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.


I-DEA The Goddess Within

Maxine Henryson, Hunter Reynolds

I-DEA, The Goddess Within is an artist book of 54 iconic color photographs and diary texts documenting the historic collaboration between the performance artist Hunter Reynolds (1959–2022), aka Patina du Prey and art photographer Maxine Henryson. From 1993 to 2000, Henryson and Reynolds traveled to Berlin, Antwerp, Los Angeles, New York and other cities, creating guerrilla-like street performances and interventions.

Spinning in a large white dress, Patina existed as a mythical dervish figure that deliberately disrupted gender norms in order to relate to the viewer as a shamanistic trans-gendered embodiment of fantasy and healing. In unannounced and confrontational street actions, Henryson and Patina du Prey communicated kinesthetically like satellites as the world passed between them.

"An integral player in each performance, Henryson guaranteed spectators’ attention—What’s going on here? Who is she photographing? The accompaniment promised safety, as Patina danced and commandeered a scene, directly engaging onlookers, fielding and provoking confrontations. The pictures betray a range of viewers’ reactions, from shock, delight, bewilderment, indifference, aggression, to contempt.They testify to the symbiotic relationship between performer and chronicler amid the ever-changing frame of spectators." — Julie Ault

Hunter Reynolds (1959–2022) has for over 25 years explored issues of gender, sexuality, HIV/AIDS, politics, mortality, and rebirth through performance, photography, installations, and his alter ego, Patina du Prey. His work is directly influenced by his own lived experiences as an HIV-positive gay man living in the age of AIDS. As a member of ACT UP (AIDS Coalition to Unleash Power) and a co-founder of Art Positive (an affinity group fighting homophobia and censorship in the arts), he used his work to spread a message of survival and hope. The Estate of Hunter Reynolds is represented by P.P.O.W.

Maxine Henryson lives and works in New York and Vermont. A photographer and bookmaker, her work is about place, geographic space and the search for cultural interconnectivity. Her photographic practice draws from traditions including painting, film, performance, installation and sculpture. Henryson’s photographs have been widely exhibited in the United States and Europe and are in numerous private and public collections. Maxine Henryson is represented by A.I.R. Gallery, New York.

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?

Defaced: The Visual Culture of Violence in the Late Middle Ages

Valentin Groebner

From the fourteenth century on, the artifacts of Western visual culture became increasingly violent. Destroyed faces, dissolved human shapes, devilish doppelgängers of the sacred: violence made real people nameless exemplars of formless, hideous horror. In Defaced, the historian Valentin Groebner provides a highly sophisticated historical, cultural, and political model for understanding how late-medieval images and narratives of “indescribable” violence functioned.

Early modern images formed part of a complex, often contested, system of visualizing extreme violence, as Groebner reveals in a series of political, military, religious, sexual, and theatrical microhistories. Intended to convey the anguish of real pain and terror to spectators, violent visual representations made people see disfigured faces as mirrors of sexual deviance, invisible enemies as barbarian fiends, and soldiers as bloodthirsty conspirators wreaking havoc on nocturnal streets.

“Should be required reading for historians of art and literature of the period.” –Joseph Leo Koerner

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.

Nongovernmental Politics

Michel Feher, Gaëlle Krikorian, Yates McKee

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.

Prince Eagle

Elizabeth Peyton

Obsessed by the life of Napoleon, Elizabeth Peyton met a man who bore a striking resemblance to the emperor, and began this series of striking paintings and photographs depicting her obsession with him.

Elizabeth Peyton, born in Danbury, Connecticut, received her BFA from the School of Visual Arts, New York. She has exhibited her work at venues around the world, including the Venice Biennale; the Saatchi Gallery, London; the Los Angeles County Museum of Art; and P.S. 1 Contemporary Art Center, New York. Her work is in museums worldwide including the Museum of Fine Arts, Boston; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and The Museum of Modern Art, New York. Prince Eagle is Peyton’s fifth monograph. She lives and works in New York.

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).

Glaring

Benjamin Krusling

Glaring: a sustained look of anger, an obvious fact, a situation of such brightness and intensity that vision is obscured. In his debut book of poems, Benjamin Krusling is concerned with reading domination and violence and entering their psychotic motion, the better to do otherwise. Through the thicket of anti-blackness, militarism, surveillance, impoverishment, and interpersonal abuse and violence, Glaring investigates the things that haunt daily life and make love difficult, possible, necessary.

Benjamin Krusling's Glaring is the winner of our 2019 Open Reading Period Book Prize, and was selected by guest judge Lucy Ives. It is the first book in the Passage Series.

The Clearing

JJJJJerome Ellis

JJJJJerome Ellis’s The Clearing asks how stuttering, blackness, and music can be practices of refusal against hegemonic governance of time, speech, and encounter. Taking his glottal block stutter as a point of departure, Ellis figures the aporia and the block as clearing to consider how dysfluency, opacity, and refusal can open a new space for relation. Stemming from Ellis's essay "The clearing: Music, dysfluency, Blackness, and time,” published in 2020 in the Journal of Interdisciplinary Voice Studies (Volume 5, Issue 2) the present volume transcribes and translates his investigation across genres and media, turning to the page to ask: How can a book bear the trace of music, and the racialized, disabled body? Can a book be not just a manuscript, but a glottoscript? Ellis opens space for thinking liberation theoretically, historically, and lyrically.

Ritual and Capital

Ritual and Capital is an expansive volume that collects an interdisciplinary range of voices and genres that reflect on ritual as a form of resistance against capitalism. The poems, essays, and artworks included in this anthology explore habits and practices formed to subvert, subsist, and survive under the repression of capital. These works explore the refuge in ritual, how ritual practices might endow objects with qualities that resist market values, the use of ritual in embodied practices of healing and care, and how ritual strengthens communities.

The publication of Ritual and Capital is the culmination of a series of public readings organized by Wendy’s Subway as part of the Spring 2016 Reading Room residency at the Bard Graduate Center. Co-published by the Bard Graduate Center and Wendy’s Subway, Ritual and Capital is the first title in the BGCX series, a publication series designed to expand time-based programming after the events themselves have ended. Springing from the generative spontaneity of conversation, performance, and hands-on engagement as their starting points, these experimental publishing projects will provide space for continued reflection and research in a form that is inclusive of a variety of artists and makers.

An Eros Encyclopedia

Rachel James

To want to reveal; to want to reveal enough; to desire; to desire in the right way, the right amount: in her debut book, Rachel James narrates the desiring subject’s nuanced and entangled intimacies with histories of power. How, in other words, under patriarchy, against misogyny, within capitalist strictures, is knowledge shaped, contained, and transferred? Tracing traditions of theater, pedagogy, and faith, An Eros Encyclopedia offers up desire and the attunement to its many objects as the atmosphere of a life—a method to navigate, perceive, and relate against the illusion of separation.

Rachel James (b. Toronto, Canada) is a poet and artist with a background in experimental ethnography. She has presented her work in the United States, Canada, and Europe, including at Miguel Abreu Gallery and Essex Flowers in New York City, Kelly Writers House in Philadelphia, The New Gallery in Calgary, and Totaldobže in Riga. Her poems have been published by The Recluse and Form IV. As an audio documentarian she has worked with BBC Radio, WNYC, The Organist, and others. She holds an MFA from the Milton Avery Graduate School for the Arts at Bard College and has taught seminars on performance scores and essay films. She lives in New York City.

Americón

Nico Vela Page

Nico Vela Page’s Americón is a collection of poems in Spanglish that weaves a space for the queer, trans body to know the land, and itself, as extensions of each other. The land is the desert of Northern New Mexico, the forgotten Pan-American Highway, the space between our thighs, the quaking cordillera of Chile, the moans of elk, and the ripe fruit waiting to be picked. Through archive, attention, and erotic ecopoetics, Page’s debut collection of poems extends far across the page, the gender binary, language, and the Americas to find out who we are by asking where we are.

Nico Vela Page is a documentary poet and filmmaker whose work is rooted in a variety of research practices. She is Chilean-American, trans, non-binary femme, and is living on Narragansett land, in Providence, RI, where she recently got her BA from Brown University. Nico works in the permeable edges of gender, language, and place, often mixing mediums, always dancing their way through. They are learning to garden.

Nicolás Guagnini / David Joselit: Session

Nicolás Guagnini, David Joselit

Session is slightly edited transcription of Analysis, a performance by Nicolás Guagnini and David Joselit that took place September 28, 2019 between 7 and 7:50 pm at Bortolami Gallery, New York. Analysis coincided with the artist’s exhibition Asociación Psicoanalítica Argentina. Session has been annotated, via footnotes, with intimate and often humorous reflections by Joselit in the role of psychoanalyst.

As with most A.R.T. Press publications, the book foregrounds the conversation form – in this case, by playfully adopting the format of a psychoanalytical session, confounding and challenging the role of artist and analysand, art critic and analyst.

Rachel Harrison / Haim Steinbach

Rachel Harrison, Haim Steinbach

This book compiles, in loose chronological order, some of the many pictures that Rachel Harrison and Haim Steinbach exchanged via text-message between 2008 and 2020. Through humour and visual wit that ranges between incisive commentary and an enigmatic private language, the book chronicles an unfolding friendship, ways of seeing and engaging materiality, the textures of the everyday, and the turbulent social and political events amidst which the conversation occurs.

Part of the Between Artists series by A.R.T. Press.

Charles Seliger: Ways of Nature

Charles Seliger

In Ways of Nature, Charles Seliger (American, b.1926) presents nineteen paintings on Masonite completed between 2006 and 2008. The artist’s works are all dense, small-scale, organic abstractions that celebrate the structural complexities of natural forms—both real and imagined. In the accompanying exhibition catalogue, Michelle DuBois writes, "In each and every painting, he represents and enacts the struggle for control between chaos and order as it occurs in nature, and as it unfolds in the creative process he personally undergoes when creating a painting. Charles Seliger’s paintings about what lies below or beyond the visible in nature are fundamentally about the nature of his own subjectivity and creative process."

Like many artists of his generation, Seliger was deeply influenced by the surrealists’ use of automatism, and throughout his career, he has cultivated an eloquent and poetic style of abstraction that explores the dynamics of order and chaos animating the celestial, geographical, and biological realms. Attracted to the internal structures of plants, insects, and other natural objects and inspired by a wide range of reading in natural history, biology, and physics, Seliger creates abstractions that pay homage to nature’s infinite variety. His paintings have been described as “microscopic views of the natural world,” and although the characterization is appropriate, his work does not directly imitate nature so much as suggest its intrinsic structures.

Born in New York City and raised in Jersey City, Seliger spent his teenage years making frequent trips back across the Hudson to Manhattan’s many museum and gallery exhibitions. Although he never completed high school or received formal art training, Seliger immersed himself in the history of art and experimented with different painting styles including pointillism, cubism, and surrealism. In 1943, he befriended artist Jimmy Ernst and was quickly drawn into the circle of avant-garde artists championed by Howard Putzel and Peggy Guggenheim. Two years later, at the age of nineteen, Seliger was included in Putzel’s groundbreaking exhibition A Problem for Critics at 67 Gallery, and he also had his first solo show at Guggenheim’s legendary gallery, Art of This Century. At this time, Seliger was the youngest artist exhibiting with members of the abstract expressionist movement, and he was only twenty years old when the Museum of Modern Art acquired his painting Natural History: Form within Rock (1946) for their permanent collection. Shortly after, in 1950, Seliger obtained representation from Willard Gallery. While exhibiting there, he formed close friendships with Mark Tobey, Lyonel Feininger, and Norman Lewis.

By 1949, Seliger had his first major museum exhibition at the de Young Memorial Museum in San Francisco, and since then, he has had over forty-five solo exhibitions at prominent galleries in New York and abroad. In 1986, Seliger was given his first retrospective at the Solomon R. Guggenheim Museum, which now holds the largest collection of his work. In addition to the Guggenheim, he is represented in numerous museum collections, including the British Museum, Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art, and the Wadsworth Atheneum. In 2003, at age seventy-seven, Seliger received the Pollock-Krasner Foundation’s Lee Krasner Award in recognition of his long and illustrious career. In 2005, the Morgan Library and Museum acquired his journals—148 hand-written volumes produced between 1952 and the present. Scholars like Michelle DuBois—who is completing the first doctoral dissertation on Seliger, “The Structure of Becoming:” Charles Seliger’s Complex Expressionism — now have access to his introspective writing, which covers a vast range of topics across the span of six decades.

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

Burgoyne Diller

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

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

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

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

Burgoyne Diller: Collages

Burgoyne Diller

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

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

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

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

Betye Saar: Colored - Consider the Rainbow

Betye Saar

In Colored: Consider the Rainbow, Betye Saar (American, b.1926) presents thirty recent assemblages and collages that are among the finest works of her career. These new autobiographical works portray the tangled roots of her ancestry and deal with her interpretation and perception of prejudice, often among African-Americans themselves, in reaction to the blending and merging of skin colors and cultures.

The work in Colored: Consider the Rainbow, engages one of the most painful and systematically damaging pathologies of slave-plantation culture known as the "Skin Game." Through the medium of collage, Saar describes "how our past has programmed us to judge ourselves and each other by skin color as well as class and occupation. By defining who we are by the color of our skin, by calling each other names from rude insults to terms of endearment, is in a way, a continuation of slavery. In reality, all the things that hold us together as African American are as varied as the things that make us unique." Colored: Consider the Rainbow also addresses the difficult and conflicted relationships that African Americans have with the attitudes, language and character of calling each other names based on skin color. In the catalogue essay, Dr. Leslie King-Hammond states that this practice “continues to debilitate and sabotage African Americans’ sense of integrity, dignity and personhood. In addition, this type of verbal classification and name-calling undermines the dominant culture’s ability to confront its own racism, it perpetuates attacks on the humanity of African Americans, and it impedes the full partnership of African Americans within the democratic ideals of the United States.”

Betye Saar is an artist who has worked as a visionary, a healer, a resistance fighter and a maker of objects and images that embody the power, spirituality and beauty she sees in the ethos of African-American culture. Born in Los Angeles, she graduated from the University of California and continued graduate studies at California State University at Long Beach, the University of Southern California and California State University at Northridge. Saar is known for her multimedia collages, box assemblages, altars and installations consisting of found materials. In her work, Saar voices her political, racial, religious and gender concerns in an effort to “reach across the barriers of art and life, to bridge cultural diversities and forge new understandings.” Saar has received numerous awards of distinction including two National Endowment for the Arts Fellowships (1974, 1984), a J. Paul Getty Fund for the Visual Arts Fellowship (1990) and a Flintridge Foundation Visual Artists Award (1998). In 1994, Saar, along with artist John Otterbridge, represented the United States at the 22nd Biennial of Sao Paulo in Brazil. A role model for generations of African-American women, Saar has raised three daughters, two of whom (Alison and Lezley) are also accomplished artists. Saar continues to work and live in Los Angeles.

This catalog includes an essay by Dr. Leslie King-Hammond.

Parkett

Various

Parkett provides a one-of-a-kind, one-stop survey and archive on and with contemporary artists from around the world. Its 101 publications were published from 1984 - 2017 and include direct collaborations with compelling contemporary artists. In total 270 artists’ portraits have been published, each comprising of three to five texts by renowned authors and curators. All collaborating artists also created an editioned artwork, whose form could take any shape; from prints, sculptures, installations, media works, to paintings and drawings.

Parkett discovers art from the inside out, it does not report on art from the outside in; each volume focuses on several of the world’s most inspiring artists, from El Anatsui to Andy Warhol, Louise Bourgeois, Cao Fei, Tracey Emin, Anish Kapoor, Yang Fudong, Gerhard Richter, Beatriz Milhazes, Danh Vo, Trisha Donnelly, Urs Fischer, Theaster Gates, and many more, who actively participated in creating the publication down to the selection of the visuals and the page layout.

Grímsey

Cole Barash

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

Rugby

Daniel D'Ottavio

In 2008, the New York Athletic Club Rugby Team won the coveted Rugby Super League Championship. During this historic season, Daniel D'Ottavio followed the team's home games at Travers Island, photographing the action on the field and on the sidelines with only a handheld medium format camera.

The result is no ordinary sports photography. If you seek out rugby photography, you will find many images that depict the game as we - the spectators, the outsiders - see it. Instead, Daniel's images show us the game as the players see and experience it.

Daily, In A Nimble Sea

Barry Stone

Daily, In A Nimble Sea is an anagram of Bailey Island, Maine, where a tiny stretch of coastline is incessantly transformed by the interactions of fog, sun, and tides. When the tide goes out, a rocky field of seaweed is revealed. To walk across it is to traverse the ocean floor in the open air. It is a magical place, and for seven summers the artist has watched his children grow and change against this backdrop. Photographs put up a feeble defense against the passage of time: the still image halts the waves from breaking, only to paradoxically heighten our awareness of their inevitable movement forward.

These pictures were made with a digital camera. The code of a digital photograph also forms a kind of picture, expressed as a field of symbols. Like an anagram, these symbols can be rearranged and purposely disordered, resulting in gestural aberrations or glitches in the original image. The resulting images represent a fantasy of fatherhood, endless horizons, and malleable realities.

Note(s): Work(ing) Process(es) Re: Concerns (That Take On / Deal With)

Dara Birnbaum

Originally created in 1977 as a single handmade copy, Dara Birnbaum’s Note(s): Work(ing) Process(es) Re: Concerns (That Take On / Deal With) gathers writings, working drawings, photographic documentation, and ephemera from the artist’s earliest video and installation works. The publication was originally produced by Birnbaum and exhibited in Notebooks, Workbooks, Scripts, and Scores at Franklin Furnace in 1977. The book’s vinyl cover and section dividers, hand-folded pages, and color images have all been reproduced, and Alex Kitnick provides a new introduction.

Note(s) provides a rare look into Birnbaum’s early investigations of video art and its relationship to television. Her work of this period orchestrates a complex circuit of viewership and representation, in which her interest in psychoanalytic concepts—projective identification, regression, resistance, and intersubjectivity—are analyzed in tandem with the formal and interpersonal politics of image making. These investigations lay the groundwork for the artist’s breakthrough works, such as Technology/Transformation: Wonder Woman and Kiss the Girls: Make Them Cry, in which she appropriates popular television programs to critique the language and images of networked television.

Featured works include Back Piece (1975), Attack Piece (1975), Mirroring (1975), Liberty: A Dozen or So Views (1976), Relationship Perspectives: Perspective Relationships (1976–77), America: Land of Contrasts (A Day of Awakening) (A Shot in the Dark) (1976–77), Pivot: Turning Around Suppositions (1976), and Lesson Plans to Keep the Revolution Alive (1977).

Dara Birnbaum was born in New York City in 1946, and studied architecture at Carnegie Mellon University and painting at the San Francisco Art Institute. Recognized as one of the first artists to manipulate television footage to “talk back to the media,” Birnbaum enlists video technology and mass media images to deconstruct and redefine cultural, personal, and historical mythologies. Drawing from critical theory, literature, and feminist thought, Birnbaum matrixes film techniques such as dramatic wipes and layered images onto works that are deeply introspective and experiential. Her work has been widely exhibited, including at MoMA PS1, New York (2019); National Portrait Gallery, London (2018); the Cleveland Museum of Art, Ohio (2018); the Museum of Modern Art, New York (2008); and the Kunsthalle Wien, Vienna, Austria (2006).

Liturgy

Flora Yin-Wong

Liturgy is a journey into the uncanny realm of the senses that dives into histories of perception and intuition. The artist Flora Yin-Wong deploys a variety of images and texts to explore issues related to cosmic principles, conspiracies, and parallel universes. The result is a constellatory work filled with religion, dreams, and fragmented memories and knowledge that also gestures at the artist’s own history. The book’s chapters—Rituals & Fire; Omens; Hexagrams / Oracles; Curses; Gods & Creatures; Places Doors to Hell / Ghost Cities; Paradoxes; Sound Phenomena; Reality—function like a secret dossier inflected with flights of fantasy, speaking to systems of faith and language and its corruptions.

Divining inspiration from meditation, oracles, curses, hexagrams, Cantonese traditions, and superstitions, Liturgy interweaves textual and visual collage to create a multi-layered tonality. Reflected here is the multidisciplinary artist’s interest in the web between fiction, memory, rituals, and incantation, as well as her approach to sound.

Flora Yin-Wong is a London–born, Chinese-Malaysian writer, producer, and DJ who has released material on the labels Modern Love and PAN. Her sonic work uses traditional instruments, software processing, and text-based storytelling, and has been performed at venues including ISSUE Project Room (New York), the Victoria & Albert Museum (London), Volksbühne Theater (Berlin), and Berghain (Berlin).


Co-Published with PAN
Managing Editors: James Hoff and Bill Kouligas
Designers: NMR
Copy Editor: Allison Dubinsky

Theatre

Dan Graham

Theatre is an artist book that documents seven early performances by Dan Graham taking place from 1969 to 1977 with notes, transcripts, or photographs for each work. Originally published in 1978, and produced here in facsimile form, the publication focuses on several key works that interrogate or undermine the psychological and social space created by, or between, individuals inside the performance venue.

Like most of Graham’s work, they also serve as a critique of cultural norms, with many of the performances utilizing quotidian, social acts that are amplified over time. For example, in Lax/Relax (1969), Graham’s subversion of West Coast new ageism, the artist chants “relax” in sync with a recording of a woman saying “lax” in a meditative manner, which implicates the audience into a group breathing exercise or hypnosis over the course of 30 minutes.

Throughout the ’70s, the artist engaged in a series of works that subverted the prescribed roles of the audience and performer by creating conditions in which each simultaneously functions as both (creating a type of feedback loop). Remarking on another work form this period, Graham once stated, “It begins with Minimal Art, but it’s about spectators observing themselves as they’re observed by other people.”* This paradigm is extended even further in Performer/Audience Sequence (1975) and Performer/Audience Mirror (1977), in which the artist performs by describing the audience as well as himself, creating conditions whereby the audience is performing for the artist as well as themselves.

Like (1971), Past Future Split Attention (1972), and Identification Projection (1977) are also featured in the publication.

Dan Graham is an artist based in New York. Since the 1960s, he has produced a wide range of work and writing that engages in a highly analytical discourse on the historical, social, and ideological functions of contemporary cultural systems. Architecture, popular music, video, and television are among the focuses of his investigations, which he articulates through essays, performances, installations, videotapes, and architectural/sculptural designs.

Camino Road

Renée Green

First published in 1994, Camino Road is artist Renée Green’s debut novel—a short, ruminative work infused with semantic ambiguity and the dreamy poetry of the quotidian. Republished here in a facsimile edition, the book ostensibly traces its protagonist Lyn’s journeys to Mexico and her return to attend art school in 1980s New York, but what emerges is more an intertextual assemblage of the moments between drives, dreams, and consciousness. Lyn does her Spanish homework and makes note to read Anna Kavan and Cortázar; she watches Fellini; she dreams about the Mediterranean Sea. Much like Green’s multimedia installations encompassing the sonic, spatial, and visual, Camino Road is richly layered—part intellectual genealogy, part fictional personal memory, and part cultural criticism.

Green has described the book as a “self-conscious homage to or parody of the ‘road novel,’ ‘bohemia,’ and artist-rebels.” “I’d been thinking about the beat generation, figures like Jack Kerouac, Burroughs, etc.—the mythic construction of the artist personality as rebel and how females, and myself in particular, entered into that,” she said. “These ‘beat’ sources seemed to form a typical American introduction to the idea of bohemia and of being an artist.”

Originally created as part of Green’s contribution for the group exhibition Cocido y crudo/The Cooked and the Raw at the Museo Nacional Centro de Arte Reina Sofía, Madrid, the text is written in both English and Spanish, and accompanied by an appendix of photographs and ephemera tracing Madrid’s La Movida, a Spanish countercultural moment from the 1980s. The book was published through Green’s production company, Free Agent Media (FAM), which since 1994 has been circulating and exhibiting media, printed matter, and time-based projects.

A unique treatise on the circuits of exchange in gender, politics, and art, Camino Road can also be read as a variation on the classic Bildungsroman genre. “I don’t feel developed in any area,” thinks Lyn at one point. “It’s very difficult being young and incomplete.” Importantly, she also muses, “I want to be swallowed by another language.”

Renée Green is an artist, filmmaker, and writer. Via films, essays and writings, installations, digital media, architecture, sound-related works, film series and events, her work investigates historical circuits of relation and exchange, the gaps and shifts in what survives in public and private memory, both remembered and invented. Her exhibitions, videos, and films have been seen throughout the world in museums, biennales, and festivals. Major surveys of her work have been staged at the Musée Cantonal des Beaux-Arts, Lausanne, Switzerland, and the Yerba Buena Center for the Arts, San Francisco, and her writing has been published in journals including October, Frieze, Spex, Sarai Reader, and Collapse. A collection of her writings from 1981 to 2010, Other Planes of There: Selected Writings, was published by Duke University Press in 2014. Green is also a Professor at MIT’s Program in Art, Culture, and Technology, School of Architecture and Planning.

Try Saying You’re Alive!: Kazuki Tomokawa in His Own Words

Kazuki Tomokowa

Kazuki Tomokawa has lived many lives: poet, self-taught guitarist, actor, day laborer, basketball coach, painter, bicycle race tipster, and incomparable drinker among them. Above all, he is a legend of Japan’s avant-folk music scene and his searing lyrics and raw, unvarnished vocals have influenced generations of musicians since his mid-1970s debut, when his unique sound brought him to prominence in the turbulent worlds of Tokyo’s underground film and music. Here, in his contemplative and utterly original style, the “screaming philosopher” charts the last six decades of his life, reflecting on everything from keirin to nuclear disaster to his own itinerancy, all the while providing an unfiltered view into the explosive cultural zeitgeist of postwar Tokyo. Originally printed in 2015, this translation is the first of Tomokawa’s writings to ever be published in English, and is accompanied by Blank Forms Editions’ reissue of Tomokawa’s first three solo records from 1975–77: Finally, His First Album, Straight from the Throat, and A String of Paper Cranes Clenched between My Teeth. Try Saying You’re Alive! is a memoir like no other, delivered with the incisive tongue and stubborn charm of one of Japan’s most singular living musicians.

Kazuki Tomokawa (b. 1950) is a prolific singer-songwriter from Hachiryu Village (now the town of Mitane) in the Akita Prefecture area of northern Japan. Since his first release in 1975, he has recorded more than thirty albums. The 2010 documentary about his life, La Faute des Fleurs, won the Sound & Vision award at the Copenhagen International Documentary Film Festival, and that same year saw the Japanese release of the book Dreams Die Vigorously Day by Day, a collection of his lyrics spanning forty years. His most recent albums are Vengeance Bourbon (2014) and Gleaming Crayon (2016), both on the Modest Launch label.

Damon Krukowski is a musician and writer based in Cambridge, MA. His most recent book is Ways of Hearing (MIT Press, 2019) and his latest album is Damon & Naomi’s A Sky Record (20|20|20, 2021).

Daniel Joseph is a translator, editor, and musician. He holds a master’s degree from Harvard University in medieval Japanese literature, and recently contributed translations to Terminal Boredom (Verso, 2021), a collection of stories by science fiction pioneer Izumi Suzuki.

Partners – A Biography of Jerry Hunt

Stephen Housewright

In Partners, writer, librarian, and teacher Stephen Housewright paints an intimate portrait of a lifetime spent with Jerry Hunt (1943–1993), a Texas-born artist and musician with an astonishing mind and a mystifying practice. Hunt was a singular figure in the world of new music, and one of the most radically unorthodox artists of his generation. His remarkable yet underknown work incorporated motion- and sensor-activated technologies, readymade props, eccentric choreographies, and sixteenth-century astrology into performance and composition. While he orbited avant-garde worlds in the United States and Europe, his personal life, spent largely on a ranch in rural Texas, remained elusive.

In this memoir-cum-biography, Housewright narrates a life spent together, beginning in high school as a closeted couple in East Texas and ending with Hunt’s battle with cancer and his eventual suicide in 1993, the subject of one of his most harrowing works on video, How to Kill Yourself Using the Inhalation of Carbon Monoxide (1993). Including private correspondence with, and thrilling anecdotes about, Hunt’s friends, family, and art world peers, Partners is an essential introduction to Jerry Hunt, and one that only Housewright could share.

Self-published online in 1995, and now printed for the first time by Blank Forms Editions with a new introduction by Hunt’s close collaborator Karen Finley, Partners is the first installment of Blank Forms’s extensive program dedicated to Jerry Hunt. This program includes the first-ever exhibition surveying the artist’s career, Jerry Hunt: Transmissions from the Pleroma, opening at Blank Forms in early 2022; a deluxe LP boxed set and reader; the first vinyl pressing of Hunt’s final record, Ground: Five Mechanic Convention Streams (1992); and the special anthology Blank Forms 08: Transmissions from the Pleroma.

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Claire Lehmann

Exhibition catalogue. Text by Claire Lehmann.

“In the traditional matrix of an original and a copy, proximity to the touch of the maker’s hand is everything. The assumption here is that an original work—imbued directly with the value of its maker’s labor—accumulates value, while a copy of the work is bereft of its singular emanations, though it may serve as a vehicle to distribute its ideas. Or, to leave aside economic terms and look to philosophical ones, at one time it was widely held that originary Form was ideal, transcendent, and celestial, whereas the copy (its terrestrial version) must be limited, even degraded, by its material nature. Presently, we tend to think of this binary in reverse: an immaterial copy derived from existing form—digital pixels or coded information calculated from material instantiation—persists untainted, capable of generating nearly identical physical manifestations. Such dematerialization of information has changed the ease with which certain types of copies can be made; even as Walter Benjamin famously mourned mechanical reproduction’s leaching away of aura, he also recognized the emancipatory potential of such technologies, particularly the “revolutionary use value” that widely distributed images might possess.“

Viscidity - Boris Mikhailov

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.

Toledo Múltiple

As Mexico’s most prolific and influential graphic artist, Francisco Toledo has been exploring the fantastical and expanding the expressive range of his printmaking over more than 50 years. This exhibition catalogue encompasses a wide range of Toledo’s work, revealing the progression and creative process evidenced in his printmaking. The catalogue also includes 21 works by both Mexican and foreign printmakers as part of Toledo’s collection for the Instituto de Artes Graficas de Oaxaca (IAGO). These works have been influential in developing Toledo’s creative vision and serve to contextualize the medium in a global art history. Curated by Fernando Gálvez de Aguinaga.

Francisco Toledo: Toledo Múltiple was organized by the American University Museum at the Katzen Arts Center and is toured by International Arts & Artists, Washington, DC.

Robert Kipniss: Paintings and Poetry, 1950-1964

Robert Kipniss

Robert Kipniss: Paintings and Poetry, 1950-1964

Robert Kipniss

This intriguing monograph of painter and printmaker Robert Kipniss is an intimate look at a memorable period in his life and career. Robert Kipniss: Paintings and Poetry, 1950-1964 is the result of many arduous months of revisiting his more-than-half-a-century-ago writing, poems that were stashed away and essentially forgotten. "Some of the poems are straightforward, some are infused with surreal irony, and some are angry," says Kipniss in his candid Preface. Thoughtful and articulate from conception to completion, his never-before published poems are choreographed with his early paintings in this contemplation of the influential and foundational years from 1950 to 1964. "When I stopped writing [in 1961] my vision was no longer divided between word-thinking and picture-thinking: these approaches had merged and in expressing myself I was more whole," reflects Kipniss in his retrospective musings.

Readers of this elegant volume are all the richer for catching a glimpse of a personal segment of this accomplished artist's history. Kipniss elaborates, "The most significant insight that arose in this undertaking... came when I began to collate reproductions of my paintings of the 1950s. I could clearly see that my work in the two mediums were from very differing parts of my psyche, and that while they were both in themselves completely engaged, they were not in any way together." This written and visual account of previously unpublished poems and early paintings, which were critically acclaimed, are accompanied by two astute and illustrative essays that further enlighten.

Robert Kipniss (born Brooklyn, New York, February 1, 1931) is an American painter and printmaker. His mature paintings, lithographs, mezzotints, and drypoints share stylistic characteristics and subject matter and typically depict trees seen close up or at varying distances in fields. Other works show one or more houses in a landscape or town setting. Some are interiors with a view toward a window or with a still life set close to one, frequently with a landscape beyond. No human figures are present, and all forms are reduced to essentials. The time is often dusk or nighttime. Kipniss' use of exceptionally subtle black and white tones or, less often, lightly toned hues creates an overall atmospheric effect. His works have been described as conveying solitude and inward experience. Kipniss often uses the subject matter of a painting in a lithograph or mezzotint, sometimes with variations. His paintings date from the early 1950s. His main body of prints are lithographs and mezzotints, the former dating from 1968 into 1990, the latter since 1990.

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