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Objects Found: 59
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[Softcover]
Dan Graham, Chrissie Iles, Bennett Simpson, Beatriz Colomina, Rhea Anastas, Mark von Schlegell, Mark Francis, Alexandra Midal, Philippe Vergne, Kim Gordon, Rodney Graham
Exhibition catalogue published in conjunction with show held at the Museum of Contemporary Art, Los Angeles, February 15 - March 25, 2009. Traveled to the Whitney Museum of American Art, New York, June 25 - October 2009; and to the Walker Art Center, Minneapolis, November 2009 - February 2010. "Dan Graham is one of the most significant figures to emerge from the 1960s moment of Conceptual art, with a practice that pioneered a range of art forms, modes, and ideas that are now fundamental to contemporary art. The thrust of his practice has always pointed beyond: beyond the art object, beyond the studio, beyond the medium, beyond the gallery, beyond the self. Beyond all these categories and into the realm of the social, the public, the democratic, the mass produced, the architectural, the anarchic, the humorous. Graham's early work, Homes for America—a series of snapshots of suburban New Jersey tract housing accompanied by short parodic texts, made as a page layout for Arts magazine—announced a critical art grounded in the everyday, and it merged the artist's interest in cultural commentary with art's most advanced visual modes. His 1984 "video-essay" Rock My Religion traced a continuum of separatism and collective ecstasy from the American religious sect the Shakers to hard-core punk music.
This volume, which accompanies a major retrospective organized by the Museum of Contemporary Art, Los Angeles, offers the first comprehensive survey of Graham's work. The book's design evokes magazine format and style, after Graham's important conceptual work from the 1960s in that medium. Generously illustrated in color and black and white, Dan Graham: Beyond features eight new essays, two new interviews with the artist, a section of reprints of Graham's own writing, and an animated manga-style "life of Dan Graham" narrative. It examines Graham's entire body of work, which includes designs for magazine pages, drawing, photographs, film and video, and architectural models and pavilions." -- publisher's statement. Edited by Chrissie Iles and Bennett Simpson. 150 color illustrations, 100 black-and-white.
Cambridge, MA : The MIT Press, 2009 ; exhibition catalogue ; pictorial wrappers ; offset-printed ; sewn bound ; black-and-white & color ; 31 x 23.5 cm. ; 346 pp. ; edition size unknown ; unsigned and unnumbered ; ISBN 1933751126
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$75 |
Condition: Fine. As issued. SIGNED by DAN GRAHAM. [Object # 13770] |
Anne Collins Goodyear, James W. McManus, Martin E. Sullivan, Marcel Duchamp, Man Ray, Alfred Stieglitz, Francis Picabia, Beatrice Wood, Florine Stettheimer, Andy Warhol, Jasper Johns, Sturtevant, Yasumasa Morimura, David Hammons, Douglas Gordon
Exhibition catalogue published in conjunction with show held March 27 – August 2, 2009. Edited by Anne Collins Goodyear and James W. McManus, foreword by Martin E. Sullivan.
"One of the most influential artists of the twentieth century, Marcel Duchamp (1887-1968) was a master of self-invention who carefully regulated the image he projected through self-portraiture and through his collaboration with those who portrayed him. During his long career, Duchamp recast accepted modes for assembling and describing identity, indelibly altering the terrain of portraiture. This groundbreaking book (which accompanies a major exhibition at the Smithsonian Institution's National Portrait Gallery) demonstrates the ways in which Duchamp willfully manipulated the techniques of portraiture both to secure his reputation as an iconoclast and to establish himself as a major figure in the art world.
Although scholars have explored Duchamp's use of aliases, little attention has been paid to how this work played into, and against, existing portrait conventions. Nor has any study yet compared these explicitly self-constructed projects with the large body of portraits of Duchamp by others. Inventing Marcel Duchamp showcases approximately one hundred never-before-assembled portraits and self-portraits of Duchamp. The (broadly defined) self-portraits and self-representations include the famous autobiographical suitcase Boîte-en-Valise and Self-Portrait in Profile, a torn silhouette that became very influential for future generations of artists. The portraits by other artists include works by Duchamp's contemporaries Man Ray, Alfred Stieglitz, Francis Picabia, Beatrice Wood, and Florine Stettheimer as well as portraits by more recent generations of artists, including Andy Warhol, Jasper Johns, Sturtevant, Yasumasa Morimura, David Hammons, and Douglas Gordon.
Since the mid-twentieth century, as abstraction assumed a position of dominance in fine art, portraiture has been often derided as an art form; the images and essays in Inventing Marcel Duchamp counter this, and invite us to rethink the role of portraiture in modern and contemporary art." -- publisher's statement.
Boston / Washington, MA / DC : MIT Press / National Portrait Gallery, 2009 ; exhibition catalogue ; paper over boards issued without dust-jacket ; offset-printed ; sewn bound ; black-and-white & color ; 31.5 x 23.5 cm. ; 308 pp. ; edition size unknown ; unsigned and unnumbered ; ISBN 9780262013000
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$49.95 |
Condition: Fine. In publisher's shrink-wrap. [Object # 13546] |
[Hardback Edition / English Edition]
Paul Thek, Robert Wilson, Manuel J. Borja-Villel, Gregor Jansen, Harald Falckenberg, Peter Weibel, Bazon Brock, Margrit Brehm, Axel Heil, Kenny Schachter, John Miller, Kim Gordon, Annette Tietenberg, Roland Groenenboom, Susanne Neubauer, Marietta Franke, Jan Windszus, Ann Wilson, Stefan Germer, Mike Kelley, Suzanne Delehanty, Ingeborg Luscher, Jean-Christophe Ammann, Gene Swenson, Edwin Klein, Harald Szeemann, Chris Dercon, Susan Hiller, James Lingwood, Christian Scheidemann
Exhibition catalogue published in conjunction with show held at ZKM | Museum of Contemporary Art, Karlsruhe, Germany, December 15 2007 - March 30, 2008. Traveled to Sammlung Falckenberg, Hamburg, Germany, May 31 - September 14, 2008 ; Museo Nacional Centro de Arte Reina Sofia, Madrid, February 6 - April 20, 2009.
Text and contributions by Paul Thek, Robert Wilson, Manuel J. Borja-Villel, Gregor Jansen, Harald Falckenberg, Peter Weibel, Bazon Brock, Margrit Brehm, Axel Heil, Kenny Schachter, John Miller, Kim Gordon, Annette Tietenberg, Roland Groenenboom, Susanne Neubauer, Marietta Franke, Jan Windszus, Ann Wilson, Stefan Germer, Mike Kelley, Suzanne Delehanty, Ingeborg Luscher, Jean-Christophe Ammann, Gene Swenson, Edwin Klein, Harald Szeemann, Chris Dercon, Susan Hiller, James Lingwood, Christian Scheidemann.
"Paul Thek occupied a place between high art and low art, between the epic and the everyday. During his brief life (1933-1988), he went against the grain of art world trends, humanizing the institutional spaces of art with the force of his humor, spirituality, and character. Twenty years after Thek's death from AIDS, we can now recognize his influence on contemporary artists ranging from Vito Acconci and Bruce Nauman to Matthew Barney, Mike Kelley, and Paul McCarthy, as well as Kai Althoff, Jonathan Meese, and Thomas Hirschhorn. This book brings together more than 300 of Thek's works—many of which are published here for the first time—to offer the most comprehensive display of his work yet seen. The book, which accompanies an exhibition at ZKM | Museum of Contemporary Art presenting Thek's work in dialogue with contemporary art by young artists, includes painting, sculpture, drawing, and installation work, as well as photographs documenting the room-size environments into which Thek incorporated elements from art, literature, theater, and religion.
These works chart Thek's journey from legendary outsider to foundational figure in contemporary art. In their antiheroic diversity, Thek's works embody the art revolution of the 1960s; indeed, Susan Sontag dedicated her classic Against Interpretation to him. Thek's treatment of the body in such works as "Technological Reliquaries," with their castings and replicas of human body parts, tissue, and bones, both evoke the aura of Christian relics and anticipate the work of Damien Hirst. The book, with more than 500 images (300 in color) and nineteen essays by art historians, curators, collectors, and artists, investigates Thek's work on its own terms, and as a starting point for understanding the work of the many younger artists Thek has influenced." -- publisher's statement.
Contains extensive chronology, notes, bibliography, and illustration notes. All texts in English.
Cambridge / Karlsruhe, MA / Germany : MIT Press / ZKM | Center for Art and Media Technology, 2009 ; exhibition catalogue ; paper over boards issued without dust-jacket ; offset-printed ; sewn bound ; black-and-white & color ; 28 x 21.6 cm. ; 640 pp. ; edition size unknown ; unsigned and unnumbered ; ISBN 0262012545
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$54.95 |
Condition: Fine. In publisher's shrink-wrap. [Object # 11710] |
Robert Ryman, Suzanne P. Hudson
Critical theory by Suzanne P. Hudson. "In this first book-length study of Robert Ryman, Suzanne Hudson traces the artist's production from his first paintings in the early 1950s, many of which have never been exhibited or reproduced, to his more recent gallery shows. Ryman's largely white-on-white paintings represent his careful working over of painting's conventions at their most radically reduced. Through close readings of the work, Hudson casts Ryman as a painter for whom painting was conducted as a continuous personal investigation. Ryman's method—an act of "learning by doing"—as well as his conception of painting as "used paint" set him apart from second-generation abstract expressionists, minimalists, or conceptualists.
Ryman (born in 1930) is a self-taught artist who began to paint in earnest while working as a guard at the Museum of Modern Art in New York in the 1950s. Hudson argues that Ryman's approach to painting developed from quotidian contact with the story of modern painting as assembled by MoMA director and curator Alfred Barr and rendered widely accessible by director of the education department Victor D'Amico and colleagues. Ryman's introduction to artistic practice within the (white) walls of MoMA, Hudson contends, was shaped by an institutional ethos of experiential learning. (Others who worked at MoMA during these years include Lucy Lippard, who married Ryman in 1961; Dan Flavin, another guard; and Sol LeWitt, a desk assistant.)
Hudson's chapters—"Primer," "Paint," "Support," "Edge," and "Wall," named after the most basic elements of the artist's work—eloquently explore Ryman's ongoing experiment in what makes a painting a painting. Ryman's work, Hudson argues, tests the medium's material and conceptual possibilities. It neither signals the end of painting nor guarantees its continued longevity but keeps the prospect of painting an open question, answerable only through the production of new paintings." -- publisher's statement.
Boston, MA : MIT Press, 2009 ; critical theory ; cloth boards with dust jacket ; offset-printed ; sewn bound ; black-and-white & color ; 23.5 x 18.5 cm. ; 328 pp. ; edition size unknown ; unsigned and unnumbered ; ISBN 9780262012805
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$39.95 |
Condition: Fine. In publisher's shrink-wrap. [Object # 13547] |
Yvonne Rainer, Carrie Lambert-Beatty
"In her dance and performances of the 1960s, Yvonne Rainer famously transformed the performing body--stripped it of special techniques and star status, traded its costumes and leotards for T-shirts and sneakers, and asked it to haul mattresses or recite texts rather than leap or spin. Without discounting these innovations, Carrie Lambert-Beatty argues in Being Watched that the crucial site of Rainer's interventions in the 1960s was less the body of the performer than the eye of the viewer--or rather, the body as offered to the eye. Rainer's art, Lambert-Beatty writes, is structured by a peculiar tension between the body and its display. Through close readings of Rainer's works of the 1960s--from the often-discussed dance Trio A to lesser-known Vietnam war-era protest dances--Lambert-Beatty explores how these performances embodied what Rainer called 'the seeing difficulty.' (As Rainer said: 'Dance is hard to see.') Viewed from this perspective, Rainer's work becomes a bridge between key episodes in postwar art. Lambert-Beatty shows how Rainer's art (and related performance work in Happenings, Fluxus, and Judson Dance Theater) connects with the transformation of the subject-object relation in minimalism and with emerging feminist discourse on the political implications of the objectifying gaze. In a spectacle-soaked era, moreover, when images of war played nightly on the television news, Rainer's work engaged the habits of viewing formed in mass-media America, linking avant-garde art and the wider culture of the 1960s. Rainer is significant, argues Lambert-Beatty, not only as a choreographer but as a sculptor of spectatorship." -- publisher's statement. Illustrated with photographs by Peter Moore, Warner Jepson, Phil MacMullen, and others. Extensive notes, and index.
Cambridge, MA : MIT Press / October Books, 2008 ; critical theory ; cloth boards with dust jacket ; offset-printed ; sewn bound ; black-and-white ; 23.5 x 18.5 cm. ; 362 pp. ; edition size unknown ; unsigned and unnumbered ; ISBN 0262123010
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$34.95 |
Condition: Fine. As issued. [Object # 5534] |
[Hardback]
Martin Kippenberger, Ann Goldstein, Diedrich Diederichsen, Pamela M. Lee, Ann Temkin, Jutta Koether
Exhibition catalogue published in conjunction with show held September 21, 2008 - January 5, 2009. Travels to The Museum of Modern Art, New York, March 1, 2009 - May 11, 2009. Essays by Ann Goldstein, Diedrich Diederichsen, Pamela M. Lee, Ann Temkin, and interview between Martin Kippenberger and Jutta Koether. "Martin Kippenberger (1953-1997) is a special case in art. His life and works were inextricably linked in a remarkable practice that centered on the role of the artist within both the culture and the system of art. With his larger-than-life persona, Kippenberger cast himself as impresario, entertainer, curator, bohemian, collector, architect, and publisher. He collected art, set up clothing companies and nightclubs, and ran art-world scams. Nothing was sacred to this iconoclast except the right to satisfy his enormous appetite for life, appropriate anything for his art, and create continual chaos around himself. This book, which accompanies the first major U.S. retrospective exhibition of Kippenberger's work, at the Museum of Contemporary Art, Los Angeles, documents Kippenberger's extraordinary twenty-year career with works in many media—paintings, sculptures, works on paper, installations, photographs, collaborations with other artists, posters, postcards, books, and music. Among the major works reproduced are key selections from the I.N.P. Bilder (Is Not Embarrassing Pictures) and No Problem paintings of the 1980s; the landmark 1987 exhibition of sculpture "Peter. Die russische Stellung" ("Peter. The Russian Position"); self-portraits in a variety of media; Laterne an Betrunkene (Street Lamp for Drunks); the Raft of the Medusa cycle of the 1990s; the renowned Hotel drawings; and the monumental installation, The Happy End of Franz Kafka's "Amerika." Accompanying the artworks is an essay by exhibition curator Ann Goldstein; newly commissioned texts by art historian Pamela Lee, Kippenberger scholar Diedrich Diederichsen, and curator Ann Temkin; reprinted excerpts from a 1991 interview with Kippenberger by artist Jutta Koether; and an illustrated exhibition history, chronology, and bibliography. Martin Kippenberger: The Problem Perspective offers readers the most comprehensive view yet of this legendary artist's body of work." -- publisher's statement.
Los Angeles / Cambridge, CA / MA : Museum of Contemporary Art / MIT Press, 2008 ; exhibition catalogue ; paper boards with dust jacket ; offset-printed ; sewn bound ; color ; 29 x 24 cm. ; 372 pp. ; edition size unknown ; unsigned and unnumbered ; ISBN 9781933751092
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$44.95 |
Condition: Fine. In publisher's shrink-wrap. [Object # 11620] |
Mel Bochner, Yve-Alain Bois
A collection of critical theory writing by Mel Bochner. Edited by Yve-Alain Bois. "[Bochner] became a writer, he says, almost by accident. In 1965, as a young artist in New York, he was out of a job; Arts Magazine paid him $2.50 for every review he turned in, whether they published it or not; a month of review-writing paid his rent—$28.00 a month. His reviews and articles provoked a range of unexpected reactions. 'At that time, artists who wrote were looked at suspiciously, as if writing somehow tainted their visual practice,' he writes. A painter friend attacked him publicly for 'joining the enemy.' Bochner soon began testing the boundary between writing-as-criticism and writing-as-visual-art. Solar System & Rest Rooms collects both Bochner's writings on art and his writings as art, offering more than fifty pieces—reviews, art criticism, theoretical texts, interviews, catalog statements, notecards, and his groundbreaking 'magazine interventions'—many reproduced in facsimile." -- publisher's statement.
Cambridge, MA : MIT Press, 2008 ; critical theory ; cloth boards with dust jacket ; offset-printed ; sewn bound ; color ; 28.5 x 22.5 cm. ; 235 pp. ; edition size unknown ; unsigned and unnumbered ; ISBN 9780262026314
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$39.95 |
Condition: Fine. In publisher's shrink-wrap. [Object # 13029] |
Paul D. Miller aka Dj Spooky, Cory Doctorow, David Allenby, Pierre Boulez, Catherine Corman, Chuck D, Erik Davis, Scott De Lahunta, Manuel DeLanda, Eveline Domnitch, Frances Dyson, Ron Eglash, Brian Eno, Dmitry Gelfand, Dick Hebdige, Lee Hirsch, Vijay Iyer, Ken Jordan, Douglas Kahn, Daphne Keller, Beryl Korot, Jaron Lanier, Joseph Lanza, Jonathan Lethem, Carlo McCormick, Moby, Naeem Mohaiemen, Alondra Nelson, Keith and Mendi Obadike, Hans Ulrich Obrist, Pauline Oliveros, Philippe Parreno, Ibrahim Quraishi, Steve Reich, Simon Reynolds, Scanner aka Robin Rimbaud, Nadine Robinson, Daniel Bernard Roumain (DBR), Alex Steinweiss, Bruce Sterling, Lucy Walker, Saul Williams, Jeff E. Winner
Book with Audio CD. "The groundbreaking mix CD that accompanies this book features Nam Jun Paik, the Dada Movement, John Cage, Sonic Youth, and many other examples of avant-garde music. Most of the CD's content comes from the archives of Sub Rosa, a legendary record label that has been the benchmark for archival sounds since the beginnings of electronic music. (For a complete list of audio credits, see below. If Rhythm Science was about the flow of things, Sound Unbound is about the remix—how music, art, and literature have blurred the lines between what an artist can do and what a composer can create. In Sound Unbound, Rhythm Science author Paul Miller aka DJ Spooky that Subliminal Kid asks artists to describe their work and compositional strategies in their own words. These are reports from the front lines on the role of sound and digital media in an information-based society. The topics are as diverse as the contributors: composer Steve Reich offers a memoir of his life with technology, from tape loops to video opera; Miller himself considers sampling and civilization; novelist Jonathan Lethem writes about appropriation and plagiarism; science fiction writer Bruce Sterling looks at dead media; Ron Eglash examines racial signifiers in electrical engineering; media activist Naeem Mohaiemen explores the influence of Islam on hip hop; rapper Chuck D contributes "Three Pieces"; musician Brian Eno explores the sound and history of bells; Hans Ulrich Obrist and Philippe Parreno interview composer-conductor Pierre Boulez; and much more. "Press 'play,'" Miller writes, "and this anthology says 'here goes.'"" -- Publisher's statement. Contributors: David Allenby, Pierre Boulez, Catherine Corman, Chuck D, Erik Davis, Scott De Lahunta, Manuel DeLanda, Cory Doctorow, Eveline Domnitch, Frances Dyson, Ron Eglash, Brian Eno, Dmitry Gelfand, Dick Hebdige, Lee Hirsch, Vijay Iyer, Ken Jordan, Douglas Kahn, Daphne Keller, Beryl Korot, Jaron Lanier, Joseph Lanza, Jonathan Lethem, Carlo McCormick, Paul D. Miller aka DJ Spooky that Subliminal Kid, Moby, Naeem Mohaiemen, Alondra Nelson, Keith and Mendi Obadike, Hans Ulrich Obrist, Pauline Oliveros, Philippe Parreno, Ibrahim Quraishi, Steve Reich, Simon Reynolds, Scanner aka Robin Rimbaud, Nadine Robinson, Daniel Bernard Roumain (DBR), Alex Steinweiss, Bruce Sterling, Lucy Walker, Saul Williams, Jeff E. Winner. On the CD: RadioMentale and Matthew Herbert, "Cool Noises"; Martyn Bates/Allen Ginsberg, "Once Loved/A Footnote to 'Howl' (DJ Spooky Remix)"; Jean Cocteau, "Le buste (DJ Spooky Remix)"; Sun Ra, "Imagination"; Mikhail/Gertrude Stein, "Untitled in CoF Minor/A Valentine to Sherwood Anderson (DJ Spooky Remix)"; DJ Spooky vs. Rob Swift, "Scratch Battle"; Marcel Duchamp/The Master Musicians of Joujouka/RadioMentale, "The Creative Act/Interview with George Heard Hamilton/Boujeloud (Solo Drums)/I Could Never Make That Music Again"; Raymond Scott, "The Paperwork Explosion"; Alter Echo/Pamela Z, "Perpetual Next/Pop Titles 'You'"*; Liam Gillick/ RadioMentale and Aphex Twin, "Sarah (Los Angeles Soundtrack)/I Could Never Make That Music Again"; James Joyce/Erik Satie, "Eolian Episode/Gnossiene (DJ Spooky Dub Version)"; Steve Reich, "Reed Phase"; Shukar/RadioMentale/Raoul Hausmann, "Cika-Laka/Cool Noises/Bbb"; Augustos de Campos/Bill Laswell/To Rococo Rot, "Dias Dias Dias (Spoken by Caetano Veloso)/Above the Earth/Contacte"; John Cage, "Rozart Mix"; Antonin Artaud, "Pour Finir avec le Jugement de Dieu (To Have Done with God's Judgment) (DJ Spooky Remix)"; DJ Spooky, "One Laptop Theme"; Susan Deyhim, "The Spilled Cup (DJ Spooky Remix)"; Raymond Scott, "General Motors: Futurama (Interstitial)"; Marcel Duchamp/George Lewis and Aki Takase, "Erratum Musical (Score for Three Voices)/Voyage for Three"; Bill Laswell/René Magritte, "Ghost Dub/Le Surréalisme et les Questions"; Anthony Braxton and Evan Parker/Pauline Oliveros, "The First Set— Area 4 (Solo)/A Little Noise in the System (Moog System)"; Bora Yoon, "// (DJ Spooky Remix)"; Pierre Schaeffer, "Cinqétudes de bruits: Étude violette"; Daniel Bernard Roumain and Ryuichi Sakamoto, "The Need to Be"; Phillip Glass, "Music in Fifths"; Edgard Varèse, "Poème électronique"
Iannis Xenakis, "Concret PH"; Ryoji Ikeda, "One Minute"; Sonic Youth, "Audience (DJ Spooky Remix)"; Alter Echo/Ge-te Do-pe, "Aftermath of Creations Dub (in Three Parts)/Dong Lim"; Terry Riley/Alter Echo, "Dorian Reeds/Aftermath of Creations Dub (in Three Parts)"; Luigi Russolo/DJ Spooky, "Corale/FTP > Bundle/Conduit 23"; Fanfare Savale/Vladimir Mayakovsky, "Rumba Lu Georgel/I Know the Power of Words"; Droma/Trilok Gurtu and Bill Laswell, "Pilgrim's Song (Trala Shepa)/Kala"; Nam Jun Paik, "Hommage à John Cage"; Morton Subotnick/DJ Spooky, "Mandolin/Acid Bassline"; The Master Musicians of Joujouka/Hans Arp, "Mali Mal Hal M'Halmaz/Boujeloud (Solo Drums)/Dada-Sprüche"; Sub Swara/Kurt Schwitters, "Koli Stance/Anna Blume"
Walter Ruttmann/Troupe from Taschingang, "Week End/Ache Lhamo"; Raymond Scott, "Bendix 1: The Tomorrow People"; Martyn Bates/Trinlem, "I Can't Look for You/The Palaces of Gesar's Family (DJ Spooky Remix)"; Otto Luening and Vladimir Ussachevsky, "Incantation for Tape"; Carsten Nicolai, "Time ... Dot(3)"; William S. Burroughs and Iggy Pop with Techno Animal, "The Western Land."
Cambridge, MA : MIT Press, 2008 ; book with audio CD ; wrappers ; offset-printed ; glue bound ; other special feature[s] ; black-and-white & color ; 23 x 17.5 cm. ; 362 pp. ; edition size unknown ; unsigned and unnumbered ; ISBN 9780262633635
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$31.95 |
Condition: Fine. In publisher's shrink-wrap. [Object # 13023] |
[Hardback Edition]
Cornelia Butler, Judith Russi Kirshner, Catherine Lord, Marsha Meskimmon, Richard Meyer, Helen Molesworth, Peggy Phelan, Nelly Richard, Valerie Smith, Abigail Solomon-Godeau, Jenni Sorkin
Exhibition catalogue for show held March 4 - July 16, 2007, organized by Cornelia H. Butler and Lisa Gabrielle Mark. "There had never been art like the art produced by women artists in the 1970s--and there has never been a book with the ambition and scope of this one about that groundbreaking era. WACK! documents and illustrates the impact of the feminist revolution on art made between 1965 and 1980, featuring pioneering and influential works by artists who came of age during that period--Chantal Akerman, Lynda Benglis, Theresa Hak Kyung Cha, Valie Export, Mary Heilmann, Sanja Ivekovic, Ana Mendieta, Annette Messager, and others--as well as important works made in those years by artists whose whose careers were already well established, including Louise Bourgeois, Judy Chicago, Sheila Levrant de Bretteville, Lucy Lippard, Alice Neel, and Yoko Ono. The art surveyed in WACK! includes work by more than 120 artists, in all media--from painting and sculpture to photography, film, installation, and video--arranged not by chronology but by theme: Abstraction, "Autophotography," Body as Medium, Family Stories, Gender Performance, Knowledge as Power, Making Art History, and others. WACK!, which accompanies the first international museum exhibition to showcase feminist art from this revolutionary era, contains more than 400 color images. Highlights include the figurative paintings of Joan Semmel; the performance and film collaborations of Sally Potter and Rose English; the untitled film stills of Cindy Sherman; and the large-scale, craft-based sculptures of Magdalena Abakanowicz. Written entries on each artist offer key biographical and descriptive information and accompanying essays by leading critics, art historians, and scholars offer new perspectives on feminist art practice. The topics--including the relationship between American and European feminism, feminism and New York abstraction, and mapping a global feminism--provide a broad social context for the artworks themselves. WACK! is both a definitive visual record and a long-awaited history of one of the most important artistic movements of the twentieth century. Essays by:
Cornelia Butler, Judith Russi Kirshner, Catherine Lord, Marsha Meskimmon, Richard Meyer, Helen Molesworth, Peggy Phelan, Nelly Richard, Valerie Smith, Abigail Solomon-Godeau, Jenni Sorkin. Artists include: Marina Abramovic, Chantal Akerman, Lynda Benglis, Dara Birnbaum, Louise Bourgeois, Judy Chicago, Lygia Clark, Jay DeFeo, Mary Beth Edelson, Valie Export, Barbara Hammer, Susan Hiller, Joan Jonas, Mary Kelly, Maria Lassnig, Linda Montano, Alice Neel, Senga Nengudi, Lorraine O’Grady, Pauline Oliveros, Yoko Ono, Orlan, Howardena Pindell, Yvonne Rainer, Faith Ringgold, Ketty La Rocca, Ulrike Rosenbach, Martha Rosler, Betye Saar, Miriam Schapiro, Carolee Schneemann, Cindy Sherman, and Hannah Wilke." -- publisher's statement.
Cambridge / Los Angeles, MA / CA : MIT Press / Museum of Contemporary Art, 2007 ; exhibition catalogue ; paper boards with dust jacket ; offset-printed ; sewn bound ; color ; 27 x 23.5 cm. ; 512 pp. ; edition size unknown ; unsigned and unnumbered ; ISBN 0914357999
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$59.95 |
Condition: Fine. In publisher's shrink-wrap.
[Object # 10084] |
Liz Kotz
Critical theory by Liz Kotz. "Language has been a primary element in visual art since the 1960s -- whether in the form of printed texts, painted signs, words on the wall, or recorded speech. In Words to Be Looked At, Liz Kotz traces this practice to its beginnings, examining works of visual art, poetry, and experimental music created in and around New York City from 1958 to 1968. In many of these works, language has been reduced to an object nearly emptied of meaning. Robert Smithson described a 1967 exhibition at the Dwan Gallery as consisting of 'Language to be Looked at and/or Things to be Read.' Kotz considers the paradox of artists living in a time of social upheaval who used words but chose not to make statements with them. Kotz traces the proliferation of text in 1960s art to the use of words in musical notation and short performance scores. She makes two works the 'bookends' of her study: the 'text score' for John Cage's legendary 1952 work 4'33"—written instructions directing a performer to remain silent during three arbitrarily determined time brackets—and Andy Warhol's notorious a: a novel—twenty-four hours of endless talk, taped and transcribed—published by Grove Press in 1968. Examining works by artists and poets including Vito Acconci, Carl Andre, George Brecht, Douglas Huebler, Joseph Kosuth, Jackson Mac Low, and Lawrence Weiner, Kotz argues that the turn to language in 1960s art was a reaction to the development of new recording and transmission media: words took on a new materiality and urgency in the face of magnetic sound, videotape, and other emerging electronic technologies. Words to Be Looked At is generously illustrated, with images of many important and influential but little-known works." -- publisher's statement.
Cambridge, MA : MIT Press, 2007 ; critical theory ; cloth boards with dust jacket ; offset-printed ; sewn bound ; black-and-white ; 23 x 18.5 cm. ; 333 pp. ; edition size unknown ; unsigned and unnumbered ; ISBN 9780262113083
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$31.95 |
Condition: Fine. As issued. [Object # 13024] |
Objects Found: 59
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