The A.R.T. Library Program distributes books on art and culture to public institutions nationwide, free of charge. Public libraries, schools, prisons, and reading centers are welcome to place annual orders.


Black Womanhood: Images, Icons, and Ideologies of the African Body

Publication accompanying the Hood Museum's exhibition of the same name. Eight contributors analyze representations of black women from separate but intersecting perspectives: the traditional African; the colonial; and the contemporary global. Thompson's essay opens with the black female body on display in Europe and moves to the recovery of traditional African ideologies of womanhood, setting the stage for Amadiume's examination of traditional African art practices and Schildkrout's demonstration of cross-cultural exchange. Investigating western colonizations and imaginings of black women, Wallace-Sanders's analysis of Mammy representations shifts the ground to the United States; while Willis considers how photographs from black family albums between the 1890s and 1940s countered racist images in popular culture. Thompson's closing meditation leads the reader back to contemporary, thought-provoking and often confrontational images of an empowered and outspoken black female presence at the heart of this exhibit. Please note: this book contains mature imagery.

Cheryl Donegan: GRLZ + Veils

Anja Aronowsky Cronberg, Bill Arning, Daniel Baumann, Bob Buck, Johanna Burton, Wade Guyton, Rem Koolhaas, Heidi Zuckerman

New York–based artist Cheryl Donegan (born 1962) is well known for her integration of performance and video with painting and installation, and her subversive spin on issues pertaining to gender, sex and art. This first substantial survey of her work, published for her 2018 traveling exhibition, examines her paintings, and includes new, highly conceptual work that continues to transgress traditional media, often merging painting with fashion and appropriated imagery gleaned from pop culture.

Milton Resnick: A Question of Seeing, Paintings 1959-1963

Nathan Kernan

This is an exhibitiom catalog published on the occasion of the eponymous exhibition held at Cheim & Read from May 1-June 7, 2008.

Milton Resnick was born in Bratslav, Ukraine and immigrated with his family to the United States in 1922. He began studying commercial art at Pratt Institute, but in 1933 transferred to the American Artists School to focus on painting. A first generation New York School painter, Resnick was friends with Arshile Gorky and Willem de Kooning and was an active participant in the artistic arguments taking place. The style he developed and refined between 1959 and 1963 became emblematic of his later painting and is an important turning point of his career.

A defining characteristic of the paintings are their tremendous size: the work done during this time was the largest Resnick made until the late 1980s. Swan, 1959, measures 25 feet, and is one of the three biggest canvases Resnick ever painted. The paintings' size was in part determined by a 5,000 square foot studio Resnick rented in 1959, and the mental and physical space it provided. Importantly, the paintings' massive scale did not exceed the peripheral vision of the viewer—Resnick meant them to locate the viewer in space and, more significantly, at a place: "It isn't canvas that you approach for your focusing. It is a place…A very important part of this whole thing lies in whether this canvas, which becomes this place—also becomes a world."

Like younger painters, such as Cy Twombly and Robert Ryman, Resnick worked in, through and beyond the language of NY gestural painting toward an intimate relationship with mark-making, the surface, and the physical matter of paint itself. Ultimately, the materiality of paint became paramount, and Resnick's intent dissolution of form resulted in ever more monochrome, thickly textured surfaces. The transition of Resnick's work from more explicitly Abstract Expressionist modes to the monochrome paintings of his later years was a result of the marked exploration witnessed in this exhibition. A record of the physical and emotional boundaries of their creator, the paintings testify to an artistic evolution. Resnick stated: "Art is not a learning process. It is the very reverse of learning. It is the unhinging of your soul from your sight."

Illumination

Lynn Davis

In Illumination, photographer Lynn Davis reveals the spiritual nature of her work through her exploration of the world's greatest universal sites, both man-made and natural. Setting herself in the grand tradition of nineteenth century landscape photography, and driven by a desire to record the natural and architectural monuments of the world, Davis documents the icebergs of Greenland, the pyramids of Egypt, the ancient architectural ruins of Burma, Nepal, Thailand, India, and China, as well as mythical natural wonders, including the Grand Geyser in Yellowstone and Wave Rock in Australia.

Lore Lindenfeld: A Life in Textiles 1945-1997: Black Mountain College Dossier n3 (Black Mountain College Dossiers Number 3)

Sigrid Wortmann Weltge

At Black Mountain College, Lore Kadden Lindenfeld studied with three refugee teachers, Anni Albers, Franziska Mayer, and Trude Guermonprez (Elsesser). [...] When designing for industry, Lore Kadden Lindenfeld challenged prevailing attitudes with respect to methods of work and women's place in the industry. Similarly, when she returned to weaving as an independent weaver, her approach to fiber arts was that of an artist-craftsperson. The weaving, sewing and embroidery skills she had mastered in Germany, Holland and the United States as well as her studies with Josef Albers were the foundation for her later work. Lore later recalled of Albers' 'To take materials that were unrelated and to combine them in such a way that they lost their identity. To change them through manipulation and through combining things. I find that is something - that way of seeing and that way of discovering - this possibility has really stayed with me to the present day and really has been very important. Also the relationship of color - to see color in terms of the amount of color, the placement of color, the relationship of color, and to have a sense of what the combination of color can mean in terms of what you want to say, what you really want to portray.'


This is an publication of Black Mountain College Museum + Arts Center, documenting the works of former students and faculty of the college. Text by Sigrid Wortmann Weltge; design by Jon Jicha.

Zola Marcus: Kinetic Origins

Julie Feinsilver, Garry L. Hagberg

Zola Marcus (1915 – 1998), long-time resident of New York and abstract painter attended the 1953 Summer Institute at Black Mountain College where he studied painting with Joe Fiore and Esteban Vicente. This full-color catalogue accompanies the 2017 Zola Marcus: Kinetic Origins exhibition. Alongside images of Marcus' work, it includes essays on Marcus' life + art by his niece Julie Feinsilver and Garry L. Hagberg Professor of Philosophy and Aesthetics at Bard College.

Laurie Simmons: Photographs 1978/79

Collier Schorr, Laurie Simmons

This book represents the first body of color works by the artist Laurie Simmons. The Interiors and Bog Figures are a group of two series of photographs that consist of constructed interiors and manipulated exteriors. Within these constructed spaces, Simmons explores the boundaries of reality and fantasy, and of nostalgic memories and idealisms. There are no greater iconic images to depict a post World War II, 1950's. suburbia than housewives and cowboys. In a time when television became the most influential form of mass media, female and male identities were formulated through commercials, advertisements, and movies.

In a 1992 interview with Sarah Charlesworth, Simmons stated that she was not, "trying to make a statement about women's lives, but trying to recreate a feeling, a mood from the time that I was growing up: a sense of the fifties that I knew was both beautiful and lethal at the same time." While the plastic dolls provide the viewer with a sense of play, the reality of the images is unavoidable. The female is pictured in the home, but she is alone, isolated and vulnerable. The cowboy, however, exudes the confidence and independence of a life of adventure, yet the cowboy cannot escape the implied violence, racism and paternalism that also characterize the ideal.

This book contains a new essay by Collier Schorr.

Environment Box Set
(9 books)

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

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

This box set is recommended for a general readership.

No Zoning: Artists Engage Houston

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

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

Futureways

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

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

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

AutoPlastic

Wendell Castle

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

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

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

New Society for Universal Harmony

Lenore Malen

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

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

Susan York: 3 Columns

Susan York, Lucy R. Lippard, DIane Karp

Published in conjunction with a 2008 exhibition featuring graphite sculptures and drawings of American artist Susan York (b. 1951), this catalog features essays by Lucy R. Lippard and DIane Karp.

Susan York is primarily known for reductive work in graphite and ceramics. Her cast and drawn forms are often installed to engage with the architecture of a particular space, combining precise geometry with unexpected elements of asymmetry and tension.

Her site-sensitive installations engage the existing architecture of a chosen site: a room, a wall, or a piece of paper. York’s studies in graphite are a homage to subtlety, with irregularities interrupting otherwise austere geometric forms and producing results that are perhaps more felt than seen. In the exhibition catalogue, Susan York: 3 Columns, Lucy Lippard wrote, “This nuanced fusion of the intellect and sensual experience is precisely what York achieves. In doing so, she takes Minimalism past the post, and into a realm of her own”.

Head To Hand: Drawings by Keith Tyson

Keith Tyson

Head to Hand is a selective survey of Keith Tyson's drawings from the past eight years. It includes both those drawings where the hand of the artist gives formal expression to an idea that has been already mentally charted, and those drawings where the hand etches out a conceptual space for the head to move into new territory and in unanticipated directions. Though most artists use drawing as a means of transforming mental thought into a physical manifestation, the scope of Tyson's use of drawing to define areas of investigation is uniquely adventurous and ambitious.

It is the process of arriving at these proposals that defines the centrality of drawing for Keith Tyson's work, and one that is made evidently manifest in this rare artist's book published by Thea Westreich and Ethan Wagner.

John Van Alstine: Sculpture 1971–2018

John Van Alstine

For nearly forty years, John Van Alstine has created abstract sculptures forged from steel and stone. In John Van Alstine: Sculpture 1971–2018, three notable essayists explore the sculptor’s abstract landscapes that reveal the complex synergy between natural forces and man-made elements. The artist weaves into his works elements of mythology, celestial navigation, implements, human figures, movement, urban forms, and found objects, while using motion, balance, and inertia to incor-porate the eternal forces of gravity, tension, and erosion.

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.

Jim Love: From Now On

Dominique de Menil, Don Quaintance, Lynn M. Herbert, Paula Webb

Jim Love: From Now On is the first publication to celebrate Houston sculptor Jim Love's work in over 20 years. Love first gained national recognition in 1961 when his work was included in The Museum of Modern Art's groundbreaking exhibition The Art of Assemblage. He began his career as an urban archaeologist of sorts, scouring junkyards for interesting castoffs and later welding original forms of iron and steel. Inspired by the Surrealist- and Dada-influenced practice of assemblage, he elevated ordinary objects to inventive and often amusing works of art that include his early ""put togethers"" from the 1950s; his signature bears, birds, and dogs that take on life's dilemmas; his range of work that explores flowers as a motif; and his portraits, theatrical tableaux, and designs for furniture and other functional objects. A central figure in Houston art circles from the 1950s until his untimely death in 2005, Love most notably collaborated with the collectors John and Dominique de Menil.

Known for his public commissions in Houston, such as Call Ernie (1985) at William P. Hobby Airport and Portable Trojan Bear (1974) in Hermann Park, Love's work is also included in the permanent collections of the Whitney Museum of American Art and The Museum of Modern Art in New York; the Dallas Museum of Art; The Menil Collection, Houston; and The Museum of Fine Arts, Houston. Love was born in 1927 in Amarillo, Texas, and moved to Houston after his graduation from Baylor University, where he received a BBA (1952) in business administration.

Tuscan Trees

Janet Lembke, Mark Steinmetz

This is the first book for Mark Steinmetz, a photographer with a very unique, somber vision. Steinmetz has been teaches in the summer photography program of the Art Department of the University of Georgia, at Cortona, in Tuscany. TUSCAN TREES offers a portfolio of some of his most luminous findings. Each black-and-white tree photograph is accompanied by the writing of Janet Lembke, whose "writing tacks between three points: the stuff of her late-twentieth-century life; the tangle of creature and plant in every dimension of tide and river flow; and the haunting, connecting wires of mythos that still knot us to the ancient beginnings"

Eddie Adams: Vietnam

Eddie Adams

The first book by one of the world’s legendary photojournalists, Eddie Adams: Vietnam is a long-awaited landmark. Adams’ 1968 Pulitzer Prize–winning photograph cemented his reputation in the public eye and stands forever as an icon for the brutality of our last century: the image of Nguyen Ngoc Loan, police chief of Saigon, firing a bullet at the head of a Vietcong prisoner. Adams’ image fueled antiwar sentiment that ultimately changed the course of history.

Adams’ life in the headlines took him to the remotest corners of this troubled, beautiful planet compiling a historic record of the days of our lives. His forty-five-year career covered thirteen wars and amassed some five hundred photojournalism awards. He was a man to whom Clint Eastwood said, “Good shot;” Fidel Castro said, “Let’s go duck hunting;” and the Pope said, “You’ve got three minutes.” This is the man behind the Pulitzer Prize–winning picture that changed the world in 1968.

Through astonishing never-before-seen pictures, articles written by Adams, pages from journals, and other artifacts, one great journalist’s experience of the war is told in gripping detail.

Edited by Alyssa Adams, with an essay by AP Bureau Chief Hal Buell, and contributions by Peter Arnett, Tom Brokaw, David Halberstam, George Esper, David Kennerly, Dirck Halstead, Tom Curley, Kerry Kennedy, and more, this is a classic of modern history and photography.

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, anti-semitism, fascism, 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.

Ray Spillenger: Rediscovery of a Black Mountain Painter

Theodore Stebbins Jr., Paul Spillenger

This is a catalogue for an exhibition held January 22 - May 21, 2016 at Black Mountain College Museum + Arts Center and August 28 - December 23, 2016 at Neuberger Museum of Art, SUNY Purchase, curated by Theodore E. Stebbins, Jr. Includes essays by Stebbins and Paul Spillenger.

Ray Spillenger studied with Willem de Kooning and Josef Albers at Black Mountain College during the summer of 1948. This exhibition comprises two decades of his work from the BMC era to the late 1960s. Spillenger's paintings demonstrate a total commitment to abstraction and a passionate love of color. After leaving Black Mountain College, Spillenger moved to New York City, where he became a member of "the Club," Cedar Tavern regular, and friend to Abstract Expressionist luminaries including Franz Kline, Jackson Pollock, and Philip Guston. Despite significant contributions to the formation of the New York School, Spillenger did not find commercial and critical success. Ray Spillenger: Rediscovery of a Black Mountain Painter re-examines 20th-century American art history through a corpus of work never shown to the public.

Sister

Jim Lewis

First published in 1993, Sister is a story of love and violence bearing justice. In author and critic Jim Lewis’ first novel, an orphaned, 17-year-old Wilson leaves his Nebraska home and heads south to Mississippi. There, he finds work as a gardener on the estate of the Miller clan—a nuclear family with two lovely daughters, Marian and Olivia, living in compliant happiness. Wilson’s surreptitious presence soon casts a quiet path of destruction through the Miller home with very tangible results for the sisters. Twenty years after its original publication, Lewis’ lyrical, atmospheric novel remains exacting in its appraisal of young love linked to loss and unnerving in its examination of the isolated American family.

Ghana Amer: Rainbow Girls

Ghana Amer, Anne Creissels

This is a catalog for the exhibition of the Egyptian-born, New York-based artist Ghada Amer at Cheim & Read.

Ghada Amer is well known for brightly-colored, embroidered “paintings” in which depictions of women, often appropriated from soft-porn magazines, are carefully stitched and sewn on the canvas. Extra thread is left to hang from the images’ contours like drips and splashes of paint, abstracting and obscuring the figures. By using the traditionally feminine, domestic activity of embroidery to re-contextualize her subject, Amer confronts cultural objectification of the female form, repositioning it for a feminist dialectic. In new works for this exhibition, all completed between 2012 and 2014, Amer also introduces text – both English and Arabic – to her compositions, thus merging language with form and literally weaving the two together. Where previously images were repeated and patterned across the canvas, now words and phrases, borrowed from feminist texts and manifestos, reverberate in chant-like rhythm, providing underlying cadence to the oversized, come-hither renderings of women’s faces.

Lee Bul: Live Forever, Act II

Bul Lee

Live Forever is a multi-media installation consisting of three karaoke pods in the form of futuristic race cars, and three original videos. This ambitious project continues Lee’s investigation of karaoke, a form of entertainment that has been wildly popular in Asian urban centers for over a decade. Her earlier project exploring the subject was Gravity Greater Than Velocity, an installation first exhibited at the Venice Biennale in 1999. Each karaoke pod in Live Forever was first carved in Styrofoam, which was then used to cast the forms in fiberglass. The interiors are upholstered in leather, and equipped with sound systems and a small video monitor that plays one of three videos—Amateurs, Anthem, or Live Forever—while the words of the chosen song scroll by. The enclosed pods are comfortable and private, allowing individual participants to sing their favorite song at full volume should they desire to do so. While the audio is not played outside the karaoke booths, the video and lyrics are projected onto the wall opposite each pod, a gesture that heightens the ambivalence between public and private that characterizes each participant’s performance.

Nexus Texas

Linda Sherer

Published on the occasion of the eponymous exhibition at Contemporary Arts Museum Houston in 2007, this catalog provides selected biographies and bibliographies of artists including Sterling Allen, Roberto Bellini, Amy Blakemore, Justin Boyd, Margarita Cabrera, Augusto Di Stefano, Leslie Hewitt, Lauren Kelley, El Franco Lee II, Richard Patterson, Paul Slocum, Cauleen Smith, George Smith, Michael Smith, Gary Sweeney, and Jeff Zinn.

The exhibition and catalog highlight some of the inventive ways artists forge their own visions as they negotiate art and life in Texas and the world. The catalogue includes an essay by Toby Kamps; entries of the featured artists by Toby Kamps, Paola Morsiani, and Valerie Cassel Oliver; and complete biographical and bibliographical information on the participating artists.

YES Yoko Ono

Alexandra Munroe

A fully illustrated retrospective look at the long and influential career of a challenging avant-garde artist reviews forty years of Ono's work, including films, music, and Conceptual art, and includes thought-provoking essays from respected scholars and a music CD.

Born in Tokyo in 1933, Yoko Ono moved to New York in the mid-1950s and became a critical link between the American and Japanese avant-gardes. Ono's groundbreaking work greatly influenced the international development of Conceptual art, performance art and experimental film and music. In celebration of Ono's eightieth birthday in 2013, the Schirn Kunsthalle Frankfurt organized a major traveling retrospective.

Dan Rice at Black Mountain College : Painter Among the Poets

Dan Rice, Brian Butler

This is a catalogue for an exhibition held September 5, 2014-January 10, 2015 at Black Mountain College Museum + Arts Center, with essays by exhibition curator Brian E. Butler focusing on the painting of Dan Rice from the 1950s and 1960s, and on his associations and collaborations with the poets of that time. Black Mountain College during the 1950s was a center of intense literary activity under the influence of Charles Olson, Robert Creeley, and to a lesser extent Robert Duncan. Rice was in the thick of it, busy designing, painting, building and offering his intelligent leadership to the frequent campus conflicts.

Denkmal

Jan De Cock

Denkmal is part of the series of “Denkmal” publications. The title itself places the work amidst the Belgian artist’s critically renowned sculptural installations, which he also titles “Denkmal,” borrowing the German word for monument. A 650-page compendium of images and texts, Denkmal ISBN 9789080842434 [III] offers a monument to modern history that is cinematic in nature and epic in scope.

Jan De Cock’s “Denkmal” installations have been exhibited at Henry Van de Velde library in Ghent (2004), the Schirn Kunsthalle in Frankfurt (2005) Tate Modern in London (2005), the Haus Konstruktiv in Zurich (August-October, 2006), Casa del Fascio in Como, Italy (October, 2006) and the Museum of Modern Art in New York (2008).

Architecture Box Set
(13 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.

Boats Crosses Trees Figures 1977-78

Peter Halley

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

Perspectives@25: A Quarter-Century of New Art in Houston

William Wegman, Cindy Sherman, Brian Eno, Philip Glass, John McCraken, Al Souza, Christian Boltanski, Sophie Calle (Artist), Eric Fischl (Artist), Eva Hesse (Artist), Gary Hill (Artist), Barbara Kruger (Artist), Roy Lichtenstein, Robert Longo, Yoko Ono, Robert Rauschenberg, Nayland Blake, Ross Bleckner, Laurie Anderson

Encapsulating 143 exhibitions with illustrations of work by 77 of the over 800 artists who participated, Perspectives@25: A Quarter Century of New Art in Houston celebrates the 25th anniversary of the Contemporary Arts Museum Houston's Perspectives series (one of the first in the U.S. to focus on contemporary art developments). In this beautifully designed and lavishly illustrated book, art lovers learn about an important aspect of the history of the Houston contemporary art scene, while scholars gain insight into the history of the contemporary exhibition through a series of texts: essays, facts, reminiscences and anecdotes. Also included is a complete list of all artists who have exhibited their work at Perspectives, and an illustrated chronology documenting the series and its exhibitions.

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 Music Of The Spheres: Art Works of Mark Mathews

Robert Crafton, Mark Matthews

Mark Matthews has been making marbles for 35 years. Some―the banded lutzes and opaques, the latticino and solid and vane cores, the clambroths, onionskins, and peppermints―acknowledge their nineteenth century roots. Others―the precision air traps, the filigranas, the graals―employ techniques never before used in the making of marbles. Matthews makes marbles―spherical glass objects, to be sure, but glass spheres invested with a meaning, a significance, an aesthetic vision and purpose. In this sense, the marble is a means to an end, not an end in itself. Aesthetics―issues of form and color theory―combine with investigations into the physical and chemical properties of glass, which, in turn, engage social history and economic concerns, and all in the unlikely form of the marble, a crystalline sphere which, in Matthews’ hands, produces its own kind of music.

Individuals: Portraits from the Gap Collection

One of the most enduring and innovative advertising campaigns of recent times came from the Gap, the now-ubiquitous clothing store that began in 1969 as a single shop on San Francisco’s Ocean Avenue. The 1987 financial crisis had made 1988 a difficult year for the rapidly expanding company. The Gap responded with its game-changing “Individuals of Style” campaign, featuring Vanity Fair-quality portraits of people from all walks of fame wearing the Gap’s pocket tee shirts. This book is a retrospective of those ads, shot by top photographers such as Annie Leibovitz.

Mario Merz: Selected Works 1967 – 1982

Mario Merz was a central figure in the Arte Povera movement that emerged in Italy in the late 1960s. Formally related to Postminimalism in the United States and Mono-ha (School of Things) in Japan, Arte Povera challenged the traditional values placed on art objects by dissolving sculpture into performance. To this end, Merz pursued installations that are at once autonomous and open-ended, using the Fibonacci sequence as a symbol and structure, and employing widely varying materials like fruits, twigs, wax, tar, wire, and neon tubes, which at times spell out political aphorisms and at other times graft onto the architecture that hosts them.

Produced by Sperone Westwater Gallery in 1995, this is a rare, out-of-print catalog of Merz's work from 1967 to 1982.

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.

Maria Thereza Alves: Seeds of Change

Carin Kuoni, Wilma Lukatsch

In an era of climate change, extractivist economies, and forced mobility, who and what belongs? Throughout her prolific career, Brazilian artist Maria Thereza Alves has focused precisely on this question. Perhaps her most iconic, generative, and expansive work is Seeds of Change, a twenty-year investigation into the hidden history of ballast flora—displaced plant seeds found in the soil used to balance shipping vessels during the colonial period.

The project examines the influx and significance of imported plants, materializing at port cities across several continents: Marseille, Reposaari, Liverpool, Exeter and Topsham, Dunkerque, Bristol, Antwerp, and most recently New York, where it was awarded the Jane Lombard Prize for Art and Social Justice by the Vera List Center for Art and Politics at The New School. In each city, Seeds of Change has revealed the entangled relationship between “alien” species and the colonial maritime trade of goods and enslaved peoples, contrasting their seemingly innocuous beauty with the violent history associated with their arrival. By focusing on ballast flora, Alves invites us to de-border postcolonial historical narratives and consider a “borderless history.”

The first monograph of Alves’s historic project, Seeds of Change is edited by Carin Kuoni and Wilma Lukatsch and features essays by the artist as well as Katayoun Chamany, Seth Denizen, Jean Fisher, Yrjö Haila, Richard William Hill, Heli M. Jutila, J. Kēhaulani Kauanui, Lara Khaldi, Tomaž Mastnak, Marisa Prefer, and Radhika Subramaniam.

Louis Stone: The Path to Abstraction, 1928-1945

Louis Stone: The Path to Abstraction, 1928-1945 is the catalog of an eponymous exhibition at Michael Rosenfeld Gallery in 2006. The exhibition includes thirty oil paintings dating from 1928 to 1945, offering a comprehensive overview of the artist’s evolution from a traditional landscape and still-life painter to a bold, avant-garde modernist. Attracted to vibrant colors in tonal and spatial harmony, his abstract images evoke figures and suggest objects which become traceable motifs across a distinctive body of work. In the fully illustrated exhibition catalogue, Joseph Jacobs writes “Stone’s work absorbs, transforms, and reflects the social, historical, and aesthetic concerns of his period. Today, we examine his work not just because it has been uncovered and brought to light, but because postmodern aesthetics is willing to look at those artists ignored by the modernist critique.”

Mary Callery

Mary Callery

This is a book that showcases the works of American sculptor Mary Callery. The book features an exhibition of her sculptures that took place between March 15 and April 9, 1955. The exhibition was held at an unspecified location and was curated by an unknown curator. The book contains a collection of black and white photographs of Callery's sculptures, along with brief descriptions of each piece. The book also includes an introduction written by an unknown author, which provides some background information on Callery's life and artistic career. Overall, Mary Callery: Exhibition, March 15 to April 9, 1955 is a valuable resource for anyone interested in the works of Mary Callery or mid-twentieth century American sculpture.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

Cheerfulness: A Literary and Cultural History

Timothy Hampton

Cheerfulness: A Literary and Cultural History tells a new story about the cultural imagination of the West wherein cheerfulness — a momentary uptick in emotional energy, a temporary lightening of spirit — functions as a crucial theme in literary, philosophical, and artistic creations from early modern to contemporary times. In dazzling interpretations of Shakespeare and Montaigne, Hume, Austen and Emerson, Dickens, Nietzsche, and Louis Armstrong, Hampton explores the philosophical construal of cheerfulness — as a theme in Protestant theology, a focus of medical writing, a topic in Enlightenment psychology, and a category of modern aesthetics. In a conclusion on cheerfulness in pandemic days, Hampton stresses the importance of lightness of mind under the pressure of catastrophe. A history of the emotional life of European and American cultures, a breathtaking exploration of the intersections of culture, literature, and psychology, Cheerfulness challenges the dominant narrative of Western aesthetics as a story of melancholy, mourning, tragedy, and trauma. Hampton captures the many appearances of this fleeting and powerfully transformative emotion whose historical and literary trajectory has never before been systematically traced.


Nongovernmental Politics

Michel Feher (Editor), Gaëlle Krikorian (Editor), Yates McKee (Editor)

To be involved in politics without aspiring to govern, be governed by the best leaders, or abolish the institutions of government: such are the constraints that delineate the condition common to all practitioners of nongovernmental politics. What these activists seek to accomplish ranges considerably: providing humanitarian aid, protecting the environment, monitoring human-rights and civil-liberties violations, adding new entitlements to the list of fundamental rights and liberties, defending the interests of corporations’ stakeholders ― workers, suppliers, consumers ― and expanding public access to knowledge are only the most frequent among their pursuits. Yet, heterogeneous concerns notwithstanding, what all involvements in nongovernmental politics have in common is that they are predicated on an intolerance for the effects of a particular set of governmental practices. In other words, the issue that specifically concerns nongovernmental activists is not who governs but how government is exercised.

Nongovernmental Politics offers a groundbreaking survey of the rapidly expanding domain of nongovernmental activism. The critical essays, profiles of NGOs, and interviews with prominent activists included in this volume attest to the diversity of nongovernmental politics but also to the common predicaments faced by its practitioners ― predicaments regarding their legitimacy, strategy, and grievances. This book first examines the various motives ― such as defending rights, providing care, supporting fair claims, facilitating access ― that nongovernmental activists invoke to justify and specify their modes of intervention. It then successively analyzes the ways in which nongovernmental agencies construct their credibility and publicize their cause, and explores some sites, such as borders and disaster zones, which have a particular significance for nongovernmental work. Finally, Nongovernmental Politics focuses on the competing designs ― wresting civil society from the control of an unaccountable state, shaking the global dominance of corporate interests, hastening the return of the Savior, restoring the order prescribed by the Prophet ― that currently preside over the endeavors of nongovernmental activists.

New York

Tama Janowitz

Diverse and vivacious, artistic, audacious, and always inspirational, there are many definitions of New York.

In a photographic tour that goes beyond the clichés of this spirited city, Assouline presents a unique portrait of New York City with pictures that are at once modern, elegant, and bold. From its intimate details to its iconic architecture, here are over 900 images that illuminate the mantra, Only in New York. There is Central Park and Carnegie Hall, of course, but also Mott Street, Jackson Heights and the Apollo.

With an entertaining introduction by Tama Janowitz and an appendix of Assouline's favorite hotels, restaurants, museums, and special services, New York is the quintessential illustrated volume on the world s greatest city.

Don Gummer

Don Gummer

The trajectory of Don Gummer’s career as a sculptor began in New York City in the late 1970s with his wall reliefs of painted wood, carefully layered geometric works exhibiting a strong architectural influence. Moving beyond wood to stone, bronze, stainless steel, aluminum, and glass as his primary materials, his artworks evolved into subtly inventive freestanding sculptures, often of monumental scale, that exhibit his unfailing attention to craftsmanship and detail. The Artist Book Foundation is delighted to announce the forthcoming publication of Don Gummer, a new monograph on the artist and his highly acclaimed body of work.

Memories of the Southern Civil Rights Movement

Danny Lyon

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

Studies into Darkness: The Perils and Promise of Freedom of Speech

Carin Kuoni

There have been few times in US American history when the very concept of freedom of speech—its promise and its contradictions—has been under greater scrutiny. Guided by acclaimed artist, filmmaker, and activist Amar Kanwar, the Vera List Center for Art and Politics at The New School convened a series of public seminars on freedom of speech with the participation of some of the most original thinkers and artists on the topic. Structured as an open curriculum, each seminar examined a particular aspect of freedom of speech, reflecting on and informed by recent debates around hate speech, censorship, sexism, and racism in the US and elsewhere. Studies into Darkness emerges from these seminars as a collection of newly commissioned texts, artist projects, and resources that delve into the intricacies of free speech. Providing a practical and historical guide to free speech discourse and in-depth investigations that extend far beyond the current moment, and featuring poetic responses to the crises present in contemporary culture and society around expression, this publication provocatively questions whether true communication is ever attainable.

Contributions by Zach Blas, Mark Bray, Natalie Diaz, Aruna D’Souza, Silvia Federici and Gabriela López Dena, Jeanne van Heeswijk, shawné michaelain holloway, Prathibha Kanakamedala and Obden Mondésir, Amar Kanwar, Carin Kuoni, Lyndon, Debora, and Abou, Svetlana Mintcheva, Mendi + Keith Obadike, Vanessa Place, Laura Raicovich, Michael Rakowitz, Kameelah Janan Rasheed, and Nabiha Syed.

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.

Cinema Remixed and Reloaded: Black Women and the Moving Image Since 1970

Valerie Cassel Oliver, Andrea Barnwell Brownlee

Cinema Remixed and Reloaded is a daring, bold, innovative look at black women artists and video art. This historical survey examines an intriguing and unbounded scope of work, including experimental film, projections, and installations. Creative projects by established artists who became interested in time-based media several decades ago, such as Camille Billops, Barbara McCullough, Howardena Pindell, and Adrian Piper, are presented alongside such midcareer artists as Berni Searle, Lorna Simpson, Kara Walker, and Carrie Mae Weems, who continually garner international acclaim. Works by emerging artists, including Elizabeth Axtman, Debra Edgerton, Lauren Kelley, Jessica Ann Peavy, Pamela Sunstrum, and Lauren Woods, are also featured. While exploring personal experiences and dissecting popular visual culture, the artists in Cinema Remixed and Reloaded provide relevant views on several important topics--memory, loss, alienation, racial politics, gender inequities, empowerment, and the pursuit of power.

It is a catalog for the eponymous exhibition at the Contemporary Arts Museum Houston in 2009. The exhibition was co-organized by Valerie Cassel Oliver, curator at the CAMH, and Dr. Andrea Barnwell Brownlee, director of the Spelman College Museum of Fine Art in Atlanta, this exhibition is the first to consider a collection of almost fifty works by black women artists who pioneered time-based media.

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