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.

The World's Worst: A Guide to the Portsmouth Sinfonia

Christopher M. Reeves, Aaron Walker (eds.)

In 1970, galvanized in part by the musical experiments of John Cage, Gavin Bryars, and Cornelius Cardew, students at Portsmouth College of Art formed their own symphony orchestra. Christened the Portsmouth Sinfonia, the primary requirement for membership specified that all players, regardless of skill, experience, or musicianship, be unfamiliar with their chosen instruments. This restriction, coupled with the decision to play “only the familiar bits” of classical music, challenged the Sinfonia’s audience to reconsider the familiar, as the ensemble haplessly butchered the classics at venues ranging from avant-garde music festivals to the Royal Albert Hall. By the end of the decade, after three LPs of their anarchic renditions of classical and rock music and a revolving cast of over one hundred musicians—including Brian Eno and Michael Nyman—the Sinfonia would cease performing.

The World’s Worst: A Guide to the Portsmouth Sinfonia, the first book devoted to the ensemble, examines the founding tenets, organizing principles, and collective memories of the Sinfonia, whose reputation as “the world’s worst orchestra” underplays its unique accomplishment as a populist avant-garde project. While seemingly a niche musical anecdote, the story of the Portsmouth Sinfonia engenders wide-ranging conversations that touch upon the legacy of interdisciplinary art pedagogy, the power of popular music, the investment necessary in order to work and learn together, and the effects of destabilizing canonization. The unorthodox journey of the orchestra unfolds here through interviews with original members and their publicist/manager, photographs, previously uncollected archival material including ephemera and internal documents, an essay by co-editor, Christopher M. Reeves, a foreword by Gavin Bryars, and more.

William Eggleston: 5 x 7

William Eggleston, Walter Hopps

William Eggleston’s latest monograph features photographs taken during the early 1970s using a large-format 5 x 7 camera. The book includes imagery typical of the Eggleston oeuvre—streetscapes, parked automobiles, portraits of the strange and disenfranchised. It also offers never-before-published photographs taken in the nightclubs Eggleston frequented. The portraits are offhand and spontaneous but insistently stark; their brutality is heightened by the absence of color. They have a leveling effect—whether biker or debutante, the people are clearly denizens of the same realm.

X#*@(ing) INDEX!: Who is Pointing at Who—and why—in Carroll Dunham's Drawings

Carroll Dunham

Carroll Dunham (b. 1949, New Haven, CT) has eschewed the conventions of abstract and figurative painting, establishing a trademark style and vast body of work that are both deeply original and enormously influential. His early works, painted on wood veneer, used the existing textures of the knotted grain to create elaborate compositions recalling both fantastic organic forms and the popular imagery of cartoons. Mining the unconscious and variously pursuing psychologically charged themes, these psychedelic depictions evolved over the years from primordial amoeba-like forms to quasi-figurative biomorphisms. A formalist by nature, Dunham’s paintings and drawings are studies in control—his line has become a protagonist in itself—nothing is accidental, whether executed in gentle pencil shading, audacious crayon scribble, or painterly ink and gouache.

The Stampographer

Vincent Sardon

Introducing English-speaking readers to one of the most unusual and original voices in contemporary French culture, The Stampographer traverses the fantastic, anarchic imagination of Parisian artist Vincent Sardon, whose dark, combative sense of humor is infused with Dadaist subversion and Pataphysical play. Using rubber stamps he designs and manufactures himself, Sardon commandeers a medium often associated with petty and idiotic displays of bureaucratic power, then uses those stamps not to assert authority, but to refuse it. He scours the Parisian landscape as well as the world at large, skewering the power-hungry and the pretentious, reveling in the vulgar and profane. In The Stampographer, there are insults in multiple languages, strange Christmas ornaments, and a miniature Kamasutra. Sardon also wields the stamp as satirical device, deconstructing Warhol portraits into primary colors, turning ink blots into Pollock paint drips, and clarifying just what Yves Klein did with women’s bodies. Yet Sardon’s razor-sharp wit is tinged with the irony of his exquisite sense of beauty. The stamps are rarely static—they have an animating magic, whether boxers are punching faces out of place or dragonflies seemingly hover over the page. Sardon’s work is provocative in its subject matter as well as in its process and dissemination: he not only stands defiantly outside the art world’s modes of commerce but his artworks (the rubber stamps themselves) are actually the means with which anyone can make a work of their own. Vincent Sardon is a radically independent artist in Paris who makes and sells his work in a little shop and studio near the Père Lachaise cemetery in the eleventh arrondissment. He began his career as political cartoonist for the left-wing Libération then, disillusioned, he set out on his own to make rubber stamps, of which he’s now made hundreds. He has an ardent cult following in France following the illustrious comic book press L’Association publication of Le Tampographe, a four-year journal narrating his artistic life and work, which is now in its third printing.

Walter De Maria: Sculptures

Lars Nittve

This book was published on the occasion of the exhibition Walter De Maria: The 5-7-9 Series at Gagosian, Rome.

By arranging forms according to mathematical sequences, De Maria worked at the intersections of Minimalism, Conceptual art, and Land art—drawing attention to the limits of gallery spaces, prioritizing bodily awareness, and locating the content of an artwork in the viewer. This volume is dedicated to three sculptures by the artist: The 5-7-9 Series (1992/1996), Large Rod Series: Circle/Rectangle 11 (1986), and 13-Sided Open Polygon (1984). Each work represents a major series for De Maria during the last fifty years.

The bilingual (English/Italian) publication includes a two-part essay by Lars Nittve, explanatory texts on each work, a short history of three twenty-seven-part sculptures by De Maria, and a selected exhibition history.

Worlds Away: New Suburban Landscapes

Text by John Archer, David Brooks, Robert Bruegmann, Beatriz Colomina, Malcolm Gladwell

The suburbs have always been a fertile space for imagining both the best and the worst of modern social life. Portrayed alternately as a middle-class domestic utopia and a dystopic world of homogeneity and conformity--with manicured suburban lawns and the inchoate darkness that lurks just beneath the surface--these stereotypes belie a more realistic understanding of contemporary suburbia and its dynamic transformations.

Organized by the Walker Art Center in association with the Heinz Architectural Center at Carnegie Museum of Art, Worlds Away: New Suburban Landscapes is the first major museum exhibition to examine both the art and architecture of the contemporary American suburb.

Featuring paintings, photographs, prints, architectural models, sculptures and video from more than 30 artists and architects, including Christopher Ballantyne, Center for Land Use Interpretation, Gregory Crewdson, Estudio Teddy Cruz, Dan Graham and Larry Sultan, Worlds Away demonstrates the catalytic role of the American suburb in the creation of new art and prospective architecture. Conceived as a revisionist and even contrarian take on the conventional wisdom surrounding suburban life, the catalogue features new essays and seminal writings by John Archer, Robert Beuka, Robert Breugmann, David Brooks, Beatriz Colomina, Malcolm Gladwell and others, as well as a lexicon of suburban neologisms.

Where the Day Takes You

Chrissy Piper

”There are eight million stories in the naked city,” says the narrator in Jules Dassin’s 1948 noir classic Naked City. This sense of the bustling American metropolis as a vast reservoir of untapped stories has moved numerous photographers to surf the urban sprawl with an open-ended attention to chance encounters and unexpected visual serendipities. After watching the documentary film A Fire in the East: A Portrait of Robert Frank in the early 1990s, Los Angeles–based photographer Chrissy Piper wrote a fan letter to Frank, and traveled to New York to meet him. Frank’s work and their eventual friendship inspired Piper to continue shooting on the street. The pictures gathered in this book were taken mostly on the streets of New York City, but also in other locales across America, during various road trips with friends.

The Robert Lehman Lectures on Contemporary Art #4

Alexander Alberro, Jan Avgikos, Colin Gardner, Dave Hickey, Rosalind Krauss, Miwon Kwon, Ulrich Loock, Richard Shiff, Dirk Snauwaert

Since 1992, the Dia Center for the Arts has presented the Robert Lehman Lectures on Contemporary Art, an example of Dia's ongoing commitment to cross-disciplinary critical discourse. This fourth volume of collected theoretical and critical essays focuses on Dia's exhibitions from 2001 through 2002, with contributions by Alexander Alberro, Jan Avgikos, Colin Gardner, Dave Hickey, Rosalind Krauss, Miwon Kwon, Ulrich Loock, Richard Shiff and Dirk Snauwaert. These writers analyze the work of artists such as Roni Horn, Alfred Jensen, Bruce Nauman, Max Neuhaus, Panamarenko, Jorge Pardo, Gerhard Richter, Bridget Riley, Diana Thater and Gilberto Zorio. Dia Center for the Arts, 2009 200 pp., illustrations Softcover, ISBN 9780944521793

Photography Box Set
(10 books)

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

This Box Set is recommended for a general readership.

Blithe Air: Photographs of England, Wales, and Ireland

Elizabeth Matheson

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

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

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

Overland: Photographs by Victoria Sambunaris

Victoria Sambunaris

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

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

The Last Picture Show: Artists Using Photography 1960-1982

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

Urs Fischer: Beds & Problem Paintings

Urs Fischer’s work explores the genres of classical art history (still lifes, portraits, nudes, landscapes, and interiors) at the intersection with everyday life—in cast sculptures and assemblages, paintings, digital montages, spatial installations, mutating or kinetic objects, and texts. This volume includes fifty-five color illustrations from Urs Fischer’s Beds and Problem Paintings show that was exhibited at Gagosian Gallery in Los Angeles from February 23–April 7, 2012. This was the artist’s first major solo exhibition with the gallery. Beds and Problem Paintings was designed by the artist, and the images within the book include installation photos from the exhibition as well as photographs taken by the artist.

The Words of Tuck Tuck Tuck

Richard Aldrich

Tuck Tuck Tuck was the name of artist Richard Aldrich’s solo music project, done between 1999 and 2001, with records released in 2002 and 2003 on his own Skul record label. The words of Tuck Tuck Tuck compiles exactly that: all use of printed language surrounding Tuck Tuck Tuck. What is ostensibly a lyric book contains press releases, insert texts, and record reviews in addition to the lyrics. The book mimics the concerns of Aldrich’s painting practice, objects that contain different tones, purposes, and functions collected together to create a larger and multi-faceted understanding of a body of actice, objects that contain different tones, purposes, and functions collected together to create a larger and multi-faceted understanding of a body.

Yasumasa Morimura: Las Meninas Renacen de Noche

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

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

Tom Sachs: Animals

Tom Sachs

A catalog produced for the 2008 exhibition Animals by Tom Sachs. In ANIMALS, Sachs continues to explore his signature appropriation of popular consumer objects, iconography, and signage. Logos, such as Spyderco, Bösendorfer, and Raytheon, along with images of the U.S. dollar bill, are boldly inserted into his paintings and sculptures. In Assaulting (2007), a punitive warning is transformed into a formal composition. Also on view are a number of white foamcore 'paintings' reconstituted from smashed models of the popular animated characters Hello Kitty, Miffy, and My Melody. In discussing his work ethic with critic, Germano Celant, Sachs says: '…I often build things in the 'wrong' way. […] There is an honesty and a soulfulness to doing it yourself.' Design by Tom Sachs with glossary by Mark van de Walle. Sperone Westwater, 2008

Wishing for Synchronicity: Works by Pipilotti Rist

Pipilotti Rist, Paola Morsiani, Mark Harris, Stephanie Hanor, René Morales, Linda Yablonsky

In the late eighties, Swiss artist Pipilotti Rist skyrocketed to international fame with her intriguingly cryptic and provocative videos. Since then, she has received numerous awards for her works—suggestive mixtures of visual and musical elements, overlapping images, acceleration and deceleration, and frequently psychedelic colorful effects—such as the Premio 2000 at the Venice Biennale.

Presenting Rist’s entire oeuvre from 1986 to the present, this monograph publishes many works for the first time. Intriguing essays shed light on central aspects of her work, which the artist herself describes in an extensive interview.

The Form of Becoming: Embryology and the Epistemology of Rhythm, 1760–1830

Janina Wellmann

The Form of Becoming offers an innovative understanding of the emergence around 1800 of the science of embryology and a new notion of development, one based on the epistemology of rhythm. It argues that between 1760 and 1830, the concept of rhythm became crucial to many fields of knowledge, including the study of life and living processes.

The book juxtaposes the history of rhythm in music theory, literary theory, and philosophy with the concurrent turn in biology to understanding the living world in terms of rhythmic patterns, rhythmic movement, and rhythmic representations. Common to all these fields was their view of rhythm as a means of organizing time — and of ordering the development of organisms.

Janina Wellmann, a historian of science, has written the first systematic study of visualization in embryology. Embryological development circa 1800 was imagined through the pictorial technique of the series, still prevalent in the field today. Tracing the origins of the developmental series back to seventeenth-century instructional graphics for military maneuvers, dance, and craft work, The Form of Becoming reveals the constitutive role of rhythm and movement in the visualization of developing life.

William Kentridge: Lexicon

William Kentridge

Lexicon is a facsimile cloth edition of an antiquarian Latin-Greek dictionary which the internationally celebrated South African artist William Kentridge (born 1954) has embellished with black ink drawings of what might seem at first to be animal silhouettes. In reproducing the work (which is uncollected elsewhere), this beautifully designed artist's book mischievously pits the model of the flipbook against the fragility of the antiquarian original, and flipping its pages animates Kentridge's lively, spiky drawings into a continuously morphing image that transforms from a cat to a coffee pot over the course of the book's 160 pages. This image is based on a disintegrating sculpture that reflects the artist's interest in the instability of objecthood. Lexiconis accompanied by a DVD containing a short film in which Kentridge flips the pages himself.

The Great Exception

Rachel Kushner, Colin Roberts

The Great Expectation by Rachel Kushner is a collaboration with artist Colin Roberts and was published by Nothing Moments Press in the fall of 2007. This is a collection of stories that investigate all aspects of exploration, the search for grants, travel and the encounter of land unknown.

Rachel Kushner is an American writer, known for her novels Telex from Cuba (2008), The Flamethrowers (2013), and The Mars Room. After completing her MFA, Kushner lived in New York City for eight years, where she was an editor at Grand Street and BOMB. She has written widely on contemporary art, including numerous features in Artforum.

Warhol: Liz

This book was published on the occasion of the exhibition Warhol: Liz, at Gagosian, West 21st Street, New York, which presented the portraits Andy Warhol made of Elizabeth Taylor between 1962 and 1963. A child star, Taylor became one of the world’s most famous actresses through her on-screen roles and a highly public life charged with drama, tragedy, and romance. Warhol made more than fifty portraits of Taylor, in all her incarnations—from the ethereally beautiful child actress in National Velvet to the commanding, voluptuous screen goddess of Cleopatra. The paintings isolate her features on monochrome fields, using abstraction and repetition to create contemporary icons of celebrity.

The catalogue includes more than twenty-five works in full color, along with details, pictorial sources, historic installation photographs, and quotations by the artist. It includes the essays “When Andy Met Liz” by writer and longtime Interview editor Bob Colacello, which recounts the 1973 meeting between Warhol and Taylor, and “Blue-Collar Liz” by John Waters, which discusses Taylor’s cultural power and the significance of Warhol’s portraits. The book also reproduces the cover of a 1962 issue of Life and a ten-page article, “Poor, Dear Little Cleopatra,” from the magazine.

Udomsak Krisanamis: The Intimate Portrait

Udomsak Krisanamis

This artist's book, with color illustrations and accompanying text by associate curator Annetta Massie, is the first publication focused on this intriguing artist. Krisanamis, a Thai artist who has lived in the United States since 1991, taught himself English by reading the newspaper and marking out all the words he knew. This created a patterned page that became the substructure for his painting and collage combinations. In later works, traditional art materials share pictorial space with tactile ready-mades including cast-off papers, tea, and noodles on blankets, sheets, towels, and other unexpected backings.

something else press Box Set
(6 books)

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

This Box Set is recommended for a general readership.

Typewriter Poems

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

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


Manford L. Eaton

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

The Book of Hours and Constellations

Eugen Gomringer, Jerome Rothenberg

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

The Extravagant Vein

Donald Moffett

The first comprehensive survey of Moffett's investigations into art history, paint, and form, Donald Moffett: The Extravagant Vein provides viewers with insight into the artist's practice over the past twenty years. As a painter, Moffett extends the traditional two-dimensional frame, converting flat planes into highly textured reliefs in oil painting, or into intricate illuminations through video projection onto canvas. The subject matter of his paintings–from landscape and nature to politics and history–is poetic, provocative, and even at times humorous. Moffett has remained engaged with issues surrounding the presence of gays in historical and contemporary culture that resonate today, as well as more timeless questions of love, loss, alienation, and death. Contemporary Arts Museum Houston, 2011 10.6 x 8.6 inches, 224 pp., illustrations Hardcover, ISBN 0847837270

To Music

Ragnar Kjartansson

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

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

Thomas Schutte: Scenewright, Gloria in Memoria

Thomas Schütte

The artist Thomas Schütte, born 1954 in Oldenburg and Gerhard Richter’s student at the Dusseldorf Art Academy from 1973 to 1981, is a moralist who uses his work to posit questions and trigger uncertainty. At the same time, however, he is also a romantic and a melancholiac who, with black humor and skepticism, creates a model of the world. In this publication, which goes back to the three-part, 18-month-long show at the Dia Center for the Arts in New York, in chronological sequence the works of the last two decades are documented. “Scenewright” the first installation In New York from September 1998 to January 1999, showed, among other things, the 1977 installation Grosse Mauer (large wall), as well as the work groups of the 80s that thematized views of public buildings and imaginary places, as well as theater stage sets. “Gloria in Memoria” from February to June 1999 studied the theme of the monument and the anti-hero (Mohr’s Life, 1988) from the drawings to the installation. The third exhibition “In Medias Res” from September 1999 to June 2000 concentrated on the monumental sculptures of steel – female figures and self-portraits – and of ceramic: among others, oversized urns, monumental portraits of the gallerist Konrad Fischer, nine life-size clay figures in colorful robes Die Fremden (The Strangers) from 1992.

Wes Mills

Hipólito Rafael Chacón, Ann Wilson Lloyd

The understated design of this book allows the quiet elegance of Wes Mills’ drawings to captivate viewers. High quality reproductions of forty-eight drawings made between 1994 and 2003 float in the center of muted white pages. The titles and dates of each piece, printed in a warm transparent gray, manage to both pick up some of the delicate tonalities in the drawings and to disappear altogether. A complete index of the drawings is included at the back and essays by Hipólito Rafael Chacón and Ann Wilson Lloyd discuss the work’s aesthetic and art historical significance. Mills’ marks require a fine sustained attention, the kind of attention that this exquisitely made monograph can’t help but cultivate in a reader.

The Quick and the Dead

Peter Eleey, Olaf Blanke, Ina Blom, Peter Osborne, Margaret and Christine Wertheim

Artists have always used their imaginations to see beyond visible matter—to posit other physics, other energies, new ways of conceiving the visible and new models for art but the past century has seen an explosion of such investigations. In the fashion of a Wunderkammer, The Quick and the Dead takes stock of the 1960s and 70s legacy of experimental, or research art by pioneers like George Brecht, who posited objects as motionless events and asked us to consider an art verging on the non-existent, dissolving into other dimensions, and Lygia Clark, whose foldable sculptures sought to dissolve the boundary between inside and outside, each a static moment within the cosmological dynamics from which we came and to which we are going.

In a series of encounters with art made strange by its expansions, contractions, inversions and implosions in time and space, The Quick and the Dead surveys more than 80 works by a global, multigenerational group of 50 artists, scientists and musicians — among them James Lee Byars, Joseph Beuys, Marcel Duchamp, Harold Edgerton, Ceal Floyer, Felix Gonzalez-Torres, Pierre Huyghe, The Institute for Figuring, Paul Ramirez Jonas, Stephen Kaltenbach, On Kawara, Christine Kozlov, David Lamelas, Louise Lawler, Paul Etienne Lincoln, Mark Manders, Kris Martin, Steve McQueen, Helen Mirra, Catherine Murphy, Bruce Nauman, Rivane Neuenschwander, Claes Oldenburg, Roman Ondák, Adrian Piper, Roman Signer and Shomei Tomatsu, among many others. Includes reprints of texts by diverse luminaries such as John McPhee, Jalal Toufic, Oliver Sacks, Allan Kaprow and Robert Smithson.

The Black Eye

Michal Chelbin

The Black Eye continues Michal Chelbin’s exploration of the world of athletes and performers from Eastern Europe, Israel, and England. The athletes and wrestlers in this series are studies in contrasts: youth and manhood, strength and weakness, tenderness and rigidity, odd and ordinary, splendor and roughness. Presented in a clear and balanced format, the pictures challenge the viewer with their ambiguity.

While revealing little about the lives of Chelbin’s subjects, the photos do reveal an internal drama, capturing a tension between the gaze and the presence of each individual. These athletes are exhausted after a hard training session or fight. Some are breathless, sweaty, and fatigued. Chelbin searches for a certain expression in which they have almost calmed their breath but not yet fully regained their self-awareness. It is a moment when they have lifted their mask and surrendered to the camera. Her aim is to expose this moment, and the contradiction between the person and the persona.

Story by Etgar Keret

The Portraits Speak: Chuck Close in Conversation with 27 of His Subjects

Chuck Close

Known for his large scale paintings and photographs, renowned artist Chuck Close interviews 27 artists whose portraits he has painted over the years. This volume brings together the voices of three generations of American artists, including conversations between Close and artists Nancy Graves, Richard Serra, Philip Glass, Joe Zucker, Robert Israel, Leslie Close, Klaus Kertess, Mark Greenwold, Georgia Close, Arne Glimcher, Lucas Samaras, Alex Katz, Cindy Sherman, Elizabeth Murray, Judy Pfaff, Eric Fischl, April Gornik, William Wegman, Janet Fish, John Chamberlain, Richard Artschwager, Joel Shapiro, Kiki Smith, Roy Lichtenstein, Dorothea Rockburne, Lorna Simpson, Paul Cadmus.

Trinh T. Minh-ha: The Twofold Commitment

Trinh T. Minh-ha

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

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

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.


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.


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.

The Parade: Nathalie Djurberg with Music by Hans Berg

Eric Crosby, Dean Otto

Since 2001, Swedish-born artist Nathalie Djurberg (born 1978) has honed a distinctive style of video animation. Set to music and sound effects by her collaborator Hans Berg, Djurberg's handcrafted cinematic tales explore revenge, lust, submission, gluttony and other primal emotions through the conventionally innocent technique of “Claymation,” which in her hands becomes a medium for nightmarish yet wry allegories of human behavior and social taboo. Increasingly, Djurberg's practice has blurred the cinematic and the sculptural in environments that integrate moving images and related set pieces. This publication accompanies the artist's largest presentation in an American museum to date. The catalogue weaves documentation of her sculptures and stills from her recent films with texts (both original and found) that trace the historical, scientific and literary threads running through her practice.

The New Life

Lise Sarfati

"Sarfati’s work is defined through an opposition to the editorial urge to fix narratives to her subjects. Her images create a loose, layered and intensely rich visual project triggering emotions and thoughts that move well beyond her ostensible subjects. Sarfati’s importance in today’s debates about the role and visual languages of socially engaged photography also rests in her resistance to fully objectify the subjects that compel her to make imagery. The American Series represents one of those rare experiences for photographers where the photographs almost—just—happened. Sarfati did not overly choreograph her subjects; she also created the psychological space for them, in turn, to act upon her and to act up—or down—for the camera. This perhaps accounts for Sarfati’s success in re-presenting American young people as, simply, individually and universally the carriers of states of minds." — Clare Grafik, Photographers Gallery, London

Text by Olga Medvedkova

Till They Listen: Bill Gunn directs America

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

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

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

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

Work Book

James Wagner, Edgar Arceneaux

Work Book by James Wagner is a collaboration with artist Edgar Arceneaux and was published by Nothing Moments Press in the fall of 2007.

This book is a story about three interviews and description of jobs encountered. Reading it brings back the nervousness, the disappointment, the udder weirdness and the hopefulness we have all experiences applying for jobs. James Wagner is an American poet. The poet and critic Joyelle McSweeney wrote that the poems in his first collection, the false sun recordings, form a semi-coherent push-me/pull-you-type dialogue about stability and wholeness, by turns humorous... and serious. In recent works such as The Idiocy and Query/Xombies, Wagner focuses on the searching qualities of human existence, whether through logical argument (and its attendant pitfalls), or through the medium of the search engine, nominally the modern oracle. His third and most recent collection of poetry, Thrown, poems to paintings by Bracha L. Ettinger, was cited by poet Eileen Tabios for its imaginative intensity, ambition and lyrical prowess.

That Was the Answer: Interviews With Ray Johnson

Ray Johnson

Ray Johnson (1927–1995) was a singular artist, for whom life and work were inextricably linked. Born in Detroit, Johnson attended Black Mountain College before moving to New York, where his work anticipated Pop art and he was active in early Fluxus circles. Best known for his collages and Mail art activities, including his New York Correspondence School, he operated fluidly in a wide range of modes. For Johnson, everything and everyone were potential material for his art—any form could become a space for artistic activity—and the form of the interview proved no exception.

That Was the Answer: Interviews with Ray Johnson brings together a selection of eleven interviews and conversations from 1963 to 1987 that offer unique access to Johnson’s distinctive thinking and working methods. These materials, which include exhibition ephemera, an oral history, radio transcripts, and magazine articles, are marked throughout by his humor and close attention to language. Gathering these exchanges for the first time, That Was the Answer serves as an exceptional introduction to Ray Johnson as well as a resource for those who are interested in gaining deeper insight into the artist and his kaleidoscopic body of work.

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

Benjamin Weissman

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


Boris Mikhailov

The photographs featured in Viscidity by Boris Mikhailov were completed and sequenced in Kharkov in 1982 but only now published as a book. Reproduced at their original scale, we have added translations from the Russian to English. In addition, the book features “I was walking through a field,” an original bilingual essay by Mikhailov illuminating the history of the work and written specially for this edition.

One of three early and critical image-text works, Viscidity was completed after Horizontal Pictures and Vertical Calendars (1978-1980) and shortly before Unfinished Dissertation (1984). As Mikhailov states: “At first the texts tautologically repeated what was visible in the image, as though they were simply drawing attention to the photograph (the first book)… gradually the texts changed and became poetic and deeper (the second book)… then I added quotations in addition to my own reflections on photography (the third book).”

Viscidity was produced during a time of “deep political stagnation. Nothing is happening — nothing at all is interesting … There was a kind of certainty that society was at the threshold of something unknown, something everyone was anticipating. Many people felt this way.”

Mikhailov is best known for provocative self-portraits and politically charged color photographs, from the earliest works in Red Series (1968–75) to the gut wrenching yet seductive images of the homeless in the Soviet Union, published in Case Studies (Scalo, 1999). A prolific and experimental artist, Mikhailov’s work rests naturally beside the most respected conceptual artists of his generation. Photographs from Viscidity have been exhibited widely throughout his career, most importantly in 2004 in the critically acclaimed exhibition and accompanying catalogue at the Serralves Museum in Portugal by Margarita and Victor Tupitsyn, Verbal Photography: Ilya Kabakov and Boris Mikhailov and the Moscow Archive of New Art.

Winters Berlin

Luke Abiol

Luke Abiol's project Winters Berlin is a series of large format photographs made over a period of seven years while living in Germany. These photographs look into the history that saturates Berlin's structures and streets.

Abiol is particularly interested in the layers of the city that - when peeled away - introduce the viewer to countless traces of Berlin's inhabitants. Stories are derived from space and histories are formed.

Luke Abiol was born in San Francisco, came of age in New York, started a family in Berlin and now finds himself back in San Francisco. Luke observes the traces that industry, war, nature and time have left upon our urban spaces–then leaves his own traces to be read by others.

The Adventures of Constantine Cavafy

Duane Michals

"Please meet me in the circle of this conceit. These little fables of my imaginary theatrics repeat the mantras of Cavafy's desires and regrets: so old today, now gone away."

Duane Michals returns to the poetry of twentieth-century Greek poet Constantine Cavafy for inspiration for his most recent work. Michals's images loosely illustrate Cavafy's poetry, while investigating themes of lost time, love discovered and remembered, and the sublime realm of the surreal.

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.


Aeron Bergman, Alejandra Salinas

The hyper-competition of neoliberalism is a construction that is sold as a fact of nature, purely a matter of biology, genetics, basic psychology, and particle physics, etc. The priests, cardinals, and popes of advanced neoliberal capitalism credit all human advancements to competition.

Fields such as art, science, and education are antithetical to the goals of neoliberal quantification, gamification, and resulting private appropriation of everything. However, even these fields are forced to comply and compete, to great detriment of the independent goals of these fields, through coerced competition for resources via constant demands for performance metrics. For most of us it is impossible to step outside the legislated competitions of neoliberalism and so individuals must be well adjusted within the system, enabled by realist-conformist postures.

The rhetoric of competition has been cleverly transferred to a general system of governance, and forms relations between people, and between people and their professions. In this way, competition serves both as a discourse of legitimation, and as legal framework of extreme control. It takes armies of technocrats working tirelessly, endlessly, in order to enforce the myth of competition and thus hardly “natural” in the way it is marketed.

The Singles 1999 - Now

Áda Ruilova

New York-based artist Áda Ruilova's videos combine classical cinematic devices with a distinctively low-tech sensibility, quick cuts and rhythmic, jarring soundtracks to create works that exist in the space between sound and image. Drawing equally from B-movie aesthetics and classic montage cinema, Ruilova creates dark, moody narratives that ruminate on psychology and memory. Ruilova is part of a generation of artists who employ media in innovative ways with a do-it-yourself aesthetic, often drawing upon contexts–from cinema to music to popular culture–that exist outside the art world. This catalogue was published in conjunction with the Aspen Art Museum's 2008 exhibition, which surveyed work Ruilova made since 1999; it was her first solo museum presentation. The catalogue contains several essays, along with color stills and written descriptions of each video.

Typewriter Poems

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

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

The Performance of Becoming Human

Daniel Borzutzky

Daniel Borzutzky’s new collection of poetry, The Performance of Becoming Human, draws hemispheric connections between the US and Latin America, specifically touching upon issues relating to border and immigration policies, economic disparity, political violence, and the disturbing rhetoric of capitalism and bureaucracies. To become human is to navigate these borders, including those of institutions, the realities of over- and under-development, and the economies of privatization, in which humans endure state-sanctioned and systemic abuses. Borzutzky, whose writing Eileen Myles has described as “violent, perverse, and tender” in its portrayal of “American and global horror,” adds another chapter to a growing and important compilation of work that asks what it means to be both a unitedstatesian and a globalized subject whose body is “shared between the earth, the state, and the bank.”

Wim Delvoye: Cloaca, New & Improved

Georges Bataille, Salvador Dali, Wim Delvoye, Dieter Roelstraete, Gerardo Mosquera, Milan Kundera, Dan Cameron

Published in 2001 on the occasion of the exhibition "Wim Delvoye: Cloaca", organized by Dan Cameron and presented at the New Museum of Contemporary Art, Januyar 24 - April 14, 2002. Essays by Georges Bataille, Dan Cameron, Salvador Dalí, Milan Kundera, Domique Laporte, Gerardo Mosquera, Dieter Roelstraete, Peter Sloterdijk and Peter Bexte.

The Book of Hours and Constellations

Eugen Gomringer, Jerome Rothenberg

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

Zhang Huan: 49 Days

Text by Winston Kyan

Zhang Huan initially gained renown for extreme performance art incorporating endurance and pain. In 2006 Zhang became a Buddhist lay disciple, which influenced his subsequent work. He has produced paintings using incense ash found in temples and monumental bronze sculptures of disembodied Buddha parts. His current work exhibited at Blum & Poe, Los Angeles consists of 200 year-old reclaimed bricks on steel armatures in the shape of pigs and skulls. The series, titled 49 Days, is an explicit reference to the traditional Chinese Buddhist concept of purgatory in which the actions of the deceased are judged for seven weeks between death and rebirth. In a more contemporary context, 49 Days also recalls an unlikely hero of the devastating earthquake that hit China’s Sichuan province on May 12, 2008: a pig dubbed Zhu Gangqiang (Cast-Iron Pig) that survived on rain water and rotten wood beneath rubble for forty-nine days during a national tragedy that killed nearly seventy thousand people. Essay by Winston Kyan. Los Angeles: Blum & Poe, 2011 Hardcover, 47 pps. ISBN: 9780966350319

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.

The Esopus Reader: A Collection of Writing from Esopus, 2003-2018

Tod Lippy

The Esopus Reader’s contents include all 11 installments of Esopus’s “New Voices” series, which featured fiction written by never-before-published authors, many of whom have since gone on to publish novels and short-story collections with major imprints, including Stuart Nadler (The Inseparables, Little, Brown), Vivien Shotwell (Vienna Nocturne, Random House), and Lev AC Rosen (Camp, Little, Brown—soon to be an HBO Max movie directed by and starring Billy Porter).

Also included are essays by creators from a wide range of disciplines who explore particular aspects of their creative process. In “Haunted,” choreographer Christopher Wheeldon details the challenges of crafting a series of ballets to the work of composer Györgi Ligeti. In “Cuoca,” acclaimed chef Jody Williams (Via Carota, Buvette) relates her experience of learning the basics of Italian cooking at a renowned restaurant in Reggio Emilia. Composer Anthony Cheung expounds upon the challenges and rewards of contemporary musical composition in “New Colors.” In “On the Value of Literature,” author Karl Ove Knasugaard (My Struggle) convincingly answers his own question: “Why books, sentences, words?” Architect Michael Arad recounts the process of realizing his design for the 9/11 Memorial in “Submission 790532,” and in “Light Unseen,” legendary lighting designer Jennifer Tipton makes a convincing case for the consideration of her discipline as an art form in its own right.

The book also includes in-depth interviews with playwright and filmmaker Kenneth Lonergan (who revisits a series of illustrated, hand-typed science-fiction novels he wrote as a 10-year-old); literary translator Ann Goldstein (who offers a fascinating glimpse into her process of translating authors such as Elena Ferrante, Pier Paolo Pasolini, and Primo Levi); actor Lisa Kudrow and writer/director Michael Patrick King (who go into detail about their work on the first season of the critically lauded HBO series The Comeback); game designer Raphael van Lierop (The Long Dark); and the late mathematician John Conway, who muses upon the intersection of rationality and aesthetics in the model-building he would frequently employ when working on a new theorem.

The Spectacular of Vernacular

Darsie Alexander, Andy Sturdevant, John Brinckerhoff Jackson

The Spectacular of Vernacular addresses the role of vernacular forms in the work of 26 artists who utilize craft, folklore and roadside kitsch to explore the role of culturally specific iconography in the increasingly global world of art. Drawing inspiration from such sources as local architecture, amateur photographs and state fair banners, their work runs the spectrum from the sleek to the handcrafted. Inspired by Mike Kelley's observation that the mass culture of today is the folk art of tomorrow, these artists embrace the totems and neon signs of roadside America. Thus, alongside the visibly handcrafted works of Matthew Day Jackson and Dario Robleto we find the dense and day-glo paintings of Lari Pittman, the glittering trophy heads of Marc Swanson and the urban relics of Rachel Harrison. These works and others suggest a long road trip through the emblems and eyesores of tourist destinations and outmoded hotels. The photography component includes work by William Eggleston, whose color-saturated images gravitate toward the tawdry palette of faded billboards and road signs.

This fully-illustrated catalogue includes an essay by exhibition curator Darsie Alexander exploring artists' interest in the vernacular as a means to address aspects of folk ritual, amateur craft and sense of place in their work; a reprint of John Brinckerhoff Jackson's Vernacular from his seminal 1984 reader Discovering the Vernacular Landscape; and a reflection by artist and curator Andy Sturdevant on the evolution of roadside vernacular, and attendant histories of heartland America where it is so abundant. Also included is a reading list gathered from a cross section of art criticism and cultural studies.

Tom Slaughter

Tom Slaughter

Of Tom Slaughter, Henry Geldzahler, the first curator of twentieth-century art at The Metropolitan Museum of Art, commented: “The quality of freshness, the familiar world re-seen, from the water towers of New York City to the rural pleasures of boating, is the most immediately arresting aspect of Tom Slaughter’s art...Bold bright colors swiftly laid down echo with resonances: Léger and Stuart Davis, Raoul Dufy and Roy Lichtenstein.” Slaughter’s work, with its seemingly effortless whimsy rendered with a strong sense of line, color, and rhythm, has also been compared to Matisse. His Pop-inflected drawings, prints, paintings, and illustrations convey his love of life as he relentlessly explored the complexities of the urban scene or the simple pleasures of boating. The Artist Book Foundation is pleased to announce the publication of Tom Slaughter, an extensive monograph of the artist’s enormous body of work that celebrates his enduring optimism, personal and artistic honesty, and charming brashness in a landscape of pure joy.

The Baader-Meinhof Affair

Erin Cosgrove

In the first publication from Printed Matter's Publishing Program for Emerging Artists, Erin Cosgrove takes the romance novel for a ride through revolutionary terrain to produce a tempestuous tale of terrorism and true love. In the cloistered environment of an exclusive East Coast college, the young and the restless fall in love while romancing the ghosts of the Baader-Meinhof gang active in 1970s Germany. It’s a hilarious send up of the romance genre complete with earnest interjections from the author who supplies historical cliff notes and commentary for the confused. A page-turning tour de force of the dangerous passions and politics of the privileged.

Tracey Moffatt: Free-Falling

Tracey Moffatt

Documenting an exhibition at Dia by Tracey Moffatt, Free-Falling, October 9, 1997–June 14, 1998. Contents: Preface by Michael Govan; Only Angels Have Wings by Isaac Julien with Mark Nash; A Photo-Filmic Odyssey by Lynne Cooke; and Dust by Sam Shepard.

Free-falling includes two newly commissioned works: a suite of twenty-five photographs called Up in the Sky (1996) and a video installation, Moffatt's first in this medium. The subject of this video piece is a surfer, a figure close to the heart of Australia's contemporary self-image. By contrast, Up in the Sky, which was shot near Broken Hill in the Outback, draws on imagery and a landscape that have long been central to the Australian mythos. In addition, the exhibition will include Guapa (Goodlooking), a series of twelve monochrome photographs loosely based on the theme of the roller derby, which Moffatt made in 1995 while on a residency at ArtPace in San Antonio, and Night Cries: A Rural Tragedy (1990), her early but prophetic short film. Guapa explores the intersection of violence with eroticism as sanctioned under the umbrella of sport. Silhouetted against neutral backdrops, the carefully choreographed female contestants create formally compelling images recalling at times sculptural groupings from the art of the past: artifice is as intrinsic to this sport as it is to Moffatt's aesthetic.

Tom Friedman

Tom Friedman

Tom Friedman (b. 1965, Saint Louis, MO) makes work that explores ideas of perception, logic, and possibility. His often painstakingly rendered sculptures and works on paper inhabit the grey areas between the ordinary and the monstrous, the infinitesimal and the infinite, the rational and the uncanny. His work is deceptive, its handmade intricacy masked by a seemingly mass-produced or prefabricated appearance. Luhring Augustine 2012 11.25 x 9.75 inches, 272 pages, illustrations Hardcover, ISBN 978-0-9771150-6-8

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