Johan Kugelberg, The Tattooed Dragon Meets The Wolfman: Lenny Kaye’s Science Fiction Fanzines 1941–1970, Boo Hooray, 2014
This book gathers the science fiction fanzine collection of Lenny Kaye, member of The Patti Smith Group, legendary compiler of Nuggets, music historian, and a once teenage SF fanzine editor/publisher/contributor. Ranging from 1941 to 1970, these fanzines represent ground zero for the zine explosion that was to come years later in rock, punk, skate, fashion, and art.
Primarily published on mimeograph machines, science-fiction fanzines were initially small-run circulars traded amongst fans that offered criticism, letters to the editor, and gossip amongst the SF, fantasy, and horror communities from the 1930s up until digital. These fanzines are about science-fiction subculture, sometimes serious, sometimes crazy, and sometimes serious and crazy.
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.
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.
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)
Jörg Schellmann, Bernd Klüser, Joseph Beuys. Multiples, New York University Press, 1980
Catalogue raisonné, Multiples and Prints, 1965–1980.
This book documents this entire multiple output of German artist Joseph Beuys. In a conversation with the publishers Beuys indicates his intentions and explains his "extended concept of art" through single works.
Lionel Bovier, Christophe Cherix, L'irrésolution commune d'un engagement équivoque. Ecart, Genève 1969–1982, mamco, 1997
L’histoire de l’art n’aime pas les groupes. Elle préfère les héros solitaires. Il lui faut de grands artistes, d’irréductibles individualités : trajectoires singulières, étoiles fixes, chefs-d’œuvre intemporels. Authenticité, sérieux, sincérité, originalité, cohérence, identité, continuité sont quelques-unes des vertus cardinales de son idéologie latente. Le collectif, le contagieux, l’échangisme, l’anonymat, l’éphémère, le négligé, l’erratique, le gratuit, l’infime, le divers, le multiple, l’indiscernable, le je-ne-sais-quoi et le presque-rien, le je-ne-sais-pourquoi et le presque-trop, l’insituable, l’infantile, le farfelu, la confusion des genres, le sans queue ni tête appliqué, le minutieux en vain, l’accumulé en pure perte, les loisirs de la poste, la promenade, le lacunaire, l’indiqué en passant, les désinvolte-face, les conversations inconservables, les bribes, le banal, l’ambigu, le bien imité, les dénégations de pouvoir, les délégations d’impouvoir, les stratégies du plus petit décalage commun, l’« infra-mince » vu au téléscope, les tactiques d’indifférence, le quotidien à géométrie variable, le thé à toute heure, les éternités parallèles, l’interchangeable généralisé, etc. – autant de trous noirs du discours historiographique dominant. D’où l’opportunité, par exemple, de cette première enquête méthodique sur l’un des confettis de l’empire invisible de l’art expérimental dans les années soixante-dix : Ecart, groupe (au moindre sens du terme) d’activistes de l’inutile, ayant sévi à Genève et ailleurs dans le monde, entre 1969 et 1982.
Annebella Pollen, The Kindred of the Kibbo Kift: Intellectual Barbarians, Donlon, 2016
The Kindred of the Kibbo Kift: Intellectual Barbarians is the first full-length work to explore the innovative cultural production of the English camping and hiking organization (1920-1932). Founded after the First World War as a reaction to militarism in scouting, Kibbo Kift developed into an all-ages organization for men and women. It attracted the support of a range of high-profile writers, artists, scientists and campaigners from DH Lawrence to HG Wells. Underpinned by a complex, distinctive philosophy, Kibbo Kift's practices were wide-ranging, extending across health and handicraft, pacifism and propaganda, myth and magic, education and economics. These ambitious ideas can be seen most clearly in the group's mystical and modernist art and design. The Kindred of the Kibbo Kift: Intellectual Barbarians features over 100 largely unseen examples of the group's accomplished creative output. These include decorated tents, campaign banners, illuminated manuscripts, protest graphics, carved totems and ceremonial attire alongside previously unpublished photographs by Angus McBean. The textual content, underpinned by extensive research in public and private archives, provides comprehensive analysis of the group's original style and occult beliefs. Visually arresting in its own right, The Kindred of the Kibbo Kift: Intellectual Barbarians showcases a fascinating but overlooked body of work that has continuing resonance for twenty-first century oppositional art and culture.
Annebella Pollen is Principal Lecturer in the History of Art and Design at the University of Brighton, UK. Her publications include Mass Photography: Collective Histories of Everyday Life (IB Tauris) and Dress History: New Directions in Theory and Practice (Bloomsbury).
François Peraldi, Polysexuality (Semiotext(e) #10), Semiotext(e), 1995
Kunsthaus Zürich, Dadaglobe Reconstructed, Scheidegger & Spiess, 2016
Dadaglobe was to be the definitive anthology of the Dada movement. Had it been published in 1921 as planned, it would have constituted more than one hundred artworks by some thirty artists from seven countries, showing Dada to be an artistic and literary movement with truly global reach. Yet, mainly due to a lack of funding, it remained unpublished, leaving a remarkable void in the literature on this early twentieth-century movement.
On the one-hundredth anniversary of the founding of Dada in Zurich, Dadaglobe Reconstructed restores this fascinating literary artifact with reproductions of the works of art received for the original book by the Romanian poet and cofounder of the Dada movement Tristan Tzara. Tzara’s call for submissions in four categories—drawings, photographs of artworks, photographic self-portraits, and book layouts—was met not merely with existing works. In fact, the parameters for production also served as a catalyst for the creation of many new ones, including some of the Dada movement’s most iconic works. For the first time, the collection is presented here in full color and alongside essays examining Tzara’s concept and the history of Dada and Dadaglobe.
With contributions by Adrian Sudhalter, Michel Sanouillet, Cathérine Hug, Samantha Friedman, Lee Ann Daffner, and Karl D. Buchberg.
Roger Caillois, La lecture des pierres, Xavier Barral, 2015
Cet ouvrage dévoile les plus belles pierres de l'exceptionnelle collection de Roger Caillois à travers des photographies inédites, réalisées en collaboration avec le Muséum national d’histoire naturelle de Paris (MNHN), qui a reçu en dation une grande partie de la collection.
Essayiste, académicien, Roger Caillois se passionne très tôt pour les « pierres curieuses, qui attirent l’attention par quelque anomalie de leur forme ou par quelque bizarrerie significative de dessin ou de couleur ». Il aborde le monde minéral dans une vision toute personnelle où art et sciences naturelles font éclore une image nouvelle de l’univers.
Ce parcours visuel de la collection de Roger Caillois s’accompagne de la réédition de ses célèbres textes : Pierres, L’Écriture des pierres et Agates paradoxales. Descriptifs, méditatifs, ces textes constituent un éloge de ces minéraux dont la lecture fait partager le ravissement qu’ils inspiraient à Roger Caillois.
Coll., Hippie Modernism: The Struggle for Utopia, Walker Art Center, 2015
Hippie Modernism examines the art, architecture and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It includes the counter-design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus-Rucker-Co and ONYX; the installations of Ken Isaacs, Joan Hills, Mark Boyle, Hélio Oiticica and Neville D'Almeida; the experimental films of Jordan Belson, Bruce Conner and John Whitney; posters and prints by Emory Douglas, Corita Kent and Victor Moscoso; documentation of performances by the Diggers and the Cockettes; publications such as Oz and The Whole Earth Catalog; books by Marshall McLuhan and Buckminster Fuller; and much more.
While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures including: Gerd Stern of USCO; Ken Isaacs; Gunther Zamp Kelp of Haus-Rucker-Co; Ron Williams and Woody Rainey of ONYX; Franco Raggi of Global Tools; Tony Martin; Clark Richert and Richard Kallweit of Drop City; as well as new scholarly writings, this book explores the conjunction of the countercultural ethos and the modernist desire to fuse art and life.
Coll., Black Mountain: An Interdisciplinary Experiment 1933 –1957, Spector Books, 2015
The interdisciplinary and experimental educational ideas espoused by Black Mountain College (BMC), founded in North Carolina in 1933, made it one of the most innovative schools in the first half of the twentieth century. Visual arts, economics, physics, dance, architecture, and music were all taught here on an equal footing, and teachers and students lived together in a democratically organized community. The first rector of the school was John Andrew Rice, and Josef Albers, John Cage, Walter Gropius, and Buckminster Fuller were among the many adepts to give courses here. In consequence, BMC witnessed the development of a range of avant-garde concepts. This richly illustrated book appears in conjunction with the Black Mountain exhibition. It is the first comprehensive publication on BMC in the German-speaking world and traces the key moments in the history of this legendary school.
Edited by Eugen Blume, Matilda Felix, Gabriele Knapstein, Catherine Nichols.
Jonas Mekas, Scrapbooks of the Sixties: Writings 1954–2010, Spector Books, 2015
Scrapbook of the Sixties is a collection of published and unpublished texts by Jonas Mekas, filmmaker, writer, poet, and cofounder of the Anthology Film Archives in New York.
Born in Lithuania, he came to Brooklyn via Germany in 1949 and began shooting his first films there. Mekas developed a form of film diary in which he recorded moments of his daily life. He became the barometer of the New York art scene and a pioneer of American avant-garde cinema. Every week, starting in 1958, he published his legendary “Movie Journal” column in The Village Voice, writing on a range of subjects that were by no means restricted to the world of film. He conducted numerous interviews with artists like Andy Warhol, Susan Sontag, John Lennon & Yoko Ono, Erick Hawkins, and Nam June Paik. Some of these will now appear for the first time in his Scrapbook of the Sixties. Mekas’s writings reveal him as a thoughtful diarist and an unparalleled chronicler of the times—a practice that he has continued now for over fifty years.
Clarice Lispector, Complete Stories, Penguin Modern Classic, 2015
Clarice Lispector was one of the most blistering and innovative twentieth-century writers of the short story. This collection, gathering all her stories together for the first time in English, shows us abandonments and dependencies, animals too deeply loved and then eaten, the smallest woman in the world, moments of madness and passions that have the ferocity of a fork plunged into a good friend's neck. Together they follow the evolution of a writer capable of capturing all the incredible heat and wonder of existence.
Jack Hirschman (ed.), Artaud Anthology, City Light Books, 1965
“I am the man“, said Antonin Artaud, “who has best charted his inmost self“. To society, Artaud was an addict and a madman. He was by nature a visionary poet and incendiary, and this book brings together for the first time in English a sufficient and representative quantity of Artaud's (non-theatrical) writing to explain that particular attraction he has for many today – a fascination which lies only partly in his embodiment of the alienated individual in society (as in Artaud's own interpretation of Van Gogh, in whom he could not help but see himself). Here one can hear – in very faithful and beautiful translations, done mostly by contemporary poets – Artaud's whole voice as it has not been heard before in English – his drug pleas, his prophecies, his castigations and condemnations, his tribal chants and poems.“
Lisa Robertson, Matthew Stadler, Revolution: A Reader, Paraguay Press, Publication Studio, 2015
Co-published with Publication Studio, Portland, Revolution: A Reader collects texts from across many cultures and times and organizes them roughly along a chronology of living, from “beginning,” to “childhood,” “education,” “adulthood,” and “death.” The book brings the embodied fact of revolution into the lived present by engaging readers with language that takes us there, no matter where we are to begin with. We are all in revolution, now. Reading can make this fact primary and conscious and shared. Heavily annotated throughout, the book is, quite literally, a conversation. The annotations, by Lisa Robertson and Matthew Stadler — composed simultaneously and in response to one another — stitch a web of argument that links the book into a single thing, a reader. The book also features a narrative bibliography of revolution by David Brazil.
With texts by Kathy Acker, Etel Adnan, Vivienne Westwood, Dodie Bellamy, David Brazil, Edmund Burke, Mina Loy, Mahmoud Darwish, Oscar Wilde, Guy Davenport, Angela Davis, Gertrude Stein, Stacy Doris, Hannah Arendt, Saskia Sassen, Frantz Fanon, Shulamith Firestone, Louise Michel, Eileen Myles, Jean Genet, Michel Ragon, Donna Haraway, Oscar Tuazon and many more.
Adrian Piper, Textes d'oeuvres et essais, Institut d'art contemporain Villeurbanne, 2003
Cette publication, premier recueil de traductions en français d'écrits d'Adrian Piper, est constituée de textes d'oeuvres de la rétrospective Adrian Piper: Depuis 1965 présentée à l'Institut d'art contemporain de Villeurbanne au printemps 2003, et de quatre essais critiques: deux sur la xénophobie, un sur la triple oppression des artistes femmes noires et un sur le modernisme en art; leurs préoccupations étant étroitement liées à la production artistique de Piper, ils veulent servir à éclairer plus largement sa démarche.
Dick Higgins, Wolf Vostell, Fantastic Architecture, Primary Information, 2015
Primary Information is reprinting the seminal book, Fantastic Architecture, making the book widely available for the first time since it was originally published: first in 1969 by Droste Verlag in German (with the title Pop Architektur) and later in 1970 by Something Else Press as Fantastic Architecture. Edited by Dick Higgins and Wolf Vostell, this artist’s book/anthology explores the boundaries between pop art and architecture through writings and projects by key artists and thinkers of the 1960s and earlier—from John Cage and Buckminster Fuller to Kurt Schwitters and Joseph Beuys. It will retain the book’s unique design, specifically its Mylar inserts, which add unique depth and elaborate the publication’s content.
Contributors to this publication are Ay-O, Joseph Beuys, Erich Buchholz, Pol Bury, John Cage, Philip Corner, Jan Dibbets, Robert Filliou, Buckminster Fuller, Geoffrey Hendricks, Richard Hamilton, Raoul Hausmann, Michael Heizer, Jan Jacob Herman, Bici Hendricks, Dick Higgins, K.H. Hoedicke, Hans Hollein, Douglas Huebler, Milan Knizak, Alison Knowles, Addi Koepcke, Franz Mon, Claes Oldenburg, Dennis Oppenheim, Gerhard Rühm, Diter Rot, Carolee Schneemann, Kurt Schwitters, Daniel Spoerri, Frances Starr, Jean Tinguely, Ben Vautier, Wolf Vostell, Lawrence Weiner, Stefan Wewerka.
Statement and Counter-Statement: Notes on Experimental Jetset, Roma Publications, 2015
The first publication on the work of Experimental Jetset features almost two decades of graphic design praxis. Rather than a monolithic monograph, it is a very loose, personal archive, with essays by Linda van Deursen, Mark Owens, and Ian Svenonius, plus two photographic chapters with a selection of work by the studio, covering both printed matter and the documentation of site-specific pieces and installations. To conclude is a glossary-like anthology of texts (fragments of interviews, lectures, correspondence, etc.) previously written by Experimental Jetset, selected, edited, and structured by Jon Sueda. Design: Experimental Jetset.
Genesis P-Orridge, Thee Psychick Bible, Feral House, 2009
“It has been a revelation and become very thrilling for me to see 30 years+ of social, ritual and communal explorations consensed into what we feel may become the most profound new manual on 'practical magick' taking from its Crowleyn level of liberation and empowerment of the Individual to a next level of realization that magick must then give back to its environment, its community, become about liberation and empowerment to change this 'world' and evolve our humanE species.“
– Genesis Breyer P-Orridge
THEE PSYCHICK BIBLE: Thee Apocryphal Scriptures ov Genesis Breyer P-Orridge and Thee Third Mind ov Thee Temple ov Psychick Youth is 544 pages in length, with basic texts, documents, illustrations, photographs and new commentaries regarding Thee Temple ov Psychick Youth (TOPY), the most influential magickal commune of the '80s and '90s.
TOPY will be remembered for its crucial influence on youth culture throughout the ’80s and ’90s, popularizing occult investigations, tattooing, body piercing, acid house raves, and other ahead-of-the-curve cultic flirtations and investigations. Its leader was Genesis P-Orridge, co-founder of Psychick TV and Throbbing Gristle, the band that created the industrial music genre.