Professional Documents
Culture Documents
Swedish artists Mats Bigert and Lars Bergstrm first began their creative partnership in 1986, and
have since become internationally recognised for a wide range of art projects ranging from large-
scale sculptures and installations to performance and film. The duo is known to analyse current
societal and environmental issues, often using humour as a tool. They tend to focus on scientific,
climate-related and social issues, and the intersection between these things. This detailed
monograph covers their entire artistic oeuvre, from its very beginnings to the present moment a
wealth of material that allows for an in-depth examination of their practice and its continuing
relevance.
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Each issue of F.R. David features a wide array of artists and writers and a unique theme. This
fourteenth release features The Labor of the Inhuman by Reza Negarestani, Vaster than
Empires and More Slow by Ursula K. Le Guin, poems by Ralph Hotere, and The Companion
Species Manifesto by Donna Haraway. Further, Zoe Todd investigates indigenous relationships
to fish in Canada, while Ayesha Siddiqi writes about the growth of online communities for
marginalised groups, plus contributions by Aurelia Armstrong, Kosen Ohtsubo, Ian White, Eileen
Myles, Marcel Broodthaers, Witold Gombrowicz, Ian McCammon, Noam Chomsky, Gilles
Deleuze, and more.
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Featuring a visual essay by Spanish multimedia artist Antoni Muntadas (born 1942), Activating
Artifacts focuses on recent developments within higher education, exploring the work of
Muntadas as a learning tool.
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Lost and Found - Dance, New York, HIV/AIDS, Then and Now
Danspace Project 2017 ISBN 9780970031372 Acqn 26968
Pb 18x25cm 268pp 80ills 20col 25.50
Since 2010, Danspace Project, housed at St. Marks Church in New York, has published
catalogues as part of its series of artist-curated Platforms. Initiated by Danspace Project
Executive Director and Chief Curator Judy Hussie-Taylor, the Platforms contextualize
contemporary dance and performance practices and histories. The 11th edition, Lost and Found,
is edited by Jaime Shearn Coan, Ishmael Houston-Jones and Will Rawls. Contributors include
Penny Arcade, Marc Arthur, C. Carr, Douglas Crimp, Travis Chamberlain, DarkMatter, Nan
Goldin, Brenda Dixon Gottschild, Neil Greenberg, Bill T. Jones, Deborah Jowitt, John Kelly,
Theodore Kerr, Tseng Kwong Chi, Kia Labeija, Eileen Myles, Pamela Sneed, Sally Sommer,
Sarah Schulman and Muna Tseng.
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A forerunner of Fauvism and then of Cubism, Derain is a major figure of the twentieth century.
This catalogue highlights the discoveries and providential encounters of Derain with Vlaminck,
Van Gogh, Czanne, Matisse, Gauguin, Picasso, Braque ... The book also gives pride of place to
the artists writings, Derain having produced many texts theorizing his artistic approach. Also
included is a detailed and lively chronology, with quotations from the artist.
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The Centre Pompidou pays tribute to plastic artist and landscaper Bernard Lassus.
A room devoted to his work is set up in the collections of the Museum, while the Jardin Monde is
exhibited on an 800m surface.
Based on the Jardin Monde exhibition - an ambitious and astonishing order of the Centre
Pompidou to the artist - the reader will be immersed in the poetic universe of Bernard Lassus,
and will wonder about the contemporary concerns of landscape art.
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Thirty-Four Reverse Telescopes and Three Buttons catalogues the artists recent body of
coloured Plexiglas works, made between 2013 and 2016, introduced obliquely with a poem by
Ben Estes. Painter Matt Connors (born 1973) is known for combining a modernist visual
vocabulary of grids and tense, minimal compositions with influences from design, poetry and
music. Connors recent series of works brings this sensibility into the play of media: paintings in
acrylic on paper are mounted on coloured matte board, framed behind coloured Plexiglass,
creating an effect of nested coloured forms in space. Both objects and paintings, the deeply hued,
mixed-media pieces have been reproduced in Thirty-Four Reverse Telescopes and Three
Buttons in black and white as well as colour, highlighting the works complex tonality in addition to
their dynamic coloration.
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Imagine an eye unruled by man-made laws of perspective an eye which does not respond to
the name of everything but which must know each object encountered in life through an
adventure of perception. How many colours are there in a field of grass to the crawling baby
unaware of Green? So begins Stan Brakhages (19332003) classic Metaphors on Vision.
Originally published in 1963 by Jonas Mekas as a special issue of Film Culture, and designed by
George Maciunas, it stands as the major theoretical statement by one of avant-garde cinemas
most influential figures, a treatise on mythopoeia and the nature of visual experience written in a
style as idiosyncratic as his art. Long out of print, the volume is now available in this definitive
edition from Anthology Film Archives and Light Industry, featuring Brakhages complete text in its
distinctive original layout, as well as annotations by scholar P. Adams Sitney.
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The CCA Wattis Institute in San Francisco dedicates year-long seasons of discussions and public
events to a single artist. In 201415, Joan Jonas (born 1936) was on our mind. This book brings
together essays from writers, curators, art historians and artists that focus on a single work, from
Jonas earliest films through her installation for the US Pavilion at the 56th Venice Biennale. The
book also contains excerpts from readings and public lectures, and images by some of the other
artists whose work was evoked in public and private conversation. Contributors include
Jacqueline Francis, Rene Green, Quinn Latimer, Sarah Lehrer-Graiwer, Patricia Maloney,
Elizabeth Mangini, Judith Rodenbeck and Lynne Tillman.
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This volume explores the parallel careers of two celebrated post-war painters: Willem de Kooning
(19041997) and Zao Wou-Ki (19212013). Published in conjunction with Dominique Lvys
exhibition pairing the artists' abstract landscapes, this wide-ranging catalogue demonstrates that,
although the two never met, de Kooning and Zao shared a model of colour, composition and motif
that remains relevant in the world of contemporary painting. With texts in English, Chinese and
French, Willem de Kooning / Zao Wou-Ki charts an East-West dialogue in the immediate
aftermath of World War II, tracing the thread of non-figurative abstraction in Chinese, European
and American modernism. With rich archival material, never-before-published photographs and
newly commissioned essays, Willem de Kooning / Zao Wou-Ki offers an innovative transnational
reading of post-war painting.
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Peter Cain
Matthew Marks 2017 ISBN 9781944929039 Acqn 27008
Hb 25x26cm 128pp 105ills 90col 72
This is the first comprehensive monograph on American painter Peter Cain (195997), who first
achieved recognition in early 1990s New York for his paintings of distorted automobiles.
Illustrated with over 80 full-colour plates, the book features paintings, drawings and photographs
made between the late 1980s and 1997.
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The Source Digest, a paperback collection of issues 110 of The Source (2013the present),
gathers Brooklyn-based artist Cory Arcangels (born 1978) ongoing archival zine project of
annotated computer source code from software-based works of the past 15 years.
This code is footnoted with artist texts and is published both as a series of small booksone for
each projectand online. Arcangel creates a virtual users manual that details the process by
which he has built previous works, including the manipulation of video games. The Source thus
embodies the ethic of openness and generosity that exists within the closed field of hackers,
home hobby programmers and new media artists, and posits it as its own art project. While
issues 18 are individually available, The Source Digest includes the two newest issues, which
are currently only available in this book.
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Michael Williams
Carnegie Museum Of Art 2017 ISBN 9780880390583 Acqn 27617
Pb 23x28cm 112pp 50col ills 25
Over the last 10 years, Los Angelesbased Michael Williams (born 1978) has created paintings
known for their layered imagery, eye-popping colour and use of airbrushing and inkjet printing.
His large-scale works begin as drawings either on paper or on the computer screen before they
are printed or transferred to canvas and then embellished with oil paint. Williams narrative
content reveals a dark sense of humour about everyday life, often exploring the role of the painter
as observer. Wickedly funny allegories merge with abstract painting as free-form amoebic shapes
frequently fill the entirety of his canvases. The resulting paintings offer a dense and absorbing
terrain of colour and form. Michael Williams is published to accompany the artists first US solo
museum exhibition, at Carnegie Museum of Art, where he presents a new body of his large-scale
paintings as well as drawings that mix collage and free-associative mark-making.
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Alex lsraels (born 1982) series of Self-Portraits were developed through the evolution of a logo
based on the artist's profilean iconic representation of facial features that calls to mind the
famous silhouette of Alfred Hitchcockoriginally created for the video piece As It Lays, a
beguiling and campy work of talk showstyle interviews for which Israel cast himself as host,
presented at Reena Spaulings' New York gallery in March 2012.
Made with the same techniques used for manufacturing surfboards, and produced at the Warner
Bros. Studios in Burbank, the sculptures, through the very process of their production, reflect on
the context of Los Angeles, the culture of hedonism and the cult of personality from which they
spring.
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Before her self-imposed exile from the art world, Lee Lozano (193099) was a highly regarded
painter who defined a generation of American artists infusing conceptualism with a new intensity.
A prolific writer and documenter of both her art and her relationships, the public and private,
Lozano kept a series of personal journals from 1968 to 1972 while living in New Yorks SoHo
neighbourhood.
Eleven of these private books survive, containing notes on her work, detailed interactions with
artist friends and commentary on the alienations of gender politics, as well as philosophical
queries into arts role in society and humorous asides from daily life.
In the decade before her infamous dropout piececulminating in a move to Dallas where she
would remain until her deathLozano returned to these notebooks, editing the entries,
sometimes blacking out entire pages. Private Book 2 is the second in a series of 11 pocket-sized
books, which are printed as facsimiles with spiral binding.
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Ray Johnson
Matthew Marks 2017 ISBN 9781944929114 Acqn 27673
Hb 17x23cm 192pp 87ills 82col 42
Ray Johnson (192795) was a seminal Pop artist, a proto-conceptualist and a pioneer of mail art.
Always one to throw sand in the gears of art-world institutions, he tended to circulate his work
either in truly alternative spaces (like sticking up out of the uneven floorboards of a warehouse
downtown) or through the US Postal Service. Throughout his life, Johnson sent collages,
drawings and less easily categorized forms of printed matter to friends, colleagues and strangers.
Already in 1965, Grace Glueck described Johnson as New Yorks most famous unknown artist.
Though his work resists efforts to pin it down, Johnson can be said to have found a particularly
useful medium in collage. Collage allowed Johnson to reflectbut also to participate inthe
modern collision of visual and verbal information that only became more frenzied as the 20th
century wore on.
This volume collects 42 collages made by Johnson between 1966 and 1994, most never
exhibited or published before, with a new essay by writer Brad Gooch, who first came into contact
with Johnson when he began receiving unsolicited mail art shortly before the artists death. The
collection of works in this volume shows the artist at his most expansive, combining art history
with celebrity, word with image and the personal with the universal.
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Best known for his monumental figurative paintings, Campbells unique works emerged from an
array of personal and literary inspirations to create surreal narratives that offer Campbells
comment on social and human conditions. His paintings often depict recurring characters in
dream-like scenarios, which are full of humour and ironic historical references.
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16 Pictures is the latest in a series of photobooks by American artist Robert Grosvenor (born
1937). Grosvenor's photography is an extension of the sculptural work he has produced since the
mid-1960s: in both cases his concern is to explore the space between everyday objects, to
convey the tangibility (and absurdity) of volume and to draw out the often comical, vulnerable,
paradoxical or visually duplicitous quality of appearance (theyre supposed to have a joke in
them, or a trick, he says of these works). Included here are colour photographs of vehicles, scale
models and ordinary objects. Sometimes blurry, sometimes overexposed, and very often brightly
colourful, the photographs depict scenes that may be staged or chanced across. Grosvenor's
photographs convey a gently humorous attention to the everyday and its precarity.
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This publication marks the first time that a diverse group of Native painters, sculptors,
photographers, installation and media artists, performing artists, filmmakers and writers has been
defined as a movement or given a name.
The encounter of Native practices and influences with mainstream art created a community in
which the relationship between art and indigenous sensibility was recognized and nurtured.
These artists have shown in galleries in the heart of SoHo, written articles for publications such
as Art in America, and produced work that incorporates the visual strategies of Abstract
Expressionism, pop, conceptualism and various strains of postmodernism. Among the artists
represented here are Leon Polk Smith, George Morrison, Jimmie Durham, Jaune Quick-to-See
Smith, G. Peter Jemison, Jeffrey Gibson, Brad Kahlhamer and Lloyd R. Oxendine.
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In his new book ZOO, Gbor Palotai displays a different take on the depictions of animals as
figurative illustrations. Every animal is portrayed as an abstract art: sharply outlined in contrast
with a mesmerizing pattern in light and dark. The effects of this black and white pattern enhance
the impression that every animal is etched into the paper in a visual texture that evokes tactile
sensibility. At the same time, the animals are bound to the architectural outer shape of their
image and their bodies are tattooed in undecipherable graphic patterns suggesting that each of
them is free from within to multiply and literally take on any figurative meaning. Gbor Palotai is
internationally renowned for the striking imagery he creates with his intense art, playfulness of
forms, strong and emotional elements.
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