Reading Room catalogue

The publication expands on the festival-inspired exhibition and two seminars held at IASPIS, on the occation of the Swedish government’s declaration of 2006:Year of Cultura Diversity. The publication not only documents, but takes the discussion from this seminar a step further with new texts and art projects.Multiculturalism is a little too easy to dismiss. In political terms for the Right, it poses a threat to traditions and antinational identity. For the Left, it often means food festivals, postmarxist culturalism or reactionary community spokesmen As with discussions of globalization, perhaps the crux of the problem lies in the tools at our disposal. The critica terminology is akward or embarrassing at best, dangerous at worse. At the very least, a more exact language might help define the terms of engagement more precisely. Following the Swedish government’s declaration of 2006: Year of Cultural Diversity, we looked to artists and theorists with a capacity for reassessing standard cultural terminologies and revisiting their critical potential.

Contributors: Maria Lind, Tirdad Zolghard, Peter Geschwind, Edda Manga, Kate Rich, Timothy Brennan, Loulou Cherinet, Hito Steyler, Natascha Sadr Haghighian, Jonathan Harris, Måns Wrange.

Compared to other avant-garde movements that emerged in the 1960s, conceptual art has received relatively little serious attention by art historians and critics of the past twenty-five years—in part because of the difficult, intellectual nature of the art. This lack of attention is particularly striking given the tremendous influence of conceptual art on the art of the last fifteen years, on critical discussion surrounding postmodernism, and on the use of theory by artists, curators, critics, and historians.

This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the movement. It also contains more recent memoirs by participants, as well as critical histories of the period by some of today’s leading artists and art historians. Many of the essays and artists’ statements have been translated into English specifically for this volume. A good portion of the exchange between artists, critics, and theorists took place in difficult-to-find limited-edition catalogs, small journals, and private correspondence. These influential documents are gathered here for the first time, along with a number of previously unpublished essays and interviews.

Contributors
Alexander Alberro, Art & Language, Terry Atkinson, Michael Baldwin, Robert Barry, Gregory Battcock, Mel Bochner, Sigmund Bode, Georges Boudaille, Marcel Broodthaers, Benjamin Buchloh, Daniel Buren, Victor Burgin, Ian Burn, Jack Burnham, Luis Camnitzer, John Chandler, Sarah Charlesworth, Michel Claura, Jean Clay, Michael Corris, Eduardo Costa, Thomas Crow, Hanne Darboven, Raúl Escari, Piero Gilardi, Dan Graham, Maria Teresa Gramuglio, Hans Haacke, Charles Harrison, Roberto Jacoby, Mary Kelly, Joseph Kosuth, Max Kozloff, Christine Kozlov, Sol LeWitt, Lucy Lippard, Lee Lozano, Kynaston McShine, Cildo Meireles, Catherine Millet, Olivier Mosset, John Murphy, Hélio Oiticica, Michel Parmentier, Adrian Piper, Yvonne Rainer, Mari Carmen Ramirez, Nicolas Rosa, Harold Rosenberg, Martha Rosler, Allan Sekula, Jeanne Siegel, Seth Siegelaub, Terry Smith, Robert Smithson, Athena Tacha Spear, Blake Stimson, Niele Toroni, Mierle Ukeles, Jeff Wall, Rolf Wedewer, Ian Wilson

Art After Conceptual Art tracks the various legacies of conceptualist practice over the past three decades. This collection of essays by art historians from Europe and the Americas introduces and develops the idea that conceptual art generated several different, and even contradictory, forms of art practice. Some of these contested commonplace assumptions of what art is; others served to buttress those assumptions. The bulk of the volume features newly written and highly innovative essays challenging standard interpretations of the legacy of conceptualism and discussing the influence of conceptualism’s varied practices on art since the 1970s. The essays explore topics as diverse as the interrelationships between conceptualism and institutional critique, neoexpressionist painting and conceptualist paradigms, conceptual art’s often-ignored complicity with design and commodity culture, the specific forms of identity politics taken up by the reception of conceptual art, and conceptualism’s North/South and East/West dynamics. A few texts that continue to be crucial for critical debates within the fields of conceptual and postconceptual art practice, history, and theory have been reprinted in order to convey the vibrant and ongoing discussion on the status of art after conceptual art. Taken together, the essays will inspire an exploration of the relationship between postconceptualist practices and the beginnings of contemporary art.

Recording Conceptual Art features a highly provocative series of previously unpublished interviews conducted in early 1969 with some of the most dynamic, daring, and innovative artists of the tumultuous 1960s. The nine individuals―eight artists and one art dealer―are now known as major contributors to Conceptual art. These fascinating dialogues, conducted by Patricia Norvell, provide tantalizing moments of spontaneous philosophizing and brilliant insights, as well as moments of unabashed self-importance, with highly imaginative and colorful individuals.

The central argument of Chromophobia is that a chromophobic impulse – a fear of corruption or contamination through colour – lurks within much Western cultural and intellectual thought. This is apparent in the many and varied attempts to purge colour, either by making it the property of some ‘foreign body’ – the oriental, the feminine, the infantile, the vulgar, or the pathological – or by relegating it to the realm of the superficial, the supplementary, the inessential, or the cosmetic.

Chromophobia has been a cultural phenomenon since ancient Greek times; this book is concerned with forms of resistance to it. Writers have tended to look no further than the end of the nineteenth century. David Batchelor seeks to go beyond the limits of earlier studies, analysing the motivations behind chromophobia and considering the work of writers and artists who have been prepared to look at colour as a positive value. Exploring a wide range of imagery including Melville’s ‘great white whale’, Huxley’s reflections on mescaline, and Le Corbusier’s ‘Journey to the East’, Batchelor also discusses the use of colour in Pop, Minimal, and more recent art.

Rehearsing Hospitalities connects artists, curators and other practitioners in the field of contemporary art and beyond, to build up and mediate new practices, understandings and engagements with diverse hospitalities. It fosters critical discourse, pluralistic sharing and collaboration between divergent (artistic) practitioners in contemporary societies and supports the emergence of new paradigms and methods of political and cultural hospitality.

It asks: upon what kind of power structures of knowledge and knowing are contemporary art and artistic institutions dependent? Do practitioners in the art field reproduce oppressive Western epistemic paradigms through artistic practices and institutional structures, and if so, is there space for emancipatory ways of knowing? What are the ways that intersectional subjectivities open up new epistemic processes within the artistic field?

Including a deep range of references, contributions and collaborative dialogues, the editors offer a collective assemblage as a plurality of epistemologies, making the knowledges gathered accessible.

Taking the Matter into Common Hands maps out the issues surrounding collaborative art from a practitioner’s perspective. With contributions from Marion von Osten, Nav Haq, 16 Beaver, Copenhagen Free University, Maria Lind and Lars Nilsson, it examines the working relations between artists and other producers of culture, and explores the future of collective action in the art world.

In recent years, the art world has shown a renewed interest in collective work and activity. Collaborations between artists and artists, artists and curators, and artists and outside professionals have begun to rival the traditional focus on the individual artist. This type of collaboration has called into question how we view works of art that are not the voice of a single individual, and how that impacts on the concept of art as a means of self-expression.

In these essays and conversations, Daniel Birnbaum explores what conceptual artist Daniel Buren referred to as the ‘frames of art’.

As a director of institutions, he has organized events inside and outside some of the most significant art institutions in Europe, including the Venice Biennale, the Städelschule in Frankfurt, Moderna Museet and the Centre Pompidou.

Like few other curators he has pushed the boundaries of the studio, the exhibition, and the museum in an attempt to find new ways to ‘frame’ art.

This volume contains examples of curatorial approaches to education, exhibition-making and the presentation of collections.

In The Curatorial Condition, Beatrice von Bismarck considers the field of activity and knowledge that relates to the exhibiting of art and culture. The curatorial, in her analysis, is a domain of practice and meaning with its own conditions, rules, and procedures. Focusing on the relations between human and nonhuman participants, she emphasizes the interplay of the process of curating, the subjective approach of the curator, and the presentational format of the exhibition.

Alongside the concept of curatoriality, von Bismarck introduces three additional concepts that view the curatorial condition in terms of relations: constellation, transposition, and hospitality. Within each section, she presents case studies of exhibitions and artistic practices since 1969 that profoundly altered the curatorial and whose importance is still felt today.

In this innovative take on early video art, Ina Blom considers the widespread notion that analog video was endowed with lifelike memory and agency. Reversing standard accounts of artistic uses of video, she follows the reflexive unfolding of a technology that seemed to deploy artists and artistic frameworks in the creation of new technical and social realities. She documents, among other things, video’s emergence through the framework of painting, its identification with biological life, its exploration of the outer limits of technical and mental time control, and its construction of new realms of labor and collaboration. Enlisting a distinctly media-archaeological approach, Blom’s book—her second from Sternberg Press—is a brilliant look at the relationship between video memory and social ontology.

INA BLOM is a professor at the Department of Philosophy, Classics, History of Art and Ideas, University of Oslo, as well as visiting professor at the Department of Art History, University of Chicago.

Founded in 1968, Creative Camera has always been more than a magazine: it has been a forum for the influencing shape and direction of modern photography. This anthology of fifty texts and their images includes moments from the debate. There are strong and distinctive voices, many in lively disagreement, writers and artists such as Roland Barthes, John Berger, Victor Burgin, Jo Spence and Helen Chadwick.

The Nuclear Culture Source Book is a resource and introduction to nuclear culture, one of the most urgent themes within contemporary art and society, charting the ways in which art and philosophy contribute to a cultural understanding of the nuclear. The book brings together contemporary art and ideas investigating the nuclear Anthropocene, nuclear sites and materiality, along with important questions of radiological inheritance, nuclear modernity and the philosophical concept of radiation as a hyperobject.

Contemporary Art in Heritage Spaces considers the challenges that accompany an assessment of the role of contemporary art in heritage contexts, whilst also examining ways to measure and articulate the impact and value of these intersections in the future.

Presenting a variety of perspectives from a broad range of creative and cultural industries, this book examines case studies from the past decade where contemporary art has been sited within heritage spaces. Exploring the impact of these instances of intersection, and the thinking behind such moments of confluence, it provides an insight into a breadth of experiences – from curator, producer, and practitioner to visitor – of exhibitions where this juncture between contemporary art and heritage plays a crucial and critical role. Themes covered in the book include interpretation, soliciting and measuring audience responses, tourism and the visitor economy, regeneration agendas, heritage research, marginalised histories, and the legacy of exhibitions.

‘Contemporary New Zealand Art’ is comprised of a set of four individual books, Volumes 1-4.

They offer a comprehensive view of New Zealand artists working at the end of the 20th century. Each volume consists of over 100 artworks, reproduced in full colour, representing twenty established and emerging artists orking in a variety of media – painting, photography, sculpture, installation and multimedia.

Each book shows a wide selection of each artist’s work, providing visual references to their individual development and documenting their contribution to the dynamism of contemporary New Zealand art. A brief essay on each artist is given, including biographical details and a list of exhibitions which provides a context for their work.

The number, range and quality of the reproductions throughout all four books make the series a valuable resource in the dynamic arena of visual arts in New Zealand.

‘Contemporary New Zealand Art’ is comprised of a set of four individual books, Volumes 1-4.

They offer a comprehensive view of New Zealand artists working at the end of the 20th century. Each volume consists of over 100 artworks, reproduced in full colour, representing twenty established and emerging artists orking in a variety of media – painting, photography, sculpture, installation and multimedia.

Each book shows a wide selection of each artist’s work, providing visual references to their individual development and documenting their contribution to the dynamism of contemporary New Zealand art. A brief essay on each artist is given, including biographical details and a list of exhibitions which provides a context for their work.

The number, range and quality of the reproductions throughout all four books make the series a valuable resource in the dynamic arena of visual arts in New Zealand.

‘Contemporary New Zealand Art’ is comprised of a set of four individual books, Volumes 1-4.

They offer a comprehensive view of New Zealand artists working at the end of the 20th century. Each volume consists of over 100 artworks, reproduced in full colour, representing twenty established and emerging artists orking in a variety of media – painting, photography, sculpture, installation and multimedia.

Each book shows a wide selection of each artist’s work, providing visual references to their individual development and documenting their contribution to the dynamism of contemporary New Zealand art. A brief essay on each artist is given, including biographical details and a list of exhibitions which provides a context for their work.

The number, range and quality of the reproductions throughout all four books make the series a valuable resource in the dynamic arena of visual arts in New Zealand.

‘Contemporary New Zealand Art’ is comprised of a set of four individual books, Volumes 1-4.

They offer a comprehensive view of New Zealand artists working at the end of the 20th century. Each volume consists of over 100 artworks, reproduced in full colour, representing twenty established and emerging artists orking in a variety of media – painting, photography, sculpture, installation and multimedia.

Each book shows a wide selection of each artist’s work, providing visual references to their individual development and documenting their contribution to the dynamism of contemporary New Zealand art. A brief essay on each artist is given, including biographical details and a list of exhibitions which provides a context for their work.

The number, range and quality of the reproductions throughout all four books make the series a valuable resource in the dynamic arena of visual arts in New Zealand.

Through conversations with curators and participating artists, this book revisits some of the most groundbreaking yet under-researched European and US public art exhibitions of the 1980s and 1990s: “Konstrukcja w Procesie,” an artist-driven collaboration with the Solidarność movement in Łódź, 1981; “Die Endlichkeit der Freiheit,” initiated by artists Rebecca Horn and Jannis Kounellis and playwright Heiner Müller on both sides of the former Berlin Wall in 1990; “Culture in Action,” curated by Mary Jane Jacob in Chicago in 1993; “Sonsbeek 93” in Arnhem, curated by Valerie Smith; “Fem trädgårdar,” curated by Carlos Capelán in Simrishamn and Ystad in 1996; INSITE, an ongoing series of exhibitions in San Diego and Tijuana launched in 1992; “U-media,” curated by VAVD Editions in Umeå in 1987; and Ida Biard’s “La Galerie des Locataires,” which, from 1972 until today, has used the window of a Parisian apartment as an exhibition space.

Assuming Asymmetries focuses on questions central to all these projects: How can art productively navigate political tensions? How have artists and curators addressed the ethical asymmetries of the border condition, of inside and outside, working across walls and fences—whether physical, political, or social? Why is participation so hard to catalyze and conduct? How have artworks come to constitute a practice of “situated knowledge,” engaging with the contexts in which they are produced or exhibited? And finally, what can we learn from the exhibitions discussed here when developing new, respectful forms of curating today?

With contributions by Mario Airò, Sarah Alberti, Amal Alhaag, Naomi Beckwith, Ida Biard, Wigger Bierma, Barbara Bloom, Susan Bolgar, Jonna Bornemark, Carlos Capelán, Carmen Cuenca, Quinten Dierick, Mark Dion, Stephan Dillemuth, Andrea Fraser, Clarien van Harten, Wulf Herzogenrath, Irene Hohenbüchler, Mary Jane Jacob, Suzanne Lacy, Max Liljefors, Viola Krajewska, Michael Krichman, Rune Mields, Aernout Mik, Thomas Millroth, Marielle Nitoslawska, Alfredo Pernin, Betsabeé Romero, Andreas Siekmann, Valerie Smith, Petra Smits, Christoph Tannert, Sissel Tolaas, Madeleine Tunbjer, Ryszard Waśko, Sofia Wiberg, Måns Wrange, Sally Yard, Mel Ziegler

New Zealand Sculpture: A History was well received by art lovers and educational institutions alike on its publication in 2002. For the new edition, Dunn has added a chapter, ‘Crisis of Identity: Sculpture since 2000’, in which he discusses New Zealand sculpture’s international reach, its role at Venice Biennales and the importance of overseas-based New Zealand sculptors such as Francis Upritchard and Ronnie van Hout. Dunn also sees a new popularity for sculpture with the establishment of several outdoor sculpture walks. The book now charts the growth of sculpture from the era of British imports and influence to the more confident art of the twentieth and twenty-first centuries. It includes a general bibliography and reading lists for each major artist and fourteen new colour plates have been added to the original 76 black and white figures and 92 colour plates.

This handsome book tells the enthralling story of an art form that has gone from strength to strength in recent years.

Since 2000, The Brooklyn Rail has been a platform for artists, academics, critics, poets, and writers in New York and abroad. The monthly journal’s continued appeal is due in large part to its diverse contributors, many of whom bring contrasting and often unexpected opinions to conversations about art and aesthetics. No other publication devotes as much space to the artist’s voice, allowing ideas to unfold and idiosyncrasies to emerge through open discussion.

Since its inception, cofounder and artistic director Phong Bui and the Rail’s contributors have interviewed over four hundred artists for The Brooklyn Rail. This volume brings together for the first time a selection of sixty of the most influential and seminal interviews with artists ranging from Richard Serra and Brice Marden, to Alex Da Corte and House of Ladosha. While each interview is important in its own right, offering a perspective on the life and work of a specific artist, collectively they tell the story of a journal that has grown during one of the more diverse and surprising periods in visual art. There is no unified style or perspective; The Brooklyn Rail’s strength lies in its ability to include and champion difference.

Selected and coedited by Jarrett Earnest, a frequent Rail contributor, with Lucas Zwirner, the book includes an introduction to the project by Phong Bui as well as many of the hand-drawn portraits he has made of those he has interviewed over the years. This combination of verbal and visual profiles offers a rare and personal insight into contemporary visual culture.

Interviews with Vito Acconci, Ai Weiwei, Lynda Benglis, James Bishop, Chris Burden, Vija Celmins, Francesco Clemente, Bruce Conner, Alex Da Corte, Rosalyn Drexler, Keltie Ferris, Simone Forti, Andrea Fraser, LaToya Ruby Frazier, Suzan Frecon, Coco Fusco, Robert Gober, Leon Golub, Ron Gorchov, Michelle Grabner, Josephine Halvorson, Sheila Hicks, David Hockney, Roni Horn, House of Ladosha, Alfredo Jaar, Bill Jensen, Alex Katz, William Kentridge, Matvey Levenstein, Nalini Malani, Brice Marden, Chris Martin, Jonas Mekas, Shirin Neshat, Thomas Nozkowski, Lorraine O’Grady, Genesis Breyer P-Orridge, Joanna Pousette-Dart, Ernesto Pujol, Martin Puryear, Walid Raad, Dorothea Rockburne, Tim Rollins and K.O.S., Robert Ryman, Dana Schutz, Richard Serra, Shahzia Sikander, Nancy Spero, Hiroshi Sugimoto, Sarah Sze, Rirkrit Tiravanija, James Turrell, Richard Tuttle, Luc Tuymans, Kara Walker, Stanley Whitney, Jack Whitten, Yan Pei-Ming, and Lisa Yuskavage

This inaugural edition entitled New Institutionalism considers and offers historical and current viewpoints on the role and position of the art institution. As the editor Jonas Ekeberg states in the introduction to the book, when New Institutionalism was developed ‘the intention was to present a handful of Norwegian and international art institutions that were undergoing radical changes, in what could be seen as no less than an attempt to redefine the contemporary art institution. These institutions seemed at last to be ready to let go, not only of the limited discourse of the work of art as a mere object, but also of the whole institutional framework that went with it, a framework that the “extended” field of contemporary art had simply inherited from high modernism, along with its white cube, its top-down attitude of curator and directors, its link to certain (insider) audience and so on an so forth.’

A landmark in art history and the most anticipated art publishing event of the new millennium. In this groundbreaking and original work of scholarship, four of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth century, an age when artists in the United States, Europe, and elsewhere sought to overturn the traditions of the past and expectations of the present in order to invent new practices and forms.

Adopting a unique year-by-year approach, Foster, Krauss, Bois, and Buchloh present more than 50 short essays, each focusing on a crucial event – the creation of a seminal work, the publication of an artistic manifesto, the opening of a major exhibition – to tell the story of the dazzling diversity of practice and interpretation that characterizes the art of the period. All the turning points and breakthroughs of modernism and postmodernism are explored in depth, as are the frequent and sustained antimodernist reactions that proposed alternative visions of art and the world. Illustrating the authors’ texts are more than 300 of the most important works of the century, many reproduced in full color.
The book’s flexible structure and extensive cross-referencing allow readers to follow any one of the many narratives that unfold, whether that be the history of a medium such as photography or painting, the development of art in a particular country, the influence of a movement such as surrealism or feminism, or the emergence of a stylistic or conceptual category like abstraction or minimalism. Boxes give further background information on the important figures and issues.

In their insightful introductions, the four authors explain the different methods of art history at work in the book, providing the reader with the conceptual tools for further study. A roundtable discussion at the close of the book considers the questions raised by the preceding decades and look ahead to the art of the future. A glossary of terms and concepts completes this extraordinary volume.

Exhibitions are tightly intertwined with the processes of historiography, creating dynamic and plural relations among and beyond participants both human and nonhuman. They are able to connect different histories while writing history themselves, their reciprocal relationships making them a complex object and transformative agent in historical research. Although it is precisely these abilities that have led to the current intense engagement with exhibition history, the question of what exhibition history as a practice and method entails remains largely under-discussed. As a collection of conversations, essays, artists’ projects, and inserts, this book aims to draw attention to the effects of a practice of exhibition history stemming from research and the curatorial. Through methodological considerations, interventions in existing historiographies, and proposals for new modes of referencing, the contributions work with exhibition history—and embody it themselves.

Of(f) Our Times: Curatorial Anachronics highlights exhibition history’s decisive role in revising existing histories and testing new modes of narrating and relation building. The publication reflects on how the field factors into a heightened interest in the social and political impact of exhibitions across different times and places. As a reciprocal practice, this alters our knowledge of exhibitions and their aftermath: their continued, trans-institutional, trans-temporal, plural existence in the present and the future.

New forms of art, culture and theory have recently emerged through engagements with the realities of the social world and everyday life which are not primarily about representation but rather about participation and narration. These new forms are based on viewer responses and engagement, thus performatively creating open-ended situations rather than autonomous works with closure. Performative theory, drawing mostly on studies of speech acts, proves adequate to describe and analyse these new forms of art and culture and their engagement with the real. Performative Realism scrutinizes a range of contemporary works that experiment with audience participation and processuality within art and culture, as well as it takes issue with theories of performativity and performance. Performative Realism contains contributions from leading Danish scholars working within a broad range of academic fields such as Media Studies, Art History, Theatre Studies and Cultural Studies. The issues addressed covers Scandinavian as well as international installation art, performance art, theatre, photography, movies, literature and role-playing.

The Áltá Action (c. 1978–82) radically shook the course of history in the Nordic region. Its call to ‘let the river live’ rallied against the construction of a large dam across the Álttáeatnu river on the Norwegian side of Sápmi, the Sámi homeland. The Action catapulted the demands for Indigenous sovereignty to the forefront of the politics of the time, and grew into an unexpectedly broad movement of solidarity in which Sámi artists played a central role. Many key questions raised by the Áltá Action pertinent in the region and beyond remain unresolved today. Let the River Flow makes essential reading for any discussion regarding how governments, artists and citizens will act upon these questions within the frame of today’s worldwide call for decolonisation and Indigenisation.

New essays by leading Indigenous artists, writers and scholars as well as allies, together with key existing texts, focus on the significant political and artistic reverberations of the Action past and present. These include current Indigenous discourses and protests across Sápmi, and internationally.

Let the River Flow addresses readers with an interest in decolonial, Indigenous, solidarity and environmental questions within artistic practice and beyond.

Contributors: Sebastián Calfuqueo Aliste, Matti Aikio, Ivar Bjørklund, Mari Boine, Daniela Catrileo, Carolina Caycedo, Raven Chacon, Eva Maria Fjellheim, Katya García-Antón, Harald Gaski, Gunvor Guttorm, Aslak Holmberg, Chief Arvol Looking Horse, Sofia Jannok, Rauna Kuokkanen, Wanda Nanibush, Beaska Niillas, Synnøve Persen, Katarina Pirak Sikku, Buffy Sainte-Marie, Niillas A. Somby, Paulus Utsi, Nils-Aslak Valkeapää, Magne Ove Varsi

This innovative new history examines in-depth how the growing popularity of large-scale international survey exhibitions, or “biennials”, has influenced global contemporary art since the 1950s.

• Provides a comprehensive global history of biennialization from the rise of the European star-curator in the 1970s to the emergence of mega-exhibitions in Asia in the 1990s
• Introduces a global array of case studies to illustrate the trajectory of biennials and their growing influence on artistic expression, from the Biennale de la Méditerranée in Alexandria, Egypt in 1955, the second Havana Biennial of 1986, New York’s Whitney Biennial in 1993, and the 2002 Documenta11 in Kassel, to the Gwangju Biennale of 2014
• Explores the evolving curatorial approaches to biennials, including analysis of the roles of sponsors, philanthropists and biennial directors and their re-shaping of the contemporary art scene
• Uses the history of biennials as a means of illustrating and inciting further discussions of globalization in contemporary art

CHARLES GREEN is Professor of Contemporary Art at the University of Melbourne. He is the author of The Third Hand: Artist Collaborations from Conceptualism to Postmodernism (2001) and Peripheral Vision: Contemporary Australian Art 1970-94 (1995) and co-author of Framing Conflict: War, Peace and Aftermath(2014, with L. Brown and J. Cattapan). As Adjunct Senior Curator of Contemporary Art at the National Gallery of Victoria he co-curated Fieldwork: Australian Art 1968-2002 (2002), world rush_4 artists (2003), 2004: Australian Visual Culture Now (ACMI/NGVA, 2004), and 2006: Contemporary Commonwealth (ACMI/NGVA, 2006). Green is also an artist working in collaboration with Lyndell Brown since 1989.

ANTHONY GARDNER is Associate Professor in Contemporary Art History and Theory at the Ruskin School of Art at the University of Oxford. He is the author of Politically Unbecoming: Postsocialist Art Against Democracy (2015), the editor of Mapping South: Journeys in South-South Cultural Relations (2013) and a co-editor of the journal ArtMargins.

Since 2004 Alison Gerber has been researching and documenting artists’ work in order to create a classification system for the labor of artists. In her work, she is interested in the ideas and assumptions that a viewer could come to when confronted with a new artifact. In this project, Gerber explores positivism and professionalization, the relationships between contemporary art and other disciplinary fields, and the ambivalent processes of making the unseen visible. In the framework of her fellowship, she has produced a book outlining the artists’ work classification, laid out for use by artists in order to catalog their labor. A reader, coming across the book by chance, would assume that the book was meant for use by professional artists. The book is being distributed to public and academic libraries throughout the world.

The lone artist is a worn cliché of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions.

Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples – like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay – who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.

Art has its own power in the world, and is as much a force in the power play of global politics today as it once was in the arena of cold war politics. Art, argues the distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market’s fiats of inclusion and exclusion. In Art Power, Groys examines modern and contemporary art according to its ideological function. Art, Groys writes, is produced and brought before the public in two ways—as a commodity and as a tool of political propaganda. In the contemporary art scene, very little attention is paid to the latter function.

Arguing for the inclusion of politically motivated art in contemporary art discourse, Groys considers art produced under totalitarianism, Socialism, and post-Communism. He also considers today’s mainstream Western art—which he finds behaving more and more according the norms of ideological propaganda: produced and exhibited for the masses at international exhibitions, biennials, and festivals. Contemporary art, Groys argues, demonstrates its power by appropriating the iconoclastic gestures directed against itself—by positioning itself simultaneously as an image and as a critique of the image. In Art Power, Groys examines this fundamental appropriation that produces the paradoxical object of the modern artwork.

Is the artist’s monograph an endangered species or a timeless genre? This critical history traces the formal and conceptual trajectories of art history’s favorite form, from Vasari onward, and reconsiders the validity of the life-and-work model for the twenty-first century.

The narrative of the artist’s life and work is one of the oldest models in the Western literature of the visual arts. In Art as Existence, Gabriele Guercio investigates the metamorphosis of the artist’s monograph, tracing its formal and conceptual trajectories from Vasari’s sixteenth-century Lives of the Painters, Sculptors, and Architects (which provided the model and source for the genre) through its apogee in the nineteenth century and decline in the twentieth. He looks at the legacy of the life-and-work model and considers its prospects in an intellectual universe of deconstructionism, psychoanalysis, feminism, and postcolonialism.

Since Vasari, the monograph has been notable for its fluidity and variety; it can be scrupulous and exact, probing and revelatory, poetic and imaginative, or any combination of these. In the nineteenth century, the monograph combined art-historical, biographical, and critical methods, and even added elements of fiction. Guercio explores some significant books that illustrate key phases in the model’s evolution, including works by Gustav Friedrich Waagen, A. C. Quatremère de Quincy, Johann David Passavant, Bernard Berenson, and others.

The hidden project of the artist’s monograph, Guercio claims, comes from a utopian impulse; by commuting biography into art and art into biography, the life-and-work model equates art and existence, construing otherwise distinct works of an artist as chapters of a life story. Guercio calls for a contemporary reconsideration of the life-and-work model, arguing that the ultimate legacy of the artist’s monograph does not lie in its established modes of writing but in its greater project and in the intimate portrait that we gain of the nature of creativity.

(Transcripts and texts from “Cultural Policies as Crisis Management?”, project by Stacion Center for Contemporary Art, Prishtina.)

(With contributions by Matthew Buckingham, Copenhagen Free University, Critical Art Ensemble, Clémentine Deliss, Joachim Koester, Sven Lütticken, Eva Meyer & Eran Schaerf, Marion von Osten, Alejandro del Pino Velasco/Sarat Maharaj, Irit Rogoff, Natascha Sadr Haghighian & Ashley Hunt, Simon Sheikh.)

The Next Documenta Should Be Curated by an Artist, an e-flux project curated by Jens Hoffmann, featuring reflections of a group of artists upon the conditions of the relationship between artists and curators.

What happens if artists take over and occupy territory usually reserved for curators? What happens if artists are asked to propose a concept for a large-scale group exhibition and to take control over a prestigious show such as Documenta? These are some of the questions that The Next Documenta Should Be Curated By An Artist is trying to investigate. The title of this project is less a demand than a question. A question that does not articulate a critique of previous Documenta exhibitions but rather investigates, in a provocative way, the relationship, which artists have to the profession of curating. For this project a diverse group of artists has been invited to reflect upon the conditions of the relationship between artists and curators. More importantly, the artists were asked to propose a brief concept of how they could imagine putting together an exhibition such as Documenta.

(Artists: Marina Abramovic, Pawel Althamer, John Baldessari, Ricardo Basbaum, Laura Belém, Dara Birnbaum, Daniel Buren, AA Bronson, Michael Elmgreen & Ingar Dragset, Morgan Fisher, Liam Gillick, Joseph Grigely, Natascha Sadr Haghighian, Carl Michael von Hausswolff, Isabell Heimerdinger, Federico Herrero, Alfredo Jaar, Tim Lee, Ken Lum, Dorit Margreiter, John Miller, Jonathan Monk, Boris Ondreicka, Serkan Özkaya, Florian Pumhösl, Martha Rosler, Julia Scher, Markus Schinwald, Tino Sehgal, Lawrence Weiner. Curated by Jens Hoffmann.)

Modern and contemporary art can be both baffling and beautiful; it can also be innovative, political, and disturbing. This book sets out to provide the first concise interpretation of the period as a whole, clarifying the artists and their works along the way. Closely informed by new critical approaches, it concentrates on the relationship between American and European art from the end of the Second World War to the eve of the new millennium.

Although a number of books have told the story of modern and contemporary art in Eastern and Central Europe, missing from these accounts have been the sources themselves. This book, the result of years of research by an international team of artists, curators, editors, translators, and scholars working with the Museum of Modern Art, presents primary documents drawn from the artistic archives of Eastern and Central Europe during the second half of the twentieth century. Because the practice of criticism in this region was for many years almost completely suppressed, the writings of the artists themselves often fulfill a critical as well as an aesthetic and ideological function. The manifestoes, photo essays, proposals, scripts, and other writings assembled here comprise the first anthology of this material in any language. The source materials presented—almost all of them previously untranslated into English—are from Bulgaria, Croatia, Czech Republic, Estonia, Hungary, Latvia, Macedonia, Poland, Romania, Russia, Serbia, Slovakia, and Slovenia. The book is introduced by Ilya Kabakov. Each chapter is preceded by a brief introduction and is followed by a case study that chronicles an event or the creation or reception of an artwork, illustrating the issues raised in that chapter.

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Knygoje „Daugiakalbiai peizažai 1971-2021“ Raminta Jurėnaitė pristato savo straipsnių rinkinį, kuruotas parodas, pilną bibliografiją.

Lietuvos nacionalinio dailės muziejaus direktorius Arūnas Gelūnas knygą trumpai pristato šiais žodžiais:

„Ši knyga primena įdomų istorinį filmą, kuriame laikmetis ar fenomenas nušviečiamas pasakojant vieno asmens istoriją. Toks asmuo čia yra viena svarbiausių Lietuvos kuratorių ir meno kritikių Raminta Jurėnaitė, kuri, tiek atvirai ir šmaikščiai pasakodama apie savo kūrybinį ir asmeninį gyvenimą, tiek pateikdama savo įvairiais laikmečiais rašytus tekstus ir (gausiai iliustruotą) kuruotų parodų dokumentaciją, sukuria įtaigią ir patrauklią Lietuvos pastarųjų penkerių dešimtmečių meno istorijos panoramą. Cituojant pačią autorę, „ateities kūrybinių sumanymų nerimo genami“ vis mažiau turime laiko atsigręžimui į praeitį, tad ši knyga savaip palies visus – ir vyresnės kartos skaitytojus, atrasiančius save tarp minimų reiškinių stebėtojų ir dalyvių, ir jaunimą, kuris gaus vertingų naujų žinių apie XX a. pabaigos – XXI a. pradžios Lietuvos meno sceną (dažnai – tarptautiniame kontekste). 1978-2021 m. rašytuose meno kritikos tekstuose pajusime ir cenzūros šaltį, ir kovų už naujus meninės raiškos būdus aidus, prieš akis iškils naujai atsirandančių meno institucijų siluetai, o taip pat išsisklaidys iliuzija, kad tai, ką Lietuvos meno lauke turime dabar, tarsi egzistavo visada. Dailėtyrininkams, esamiems ir būsimiems, ši knyga privaloma, bet suteiks daug malonumo ir kitoms inteligentiškų skaitytojų rūšims.“

Wireless Imagination addresses perhaps the most conspicuous silence in contemporary theory and art criticism, the silence that surrounds the polyphonous histories of audio art. Composed of both original essays and several newly translated documents, this book provides a close audition to some of the most telling and soundful moments in the “deaf century,” conceived and performed by such artists as Raymond Roussel, Antonin Artaud, Marcel Duchamp, André Breton, John Cage, Hugo Ball, Kurt Weill, and William Burroughs.

From the late nineteenth century to the 1960s, the essays uncover the fantastic acoustic scenarios projected through the writings of Raymond Roussel; the aural objects of Marcel Duchamp; Dziga Vertov’s proposal for a phonographic “laboratory of hearing”; the ZAUM language and Radio Sorcery conjured by Velimir Khlebnikov; the iconoclastic castaways of F. T. Marinetti’s La Radia; the destroyed musics of the Surrealists; the noise bands of Russolo, Foregger, Varèse, and Cage; the contorted radio talk show delivered by Antonin Artaud; the labyrinthine inner journeys invoked by German Hörspiel; and the razor contamination and cut-up ventriloquism of William S. Burroughs.

Tai žymaus sociologo ir kultūros istoriko paskaitų ciklas, kurio tikslas – apžvelgti šiandieninį socialinių mokslų galvojimą apie kultūrą, analitiškai ir empiriškai paklausinėti, kaip kultūros reiškiniai atsiranda, kaip jie veikia visuomenėje, kaip santykiauja tarpusavyje, sudarydami skirtingas kultūras ir civilizacijas, ir kokie viso to kultūros veikimo padariniai istorijoje ir žmonių gyvenime.

„Kažkada kiekvienas naujas žodis buvo poema. Kiekvienas naujas santykis yra naujas žodis“. Tikriausiai taip naujus santykius bandydavo užmegzti amerikiečių poetas Ralph Waldo Emerson. Gali būti, kad jis galėtų atsakyti ir į klausimą, kas menininkus pastūmėjo tapti rašytojais: ar jie pamatė, kad galėtų prisidėti prie įvairesnės literatūros kūrimo, ar visgi tekstas pradėjo būti suprantamas kaip dar viena vaizduojamojo meno raiškos erdvė.

Kaip bebūtų, – ir tai yra pirmas labai svarbus šios knygos sudarymo argumentas – bent jau per paskutinį šimtą metų menininkų tekstai tapo vienu įdomiausiu ir įtakingiausiu meninės saviraiškos, kritikos, teorijos ir kitokio pobūdžio dokumentu.

Antra, priklausomai nuo to, kaip siaurai ar plačiai taikysi menininko apibrėžimą, menininkų tekstai ir popieriaus lapas, kaip bet kuris kitas meninės kūrybos žanras ar erdvė, pasižymi interpretacijos įvairove, žanriniu bei stiliaus turtingumu. Jie performatyviai šmėžteli ar pasirodo visu kūnu kaip įrašai socialiniuose tinkluose, grafičiai ant parodinių ar miesto sienų, romanų lentynose, poezijos almanachuose, kaip filmų ar performansų scenarijai, ant plakatų, tostuose ar, pernelyg netęsiant šio begalinio sąrašo, kaip parodas lydintys tekstai, parodų reviu ar meninės doktorantūros darbai. Kitaip tariant, palaipsniui tekstas tiesiog virto dar viena medžiaga, dar viena fizine erdve meniniams sumanymams skleisti(s).

Trečia, tapo akivaizdu, kad kaip bet kokia kita medija, kurios ekosistema tapo itin įvairi bei turtinga, šios pavyzdžiai ar vaisiai turėtų būti įdomūs ne vien jos dalyviams, bet ir platesnei auditorijai, ypač tai, kuri neturi galimybių susipažinti su dažnai už parodos ribų neplatintais tekstais. (…)“ – Valentinas Klimašauskas

Autoriai: Konstantinas Bogdanas, Dominykas Canderis, Redas Diržys, Auridas Gajauskas, Dorota Gawęda ir Eglė Kulbokaitė,Vaiva Grainytė, Ieva Gražytė, Evaldas Jansas, Monika Janulevičiūtė, Agnė Jokšė, Laura Kaminskaitė, Valentinas Klimašauskas, Laima Kreivytė, Anders Kreuger, Žygimantas Kudirka, Juozas Laivys, Raimundas Malašauskas, Goda Palekaitė, Paulina Pukytė, Anastasia Sosunova, Vaida Stepanovaitė, Artūras Tereškinas, Daiva Tubutytė, Darius Žiūra

Katalogas parengtas pristatant parodą iš Drentės muziejaus Assene rinkinių. Knygoje rašoma apie dviejų stilių vystymąsi Olandijoje. Aptariamos dvi antrojo „aukso amžiaus“ grupės: pirmoji grupė kilusi Delfte ir Hagoje, antroji – Amsterdame.  „Taikomosios dailės judėjimas“, veikiamas tarptautinių stilių ir nacionalinės tradicijos, išsamiai pristatomas aptariant svarbiausius Olandijos dailininkus, dizainerius, projektuotojus ir gamyklų veiklą. Katalogas gausiai iliustruotas parodos kūriniais, pateikiami visų eksponatų sąrašai.

The first women students to attend Yale University were members of its School of Art. Assembled from hundreds of hours of interviews with notable women and non-binary graduates, this title presents the first history of a fabled if frequently misunderstood institution. The voices of 50 years of women graduates reveal the life of the art school and speaks plainly to the long and still ongoing struggle for feminist integration and representation in the arts.

Eminent feminist thinkers Marta Kuzma, Linda Nochlin and Angela Davis also weigh in on the school’s legacy. This sweeping narrative of the education of a continuum of women artists and designers traces its way through the incendiary politics of the radical ’60s, the formation of cultural studies, identity politics and intersectionality in the ’70s, the AIDS crisis, the culture wars and the neoliberal escalation of the ’80s, through to our fully globalised, hyper-capitalised present.

Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art’s autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra’s famous dictum “to remove the work is to destroy the work” is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.

When Olivia Laing moved to New York City in her mid-thirties, she found herself inhabiting loneliness on a daily basis. Increasingly fascinated by this most shameful of experiences, she began to explore the lonely city by way of art. Moving fluidly between the works and lives of some of the city’s most compelling artists, Laing conducts an electric, dazzling investigation into what it means to be alone, illuminating not only the causes of loneliness but also how it might be resisted and redeemed.

The book offers an analysis of four museums by architectural historian Orietta Lanzarini, built between the 1940s and 1960s, and conceived by four of the most groundbreaking Italian architects of the 20th century. With different approaches and strategies, Franco Albini, BBPR, Lina Bo Bardi and Carlo Scarpa rethought and redesigned the Second World War’s museums and their purposes. Despite their intrinsic differences, the four case studies show how all these architects’ projects sought to achieve two common purposes: to make art education accessible to everyone and to highlight the value of history in building the present.

Texts: Laima Laučkaitė, Viktoras Liutkus, Kęstutis Kuizinas, Raminta Jurėnaitė, Alfonsas Andriuškevičius, Lolita Jablonskienė, Ingrida Korsakaityė, Rasa Andriušytė, Elona Lubytė.

Documentary practices make up one of the most significant and complex tendencies within art during the last two decades. This anthology seeks to overcome the existing dispersion of texts on documentary practices and offer new perspectives on this crucial theme. Authors include T.J. Demos, Okwui Enwezor, Carles Guerra, Jorg Heiser, Stefan Jonsson, Olivier Lugon, Jean-Pierre Rehm, Hito Steyerl, and Jan Verwoert. They discuss issues such as what the function of documentary art forms is in the context of globalizing media and an expanding art world. How do the operations of documentary forms change in the age of digital reproduction? Being part of the research project ‘The Greenroom: Reconsidering the Documentary and Contemporary Art’ at the Center for Curatorial Studies, Bard College, this publication functions similar to a greenroom at a television station, where staff and guests meet before and after filming and engage in discussions which often differ from those conducted in the limelight.

In Six Years Lucy R. Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology into which is woven a rich collection of original documents―including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists―a historical survey and essential reference book for the period.

Tekstai: Amanda Beech, Ray Brassier, Mark Fisher, Robin Mackay, Benedict Singleton, Nick Srnicek, James Trafford, Tom Trevatt, Alex Williams, Ben Woodard.

Catalogue of the homonymous group exhibition that includes theoretical and critical contributions about the phenomenon of tourism by many of the participants in the project.

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.

Modeled after the famed TV sci-fi series The X-Files, The &-Files gathers together a covert body of documents following the long and often controversial career of Art & Text, one of the landmark contemporary art magazines of the 1980s and 1990s. Founded in Melbourne, Australia, in 1981 by Paul Taylor (1957-92), who soon moved to New York City to make his mark as an art critic, the magazine went on to become one of a handful of international art magazines that succeeded in capturing the turmoil and passing brilliance of that period of postmodernism.
Perceived through the eyes and ears of its longtime publisher and editor Paul Foss, The &-Files is comprised of an open letter, a lengthy interview, two questionnaires, and other commentaries and bibliographies, offering a unique insider account of the extraordinary advantages and pitfalls of publishing an art magazine.

For several years now, film and video have determined contemporary art and exhibitions on a scale unheard of since the 1960s and 1970s, but rarely have these roots themselves been explored. X-Screen presents a comprehensive historical analysis of expanded forms of filmic projection, arranging a complex constellation of films, performances, and installations according to three categories. First is an exploration of the expansion of the field of projection, understood as part of Happenings, as well as Fluxus and Pop performances. Work by Robert Whitman, Carolee Schneemann, and USCO is discussed. Second is an interrogation of the screen in terms of media analysis, anti-illusionism, or institutional critique in the context of Structural Film and Conceptual art. Film installations and multiple projections are especially relevant here, including work by Valie Export, Michael Snow, and Peter Weibel. And third is a consideration of post-minimalist explorations of the relationship between the media image and physical space, as seen in the work of Dan Graham, Bruce Nauman, Dennis Oppenheim, and others.

Tai primoji knyga Lietuvoje, nagrinėjanti medijų kultūrą ir pristatanti ne tik teorijas, bet ir vietines medijų praktikas. Medijos čia laikomos tarpdalykinių studijų, sujungiančių technologijas, mokslą, meną ir kultūrą apskritai, objektu. Knyga yra interneto žurnalo apie medijų kultūrą Balsas.cc tęsinys.

Knyga sudomins studentus ir dėstytojus iš komunikacijos mokslų, medijų studijų, filosofijos, sociologijos, kultūrologijos, literatūrologijos ir menotyros sričių, taip pat menininkus, dizainerius, internautus, technologijų specialistus ir visus besidominčius medijų kultūra.

„Praktika ir teorija dar niekada nebuvo taip pavojingai arti viena kitos, kaip šioje knygoje. Kiekvieno laukia ta pati patirtis: būti įtrauktam, užvaldytam, iš skaitytojo nejučia tapti knygos veikėju ir atsidurti tiesioginio teorijos poveikio lauke.“ – prof. Brian O’Blivion

This is a catalogue of two exhibitions and a collection of essays on photography, history, cinema and mapping. The event called photo/carto/historio/graphies is an artistic research project, which uses cartographic strategies to rethink the developments, ideas and stereotypes of Lithuanian photography. The essays published here discuss the re/creation of history and visual constructions of history in cinema, contemporary art and particularly photography. Everything that could not be included into the book (videos, internet comments, etc.) can be found in the project s blog 3xpozicija.lt/kartografija The book is billingual in English and Lithuanian. The reader will find in this volume not only theoretical and philosophical insights, but also many examples from the history of Lithuania, documentary cinema and television films, photography, contemporary and new media art. The book starts with the discussion of the curators about the project and issues it raises; the German art historian Rudolf Frieling has contributed his paper about the links between maps, media, art, archives and text and their representation in contemporary art. The historian Ruta Sermuksnyte discusses representations of the past in film and television and Vasilijus Safronovas analyses the role of power in the formation of history. The textual part of the book ends with a playful essay by the art critic Valentinas Klimasauskas who wanders between photography and reality. A very important component of the book consists of maps and schemes created by the participants of the project; also artists works and documentation of exhibitions. The first exhibition at the Prospekto Gallery included maps and other objects, documentation of the performance and artists works. The second exhibition at the Vilnius Photographic Gallery showed an installation by Milda Zabarauskaite and Robertas Narkus.

Texts: Lina Michelkevičė, Vytautas Michelkevičius, Agnė Narušytė, Rudolf Frieling, Rūta Šermukšnytė, Vasilijus Safronovas, Valentinas Klimašauskas.

This is the third attempt (1st volume of the book was published in 2011, the 2nd in 2014) to compile stories about the genesis and evolution of contemporary art in Lithuania from the period of cold 1980s, Revival (1987) and the restoration of Lithuania’s Independence (1990) to this day. History unfolds in the critical texts by art critics and artists themselves, as well as in first-hand accounts – conversations with the initiators of art events. Texts are accompanied by abundant visual evidence – the documentation of forty-two years’ worth of events and works of art. The book offers a captivating kaleidoscope of subjective stories about artists’ and curators’ initiatives in Vilnius and other cities in Lithuania as well as abroad.

Conversations with artists, curators and art critics: Česlovas Lukenskas, Rūta Drabavičiūtė-Lukenskienė, Ramūnas Paniulaitis, Arūnas Kulikauskas, Aleksas Andriuškevičius, Darius Čiuta, Redas Diržys, Sigitas Krutulys, Benas Šarka, Juozas Milašius, Audrius Šimkūnas, Armantas Gečiauskas-Arma Agharta, Vita Zaman, Mantas Kazakevičius, Tomas Danilevičius, Reda Aurylaitė, Rolandas Marčius, Skaistė Marčienė, Ignas Gleixner, Saulius Paukštys, Rytis Bartkus, Stasys Banifacius Ieva, Inesa Brašiškė, Gerda Paliušytė, Lina Rukevičiūtė, Laurynas Skeisgiela, Milda Dainovskytė, Justina Zubaitė, Tomas Lučiūnas, Simonas Nekrošius, Živilė Lukšytė, Marius Juknevičius, Vilma Fiokla Kiurė, Aistė Kisarauskaitė, Aistė Ulubey, Kristina Savickienė, Robertas Narkus, Evelina Šimkutė, Juozas Laivys, Lina Praudzinskaitė, Jurgita Žvinklytė, Tomas Karklinis, Laura Garbštienė, Elena Juzulėnaitė, Stanislovas Tomas, Gintaras Čaikauskas, Sabina Daugėlienė, Margarita Kaučikaitė, Matas Šiupšinskas, Šarūnas Petrauskas, Svetlana Šuvajeva, Ilja Budraitskis, Vytautas Michelkevičius, Kęstutis Šapoka, Karolina Rybačiauskaitė

Texts by Lina Michelkevičė, Redas Diržys & Kęstutis Šapoka, Karolina Sadlauskaitė, Karolina Rybačiauskaitė, Jurij Dobriakov, Raimundas Eimontas, Laima Kreivytė, Artūras Raila

This book is in Lithuanian with summaries in English.

“East Coast Europe,” which took place during Spring 2008, is a project about the perceptions of contemporary European identity and its relation to spatial practices and international politics.

The title “East Coast Europe” is a word play. “Europe” in the title is the central topic for investigation, its contemporary culture, expansion, and its status as a continuing social project. “East Coast” refers to two distinct edges of Europe, both real and imaginary―the geographical East Coast of the United States of America and the political “East Coast” of the European Union. The project invited leading figures in culture and politics from the two east coasts―of the United States of America, and of the countries in the European Union and its vicinity to comment on their perception of Europe today. East Coast Europe dives into the urgent details of a dense network of contemporary experience of the European Union’s extensive exchange of knowledge, people, and goods with the East Coast of the United States and also with its own eastern border. What are its challenges and possibilities for social, political and spatial practices?

East Coast Europe was commissioned and produced by the Consulate General of Republic of Slovenia in New York City, during Slovenia’s Presidency of the Council of the EU in 2008, with support of the EUNIC Network New York and Delegation of the European Commission, New York. The ECE project is conceived by Katherine Carl, Srdjan Jovanovic Weiss, Markus Miessen, and Alenka Suhadolnik.

The Verbier Art Summit is an international platform for discourse in a non-transactional context. The non-profit Summit connects thought leaders to key figures in the art world to generate innovative ideas and drive social change.

This is the fourth in the Summit publication series, disseminating key insights of the 2020 Summit and extending a global dialogue to find harmony between art, ecology and resources.

Authors: Jessica Morgan (Ed.), Dorothea von Hantelmann (Ed.), Stuart Bannocks, Andrea Bowers, Jennifer Allora, Guillermo Calzadilla, Dominique Gonzalez- Foerster, Dorothea von Hantelmann, Roberto Feo, Rosario Hurtado, Joan Jonas, Stefan Kaegi, Jessica Morgan, Elvira Dyangani Ose, Philippe Rahm, Lucy Raven, Anneliek Sijbrandij

Edited by Paul O’Neill, this sleek and serious anthology of new curatorial writing edited features contributions from leading international curators, artists and critics including Julie Ault, Søren Andreasen & Lars Bang Larsen, Carlos Basualdo, Dave Beech & Mark Hutchinson, Irene Calderoni, Anshuman Das Gupta & Grant Watson, Clémentine Deliss, Eva Diaz, Claire Doherty, Okwui Enwezor, Annie Fletcher, Liam Gillick, Jens Hoffmann, Robert Nickas, Hans Ulrich Obrist, Sarah Pierce, Simon Sheikh, Mary Anne Staniszewski, Andrew Wilson and Mick Wilson. Put together by the curator-critic Paul O’Neill, Curating Subjects, documents the inter-dependent relationships between the curatorial past, present and speculative futures and, instead of following the convention of curators writing about themselves, invites the authors to provide a text about the curatorial work of others. The result is an eclectic volume of accessible responses that provides a pluralistic and dynamic curatorial discourse where critical essays, theoretical explorations, propositions, historical overviews, interviews, exhibition critiques and fictional accounts sit side by side. Essential reading for students and professionals alike.

When these essays first appeared in Artforum in 1976, their impact was immediate. They were discussed, annotated, cited, collected, and translated—the three issues of Artforum in which they appeared have become nearly impossible to obtain. Having Brian O’Doherty’s provocative essays available again is a signal event for the art world. This edition also includes “The Gallery as Gesture,” a critically important piece published ten years after the others.

This massive volume comprises nearly 90 interviews published across a 13-year span of Lauren O’Neill-Butler’s career as a writer, educator, editor, and cofounder of November magazine. The majority of the interviews first appeared on Artforum’s interviews column, which O’Neill-Butler edited for 11 years.

Interviewees include: Adrian Piper, Agnes Varda, Aki Sasamoto, Alex Bag, Amy O’Neill, Andrea Fraser, Anohni, Aura Rosenberg, Beryl Korot, Beverly Semmes, Carol Bove, Carolee Schneemann, Catherine Christer Hennix, Claudia Rankine, Constance De Jong, Dianna Molzan, Donna J. Haraway, Dorothea Rockburne, Ebony G. Patterson, Elaine Reichek, Eleanor Antin, Ellie Ga, fierce pussy, Frances Stark, Georgia Sagri, Hong-Kai Wang, Howardena Pindell, Iman Issa, Jeanine Oleson, Jennifer West, Jessamyn Fiore, Jesse Jones, Jo Baer, Joan Jonas, Joan Semmel, Judy Chicago, Julia Bryan-Wilson, Karla Black, Kathryn Andrews, Katy Siegel, Lisa Tan, Lisi Raskin, Liz Deschenes, Lorraine O’Grady, Lorrie Moore, Lucy Dodd, Lucy McKenzie, Lucy R. Lippard, Lucy Skaer, Lynda Benglis, Lynne Tillman, Marlene McCarty, Mary Beth Edleson, Mary Ellen Carroll, Mary Heilmann, Mary Kelly, Mary Mattingly, Mimi Thi Nyugen, Mira Schor, Monir Shahroudy Farmanfarmaian, Nan Goldin, Nancy Goldring, Nell Painter, Pauline Oliveros, Polly Apfelbaum, Rachel Foullon, Rachel Mason, Rebecca Solnit, Rebecca Warren, Renee Green, Rhonda Lieberman, Rita McBride and Kim Schoenstadt, Ruby Sky Stiler, Sakiko Sugawa, Sara Greenberger Rafferty, Sarah Crowner, Shannon Ebner, Sophie Calle, Sturtevant, Sue Coe, Suzanne Lacy, Tauba Auerbach, Virginia Dwan, W.A.G.E., Yoko Ono.

“If art takes place in a contemporary art museum (where we expect it), what does it mean? Art should not be about filling spaces, but about necessities and urgencies.” Such are the principles conveyed by the visionary Hans Ulrich Obrist, seeking out ways to reinvent and invent museums of the 21st century. Newly edited by April Lamm, gathered together here are the seminal texts written by (what Douglas Gordon once aptly described) a “dontstop” curator. His exhibitions present, as Rem Koolhaas writes in his preface to these prefaces, “a heroic effort to preserve the traces of intelligence of the last 50 years, to make sense of the seemingly disjointed, a hedge against the systematic forgetting that is hidden at the core of the information age and which may, in fact, be its secret agenda….”

A compendium of texts written between 1990 and 2006, here are exhibition case studies – “Hotel Carlton Palace,” “Cities on the Move,” “Do It,” “Utopia Station” – involving some of the more thought-provoking artists, architects, and scientists of our time such as Paul Chan, Alexander Dorner, Olafur Eliasson, Cao Fei, Hans-Peter Feldmann, Peter Fischli & David Weiss, Douglas Gordon, Pierre Huyghe, Qingyung Ma, Philippe Parreno, Cedric Price, Luc Steels, Rirkrit Tiravanija, among others, from Zurich to Guangzhou and back again. Designed by M/M (Paris), the cover depicts an original Gerhard Richter over-painted picture of Obrist himself. A must-have for anyone interested in the unusual strategies of a curator-at-large.

Part of JRP|Ringier’s innovative Documents series, published with Les Presses du Réel and dedicated to critical writings, this publication comprises a unique collection of interviews by Hans Ulrich Obrist mapping the development of the curatorial field–from early independent curators in the 1960s and 70s and the experimental institutional programs developed in Europe and the U.S. through the inception of Documenta and the various biennales and fairs–with pioneering curators Anne D’Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten and Harald Szeemann. Speaking of Szeemann on the occasion of this legendary curator’s death in 2005, critic Aaron Schuster summed up, “the image we have of the curator today: the curator-as-artist, a roaming, freelance designer of exhibitions, or in his own witty formulation, a ‘spiritual guest worker’… If artists since Marcel Duchamp have affirmed selection and arrangement as legitimate artistic strategies, was it not simply a matter of time before curatorial practice–itself defined by selection and arrangement–would come to be seen as an art that operates on the field of art itself?” This is the ebook edition of A Brief History of Curating, originally published in print form in October, 2008.

Texts: Skip Arnold, Donald Baechler, Bill Beckley, Andrew Bick, Pierre Bismuth, Dike Blair, Paul Bloodgood, Mel Bochner, Don Brown, Luis Camnitzer, Peter Campus, Nicola Carrino, BrunoCeccobelli, Sandro Chia, Petah Coyne, Enzo Cucchi, Daniel de Chenu, Domenico de Clario, Lewis deSoto, Gianni Dessì, Mark di Suvero, Jimmie Durham, Gia Edzgveradze, Alejandro Fogel, Giuseppe Gallo, Joy Gerrard, Liam Gillick, David Goerk, Anthony Gormley, Rodney Graham, Hans Haacke, Marcia Hafif, Daniel Hayes, Paul Hayes, Elana Herzog, John Hilliard, Lisa Hoke, Alfredo Jaar, Ilya Kabakov, Masaaki Kawachi, Shelagh Keeley, Beom Kim, Ben Kinmont, Konrad Klapheck, Thomas Kovachevich, Langlands & Bell, Eve Andrée Laramée, Cary S. leibowitz, Annette Lemieux, Matt Marello, Matthew Mc Casleen, Tatsuo Mijajima, Holly Miller, Sarah Morris, Brigitte Nahon, Richard Nonas, Paul O’Neil, Dennis oppenheim, Giulio Paolini, Vettor Pisani, Michelangelo Pistoletto, Fabrizio Plessi, Lucio Pozzi, Rebecca Quaytman, Matthew Ritchie, Andrei Roiter, Yuko Shiraishi, Anita Sieff, Claude Simard, Laurie Simons, Keith Sonnier, Buzz Spector, Haim Steinbach, Gary Stephan, Lauren Szold, Tamara K.E.,  Anne Treister, Tunga, Meyer Vaisman, Bill Viola, Harald Vlugt, Isamu Wakabayshi, Joan Waltemath, Matthew Weinstein, Daniel Weiner, Lawrence Weiner, Jackie Winsor, Elyn Zimmerman, Andrea Zittel.

(Language: German)

Tarptautinės dailės kritikų asociacijos Lietuvos sekcija išleido dvitomį skirtą Lietuvos dailininkėms. Dvitomyje pristatoma unikali kiekvienos menininkės autobiografija, kurioje persipina buitis, būtis ir kūryba. Savitos proporcijos, dėstymo, kalbėjimo stilius. Autentiški akcentai: vienoms labai įdomi vaikystė, kitoms – nepakartojamas studijų laikas, trečioms rūpi asmeniniai dalykai, o dar kitos viską mato tik per kūrybos prizmę.
„Leidinyje yra nuostabių pasakojimų, ne tik atveriančių nematytus pasaulius, bet ir leidžiančių mokytis XX a. Lietuvos istorijos: jie aprėpia carinius laikus, pirmąją mūsų nepriklausomybę, sovietinį režimą ir dabartinius vėl nepriklausomos Lietuvos laikus. Kai kas drąsiai prisimena sovietmetį, nesivaržydami, jautriai, bet ir atvirai pasakoja, kaip buvo papuolę į ideologines žabangas ir kaip iš jų vadavosi.
Projekto apimtis didelė, tai ir yra visas įdomumas. Man rūpėjo įvairūs pjūviai bei skerspjūviai: stengiausi, kad būtų visų kartų, skirtingų specialybių, įvairių tautybių Lietuvos menininkės, kad atsiskleistų kuo didesnė įvairovė,“ – sako knygos autorė menotyrininkė Ramutė Rachlevičiūtė.

Tarptautinės dailės kritikų asociacijos Lietuvos sekcija išleido dvitomį skirtą Lietuvos dailininkėms. Dvitomyje pristatoma unikali kiekvienos menininkės autobiografija, kurioje persipina buitis, būtis ir kūryba. Savitos proporcijos, dėstymo, kalbėjimo stilius. Autentiški akcentai: vienoms labai įdomi vaikystė, kitoms – nepakartojamas studijų laikas, trečioms rūpi asmeniniai dalykai, o dar kitos viską mato tik per kūrybos prizmę.
„Leidinyje yra nuostabių pasakojimų, ne tik atveriančių nematytus pasaulius, bet ir leidžiančių mokytis XX a. Lietuvos istorijos: jie aprėpia carinius laikus, pirmąją mūsų nepriklausomybę, sovietinį režimą ir dabartinius vėl nepriklausomos Lietuvos laikus. Kai kas drąsiai prisimena sovietmetį, nesivaržydami, jautriai, bet ir atvirai pasakoja, kaip buvo papuolę į ideologines žabangas ir kaip iš jų vadavosi.
Projekto apimtis didelė, tai ir yra visas įdomumas. Man rūpėjo įvairūs pjūviai bei skerspjūviai: stengiausi, kad būtų visų kartų, skirtingų specialybių, įvairių tautybių Lietuvos menininkės, kad atsiskleistų kuo didesnė įvairovė,“ – sako knygos autorė menotyrininkė Ramutė Rachlevičiūtė.

(Language: German)

(Language: German)

Charting over 30 years of feminist debate on the significance of gender in the making and understanding of art, this archival anthology gathers together 99 indicative texts from North America, Europe and Australasia.

The volume embraces a broad range of threads and perspectives, from diverse ethnic approaches, lesbian theory, and postmodernism to education and aesthetics. The writings of artists and activists are juxtaposed with those of academics, creating an entertaining and provocative web of ideas. Some of the texts are now regarded as classic, but the anthology is particularly notable for its inclusion of rare and significant material not reprinted elsewhere.

The scale and structure of the volume make it a uniquely flexible resource for study and research. Each of the nine sections focuses on a specific area of debate and is introduced by a descriptive summary. The texts within each chapter are then presented in chronological order, indexing differing positions as they developed over time. Lists of essential reading are provided for students or lay readers seeking an introduction, whilst more extensive bibliographies at the end of each chapter and at the end of the volume support further research.

Since the eighteenth century, artists—especially so-called avant-garde artists—have played a conflicting role in society. Part of the reason for their complex position, argue Raphael Sassower and Louis Cicotello, is the survival of the culture of idolatry in the modern age. In the twentieth century, artists can criticize the worship of material things or they can produce the things themselves. They can paint the scenes of worship of the golden calf—as the German expressionist Emil Nolde did in “Dance Around the Golden Calf” (1910), in which garish exaggerations reflect a condemnation of materialistic culture—or they can be the ones fabricating the idol for a fee.

Part radical critics, part celebrity servants of bourgeois tastes, avant-garde artists such as Marcel Duchamp, René Magritte, Andy Warhol, the Christos, and Keith Haring have captured the twentieth-century imagination and inspired the artistic community to reconsider its social, political, and cultural roles. Charting the uneasy middle ground occupied by these artists and their work, Sassower and Cicotello argue that their success has as much to do with their complicity with capitalist forces as it does with their defiance of them. Indeed, the major theme of The Golden Avant-Garde is the inability of any cultural subgroup to withstand the overwhelming power of capitalism, commercialism, and science and technology.

While some artists are paid by governments and institutions to construct national and religious monuments that express and honor society’s most valuable principles and goals, the same society has fabricated a romantic myth of artists as revolutionary heroes who defy the authorities and pay dearly for their passion and vision. The Golden Avant-Garde is a unique collaboration between a philosopher and an artist, who bring their different perspectives to bear on how the avant-garde navigates the cultural, financial, and technological challenges presented by this postmodern dilemma. Often, Sassower and Cicotello conclude, avant-garde artists have become adept at manipulating the same forces that they seek to exaggerate and articulate in their work.

“In the place of the public sphere?” takes its point of departure in conceptions of practice and spectatorship based on the notion of a fragmented public sphere, and explores the potentials, problematics and politics lying behind a construction (real or imaginary) of particular “public” spheres. How does one perceive and / or construct specific public spheres and positional and / or participatory models for spectatorship as opposed to (modernist) generalized ones? Does this entail reconfiguration of the (bourgeois) notion of the public sphere into a different arena and / or into a mass of difference, overlapping spheres? or, in other words, what can be put in the place of the public sphere? private zones, salons, institutions, sub- and / or counterpublics? and what are the different arenas, possibilities and methods for interaction within and between them? finally, the question to be raced is how this should relate to artistic production and arts spaces and institutions?

Since then the density of electromagnetic radiation has multiplied thousands of times as a result of the increasing exploitation of human-made devices. However, in the beginning of the 21st century electromagnetic phenomena still remains incomprehensible. In this volume, international artists, media theorists, scientists, and researchers discuss how the vast spaces of electromagnetic spectrum that cannot be reached by science, are taken over by mythologies of modern society, and saturated with artistic explorations.

All artists have a complicated relationship with tradition, but that relationship is even more complex for Māori artists. This applies particularly to those who work in a non-traditional media or who amalgamate customary knowledge with international styles and artistic philosophies. Taiāwhio is a collection of conversation-based essays on contemporary Māori artists working in a range of media, from customary to anything but, from weaving and carving to painting and sculpture, film, video, and photography.

Each chapter investigates the artistic practice and sources of inspiration of one particular artist or group, looking at the development of their work, drawing on extensive interview material. The illustrations show the artist at work in the studio, giving the reader a sense of the full range of their work and, at the same time, the environment in which that work is created.

As well as established names, Taiāwhio also includes the work of a number of young artists, giving an insight into the people who will create the Māori visual culture of the future. The artists are: Jolene Douglas, Star Gossage, Fred Graham, Lyonel Grant, the Hetet Whanau (Erenora Puketapu-Hetet, Verenora Hetet, Len Hetet, and Sam Hauwaho), Dion Hitchens, Emily Karaka, Hemi Macgregor, Nathan Pohio, Moko Productions (Leonie Pihama, Sharon Hawke, and Glynis Paraha), Baye Riddell, Natalie Robertson, Anaru Rondon, Tracey Tawhiao, Saffronn Te Ratana, Kura Te Waru Rewiri, and Arnold Wilson.

The text is lively and accessible to the non-specialist reader. Taiāwhio is essential reading for students of art and art history, as well as for all those with an interest in contemporary visual culture and New Zealand culture in the broadest sense.

General editor Huhana Smith was Concept Leader, Tangata Whenua at Te Papa, and is herself a practising artist. Other editors include: Megan Tamati-Quennell, Curator, Art at Te Papa (on secondment to Ngai Tahu Development Corporation, Christchurch); John Walsh, formerly Curator, Art at Te Papa and now a full-time artist; and Oriwa Solomon and Awhina Tamarapa, both Curators, Māori at Te Papa.

Two sisters, an artist and a poet, describe the contours of their lives among New York’s artistic avant-garde through an intimate collection of letters.

This collection of the correspondence between artist Rosemary Mayer (1943–2014) and poet Bernadette Mayer (born 1945) occurs between the years of 1976 and 1980, a period of rich creativity in New York’s artistic avant-garde, and one which includes the development of major bodies of work by the two women. Rosemary Mayer was creating sculptures, watercolors, books and “temporary monuments” from weather balloons and snow, while Bernadette Mayer was working on some of her best-known publications, including the book-length poem Midwinter Day and the poetry collection The Golden Book of Words. Spanning the worlds of Conceptual art, Postminimalism, feminism, the New York School, Language poetry and more, these letters elucidate the bonds of sisterhood through intimate exchanges about art, relationships and everyday life.

What’s sexy about saving the planet? Funny you should ask. Because that is precisely—or, perhaps, broadly—what Annie Sprinkle and Beth Stephens have spent many years bringing to light in their live art, exhibitions, and films. In 2008, Sprinkle and Stephens married the Earth, which set them on the path to explore the realms of ecosexuality as they became lovers with the Earth and made their mutual pleasure an embodied expression of passion for the environment. Ever since, they have been not just pushing but obliterating the boundaries circumscribing biology and ecology, creating ecosexual art in their performance of an environmentalism that is feminist, queer, sensual, sexual, posthuman, materialist, exuberant, and steeped in humor.

Assuming the Ecosexual Position tells of childhood moments that pointed to a future of ecosexuality—for Annie, in her family swimming pool in Los Angeles; for Beth, savoring forbidden tomatoes from the vine on her grandparents’ Appalachian farm. The book describes how the two came together as lovers and collaborators, how they took a stand against homophobia and xenophobia, and how this union led to the miraculous conception of the Love Art Laboratory, which involved influential performance artists Linda M. Montano, Guillermo Gómez-Peña, and feminist pornographer Madison Young. Stephens and Sprinkle share the process of making interactive performance art, including the Chemo Fashion Show, Cuddle, Sidewalk Sex Clinics, and Ecosex Walking Tours. Over the years, they celebrated many more weddings to various nature entities, from the Appalachian Mountains to the Adriatic Sea. To create these weddings, they collaborated with hundreds of people and invited thousands of guests as they vowed to love, honor, and cherish the many elements of the Earth.

As entertaining as it is deeply serious, and arriving at a perilous time of sharp differences and constricting categories, the story of this artistic collaboration between Sprinkle, Stephens, their diverse communities, and the Earth opens gender and sexuality, art and environmentalism, to the infinite possibilities and promise of love.

Kauno fotografijos galerija siūlo kūrybingą, vintažine dvasia alsuojantį, sprendimą – Kauno miesto ir rajono kultūros abonentų sąrašą (2022 m.). Tai unikalus leidinys, kuriame kultūros srities darbuotojai ir visi kiti kultūrai neabejingi žmonės gali rasti vieni kitus. Knygoje yra menininkų, kuratorių, muziejininkų, leidėjų bei tiesiog žmonių išreiškusių norą nuolat prisidėti prie kultūrinių iniciatyvų kontaktai. O taip pat lyderiaujančios įmonės, neabejingos menui ir kultūrai.

Organized around case studies spanning the globe from Europe, Japan, and the United States to Africa, Cuba, and Mexico, Collectivism after Modernism covers such renowned collectives as the Guerrilla Girls and the Yes Men, as well as lesser-known groups.

Contributors: Irina Aristarkhova, Jesse Drew, Okwui Enwezor, Rubén Gallo, Chris Gilbert, Brian Holmes, Alan Moore, Jelena Stojanovi´c; Reiko Tomii, Rachel Weiss.

The events of 1968–1999 paved the way for profound social transformations and created a new feeling towards individuals’ behavior and the relations between them, including a new consciousness of the body and of social and political dynamics. Artists experimented with visual languages that were as far away as possible from any tradition of painting, sculpture, and assemblage that predated the sixties, seeking new means of expression. This volume looks back over these phenomena with the help of a spectacular gallery of images, which show the wide variety of artistic proposals made during these great thirty years.

Foreword by Dore Ashton, text by David Bunn Martine.

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.

(Languages: English, Dutch)

In recent years, a little-known research group named Forensic Architecture began using novel research methods to undertake a series of investigations into human rights abuses. Today, the group provides crucial evidence for international courts and works with a wide range of activist groups, NGOs, Amnesty International, and the UN.

Beyond shedding new light on human rights violations and state crimes across the globe, Forensic Architecture has also created a new form of investigative practice that bears its name. The group uses architecture as an optical device to investigate armed conflicts and environmental destruction, as well as to cross-reference a variety of evidence sources, such as new media, remote sensing, material analysis, witness testimony, and crowd-sourcing.

In Forensic Architecture, Eyal Weizman, the group’s founder, provides, for the first time, an in-depth introduction to the history, practice, assumptions, potentials, and double binds of this practice. The book includes an extensive array of images, maps, and detailed documentation that records the intricate work the group has performed.

Included in this volume are case studies that traverse multiple scales and durations, ranging from the analysis of the shrapnel fragments in a room struck by drones in Pakistan, the reconstruction of a contested shooting in the West Bank, the architectural recreation of a secret Syrian detention center from the memory of its survivors, a blow-by-blow account of a day-long battle in Gaza, and an investigation of environmental violence and climate change in the Guatemalan highlands and elsewhere.

Weizman’s Forensic Architecture, stunning and shocking in its critical narrative, powerful images, and daring investigations, presents a new form of public truth, technologically, architecturally, and aesthetically produced. Their practice calls for a transformative politics in which architecture as a field of knowledge and a mode of interpretation exposes and confronts ever-new forms of state violence and secrecy.

One hundred rising art stars, selected by an international panel of ten leading curators, are presented here. This book offers an insider’s view of new art in all media – from painting and sculpture to such new art forms as video, photography, installation, performance and digital media. It offers an informed survey on current tendencies and personalities at the forefront of contemporary art. Numerous examples of each selected artist’s work are presented together with a brief curator’s text and the artist’s exhibition history/bibliography. This virtual exhibition of a new art is accompanied by a virtual conversation on the Internet among the ten curators, highlighting the motivations behind their selection of artists and the questions surrounding art today. The art is also framed within a broader cultural context; “cream” includes a selection of recent texts by ten key contemporary writers who address pressing issues in art and culture at the end of the millennium.