Bob Nickas, The Dept. of Corrections. Collected Writings 2007–2015, Karma, 2015
This volume is comprised of years of recent writing by the influential New York–based critic and curator Bob Nickas, widely considered one of the few independent voices still at work today. The 50 essays and interviews, written since 2007, are spread across five chapters, touching on encounters with artists from the 1960s to the ’80s to the present—among them, Jack Smith, Andy Warhol, Frank Stella, On Kawara, Isa Genzken, Steven Parrino, Jean-Michel Basquiat, Kara Walker, Wolfgang Tillmans, Kelley Walker and Pierre Huyghe. Writing as if these figures were passing us by in present time, Nickas traces the disappearance of artists, architecture and culture in New York over three decades. As a way to keep the past in every sense present, his writing is always issued from his fictional “Dept. of Corrections.”
Christian Marclay, Liquids, White Cube, 2015
The recent paintings of Christian Marclay (born 1955) take as their point of departure wet sounds suggestive of the action of painting. These paintings, winkingly bridging Abstract Expressionism and Pop art, represent a continuation of the artist’s longstanding experimentation with the relationship between images and sounds. Christian Marclay: Liquids, published to accompany the artist’s solo exhibition at White Cube, includes these recent Onomatopoeia paintings, the recent films "Pub Crawl" (2014) and "Surround Sounds" (2014) and an installation of found glassware. Revered in the worlds of art and music for a body of work that bridges both camps, Marclay planned a lively program of collaborative musical performances led by the London Sinfonietta to accompany his exhibition and set up facilities for the on-site recording, pressing and screenprinting of vinyl records in the gallery, also documented in this volume.
Henri Matisse, Les grandes gouaches découpées, Kunsthalle Bern, 1959
Catalogue de l'exposition éponyme de Henri Matisse à la Kunsthalle de Berne, du 25 juillet au 20 septembre 1959.
Jacno, Typographie, Affiches, Livres, Emballages, Musée de l'affiche et de la publicité, 1982
"La plupart des Français fréquentent quotidiennement Marcel Jacno sans le savoir... Leur paquet de Gauloises, c'est lui, le titre de leur France Soir, c'est encore lui. De sa rencontre avec Jean Vilar naît sa véritable carrière : il dessine les affiches du T.N.P. dont il crée la lettre "Chaillot" puis, dans la foulée, celles du Festival d'Avignon qui l'amènent, au fil des années, à redessiner l'image des principaux théâtres parisiens : Théâtre de France, Comédie-Française, Bouffes du Nord et l'Athénée Louis Jouvet."
William Leavitt, Theater Objects, MOCA, 2011
This catalogue accompanied the first solo museum exhibition and retrospective of Los Angeles-based artist William Leavitt (b. 1941 Washington, D.C.). A key figure associated with the emergence and foundations of conceptual art in Los Angeles during the late 1960s and '70s, Leavitt is primarily concerned with narrative and narrative forms. Since 1969, his works have employed ordinary fragments of popular and vernacular culture and modernist architecture.
[Click on the cover and browse with the arrows to see images of the inside.]
Manuel Herz, African Modernism, Park Books, 2015
African Modernism. The Architecture of Independence. Ghana, Senegal, Côte d'Ivoire, Kenya, Zambia
In the 1950s and 1960s, most African countries gained independence from their respective colonial power. Architecture became one of the principal means by which the newly formed countries expressed their national identity. Parliament buildings, central banks, stadiums, convention centers, universities and independence memorials were built, often to heroic and daring designs. At the same time, these buildings exemplify also the difficulties, contradictions and dilemmas these countries experienced in their nation-building process.
Hanon Reznikov, Living on Third Street: Plays of the Living Theatre, 1989–1992, Autonomedia, 2008
Scripts, photos, director's notes, musical scores, set designs, and more, from a remarkably fertile period in the half-century-long history of the most important radical theater ensemble in American history.
Paul Thek, Shrine, Kolumba, 2013
Edited by Stefan Kraus, Ulrike Surmann, Marc Steinmann and Barbara von Flüe, with texts by Joachim M.Plotzek, Dirk Teuber, Michael Nickel, Friedhelm Mennekes, Jean-Christophe Ammann, Susanne Neubauer and Katharina Winnekes. Contains 770 illustrations.
Jean-Jacques Lebel, Entretiens avec Julian Beck et Judith Malina : Living Theatre, Éditions Pierre Belfond, 1969
"Le Living. Son histoire. Sa pratique de la vie communautaire. Ses rôles. Ses jeux. Ses méthodes de travail. Ses rapports avec l'industrie du spectacle et le système d'exploitation. Ses rapports avec les "publics". Sa non-violence. Sa violence.
Dans un choix d'approches écrites ou parlées, le Living se définit par lui-même, mais aussi par ceux qu'il fascine ou dérange, qu'il séduit ou épouvante. Pour Jean-Jacques Lebel, ces entretiens avec Julian Beck, Judith Malina et les acteurs du Living ont été le prétexte pour parler, ou plutôt pour laisser parler le conflit des classes et des individus tel qu'il apparaît dans les carences, les feintes et les pièges du discours culturel et du discours politique."
Yann Chateigné, Markus Miessen, The Archive as a Productive Space of Conflict, Sternberg Press, 2016
This applied research project and publication deals with archival practice and its spatial repercussions. Inquiring whether any accumulation and organization of knowledge is productive—to the effect that it generates a narrative and / or history—the project focuses specifically on archives becoming productive due to their spatial framework.
With contributions by Philippe Artières, Stuart Bailey, Bassam El Baroni, Thomas Bayrle, Jeremy Beaudry, Beatrice von Bismarck, BLESS, Boris Charmatz, Beatriz Colomina, Céline Condorelli, Mathieu Copeland, Dexter Sinister, Michel Giroud, Kenneth Goldsmith, Joseph Grima, Nav Haq, Sandi Hilal, Nikolaus Hirsch, Thomas Jefferson, Christoph Keller, Christophe Kihm, Alexander Kluge, Joachim Koester, Pierre Leguillon, Franck Leibovici, Armin Linke, Markus Miessen, Julia Moritz, Rabih Mroué, Hans Ulrich Obrist, Seth Price, Walid Raad, Alice Rawsthorn, Patricia Reed, David Reinfurt, Claire de Ribaupierre, Eyal Weizman.
Matt Mullican, Editions 1985–2012, bom dia boa tarde boa noite, 2014
Working in the fields of performance, installation, digital technology and sculpture, Matt Mullican (born 1951 in Santa Monica, lives an works in New York) is seeking to develop a cosmological model based on a personal vocabulary combining the formal and the symbolic. Hypnosis and cartography are his principal modes of operation. He explores functional sign systems of his own devising through activities under hypnosis, in a permanent oscillation between the real and its schematization, between fiction and its physical reality.
This is the first catalogue raisonné of editions and multiples by Matt Mullican, published by Helga Maria Klosterfelde Edition and Bom Dia Boa Tarde Boa Noite. In addition to the book, Matt Mullican has produced a special multiple to accompany the publication, this will be available through Helga Maria Klosterfelde Edition.
Luciano Castelli, Images / Bilder 1972–1988, Musée cantonal des Beaux-Arts de Lausanne, 1989
Catalogue publié à l'occasion l'exposition éponyme de Luciano Castelli au Musée cantonal des Beaux-Arts de Lausanne, du 14 avril au 4 juin 1989.
Boyd McDonald, Cruising the Movies. A Sexual Guide to Oldies on TV, Semiotext(e), 2015
Cruising the Movies was Boyd McDonald’s “sexual guide” to televised cinema, originally published by the Gay Presses of New York in 1985. The capstone of McDonald’s prolific turn as a freelance film columnist for the magazine Christopher Street, Cruising the Movies collects the author’s movie reviews of 1983–1985. This new, expanded edition also includes previously uncollected articles and a new introduction by William E. Jones.
Better known as the editor of the Straight to Hell paperback series—a compendia of real-life sexual stories that is part pornography, part ethnography—McDonald in his film writing reveals both his studious and sardonic sides. Many of the texts in Cruising the Movies were inspired by McDonald’s attentive inspection of the now-shuttered MoMA Film Stills Archive, and his columns gloriously capture a bygone era in film fandom. Gay and subcultural, yet never reducible to a zany cult concern or mere camp, McDonald’s “reviews” capture a lost art of queer cinephilia, recording a furtive obsession that once animated gay urban life. With lancing wit, Cruising celebrates gay subculture’s profound embrace of mass culture, seeing film for what it is—a screen that reflects our fantasies, desires, and dreams.
George Baker, The Artwork Caught by the Tail. Francis Picabia and Dada in Paris, MIT Press, 2010
The artist Francis Picabia—notorious dandy, bon vivant, painter, poet, filmmaker, and polemicist—has emerged as the Dadaist with postmodern appeal, and one of the most enigmatic forces behind the enigma that was Dada. In this first book in English to focus on Picabia's work in Paris during the Dada years, art historian and critic George Baker reimagines Dada through Picabia's eyes. Such reimagining involves a new account of the readymade—Marcel Duchamp's anti-art invention, which opened fine art to mass culture and the commodity. But in Picabia’s hands, Baker argues, the Dada readymade aimed to reinvent art rather than destroy it. Picabia’s readymade opened art not just to the commodity, but to the larger world from which the commodity stems: the fluid sea of capital and money that transforms all objects and experiences in its wake. The book thus tells the story of a set of newly transformed artistic practices, claiming them for art history—and naming them—for the first time: Dada Drawing, Dada Painting, Dada Photography, Dada Abstraction, Dada Cinema, Dada Montage.
Along the way, Baker describes a series of nearly forgotten objects and events, from the almost lunatic range of the Paris Dada “manifestations” to Picabia’s polemical writings; from a lost work by Picabia in the form of a hole (called, suggestively, The Young Girl) to his “painting” Cacodylic Eye, covered in autographs by luminaries ranging from Ezra Pound to Fatty Arbuckle. Baker ends with readymades in prose: a vast interweaving of citations and quotations that converge to create a heated conversation among Picabia, André Breton, Tristan Tzara, James Joyce, Friedrich Nietzsche, Jacques Derrida, Gilles Deleuze, and others. Art history has never looked like this before. But then again, Dada has never looked like art history.
Ursula K. Le Guin, Dacing at the Edge of the World. Thoughts on Words, Women, Places, Grove Press, 1997
“I have decided that the trouble with print is, it never changes its mind,” writes Ursula Le Guin in her introduction to Dancing at the Edge of the World. But she has, and here is the record of that change in the decade since the publication of her last nonfiction collection, The Language of the Night. And what a mind—strong, supple, disciplined, playful, ranging over the whole field of its concerns, from modern literature to menopause, from utopian thought to rodeos, with an eloquence, wit, and precision that makes for exhilarating reading.
Marcel Joray, Le béton dans l’art contemporain – Vol. 1 + 2, Éditions du Griffon, 1987
The use of concrete in visual arts, until the late 1970s.
“Why should it seem to form such an unnatural union to associate concrete with beauty? Stone and bronze are linked in our minds with ancient history, and recall different civilisations. Concrete, though, is completely new, and so it has “the natural right of present over the past.” What we intend to do here is to try to show, by means of the examples chosen, that concrete, in just the same way as steel, has earned its place in the plastic arts. We have based ou research mainly on what may properly be referred to sculpture, and on reliefs and the way they have been integrated into architecture. We have, however, also covered very extensively the environmental works which have brought the plastic quality to planned open spaces and public spaces. And lastly we have considered those typical works of our civilization, the monumental creations of artists working in collaboration with constructional engineers.” (Marcel Joray, foreword)
La drogue, Éditions Silva, 1973
Texte de Georges Gygax. Photos de Yves Debraine. Plus de 100 illustrations en couleur.
Germano Celant, William N. Copley, Fondazione Prada, 2016
Monograph published on the occasion of the artist's retrospective exhibition at Fondazione Prada, Milano, October 20, 2016 to January 8, 2017.
Essays by Germano Celant, Toby Kamps, Jonathan Griffin, Paul B. Franklin, Gwen L. Allen, Alison M. Gingeras; Chronology by Claire Brandon.
Mike Kelley, Paul McCarthy, Collaborative Works, The Power Plant, 2000
Since 1987, Mike Kelley and Paul McCarthy have collaborated on several projects including three major installations, five videos, two series of photographs, the design of the Sod and Sodie Sock catalogue, and a double CD of performances in Tokyo with Japanese noise musician Violent Onsen.
This catalogue traces the history of Kelley and McCarthy’s collaborations and includes five critical essays by Philip Monk, Timothy Martin, Ann Goldstein, and Martin Prinzhom, each concentrating on specific works. Also included is a comprehensive exhibition history and bibliography of Kelley and McCarthy’s collaborations.
Erik Bruun, Sara Popovits, Kaija+Heikki Siren Architects, Karl Krämer Verlag Stuttgart, The Otava Publishing Co, 1978
This illustrated book is on the work of Kaija and Heikki Siren, two architects who have done much to build up the international reputation of Finnish architecture since the beginning of the '50s.