the ‘first color photographer,’ and the world in which we consider a color photograph as art has changed because of him.
A fascinating exploration of how photography, graphic design, and popular magazines converged to transform American visual culture at mid-century. This dynamic study examines the intersection of modernist photography and American commercial graphic design between the 1930s and the 1950s. Avant-garde strategies in photography and design reached the United States via European émigrés, including Bauhaus artists forced out of Nazi Germany. The unmistakable aesthetic made popular by such magazines as Harper’s Bazaar and Vogue—whose art directors, Alexey Brodovitch and Alexander Liberman, were both immigrants and accomplished photographers—emerged from a distinctly American combination of innovation, inclusiveness, and pragmatism. Beautifully illustrated with more than 150 revolutionary photographs, layouts, and cover designs, Modern Look considers the connections and mutual influences of such designers and photographers as Richard Avedon, Lillian Bassman, Herbert Bayer, Robert Frank, Lisette Model, Gordon Parks, Irving Penn, Cipe Pineles, and Paul Rand. Essays draw a lineage from European experimental design to innovative work in American magazine design at mid-century and offer insights into the role of gender in fashion photography and political activism in the mass media.
The documentary nature of Latin American photography has brought clarity and artistic appreciation to the countries of the region since the camera arrived in the 19th century. The photographers of Brazil, Colombia, Cuba, Guatemala, Mexico, and other nations have captured the traditions, societal changes, urban and natural landscapes, and varied architecture of their countries. Selected from Santa Barbara Museum of Art's permanent collection, 'Looking In, Looking Out: Latin American Photography' investigates the cultures and histories of various Latin American countries through the lens of nostalgia, propaganda, a populist aesthetic, and evolving perspectives. Published in cooperation with the Santa Barbara Museum of Art in conjunction with their exhibition of the same name opening in October 2015, this book will be an important addition to the literature available on Latin American photography. 'Looking In, Looking Out: Latin American Photography' presents work by twenty photographers that spans some 80 years. It opens with an insightful introduction by Delphine Sims, putting the photographers and their work into an historical, aesthetic and sociological perspective.
In 2014, Hurth encountered four boxes of cyanotype prints by Thomas W. Smillie, the first custodian and curator of the Smithsonian Institution’s collection of photography (active 1868 to 1917). In her new work Stutters, Hurth builds on several years’ research to rework the original cyanotypes into visual montage, sequencing images that provide a record of Museum life as it documents a ‘national’ collection in the making. The work presents photographs of empty display cabinets and staged objects within the Smithsonian’s holdings, following divergent threads of photographic history, exhibitionship and collection-making, as well as developments in various technological apparatuses across the late 19th and early 20th century.
Through a meticulous process of xerox and printing reproduction, Hurth enlarges the world of each image and traces a photographic lineage, a process itself indebted to the cyanotype. Two overlapping sets of captions from the artist offer a subjective and scientific view of the photographs, inviting a cross-referencing of the “official”, if incomplete, bibliographic record with one that moves more freely across a historical timeline as a way to reflect on gaps in the archive.
Stutters includes three new texts, with Hurth considering the book’s entwined interests, as well as her own personal history with the Smithsonian and the work of Smillie. Additional contributions by authors and curators Ruth Noack and Kari Conte consider the ways in which artists’ projects like Stutters can quietly break apart the violent taxonomy of an archive, and instead use this shifting fragmentation to envision new meaning and bring into focus voices that have been excluded from history.
In the summer of 1962, Danny Lyon packed a Nikon Reflex and an old Leica in an army bag and hitchhiked south. Within a week he was in jail in Albany, Georgia, looking through the bars at another prisoner, Martin Luther King Jr. Lyon soon became the first staff photographer for the Atlanta-based Student Nonviolent Coordinating Committee (SNCC), which already had a reputation as one of the most committed and confrontational groups fighting for civil rights.
"This young white New Yorker came South with a camera and a keen eye for history. And he used these simple, elegant gifts to capture the story of one of the most inspiring periods in America’s twentieth century." — John Lewis, US Congressman
The work by contemporary Brazilian artist, Valeska Soares navigates the realms of human emotion and experience, ranging from love and intimacy, loss and longing, to memory and language. In her multimedia paintings, sculptures, videos, and sight specific installations, ordinary, everyday objects are transformed to create new and poignant narratives. Initiating her career in Brazil in the late 1980s, Soares’ early work is recognized for engaging the full range of senses, even scent—through the use of flowers and perfumes. Works from recent decades elicit her mastery of language and text, specifically through the conceptual and physical use of books. Published on the occasion of the artist’s largest survey exhibition to-date, this monograph provides a comprehensive examination of works and installations produced during the artist’s nearly thirty-year oeuvre. Part of the Getty’s noted Pacific Standard Time: LA/LA, a far- reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles (2017-2018).
This is a catalog for the exhibition Boris Lurie NO! at the Janco Dada Museum from June 25 to November 23, 2016.
The mediascapes of late capitalism reconfigure erotic responses and trigger primal aggression; under constant surveillance, we occupy simulations of ourselves, private estates on a hyperconnected globe; fictions reprogram reality, memories are rewritten by the future…
Fleeing the excesses of ’90s cyberculture, a young researcher sets out to systematically analyse the obsessively reiterated themes of a writer who prophesied the disorienting future we now inhabit. The story of his failure is as disturbingly psychotropic as those of his magus—J.G. Ballard, prophet of the post-postmodern, voluptuary of the car crash, surgeon of the pathological virtualities pulsing beneath the surface of reality.
Plagued by obsessive fears, defeated by the tedium of academia, yet still certain that everything connects to Ballard, his academic thesis collapses into a series of delirious travelogues, deranged speculations and tormented meditations on time, memory, and loss. Abandoning literary interpretation and renouncing all scholarly distance, he finally accepts the deep assignment that has run throughout his entire life, and embarks on a rogue fieldwork project: Applied Ballardianism, a new discipline and a new ideal for living. Only the darkest impulses, the most morbid obsessions, and the most apocalyptic paranoia, can uncover the technological mutations of inner space.
An existential odyssey inextricably weaving together lived experience and theoretical insight, this startling autobiographical hyperfiction surveys and dissects a world where everything connects and global technological delirium is the norm—a world become unmistakably Ballardian.
This is an exhibition catalog of Boris Lurie in Habana at the Museo Nacional de Bellas Artes in 2017.
Boris Lurie was an American artist and writer. He co-founded the NO!Art movement which calls for socially and politically involved art that would resist and combat the forces of the market.
Rochelle Goldberg’s Cannibal Actif devours the line between artist book and archive. Each page bracketing a visual thought that leaks off the page seeping through to the next, proposing a structural challenge to the visual, material, and narrative format through which it unfolds. The book's pale cover will wear the dust and dirt of its surroundings, collected over time, while extreme varnish on the pages within will capture the readers residual touch.
Thick pools of crude oil envelope bathers in Baku, spilling off their bodies onto a floodline, or further seeping out as a glossy stream of text. Oil poured over gears and out of portals does not stop at the page's edge. These spills are free of constraint—the drainage collects elsewhere onto another page, as a new image: a face, a hand, a snake. The arc of Goldberg’s story traces the cannibal’s consuming action and subsequent digestion, through corporeal flesh to mechanistic fixtures, while the material limit of ink on a page has been pushed to reflect this narrative track. Overlapping sequences of chroma centric blacks and rusty metallics bend and bleed to offer a psychedelic saliva that lubricates a hardened message, then tempered by soft gradients of reds, greens and pinks, reflecting the visceral membrane of a jellyfish, at once separating and joining two cavities—ingesting and secreting, in rhythm. Through consumption, the cannibal augments itself, but the reader must also cross the swamp, the mirror, and the pools of oil or crystalline water, to reach this enhanced state. A new life of texts and tones greets us on the other side of the mirror.
Contributions by art historian Leah Pires, publisher Frances Perkins, and the artist crack open previous helpings of thoughts served as varnished murmurs, bold words now permitted to ooze across double-page spreads, a regurgitated message we too can consumed.
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.
This group exhibition explores the various facets of abstraction produced from 1950 to 1965. Artists included are: Norman Bluhm, Jay DeFeo, Beauford Delaney, Burgoyne Diller, Fritz Glarner, Grace Hartigan, Eva Hesse, Lee Krasner, Norman Lewis, Boris Margo, Alfonso Ossorio, Anne Ryan, Charles Seliger, Alma Thomas, Mark Tobey, Esteban Vicente, and Charmion von Wiegand.
For a decade, Patricia Fernández amassed a collection of objects as part of a time-based project between her and her friend, the gallerist Young Chung. This publication by Commonwealth and Council with the support of Los Angeles Contemporary Archive (LACA) shares the contents of the artist’s letters, ceramic ware, newspaper ephemera, textiles, sculptures, drawings, paintings, mementos, and written agreement between Fernández and Chung that initiated this correspondence collection. The book, designed as an inventory, tells the story of Fernández’s prolonged period of isolation in the Mojave desert, her transition into motherhood, and Chung’s risky formation of a gallery, sharing with us an archival collection that highlights the care between one another.
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.''
This publication is a compilation of all three issues of the journal Black Phoenix published as a single volume. Edited and published by Rasheed Araeen and Mahmood Jamal between 1978 and 1979 in the United Kingdom, Black Phoenix remains a key and radical document of transnational solidarity and cultural production in the visual arts, literature, activism, and beyond.
More than a decade after the liberation movements of the 1960s and the historic Bandung and Tricontinental Conferences, which called for social and political alignment and solidarity among the nations of Africa, Asia, and Latin America in order to dismantle Western imperialism and (neo)colonialism, Black Phoenix issued a rallying cry for the formation of a liberatory arts and culture movement throughout the Third World. International in scope, Black Phoenix positioned diasporic and colonial histories at the center of an evolving anti-racist and anti-imperialist consciousness in late 1970s Britain and beyond—one that would yield complex and nuanced discourses of race, class, and postcolonial theory in the decade that followed. Black Phoenix proposed a horizon for Blackness that transcended racial binaries, across the Third World and the West.
Drawing and Painting are foundational mediums to the history of art. This Box Set is a selection of artist monographs and exhibition catalogs, showcasing diverse techniques and subject matter expressed in these mediums across the 20th and 21st centuries.
This Box Set is recommended for a general readership.
Myths & Mortals documents a selection of paintings—debuted in the spring of 2018 at David Zwirner, New York—ranging from monumental nude figures to intimately scaled canvases that present details of bodily parts and facial features. Several nearly ten-foot-tall paintings focus on individual figures, including a number of male and female nudes and a seemingly solemn bride, whose expression is obscured behind a floor-length veil. Like the Greek gods and goddesses, the figures in these paintings are at once larger than life and overwhelmingly human. The smaller-scale paintings—referred to by the artist as “erotic landscapes”—present a variety of fragmentary images: eyes, lips, nipples, or lovers locked in a kiss. Evident across all of these works is the artist’s uniquely sensitive treatment of the human form and her constantly evolving experimentation with color and texture.
Alongside these paintings, Dumas presents an expansive series of thirty-two works on paper originally created for a Dutch translation of William Shakespeare’s narrative poem Venus & Adonis (1593) by Hafid Bouazza (2016). Myths & Mortals is accompanied by new scholarship on the artist by Claire Messud and a text by Dumas herself.
A stunning, focused document of Nate Lowman’s work from the past four years
“Brewing the good, the bad, and the ugly of consumerist modern life in his masterful paintings, Lowman draws a portrait of the times that is equally mischievous and somber.” —BOMB Magazine
With an archive of source material amassed and processed over time, Lowman creates slippery, layered images that transform visual referents found in the news, media, and art history. In this volume, Lowman plays with cataclysmic imagery that probes the tensions between the everyday and the extreme, presence and absence, and violence and representation. In his vibrant paintings of digitally rendered hurricane imagery and crime scene photography cataloging the aftermath of the October 2017 mass shooting in Las Vegas, he considers the physicality of his medium in connection to the chaos of his subject matter.
Spotlighting Lowman’s exhibitions at David Zwirner in London and New York along with other recent work, this monograph includes a text by Lynne Tillman that provides a unique perspective across all bodies of Lowman’s oeuvre. In an interview with Andrew Paul Woolbright for The Brooklyn Rail, Lowman discusses his engagement with representation and meaning, twentieth-century gestural and pop art, slow painting, and American violence.
A superb facsimile of the only known notebook of legendary artist Anni Albers, this publication offers insight into the methodology of a modern master.
Beginning in 1970, Anni Albers filled her graph-paper notebook regularly until 1980. This rare and previously unpublished document of her working process contains intricate drawings for her large body of graphic work, as well as studies for her late knot drawings. The notebook follows Albers's deliberations and progression as a draftsman in their original form. It reveals the way she went about making complex patterns, exploring them piece by piece, line by line in a visually dramatic and mysteriously beautiful series of geometric arrangements.
An afterword by Brenda Danilowitz, Chief Curator of The Josef and Anni Albers Foundation, contextualizes the notebook and explores the role studies played in the development of her work.
Obsessed by the life of Napoleon, Elizabeth Peyton met a man who bore a striking resemblance to the emperor, and began this series of striking paintings and photographs depicting her obsession with him.
Elizabeth Peyton, born in Danbury, Connecticut, received her BFA from the School of Visual Arts, New York. She has exhibited her work at venues around the world, including the Venice Biennale; the Saatchi Gallery, London; the Los Angeles County Museum of Art; and P.S. 1 Contemporary Art Center, New York. Her work is in museums worldwide including the Museum of Fine Arts, Boston; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and The Museum of Modern Art, New York. Prince Eagle is Peyton’s fifth monograph. She lives and works in New York.
"By about 1950, forward-looking New York painting was seen as synonymous with abstraction, especially charged, gestural Abstract Expressionism. But there was also a strong group of dissenters: artists, all born in the 1920s and many of them students of Hans Hofmann, who never lost their enthusiasm for recognizable imagery, without rejecting Abstract Expressionism’s love of malleable oil paint. Although most of them began as abstract artists, they all evolved into painters working from observation, using a fluid, urgent touch to translate their perceptions into eloquent, highly individualized visual languages, almost always informed by the hand; that is, unlike the Color Field and Minimalist artists, these artists remained, for the most part, “painterly” painters. In light of their important contributions to twentieth-century American art, The Artist Book Foundation presents the catalogue for the Brattleboro Museum & Art Center's eponymous 2020 exhibition, Figuration Never Died: New York Painterly Painting, 1950–1970.
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.
This catalogue contains full-page reproductions of the entire body of work presented in Gest's 2006 Renaissance Society exhibition. In this series, Gest captured his lone sitters at the chance interstices of deep reflection, when the self dwells in thought. The construction of the self as it happens before Gest's camera serves to question the construction of that self in reality. Gest uses digital photography to monumentalize photography's ability to capture such fleeting moments. Each photograph is seamlessly constructed from hundreds of digital images of the sitter and their surroundings. The photographs' initial straightforward appearance can only be maintained at a cursory glance. Gest's subtle and not so subtle exaggerations of proportion and perspective quickly betray the images as mannerist constructions. This makes Gest's work susceptible to the discourse of post-photography, which is dominated by the means rather than the ends of photography. Gest however is adamant that the means he employs should in no way be mistaken for their meaning, stating, "That the image is made and manipulated digitally is neither here nor there. Digital photography simply allows me to make the picture I want." In her essay, Catherine Sousloff, Professor of History of Art and Visual Culture at the University of California, Santa Cruz, analyzes Gest's work in relation to historical protraiture and the visual construction of modern subjectivities. The catalogue also includes the transcript of an interview between Ben Gest and Hamza Walker.
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
Collector’s Paradise is Allen Ruppersberg’s unique reflection on the history of popular American music. The product of years of combing flea markets and yard sales in search of both the visual and recorded history of rock and roll, this book traces rock and roll back to the Minstrel days and American popular song post-Civil War, in a chronological list of 1,500 key recordings and more than 300 color illustrations of material from Ruppersberg’s collection. In his introductory essay, Ruppersberg discusses the urgency he feels in creating this narrative of a common musical history before it is lost: If you live long enough you begin to see the endings of the things in which you saw the beginnings. “It seemed to me … that this was the last possible moment to be able to gather any of this material in the manner I did and I am even more convinced now that I was right.”
Christine Burgin, 2013
Softcover, 80 pp.,
8.5 x 11 in.
ISBN: 9780977869657
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
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.
Improvisations - 1945 features a selection of thirty works on paper and paintings, all dating from 1945. A student of Neo-Plasticism, von Wiegand's work from this period demonstrates her experimentation with the technique of automatism as well as her awareness of and respect for the avant-garde abstractions of European modernists including Jean Arp, Wassily Kandinsky, Joan Miró, and Piet Mondrian.
"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
This is an exhibition catalog of Boris Lurie in Habana at the Museo Nacional de Bellas Artes in 2017.
Boris Lurie was an American artist and writer. He co-founded the NO!Art movement which calls for socially and politically involved art that would resist and combat the forces of the market.
Published on the occasion of the New Museum’s 2010 retrospective of the work of the multifaceted and hugely influential artist Brion Gysin, Alarme consists of the 1977 calligraphic poem of the same name which was conceived as an artist’s book but never received publication during Gysin’s lifetime. Presented as a square-format series of one-sided pages, Alarme defies easy categorization. Although it consists of words, gridded and repeated to suggest a series of mantras, the words have a tendency to dissolve into visual patterns and pure gestural marks. As Gladys Fabre writes in the book’s introductory essay, “Alarme is an attempt to transcend death. By expelling all signs of identity and by impelling the words unrelentingly into the ink, the artist manages to extinguish his ego, reaching the path that leads to detachment, to ecstasy.”
Charles Arnoldi: A Mid-Career Survey 1970-1996 is an exhibition catalog published by Fred Hoffman Fine Art at Santa Monica, CA. It showcases the sculptural works and paintings of Charles Arnoldi. This volume features 24 color plates, additional illustrations, and two gatefolds, all finely printed on heavy matte paper. It includes essays by renowned architect Frank O. Gehry and art historian Sam Hunter, along with a preface by Fred Hoffman. The catalogue also contains a biography, a list of plates, and an exhibition checklist.
Charles Arnoldi is an American abstract painter, sculptor, and printmaker. A versatile, ever evolving artist, known for working with non-traditional materials, Arnoldi has produced a hugely varied body of work. From traditional oil paintings on canvas, to bronze sculpture, monoprints, lithographs, “chainsaw paintings” (wood panels cut into with power saws), aluminum paintings and polyethylene wall reliefs, his vocabulary of artistic expression is constantly expanding.
This catalog records a three-part survey show by the Michael Rosenfeld Gallery, featuring leading and lesser-known figures of Abstract Expressionism.
Characterized by compositions of various types of steel, Bove’s ongoing series of “collage sculptures,” begun in 2016, amalgamates theoretical and art-historical influences across time periods and disciplines. To create these lyrical and abstract assemblages, Bove pairs fabricated tubing that has been crushed and shaped at her studio with found metal scraps and a single highly polished disk. Luminous color is applied to parts of the composition, transforming the steel—more commonly associated with inflexibility and heft—into something that appears malleable and lightweight, like clay, fabric, or crinkled paper.
Bove’s new works are smaller in scale and elaborate on the “collage sculptures,” with more complex forms that twist, fold, and bend into postures that belie their material construction. She manipulates steel to varying degrees, rendering gentle folds in some, and extreme, almost anthropomorphic contortions in others. Their contrasting textures—matte, glossy, or rough—create a further sense of visual play, heightening the surface tension throughout.
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.
Photorealism is a genre of painting that developed in the United States and Europe using high-resolution photography as its primary source material. Embracing digital photography perhaps more than any other artist working in this genre, French-born Bertrand Meniel (1961–) is able to incorporate an astonishing amount of detail into his renderings of cityscapes in New York City, Miami, and Paris.
Primarily self-taught and with no preliminary experimental, developmental, or student work, by 1996 Meniel was creating works with powerful, distinctive, and very original imagery, having mastered techniques and skills that normally require a lifetime. Using a variety of photographs of his chosen subject, he manipulates an image to perfection, focusing simultaneously on the foreground and background by combing hundreds of shots on a computer screen.
His choice to depict iconic American scenes in his paintings, particularly those associated with the “American Way of Life,” reflects not just a technical mastery of Photorealism but a deep emotional connection to the culture that captivated him during his youth. His unique perspective, influenced by French artistic traditions and shaped by exposure to American pop culture, allows him to capture in his art the essence of what may be best described as the “New York State of Mind.”
Explicitly—or not—protocols determine much of what we do. Far exceeding traditional notions of “good manners,” protocols are systems of language that regulate how we relate to each other, to our cultural, social, and political environments, and to the technologies that create them. The first publication to look at protocols across a wide range of disciplines, As for Protocols brings together contributions by twenty-four international artists, writers, scholars, musicians, architects, and scientists who explore protocols across various fields, foregrounding opportunities for creating new protocols that are inclusive and equitable. Through essays, artworks, interviews, and scores, the book speaks to protocols as practice—neither conventional mannerisms nor abstract concepts, but material processes, relational affinities, shared responsibilities, and mutual care.
Co-edited with an introduction by Re’al Christian, Carin Kuoni, and Eriola Pira, with an opening score by Raven Chacon and contributions by Salome Asega, Carolina Caycedo with Lupita Limón Corrales, Jesse Chun, Asia Dorsey, Taraneh Fazeli and Cannach MacBride, Pablo Helguera, Emmanuel Iduma, Mary Maggic, Shannon Mattern, V. Mitch McEwen with Nadir Jeevanjee, Rashaun Mitchell with Silas Riener, Romy Opperman, Rasheedah Phillips, Leanne Betasamosake Simpson with Maria Hupfield, Ultra-red with Robert Sember, and Underground Resistance.
In his late eighties, American painter Charles Garabedian is hardly a household name. But he is a highly influential artist whose works are collected by LACMA, the Met, MoMA, the Whitney, the Corcoran and the Smithsonian, among other institutions, and the subject of this extensively illustrated exhibition catalog from the Santa Barbara Museum of Art.
This revelatory group of intimate representational paintings and drawings -- from Garabedian's first museum show in almost 30 years -- explores themes of war, music, the body, dismemberment, heroism, comic pretension, love and death. An exciting discovery of surprising importance.
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.
This catalog accompanies A.R. Penck's 1989 exhibition at Fred Hoffman Gallery, featuring a series of large-scale acrylic paintings created during the artist’s stay in Venice, California. Known for his bold, symbolic style, Penck painted these works locally for this particular show. The 34-page catalogue includes 15 color and 6 black-and-white illustrations, offering a glimpse into his evolving practice at the time. It also includes a brief biography of the German artist, reflecting on his journey and influences. A.R. Penck was a painter, printmaker, sculptor, and jazz drummer. A neo-expressionist, he became known for his visual style, reminiscent of the influence of primitive art.
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.
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.
The official Event Horizon New York exhibition catalogue, produced in a limited edition, includes over 70 photographs by James Ewing of the installed sculptures and candid reaction shots of New Yorkers on the street encountering them for the first time. The book also features an original short story by Man Booker-prize nominated novelist Colm Tóibín and reflections by an array of New Yorkers, including NYC Parks Commissioner Adrian Benepe, area restaurateur Danny Meyer, architects Deborah Berke and Hugh Hardy, and Pentagram’s Paula Scher.
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.
Exploring the recent sculptural innovations of prominent contemporary artist Carol Bove
Carol Bove: Collage Sculptures presents an extensive look into the contemporary artist’s work over the past five years and her ongoing exploration of scale, color, material, and artistic traditions of the twentieth century.
Bove’s recent work engages the conceptual concerns of mid-century sculpture, such as spontaneity, industrial materials, and the potential of painted sculpture. However, within this space of familiar sculptural traditions, Bove has discovered new approaches that lead to places previously unknown. Bove’s “collage sculptures” are created from scrap metal and stainless steel that has been carefully worked into sinuous forms and are frequently painted. Considering the hard rigidity of the steel, the works possess an appearance of almost impossible softness, as if steel could become as pliable as clay. Such works range from small pedestal sculptures to large, imposing compositions. Bove’s interest in scale and how a viewer’s understanding of an artwork shifts depending on its context are explored through a selection of small works from the collection of the Nasher Sculpture Center.
Published by the Nasher Sculpture Center, the catalogue features beautiful reproductions of Bove’s work and an introduction as well as an essay by curator Catherine Craft on the development of the collage sculptures and their relationship to other artists and traditions of modern sculpture. Also included is an essay by Lisa Le Feuvre that explores Bove’s complex work by means of a thematic alphabet related to the artist’s interests.
Text by Dung Ngo, Darrin Alfred, and James Zemaitis. Published on the occasion of the homonymous exhibition on view at R & Company from April, 25 to June, 15, 2017. Ali Tayar: Systems & One-Offs features graphic design by MEMO NY.
First published in 1994, Camino Road is artist Renée Green’s debut novel—a short, ruminative work infused with semantic ambiguity and the dreamy poetry of the quotidian. Republished here in a facsimile edition, the book ostensibly traces its protagonist Lyn’s journeys to Mexico and her return to attend art school in 1980s New York, but what emerges is more an intertextual assemblage of the moments between drives, dreams, and consciousness. Lyn does her Spanish homework and makes note to read Anna Kavan and Cortázar; she watches Fellini; she dreams about the Mediterranean Sea. Much like Green’s multimedia installations encompassing the sonic, spatial, and visual, Camino Road is richly layered—part intellectual genealogy, part fictional personal memory, and part cultural criticism.
Green has described the book as a “self-conscious homage to or parody of the ‘road novel,’ ‘bohemia,’ and artist-rebels.” “I’d been thinking about the beat generation, figures like Jack Kerouac, Burroughs, etc.—the mythic construction of the artist personality as rebel and how females, and myself in particular, entered into that,” she said. “These ‘beat’ sources seemed to form a typical American introduction to the idea of bohemia and of being an artist.”
Originally created as part of Green’s contribution for the group exhibition Cocido y crudo/The Cooked and the Raw at the Museo Nacional Centro de Arte Reina Sofía, Madrid, the text is written in both English and Spanish, and accompanied by an appendix of photographs and ephemera tracing Madrid’s La Movida, a Spanish countercultural moment from the 1980s. The book was published through Green’s production company, Free Agent Media (FAM), which since 1994 has been circulating and exhibiting media, printed matter, and time-based projects.
A unique treatise on the circuits of exchange in gender, politics, and art, Camino Road can also be read as a variation on the classic Bildungsroman genre. “I don’t feel developed in any area,” thinks Lyn at one point. “It’s very difficult being young and incomplete.” Importantly, she also muses, “I want to be swallowed by another language.”
Renée Green is an artist, filmmaker, and writer. Via films, essays and writings, installations, digital media, architecture, sound-related works, film series and events, her work investigates historical circuits of relation and exchange, the gaps and shifts in what survives in public and private memory, both remembered and invented. Her exhibitions, videos, and films have been seen throughout the world in museums, biennales, and festivals. Major surveys of her work have been staged at the Musée Cantonal des Beaux-Arts, Lausanne, Switzerland, and the Yerba Buena Center for the Arts, San Francisco, and her writing has been published in journals including October, Frieze, Spex, Sarai Reader, and Collapse. A collection of her writings from 1981 to 2010, Other Planes of There: Selected Writings, was published by Duke University Press in 2014. Green is also a Professor at MIT’s Program in Art, Culture, and Technology, School of Architecture and Planning.
The first monograph for Los Angeles–based artist Anthony Pearson (born 1969) documents nearly 15 years of monochromatic photographs, sculptures and multimedia works. The book documents Pearson’s studio and includes artist’s reflections and a curatorial essay tracing his varied cultural influences—including music and the culture of Southern
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.”
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
Comprised of entirely Googled images of Abraham Lincoln, the book shows our sixteenth president sequentially turning his famous profile from right to left. Harrison’s hefty collection of images encapsulates the obscurities of our digital age, a parade of absurd representations attesting to the over-commodification of American history. Among the more traditional portrait-style depictions of Lincoln, are peculiar appropriations– a Lincoln toe ring, a Lincoln cake, a Lincoln egg, a Lincoln coffee mug, a Lincoln emoticon, a Lincoln pillow, a Lincoln hulk. It begs the question, what prompts us to venerate our cultural heroes in such ways? Transposing the image of a socio-political icon into kitsch formats, assimilating his recognizable physiognomy into sarcastic patriotic gestures. The images are all presented as they were found online, their formats untampered with and recontextualized in print.
A photography book by Colin Snapp. Includes a text by Fionn Meade.
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.
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.
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.
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
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
In the early 1980s, a group of artists, writers and activists came together in New York City to form Artists Call Against US Intervention in Central America, a creative campaign that mobilized nationwide in an effort to bring attention to the US government’s violent involvement in Latin American nations such as Nicaragua and El Salvador. Together the group staged over 200 exhibitions, concerts and other public events in a single year, raising awareness and funds for those disenfranchised by such political crises.
Art for the Future illuminates the history of Artists Call with archival pieces and newly commissioned work in the spirit of the group’s message. In Spanish and English, a wide selection of artists and organizers examine the group’s history as well as the issues that were as urgent to Artists Call in 1984 as they are now: decolonization, Indigeneity, collectivity, human rights and self-determination.
This is a catalog published in conjunction with the exhibition New Work: Christopher Wool at San Francisco Museum of Modern Art from July 6 to September 3, 1989 as part of the series by New Work to show work by younger and established artists.
Featuring work by artists Kevin Beasley, Peter Downsbrough, Goutam Ghosh, Falke Pisano, and Martha Wilson, group exhibition Between the Ticks of the Watch (Apr 24–Jun 26, 2016) presented a platform for considering doubt as both state of mind and pragmatic tool.
This illustrated catalogue features newly commissioned texts by Ranjit Hoskote, Heidi Salaverría, and Richard Shiff, and an introduction by curator Solveig Øvstebø. Contributions from the artists include a cover by Downsbrough, transcript of Pisano's video work, and a text by Beasley.
Baragouin is an artists’ book by Los Angeles-and Berlin-based artist Kim Schoen. The book is a companion piece to a video work of the same name, filmed in a now-closed residential sculpture showroom in Los Angeles. The video Baragouin presents these sculptures—which are copies of copies of original works of art—as an important collection of art and records their “voices”—a pastiche of verbal nonsense and phonetically imitated sounds of languages from around the world. The sculptures range in style and geographic origin from Buddhist to Rococo, Neoclassical to Modernist. Baragouin, the book, catalogs these sculptures as a fictional collection and gives them each a clear art-historical provenance based on morphological resemblances. Baragouin is designed by Ella Gold and includes an essay and “provenance” work by Edward Sterrett.
Kim Schoen is an artist working in video installation, photography, and text that engages the rhetoric of display. Her absurdist, experimental approach takes on objects and language that try to persuade or convince us of something, using them as raw materials to say something new.
Edward Sterrett is a writer, art historian, and educator living in Los Angeles. He is currently teaching modern and contemporary art history, and working on several writing projects that address the collection, exchange, and display of art objects.
Ella Gold is a Los Angeles-based art director and graphic designer specializing in print, publication, and identity design.