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Reading Room catalogue

History and theory of art
Author
Title
Publisher
Year
Code
Zeitgenössische Künstler aus der Türkei: Positionen I
Steidl Verlag
2009
TMZE338
Zeitgenössische Künstler aus Südafrika: Positionen II
Steidl Verlag
2009
TMZE339
Zeitgenössische Künstler aus China: Positionen III
Steidl Verlag
2011
TMZE340
Zeitgenössische Künstler aus Polen: Positionen IV
Steidl Verlag
2011
TMZE341
Zeitgenössische Künstler aus Russland: Positionen V
Steidl Verlag
2012
TMZE342
Documenta. The History of an International Contemporary Art Exhibition
Documenta Archiv
2016
TMDO617
A Fiesta of Tough Choices: Contemporary Art in the Wake of Cultural Policies
Torpedo Press
2007
TMLI032

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.

 

SITAX IX | Teoria y práctica de la catástrofe - SITAC IX | Theory and Practice of Catastrophe
Patronato de arte contemporáneo a.c.
2013
TMSI709
Archive on the Run
The Living Art Museum
2013
TMAG631
Young Curators and Contemporary Art
Silvana Editoriale
2006
TMAL155
Conceptual Art and the Politics of Publicity
The MIT Press
2003
TMAL507
Conceptual Art: A Critical Anthology
The MIT Press
1999
TMAL150

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
The MIT Press; Generali Foundation
2006
TMAL151

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. Early Interviews with Barry, Huebler, Kaltenbach, LeWitt, Morris, Oppenheim, Siegelaub, Smithson, and Weiner by Patricia Norvell
University of California Press
2001
TMAL152

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.

Institutional Critique. An Anthology of Artists’ Writings
The MIT Press
2009
TMAL211
Imagining the Present: context, content, and the role of the critic
Routledge
2006
TMAL173
Ahali. An Anthology for Setting a Setting
Bedford Press
2013
TMCA638
Salon to Biennial – Exhibitions That Made Art History. Volume I: 1863-1959
Phaidon
2008
TMAL179
The Medea Insurrection: radical women artists behind the iron curtain
Verlag der Buchhandlung Walther Konig
2019
TMAL852
Collecting the New: Museums and Contemporary Art
Prinston University Press
2005
TMAL581
Biennials and Beyond – Exhibitions That Made Art History 1962-2002
Phaidon Press
2013
TMAL528
Lietuvių dailė: 1996 – 2005
VDA leidykla
2006
TMAN415
Pro A. A. prizmę
Modernaus meno centras
2013
TMAN441
Saulė šakose: apybraižos apie lietuvių fotografiją
Lietuvos fotomenininkų sąjunga
2009
TMAN003
Supercommunity. Diabolical Togetherness Beyond Contemporary Art. E-flux journal
Verso
2017
TMAR642
On making manifest
Higher Institute for Fine Arts
2012
TMRO629
Women Artists at the Millenium.
The MIT Press
2006
TMAR210
Traffic: Conceptual Art in Canada 1965-1980
Art Gallery of Alberta; Halifax INK; Justina M. Barnicke Gallery; Leonard & Bina Ellen Art Gallery; Vancouver Art Gallery
2012
TMAR744
Anachronisms
Albert Bonniers Förlag
2007
TMAR406
The Against Nature Journal #1
Council
2020
TMAR864
Micro Historias y Miacro Mundos / Minor Histories, Larger Worlds. Vol 1
Instituto Nacional de Bellas Artes; Museo Tamayo Arte Contemporaneo
2010
TMAR231
Hans Ulrich Obrist. Interviews, vol. 2
Edizioni Charta
2010
TMAR429
Atsedzot neredzamo pagatni. Recuperating The Invisible Past
The Latvian Centre for Contemporary Art
2012
TMAS737
Harald Szeemann. Individual Methodology
JRP | Ringer; Le Magasin - Centre National d’Art Contemporain
2007
TMSZ676
Aesthetics and Contemporary
Sternberg Press
2011
TMAV495
WdW Review: Arts, Culture, and Journalism in Revolt, Vol. 1
Witte de With Publishers
2016
TMDE628
Mažoji a
Nerutina
2016
TMBA621
We Roma: A Critical Reader in Contemporary Art
BAK
2013
TMBA369
Image stream
Wexner center for the Arts
2004
TMBA821
Exhibition-ism. Temporal Togetherness
Sternberg Press
2021
TMBA849
After Uniqueness. A history of film and video art circulation
Columbia University Press
2017
TMBA816
Writings on Technology and Culture
Witte de With
2000
TMBA404
Experience. Memory. Re-enactment
Piet Zwart Institute; Revolver
2005
TMBA209
On the Anarchic Organization of Cinematic Spaces
Hatje Cantz
2021
TMBA951
You Told Me – work stories and video essays/verkberattelser och videoessaer
University of Gothenburg
2010
TMBA337
Chromophobia
Reaktion Books Ltd.
2005
TMBA004

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.

18 pictures and 18 stories
If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution
2013
TMBA409
Rereading Appropriation
If I Can‘t Dance, I Don‘t Want To Be Part Of Your Revolution
2015
TMBA606
I See/La Camera
If I Can‘t Dance, I Don‘t Want To Be Part Of Your Revolution
2014
TMKO597
The Conspiracy of Art
Semiotext(e)
2005
TMBA455
Looking through Duchamp’s Door: Art and Perspective in the Work of Duchamp, Sugimoto and Jeff Wal
Verlag der Buchhandlung Walther Konig
2010
TMBE575
Face and Mask: A Double History
Princeton University Press
2017
TMBE721
The Global Contemporary and the Rise of New Art Worlds
The MIT Press
2013
TMBE361
Recent Writings
New Documents and the authors
2013
TMBE440
Photography in Japan 1853-1912
Tuttle Publishing
2006
TMBE110
Photography in Japan 1853-1912 is a fascinating visual record of Japanese culture during its metamorphosis from a feudal society to a modern, industrial nation at a time when the art of photography was still in its infancy. The 350 rare and antique photos in this book, most of them published here for the first time, chronicle the introduction of photography in Japan and early Japanese photography. The images are more than just a history of photography in Japan; they are vital in helping to understand the dramatic changes that occurred in Japan during the mid-nineteenth century.
These rare Japanese photographs–whether sensational or everyday, intimate or panoramic–document a nation about to abandon its traditional ways and enter the modern era. Taken between 1853 and 1912 by the most important Japanese and foreign photographers working in Japan, this is the first book to document the history of early photography in Japan a comprehensive and systematic way.
The Birth of the Museum: History, Theory, Politics
Routledge
2007
TMBE236
Between Worlds: a Sourcebook of Central European Avant-Gardes, 1910-1930
Los Angeles County Museum of Art; The MIT Press
2002
TMBE708
Portraits: John Berger on Artists
Verso
2015
TMBE588
Kaip menas moko matyti
Kitos knygos
2019
TMBE747
Conversation Pieces
If I Can‘t Dance, I Don‘t Want To Be Part Of Your Revolution; Revolver Publishing
2011
TMBE658
Talking Art 1: Art Monthly interviews with artists since 1976
Ridinghouse
2007
TMBI492
Sample Minds
Verlag der Buchhandlung Walther Konig
2004
TMBI281
Rehearsing Hospitalities. Companion 1
Archive Books; Frame Contemporary Art Finland
2019
TMBI938

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. On Contemporary Art and Collaborative Practices
Black Dog Publishing; Iaspis
2007
TMBI122

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.

Canvases and Careers Today. Criticism and Its Markets
Sternberg Press
2008
TMBI138
Like Virginity, Once Lost. Five Views on Nordic Art Now
Propexus
1999
TMBI031
Notes on the Frames of Art: Exhibition, Academy, Museum
Verlag der Buchhandlung Walther Konig
2022
TMBI936

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.

Radical Museology, or What’s Contemporary in Museums of Contemporary Art?
Verlag der Buchhandlung Walther Konig
2018
TMBI711
Installation Art. A Critical History
Tate Publishing
2010
TMBI309
Artificial Hells. Participatory Art and the Politics of Spectatorship
Verso
2012
TMBI348
Radical Museology, or What’s ‘Contemporary’ in Museums of Contemporary Art?
Verlag der Buchhandlung Walther Konig
2013
TMBI580
The Curatorial Condition
Sternberg Press
2022
TMBI916

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.

Ten, kur viskas daug labiau. Lietuvos teatro dailės žodynas
Mokslo ir enciklopedijų leidybos centras
2013
TMBI382
Anamorfozės: iškreiptos perspektyvos
Six chair books
2020
TMBA834
The Autobiography of Video. The Life and Times of Memory Technology
Sternberg Press
2016
TMBL904

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.

Off the grid
University of Gothenburg
2008
TMBO402
Video Writings by Artists (1970 – 1990)
Mousse Publishing
2017
TMBO644
The museum in the digital age. new media and novel methods of mediation
Cambridge Scholars Publishing
2017
TMBO824
The museum is not enough
Stenberg press
2019
TMBO805
The World of Art Anthology. Year 5 & 6. Strategies of Representation
Centre for Contemporary Arts, Ljubljana.
2004
TMBO060
The World of Art Anthology. Year 5 & 6. Strategies of Representation
Centre for Contemporary Arts, Ljubljana
2004
TMBO060
Taking Voice Lessons
If I Can‘t Dance, I Don‘t Want To Be Part Of Your Revolution
2014
TMBO596
The Exform
Verso
2016
TMBO612
Exhibiting the moving image
JRP | Ringier
2016
TMBO819
Cinema in the expanded field
JRP | Ringier
2016
TMBO820
Creative Camera
Manchester University Press
1999
TMBR069

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.

VDA interviu: meno mokykla
VDA leidykla
2018
TMBU727
Transition to nowhere. Art in history after 1989
Archive Books
2020
TMBU846
Photography After Capitalism
Goldsmiths Press
2020
TMBU925

A polemical analysis of the politics and economics of today’s vernacular photographic cultures.

In Photography After Capitalism, Ben Burbridge makes the case for a radically expanded conception of photography, encompassing the types of labor too often obscured by black-boxed technologies, slick platform interfaces, and the compulsion to display lives to others. His lively and polemical analysis of today’s vernacular photographic cultures shines new light on the hidden work of smartphone assembly teams, digital content moderators, Street View car drivers, Google “Scan-Ops,” low-paid gallery interns, homeless participant photographers, and the photo-sharing masses.
Bringing together cultural criticism, social history, and political philosophy, Burbridge examines how representations of our photographic lives—in advertising, journalism, scholarship and, particularly, contemporary art—shape a sense of what photography is and the social relations that comprise it. More precisely, he focuses on how different critical and creative strategies—from the appropriation of social media imagery to performative traversals of the network, from documentaries about secretive manual labor to science fiction fantasies of future sabotage—affect our understanding of photography’s interactions with political and economic systems.

Drawing insight and inspiration from recent analyses of digital labour, community economies and post-capitalism, Burbridge harnesses the ubiquity of photography to cognitively map contemporary capitalism in search of its weak spots and levers, sites of resistance, and opportunities to build better worlds.

Renesansas
Pradai
1992
TMBP762
The Contingent Object of Contemporary Art
The MIT Press
2003
TMBU204
From Conceptualism to Feminism. Lucy Lippard’s Numbers Shows 1969-74. Exhibition Histories
Afterall Books
2012
TMBU358
Assign & Arrange. Methodologies of Presentation in Art and Dance
Sternberg Press
2014
TMBU551
The Constituent Museum - Constelations Of Knowledge, Politics and Mediation: A Generator of Social Change
Valiz
2018
TMBY781
The Shadow Files #01 (de Appel’s Bilingual Journal)
De Appel
2010
TMCA511
Conceptualism in Latin American Art: Didactics of Liberation
University of Texas Press
2007
TMCA176
Drawing room Confessions #7. (Ribadeneira, Manuela; Honoré, Vincent)
Mousse Publishing
2013
TMRI383 / TMCA540
Invalid Format: An Anthology of Triple Canopy, Volume 2
Triplecanopy
2012
TMCA363
The Faber Book of Utopias
Queen Square London
1999
TMCA457
The Nuclear Culture Source Book
Black Dog Publishing
2016
TMCA932

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.

Museum Scepticism. A History of the Display of Art in Public Galleries
Duke University Press
2006
TMCA284
Contemporary Art in Heritage Spaces
Routledge
2022
TMCA942

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 1
David Bateman Ltd
2005
TMCA006

‘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 2
David Bateman Ltd.
2005
TMCA007

‘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 3
David Bateman Ltd.
2005
TMCA008

‘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 4
David Bateman Ltd.
2005
TMCA009

‘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.

On Boycott, Censorship and Educational Practices (The Fellow Reader #1)
de Appel
2015
TMCE659
Selected Writings 2000–2014
ARTBOOK | D.A.P.
2014
TMCH453
Exhibition Histories
Afterall Books
2014
TMDE542
So Communication translating each other’s words
Estonia Academy of Art
2007
TMCH458
Urban Sound Design Process. Projektowanie dziekowe przestrzeni miejskiej
Centre for Contemporary Art Ujazdowski Castle.
2015
TMCL625
Seth Siegelaub: Beyond Conceptual Art
Verlag der Buchhandlung Walther Konig; Stedelikijk Museum
2016
TMCO591
Capitalism and the Camera. Essays on Photography and Extraction
Verso
2021
TMCO927

A provocative exploration of photography’s relationship to capitalism, from leading theorists of visual culture

Photography was invented between the publication of Adam Smith’s The Wealth of Nations and Karl Marx and Friedrich Engels’s The Communist Manifesto. Taking the intertwined development of capitalism and the camera as their starting point, the essays collected here investigate the relationship between capitalist accumulation and the photographic image, and ask whether photography might allow us to refuse capitalism’s violence—and if so, how?

Drawn together in productive disagreement, the essays in this collection explore the relationship of photography to resource extraction and capital accumulation, from 1492 to the postcolonial; the camera’s potential to make visible critical understandings of capitalist production and society, especially economies of class and desire; and the ways the camera and the image can be used to build cultural and political counterpublics from which a democratic struggle against capitalism might emerge.

With essays by Ariella Aïsha Azoulay, Siobhan Angus, Kajri Jain, Walter Benn Michaels, T. J. Clark, John Paul Ricco, Blake Stimson, Chris Stolarski, Tong Lam and Jacob Emery.

Natural Enemies Of Books: A Messy History Of Women In Printing And Typography
Occasional Papers
2020
TMFA863
TV Museum: Contemporary Art and The Age of Television
Intellect
2014
TMCO488
Choreographing Exhibitions / Choregraphier l‘exposition (EN/FR)
Centre d‘art contmporain de la Ferme du Buisson; Kunst Halle Sankt Gallen
2013
TMCO630
Is the Living Body the Last Thing Left Alive?
Sternberg Press
2018
TMCO710
Is the Living Body the Last Thing Left Alive? The New Performance Turn, Its Histories and Its Institutions
Sternberg Press
2017
TMCO728
Museums and Memory
Stanford University Press
2000
TMCR286
On the Museum‘s Ruins (with photographs by Louise Lawler)
The MIT Press
1993
TMCR312
The Concerns of a Repentant Galtonian / Bedenken eines geläuterten Galtonianers. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2011
TMCR705
Anguish Language, Writing and Crisis
Archive Books
2015
TMCU645
Assuming Asymmetries. Conversations on Curating Public Art in the 1980s and 1990s
Sternberg Press, ​​Konstfack Collection
2022
TMCU937

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

Whitewalling: Art, Race & Protest in 3 Acts
Badlands Unlimited
2018
TMDS746
Salvador, Dalí. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2011
TMDA700
After the End of Art. Contemporary Art and the Pale of History
Princeton University Press
1997
TMDA220
Things That Talk
Zone Books
2004
TMDA414
Image-Thinking. Five Centuries of Images in Antwerp
MAS Books
2011
TMBA444
Elements of Japanese Design
Tuttle Publishing
2006
TMME632
Coyote Anthropology: A Conversation in Words and Drawings / Kojotenanthropologie Ein Gespräch in Worten und Zeichnungen. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2012
TMDE694
Solo Show
Royal Colledge of Art
2010
TMDE240
Citas Sarunas / Different Conversations
Visual Communication Department, Riga
2002
TMDE234
Return to the Postcolony. Specters of Colonialism in Contemporary Art
Sternberg Press
2013
TMDE553
Decolonizing Nature. Contemporary Art and the Politics of Ecology
Sternberg Press
2016
TMDE604
Beyond the World's End: Arts of Living at the Crossing
Duke University Press
2020
TMDE865
Performing the Sentence: Research and Teaching in Performative Fine Arts
Sternberg Press
2014
TMDE498
Free Association
Free Association
2006
TMDI407
On (Surplus) Value In Art. Reflections 01
Sternberg Press
2008
TMDI459
FESTAC ’77: The 2nd World Black and African Festival of Arts and Culture
Chimurenga; Afterall Books
2019
TMFE854
Meno istorija ir kritika, Nr. 6. Istorijos (re)konstrukcijos nuo 1945-ųjų iki dabar / Performing History from 1945 to the Present
Vytauto Didžiojo Universitetas
2010
TMDO251
Graphesis: Visual Forms of Knowledge Production
Harvard University Press
2014
TMDR529
Artists as Producers: Transformation of Public Space. Conference material
Latvian Centre for Contemporary Art
2005
TMDR096
Civilising Rituals: Inside the Public Art Museums
Routledge
2007
TMDU219
New Zealand Sculpture: a history
Auckland University Press
2002
TMDU012

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.

Waiting To be Interrupted: Selected Writing 1993-2012
Mousse Publishing; M HKA
2014
TMDU530
Post-Post Soviet? Art, Politics and Society in Russia At the Turn of The Decade
Museum of Modern Art, Warsaw
2013
TMDZ450
Tell Me Something Good: Artist Interviews from The Brooklyn Rail
David Zwirner Books
2017
TMEA931

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

Poor Man‘s Expression. Technology, Experimental Film, Conceptual Art
Sternberg Press
2011
TMEB598
Method. Geist No.11,12,14.
2008
TMEH239
How to Look at Art – Talk. How to Look at Aesthetics. How to Look at Capitalism
Office for Contemporary Art Norway
2004
TMEK013
New Institutionalism
Office for Contemporary Art Norway
2003
TMEK014

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.’

Contemporary Artist Residencies: Reclaiming Time and Space
Valiz
2019
TMEL743
Issleduja vizualnyj mir
EHU
2010
TMEL228
Aesthetics of the Flesh
Sternberg Press
2014
TMEN558
Elements de technologie pour comprendre la photographie
Editions VM
1999
TMFE016
David Hammons: Bliz-aard Ball Sale (Afterall Books / One Work)
Afterall Books
2017
TMFI785
The Biennial Reader. An Anthology on Large-Scale Perennial Exhibitions of Contemporary Art
Bergen Kunsthall
2010
TMFI290
The Artist as Curator. An Anthology
Mousse Publishing; Verlag der Buchhandlung Walther Konig
2017
TMFI633
Becoming Oneself: Four Conversations on Art and Institutional Creativity Today
BAK
2003
TMFL403
Meno parodų kuratorystė Lietuvoje: sampratos ir raida
Lietuvos kultūros tyrimų institutas
2015
TMFO563
The Return of the Real
The MIT Press
1996
TMFO052
Recodings: Art, Spectacle, Cultural politics
The New Press
1999
TMFO189
Art since 1900: Modernism, Antimodernism, Postmodernism
Thames&Hudson
2004
TMFO018

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.

Central and Eastern European Art Since 1950 (World of Art)
Thames & Hudson
2020
TMFO843
Of(f) Our Times: Curatorial Anachronics
Sternberg Press; Oslo National Academy of the Arts
2019
TMFR934

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.

Animism Volume I
Sternberg Press
2010
TMFR671
The so-called utopia of the centre beaubourg
Book Works
2007
TMFR460
Secret Modernity. Selected Writings and Interviews 1981-2009
Sternberg Press
2010
TMFR229
Media Ecologies: Materialist Energies in Art and technoculture
The MIT Press
2005
TMMA760
Put About: A critical Anthology on Independent Publishing
Book Works
2004
TMFU205
Performative Realism
Museum Tusculanum Press, University of Copenhagen
2005
TMGA020

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.

Archive Cultures
Fundacio Antoni Tapies
2002
TMGA073
Migrating Reality / Migruojanti Realybė
KHM Kunsthochschule für Medien; >top – Verein zur Förderung kultureller; Balsas.cc
2008
TMGA599
Let The River Flow. An Indigenous Uprising and its Legacy in Art, Ecology and Politics
Valiz; Office for Contemporary Art Norway (OCA)
2020
TMGA935

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

Theatre, Garden, Bestiary. A Materialist History of Exhibitions
Sternberg Press; ECAL/University of Art and Design Lausanne
2019
TMGA784
Biennials, Triennials, and Documenta: The Exhibitions that Created Contemporary Art
Wiley-Blackwell
2016
TMGA903

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.

Gest: Laboratory of Synthesis. Vol. 1
Book Works
2008
TMGA038
Artists’ Work Classification
Kunstlerhaus Buchsenhausen
2006
TMGE002

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.

Voorbij ethiek en esthetiek / Beyond Ethics and Aesthetics
Sun Publishers
1997
TMGE901
The Art Biennial as a Global Phenomenon: Strategies in Neo-Political Times
NAi Publishers
2009
TMGI139
Proxemics. Selected Writings (19988-2006)
JRP | Ringer; Les Presses du réel
2006
TMGI745
Édouard Glissant & Hans Ulrich Obrist. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2011
TMOB686
The story of contemporary art
The MIT Press
2021
TMGO855
Public Art by the Book. Americans for the Arts
University of Washington Press
2005
TMGO171
Re-tooling Residencies. A Closer Look at the Mobility of Art Professionals
CCA Ujaszdowski Castle
2011
TMGO292
Is It My Body? Selected Texts
Sternberg Press
2014
TMGO439
Rethinking Curating: Art after New Media
The MIT Press
2015
TMGR866
Der symbolische Auftraggeber / The Symbolic Commissioner
Sternberg Press
2010
TMGR311
The Love of Painting. Genealogy of a Success Medium
Sternberg Press
2018
TMGR714
The Third Hand. Collaboration in Art from Conceptualism to Postmodernism
University of Minnesota Press
2001
TMGR021

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.

Oceans of Love: The Uncontainable Gregory Battcock
Verlag der Buchhandlung Walther Konig
2016
TMBA614
Vaizdinis posūkis: vaizdai-žodžiai-kūnai-žvilgsniai
Lietuvos kultūros tyrimų institutas
2011
TMGR303
Reprezentacijos iššūkiai
Dailės kritikų asociacija (AICA)
2005
TMGR477
Dešimtojo dešimtmečio dailės procesai ir kontekstai / The Processes and Contexts of the Last Decade
Tarptautinė dailės kritikų asociacija (AICA)
2001
TMGR282
Art Power
The MIT Press
2008
TMGR134

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.

History Becomes Form: Moscow Conceptualism
The MIT Press
2010
TMGR451
On the New
Verso
2014
TMGR541
Art as Existence. The Artist’s Monograph and Its Project
MIT Press
2006
TMGU082

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.

The Two Kassels: Same Time, Another Space / Die beiden Kassels: gleiche Zeit, anderer Ort. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2011
TMGY678
Avant-garde: theorie et provocations
Editions Jacqueline Chambon
1992
TMHA022
Illuminating Video: an essential guide to video art. 1st edition
Aperture; Bay area video coalition
2005
TMHA815
Stopping The Process? Contemporary views on art and exhibitions
Nifca publications nr. 1
1998
TMHA325
Diary of a Semionaut / Semionaudi päevaraamat
2009
TMHA106
Art in Theory 1815 – 1900
Blackwell
2002
TMHA463
Art History. A Critical Introduction to Its Methods
Manchester University Press
2006
TMHA351
Korean Abstract Painting. A formation of Korean Avant-Garde
Hollym International Corporation
2013
TMHE526
A Conversation About A Talk That Never Happened. Diedrich Diederichsen
Goethe-Institut
2012
TMDI594
All of a Sudden: things that Matter in Contemporary Art
Sternberg Press
2010
TMHE496
Placing the Artist / Die Platzierung des Künstlers. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2011
TMHE704
Different Modernism, Different Avant-Gardes. Problems in Central Eastern European Art After World War II
KUMU
2009
TMHE216
Lost Eighties. Problems, Themes and Meanings in Estonian Art on 1980s
Centre for Contemporary Arts, Estonia
2010
TMHE256
Noisy Nineties. Problems, themes and Meanings in Estonian Art on 1990s
Centre for Contemporary Arts Estonia
2001
TMHE076
The way between Belgrade and Prishtina has 28000 un-proper build objects. So, never it will be an auto-ban!
Center for Contemporary Art Prishtina
2008
TMHE107

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

Lithuanian Culture Guide (Architecture & Design. Cinema. Literature. Music. Theatre & Dance. Visual Arts)
Lithuanian Culture Institute
2018
TMKU674
The Producers: Contemporary Curators in Conversation
University of Newcastle Press
2000
TMHI024
The Producers: Contemporary Curators in Conversation (2)
Baltic
2001
TMHI438
The Producers: Contemporary Curators in Conversation (3)
University of Newcastl Press
2001
TMHI026
Kunst und Öffentlichkeit. Kritische Praxis der Kunst im Stadtraum Zürich
JRP|Ringier
2007
TMHI100
The Return of the Religion and Other Myths: a Critical Reader in Contemporary Art
BAK
2009
TMHL254
Concerning War: A Critical Reader
BAK, basis voor actuele kunst; Revolver; Archiv für aktuelle Kunst
2006
TMHL105

(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.)

On Knowledge Production: A Critical Reader in Contemporary Art.
BAK, basis voor actuele kunst; Revolver
2008
TMHL187
The Next Documenta Should Be Curated by an Artist
E-flux; Revolver; Platform Garanti Contemporary Art Centre
2004
TMHO112

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.)

Perform
Contemporary arts London
2001
TMHO467
Art On My Mind
The New Press
1995
TMHO188
After Modern Art 1945-2000
Oxford University Press
2000
TMHO025

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.

Primary Documents: A Sourcebook for Eastern and Central European Art since the 1950s
The Museum of Modern Art
2002
TMHO026

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.

Curatorial Mutiny. Critical and Creative Texts on the Role of the Contemporary Artist and Curator
2004
TMHU092
East Art Map: Contemporary Art and Eastern Europe
Afterall Books
2006
TMIR432
Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology (Primary Documents)
The Museum of Modern Art
2018
TMJA707
Dailės istorijos šaltiniai. Nuo seniausių laikų iki mūsų dienų. Antologija
VDA leidykla
2012
TMJA317
Okupacijos Realijos. Pirmojo ir Antrojo pasaulinių karų Lietuvos plakatai / The Reality of Occupation. Posters in Lithuania During World War I and World War II
Vilniaus grafikos meno centras
2014
TMJA555
How to Read a Photograph: Understanding, Interpreting and Enjoying the Great Photographers
Thames&Hudson
2008
TMJE483
Fotografija. Trumpa istorija
R. Paknio leidykla
1999
TMJE768
Generation 25 years of contemporary art in Scotland
National Galleries of Scotland and Glasgow Life
2014
TMJE525
Dictionary of Design and Designers
Penguin Books
1984
TMJE011
Inscription
Regional State Archives
2018
TMJO766

Lorem ipsum dolor

The Disintegration of a Critic
Sternberg Press; Bergen Kunsthall
2019
TMJO922

Jill Johnston—cultural critic, auto/biographer, and lesbian icon—was renowned as a writer on dance, especially on the developments around Judson Dance and the 1960s downtown New York City scene, and later as the author of the radical-feminist classic Lesbian Nation (1973). This book collects thirty texts by Jill Johnston that were initially published in her weekly column for The Village Voice between 1960 and 1974. The column provided a format in which Johnston could dissolve distinctions between the personal, the critical, and the political. Her writing took turns and loops, reflecting its times and contexts, and set a stage for the emergence of Johnston as a public figure and self-proclaimed radical lesbian that defied any prescribed position.

Johnston’s original texts are accompanied by three new contributions by Ingrid Nyeboe, Bruce Hainley, and Jennifer Krasinski, as well as an appendix with archival material related to a panel Johnston organized in 1969, titled “The Disintegration of a Critic: An Analysis of Jill Johnston.”

Be-Bomb: The Transatlantic War of Images and all that Jazz. 1946-1956
MACBA
2007
TMJO411
Carolee Scheemann. Uncollected Texts
Primary Information
2018
TMSC729
Daugiakalbiai peizažai 1971-2021
VDA leidykla
2022
TMJU908

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: Sound, Radio and the Avant-Garde
The MIT Press
1994
TMKA906

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.

Essays on the Blurring of Art and Life. Expanded edition
University of California Press
2003
TMKA166
Black Mountain College. Experiment in Art
The MIT Press
2013
TMKA524
Kultūros dirbtuvė
Baltos lankos
1996
TMKA071

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.

Kultūros dirbtuvė
Baltos lankos
1996
TMKA071

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.

Kritikos maršrutai
Klaipėdos kultūrų komunikacijų centras
2011
TMKA283
Mengele’s Skull. The Advent of a Forensic Aesthetics
Sternberg Press
2012
TMKE750
Institutions by Artists (Volume One)
Filip Editions; The Pacific Association Artist Run Centres
2012
TMKH749
Function Follows Vision, Vision Follows Reality
Sternberg Press
2015
TMKI602
Modern Typography, 2nd Edition
Hyphen Press
2004
TMKI862
Unjustified Texts: Perspectives on Typography
Hyphen Press
2002
TMKI861
Kunstiteaduslikke Uurimusi. Studies on Art and Architecture, kd19/3-4. The Geographies of Art History in the Baltic Region
Estonian Society of Art Historians
2010
TMKI252
Su Savo Tiesa
Nepriklausomi meno kritikai
2021
TMKL928

Knygoje siekta prisiminti vieną profesionaliausių ir įdomiausių XX a. 8–10 dešimtmečio Lietuvos dailės kritikių Gražiną Kliaugienę (1944–1995). Trumpas jos gyvenimo laikas buvo nuspalvintas ne tik kūrybinio polėkio, pripažinimo, bet ir tragiškų įvykių bei nevaldomo asmenybės susinaikinimo šešėlio. Monografijoje į kūrybinį dailėtyrininkės palikimą norėta pažvelgti iš nūdienos pozicijų, plačiau apmąstant dailės kritikos veikmės principus apskritai, ir surinkti kiek įmanoma visus G. Kliaugienės straipsnius, skelbtus lietuviškoje periodikoje, meno leidiniuose ir kataloguose. Taip pat publikuojami amžininkų prisiminimai, rašyti ir netrukus po dailėtyrininkės mirties, ir praėjus jau ketvirčiui amžiaus.

B and / Or Exhibition Guide In Search For Its Exhibition
Torpedo Press
2014
TMKL442
Žodžiai, žodžiai, žodžiai arba Lietuvos menininkų tekstai
Artbooks.lt
2022
TMKL910

„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

Art Noveau ir Art Deco Nyderlanduose: 50 metų dizaino (1885-1935)
Nacionalinis M.K.Čiurlionio dailės muziejus
2008
TMKO083

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.

Words to Be Looked At. Language in 1960s Art
The MIT Press
2007
TMKO153
On Art History In Africa
Motto Books
2020
TMKO853
Burning (of) Ethics of the Passions. Contemporary Art as Process
University of Art and Design Helsinki UIAH
1999
TMKR091
Social Practices
Semiotext(e)
2018
TMKR725
Your Private Sky: Discourse. R.Buckminster Fuller
Lars Muller Publishers; Museum of Design Zurich
2001
TMKR005
KURuoTI. Kuravimas Kaip Meno Praktika ir Politika
Vilniaus dailės akademija
2022
TMKR926

Curating is a creative activity that combines art and scientific methods, analyzing and influencing contemporary cultural processes through exhibitions. In the last decade of the 20th century, hybrid curatorial strategies began to emerge in Lithuania: collective actions, collaborations, the delegation of functions, questioning the boundaries of public and private, embodied by artist-curators and curator-artists, who perceived curating as a continuation of their artistic and/or activist practice.

The thesis explores contemporary strategies of curating as an artistic practice and politic through discourse analysis, feminist theory, queer studies approaches, and autoethnography. Through case studies, it reveals the expansion of the boundaries of curating: from artist-curated site-specific projects to discursive post-curatorial interventions, as curators treat the exhibition as an art medium.

The creative part of the thesis raises the three following questions for artistic research: Where? Curating? Creating? (Lithuanian: Kur? Kuruoti? Kurti?) Two of the three questions form the title: “C(U)R(E)ATing”. The question of place is one of the most important in contemporary art. It refers to the context of creation and curation, whether institutional or independent, as well as the location of the exhibition/artwork and its relationship to its surroundings. Even more important is the theoretical context: in which philosophical, cultural, and discursive context the artist-curator‘s ideas unfold. How does the curation of ideas take place? What is the relationship between conceptual gestures and activist practices? How does the curation of situations unfold in a specific place? The artistic part of the research – curated exhibitions and post-curatorial interventions – provide answers to these questions.

Lithuanian Culture Guide
Lithuanian Culture Institute
2013
TMKU380
Philosophers on Art from Kant to the Postmodernists. A Critical Reader
Columbia University Press.
2010
TMKU332
Fiskars 1649 - 360 Years of Finnish Industrial History
Fiskars Oyj Abp
2009
TMFI117
Erkki Kurenniemi. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2011
TMKU703
Yale: History of an Art School
Verlag der Buchhandlung Walther Konig
2022
TMKU939

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.

Hannah Ryggen. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2012
TMKU696
Graphic Texts 2007-2011 (No.1-2)
Propaganda Press
2013
TMKW504
One Place after Another: Site-Specific Art and Locational Identity
The MIT Press
2004
TMKW135

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.

Making Art Global (Part 2) – ‘Magiciens de la Terre’ 1989
Afterall Books
2013
TMLA480
The Lonely City. Adventures in the Art of Being Alone
Canongate
2016
TMLA941

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.

Systems and Landmarks. Utopics
JRP | Ringer
2009
TMLA482
The Living Museum. Franco Albini–BBPR–Lina Bo Bardi–Carlo Scarpa
Nero
2020
TMLA933

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.

The Phantom of Liberty. Contemporary Art and the Pedagogical Paradox
Sternberg Press, Henie Onstad Kunstsenter
2014
TMLA517
Art in Vilnius 1900-1915
Baltos lankos
2008
TMLA271
Lietuvos dailės kaita 1990-1996: institucinis aspektas
AICA Lietuvos sekcija
1997
TMLI065

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

The language of museum communication: a diachronic perspective
Palgrave Macmillan
2016
TMLA825
Illegibility / Unleserlichkeit. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2011
TMLE692
The idea of the Avant Garde: and what it means today. Volume 2
Intellect Ltd.
2020
TMLE826
French Theory and American Art
Sternberg Press
2013
TMLE497
Seven Years: The rematerialisation of Art From 2011 - 2017
Sternberg Press
2019
TMLI794
The Greenroom: Reconsidering the Documentary and Contemporary Art
Sternberg Press
2008
TMLI137

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.

Contemporary Art and its Commercial Markets. A Report on Current Conditions and Future Scenarios
Sternberg Press
2012
TMLI345
Six years: the Dematerialization of the Art Object from 1966 to 1972
University of California Press
1997
TMLI093

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.

4,492,040
New Documents
2012
TMLI372
Who Told You So?! The Collective Story vs. the Individual Narrative
Onomatopee
2013
TMLO443
Can you feel it? – Effectuating tactility and print in the contemporary
Onomatopee
2016
TMLO673
Dream of Europe: selected seminars and interviews: 1984-1992
Kenning editions
2020
TMLO841
Schizo-culture. The event 1975. Vol. 2
Semiotext(e)
2013
TMLO522
Permainų svoris. Dailės vadyba Lietuvoje 1988-2006
Vilniaus dailės akademija
2008
TMLU245
Vieno projekto apkalta
Standartų spaustuvė
2011
TMLU293
Drawing room Confessions #8 (Ribadeneira, Manuela; Honoré, Vincent)
Mousse Publishing
2013
TMRI384
Idols of the Market
Stenberg Press
2009
TMLU481
Speculative Aesthetics
Urbanomic
2014
TMMA550

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

Vivre Dangereusment... Jusqu‘au Bout
Palais de Tokyo; Editions Cercle d‘ Art
2011
TMMA308
Paper Exhibition. Selected Writings by Raimundas Malašauskas
Sternberg Press; Kunstverein; Sandberg Institute; The Baltic Notebooks of Anthony Blunt
2012
TMMA305
Meeting Dixie Evans – How to Burlesque? / Wie macht man Burlesque? Eine Begegnung mit Dixie Evans. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2012
TMMA680
Empty stages, crowded flats. Performativity as curatorial strategy. Performing urgency #4
House on Fire; Live Art Development Agency; Alexander Verlag Berlin
2017
TMMA792
Naujųjų medijų kalba
VšĮ „Mene“
2009
TMMA182
Art in Europe 1990-2000
Skira
2002
TMMA276
The Original Copy. Photography of Sculpture, 1839 to Today
he Museum of Modern Art, New York
2010
TMMA362
Archives and Disobedience. Changing Tactics of Visual Culture in Eastern Europe
Estonian Academy of Arts
2016
TMTA626
What Makes a Great Exhibition?
Philadelpia Exhibitions Initiative
2010
TMMA289
Art and Education
Gavle Konstcentrum
2008
TMMA034
Laiškai sūnui vegetarui
Kitos knygos
2017
TMMA627
Unexpress the Expressible / Das Ausdrückbare nicht ausdrücken. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2012
TMMA695
The Curatorial: A Philosophy of Curating
Bloomsbury
2013
TMMA619
Semblance and Event. Activist Philosophy and the Occurent Arts
The MIT Press
2013
TMMA523
Nihil obstat. Lietuvos fotografija sovietmeči
VDA leidykla
2011
TMMA300
Tour-Isms. The Defeat of Dissent: Critical Itineraries
Fundacio Antoni Tapies / Forum
2004
TMMA062

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.

The Reader. A Guestroom Publication
Gasworks
2009
TMMC445
Ritual and Capital
Bard Graduate Center; Wendy’s Subway
2019
TMMC923

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.

Contemporary Art and the Post-Occupy Condition
Verso
2017
TMMC635
The &-Files. Art & Text 1981-2002
Institute of Modern Art (IMA); Whale & Star
2009
TMMC090

Modeled after the famed TV sci-fi series The X-FilesThe &-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.

Falter: Has the human game begun to play itself out?
Henry Holt and Co.
2019
TMC796
The Narrative Reader
Routledge
2000
TMC294
A history of video art
Bloomsbury Academic
2014
TMME818
SITAC V. Dialogos Impertinentes. Quinto Simposio Internacional de Teoria sobre Arte Contemporaneo / Insolent Dialogues. Fifth International Symposium on Contemporary Art Theory
Patronato de Arte Contemporaneo A.C.
2007
TMME085
X-Screen: Film Installations and Actions in the 1960s and 1970s
Verlag der Buchhandlung Walther Konig
2004
TMMI902

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.

Aby Warburg and the Image in Motion
Zone Books
2007
TMWA589
Būti dalimi. Dalyvavimas ir bendradarbiavimas Lietuvos šiuolaikiniame mene
VDA leidykla
2021
TMMI871
Diagraminės vaiduotės atlasas: žemėlapiai tyrimuose, mene ir edukacijoje
VDA leidykla
2019
TMMI835
Meninio tyrimo suvesti. Žinojimo kontūrais. Monografija
VDA leidykla
2016
TMMI616
Mapping Artistic Research Towards Diagrammatic Knowing
VDA leidykla
2018
TMMI675
Medijų kultūros balsai: teorijos ir praktikos
MENE
2008
TMMI077

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

Postdisciplininis leksikonas
LTMKS
2018
TMMI672
Fotografijos, istorijos, žemėlapiai / Mapping Lithuanian Photography: Histories and Archives
MENE
2007
TMMI039

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.

Fotografijos, istorijos žemėlapiai. Foto/karto/istorio/grafijos.
Mene
2007
TMMI593
(Ne)priklausomo šiuolaikinio meno istorijos. Savivaldos ir iniciatyvos Lietuvoje 1980–2022 m., III tomas
MENE, LTMKS
2022
TMMI914

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.

(Ne)priklausomos šiuolaikinio meno istorijos / (In)dependent Contemporary Art Histories
LTMKS
2011
TMMI304
Dailėtyra: teorijos, metodai, praktikos. Vadovėlis
VDA leidykla
2012
TMMI316
East Coast Europe
Sternberg Press
2008
TMMI109

“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.

P.S. landsafty: optiki gorodskih issledovanij
EHU
2008
TMI226
Brutalist Readings: Essays on Literature
Sternberg Press
2016
TMMI603
When Down is Up. Ausgewahlte Schriften 1987-1999
Revolver
2001
TMMI040
The Reconfigured Eye: Visual Truth in the Post-photographic Era
The MIT Press
1994
TMMI202
The Wild West. A History of Wrocław‘s Avant-Garde
Zachęta – National Gallery of Art
2015
TMMO623
The Cultural Role of Women in Switzerland
Pro Helvetia
2002
TMMO042
Resource Hungry: Our Cultured Landscape and its Ecological Impact
Verlag der Buchhandlung Walther Konig
2021
TMMO921

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

Micro-historias. Y macro-mundos
Instituto Nacional de Bellas Artes
2010
TMRA595
Besotis žvilgsnis. Lietuvos dailė ir vizualioji kultūra 1865-1914
Lietuvos kultūros tyrimų institutas
2012
TMMU546
The Legacy of Transgressive Objects
Verlag der Buchhandlung Walther Konig
2019
TMBE776
It’s Time for Action (There’s No Option). About Feminism
JRP Ringier
2007
TMMU168
Artist-Run Europe-Practice / Projects / Spaces
Onomatopee
2016
TMMU657
Physical Theatres. A Critical Introduction (2nd Edition)
Routledge
2016
TMMU620
Changing the System? A Discussion Event in Rotterdam, April 1999
Nordic Institute for Contemporary Art
1999
TMNA515
Perspectives. At the Convergence of Art and Philosophy
Reykjavik Art Museum
2011
TMNA328
Lietuvos fotografija: 1990-2010
Baltos lankos
2011
TMNA315
Drawing Room Confessions #6 (Ribadeneira, Manuela; Honoré, Vincent)
Mousse Publishing
2013
TMRI501
The Dept. Of Corrections. Collected Writings 2007-2015
Karma
2015
TMNI613
The Dept. Of Corrections. Collected Writings 2007 – 2015
Karma
2015
TMNI646
Curating Subjects. Open Editions
de Appel
2007
TMON924

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.

Curating Research
Open Editions; De Appel
2015
TMON545
Inside the White Cube: The Ideology of the Gallery Space
University of California Press
1999
TMOD136

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.

Let’s Have a Talk: Conversations with Women on Art and Culture
Karma Books
2021
TMON915

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.

The Culture of Curating and the Curating of Culture(s)
The MIT Press
2012
TMNE520
Locating the Producers. Durational Approaches to Public Art. Antennae Series
Valiz Publishers
2011
TMON329
Curating and the Educational Turn
Open Editions
2010
TMON232
Dontstopdontstopdontstopdontstop
Sternberg Press
2006
TMOB140

“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.

A Brief History of Curating
JRP|Ringier; les press du réel
2008
TMOB143

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.

Everything You Always Wanted to Know About Curating * But Were Afraid to Ask
Sternberg Press
2011
TMOB326
Lives of the Artists, Lives of the Architects
Penguin Books
2015
TMOB718
The Conversation Series (1)
Verlag der Buchhandlung Walther Konig
2006
TMOB478
Mondialité: Or the Archipelagos of Édouard Glissant
Editions Skira
2018
TMOB722
Sharp Tongues, Loose Lips, Open Eyes, Ears to the Ground
Sternberg Press
2014
TMOB494
Practice Space
De Appel
2019
TMON867
Anywhere or Not at All: Philosophy of Contemporary Art
Verso Books
2013
TMOS860
Gender i transgressija v vizualnyh iskusstvah
EHU
2007
TMOU225
Belformat
EHU
2008
TMOU227
Beyond Recognition: Representation, Power and Culture
University of California Press
2008
TMOW178
A Thousand Eyes: Media Technology, Law and Aesthetics
Henie Onstad Art Centre; Sternberg Press
2011
TMPA738
Made by Sculptors? Forms of sculpture today
Openbaar kunstbezit vlaanderenz
2008
TMPA043
Gender Check: a Reader
Verlag der Buchhandlung Walther Konig
2010
TMPE250
Innerscapes. An Anthology of Artists’ Writings
Trieste Contemporanea
1998
TMPE044

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.

History of Latvian Art Theory. Definition in Art in the Context of the Prevailing Ideas of the Time (1900-1940)
Latvian Academy of Art
2007
TMPE167
Notes from Underground / Notizen aus dem Untergrund. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2012
TMPE684
Multitasking – Synchronitat als kulturelle Praxis
Neue Gesellschaft fur Bildende Kunst
2007
TMMU104

(Language: German)

Caring Culture: Art, Architecture and the Politics of Public Health. Actors, Agents and Attendants
Sternberg Press
2011
TMPH330
Booktrek: Selected Essays on Artists’ Books since 1972
JRP | Ringer
2013
TMPH531
The Archive as Project - the Poetics and Politics of the (Photo)Archive
Fundacja Archeologia Fotografii
2011
TMPI730
In the Shadow of Yalta. Art and the Avant-garde in Eastern Europe, 1945-1989
Reaktion Books
2009
TMPI301
From Museum Critique to the Critical Museum
Routledge
2017
TMPI786
Blasphemy. Art That Offends
Black Dog Publishing
2006
TMPL302
Tillandsien. Projekte 2003 – 2004 im Kunsterhaus Stuttgart
Revolver-Archiv für aktuelle Kunst
2005
TMPL371
Władysław Strzemiński. Readability of Images
Muzeum Sztuki w Łódz
2015
TMPO618
Climate Crisis and the Global Green New Deal
Verso Books
2020
TMPO842
Encounters in the Virtual Feminist Museum. Time, Space and the Archive
Routledge
2007
TMPO162
Per/Form: How to Do Things with[out] Words
Sternberg Press
2014
TMPO499
Pornotopia: An Essay on Playboy's Architecture and Biopolitics
Zone books
2019
TMPR836
frakcija. Performing Arts Magazine. No. 15, October 1999
Centre for Drama Art, Zagreb; Academy of Drama Art, Zagreb
1999
TMPR514
The Greeting Committee Reports… / Das Begrüßungskomitee berichtet...100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2012
TMPR699
RE-tooling RESIDENCIES: A Closer Look at the Mobility of Art Professionals
Centre for Contemporary Art Ujazdowski Castle; A-I-R
2011
TMPT706
142 atvertys: Lietuvos menininkių autobiografijos, A-K
Tarptautinės dailės kritikų asociacijos (AICA)
2021
TMRA929

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.

142 atvertys: Lietuvos menininkių autobiografijos, L-Ž
Tarptautinės dailės kritikų asociacijos (AICA)
2021
TMRA930

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.

Feelings are Facts: A Life
The MIT Press
2013
TMRA573
Art and Revolution. Transversal Activism in the Long Twentieth Century
Semiotext(e)
2007
TMRA201
Kunst und Revolution. Kunstlerisher Aktivismus in langen 20. Jahrhundrert
Verlag Turia + Kant
2005
TMRA097

(Language: German)

Transversal. Kunst und Globaliserungskritik
Verlag Turia + Kant
2003
TMRA098

(Language: German)

Aesthetics of Installation Art
Sternberg Press
2012
TMRE378
Fiction as method
Sternberg Press
2017
TMRE838
Dodge Jason: Drawing room Confessions #2
Mousse Publishing
2001
TMRI479
Cahn, Miriam. Drawing Room Confessions #3
Mousse Publishing
2011
TMRI446
Lamelas David. Drawing room Confessions #4
Mousse Publishing
2011
TMRI448
Charles Avery. Drawing room Confessions #1
Mousse Publishing
2011
TMRI449
Luis Camnitzer. Drawing Room Confessions #7
Mousse Publishing
2013
TMCA540
Maire, Benoît. Drawing room Confessions #5
Mousse Publishing
2012
TMRI552
Inside the Studio. Two Decades of Talks with Artists in New York
Independent Curators International
2004
TMRI258
Feminism-Art-Theory. An Anthology 1968-2000
Blackwell Publishers
2001
TMRO046

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.

Archive Mania / Archiv-manie. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2011
TMRO683
Video Art
Thames and Hudson
2017
TMRU817
Two is Not a Number / Zwei ist keine Zahl. A Conversation with Ayreen Anastas & Rene Gabri. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2011
TMRY682
Materija ir vaizduotė. Hibridinė kūryba tarp meno ir mokslo
Vilniaus universiteto leidykla
2018
TMSA723
The Writings of Marcel Duchamp
Da Capo Press
1989
TMSA428
The Golden Avant-Garde: Idolatry, Commercialism, and Art
University of Virginia Press
2000
TMSA900

Since the eighteenth century, artistsespecially so-called avant-garde artistshave 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 calfas the German expressionist Emil Nolde did in “Dance Around the Golden Calf” (1910), in which garish exaggerations reflect a condemnation of materialistic cultureor 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.

Sweet Sixties: Specters and Spirits of a Parallel Avant-Garde
Sternberg Press
2013
TMSH582
Living Archive 7: Ant farm. Allegorical time warp: the media fallout of July 21, 1969
Actar Barcelona
2008
TMSC628
A manual for the 21st century art institution
Verlag der Buchhandlung Walther Konig
2009
TMSH376
Right About Now. Art and Theory since the 1990s
Valiz Publishers
2007
TMSH259
In the Place of the Public Sphere?
b_books
2005
TMSH051

“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?

Museum Culture: Histories, Discources, Spectacles
University of Minnesota Press
2005
TMSH244
The Books that Shaped Art History: from Gombrich and Greenberg to Alpers and Krauss
Thames & Hudson
2013
TMSH435
Spectropia: Illuminating Investigations in the Electromagnetic Spectrum
RIXC; MPLab of Liepaja University
2008
TMSP056

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.

THE LOS ANGELES TAPES: Alan Solomon’s interviews with Kauffman, Bell, Turell, and Irwin
Circle Books
2018
TMSI770
Neomaterialism
Sternberg Press
2013
TMSI493
Sharon Lockhart: Pine Flat (Afterall Books / One Work)
Afterall Books
2020
TMSI845
Dreaming in Dark Times: Six Exercises in Political Thought.
University of Minnesota Press
2017
TMSL839
Taiawhio: conversations with contemporary Maori artists
Museum of New Zealand Te Papa Tongarewa
2002
TMSM053

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.

Talking Contemporary Curating
Independent Curators International
2015
TMSM583
Democratic Design: The Lectures
Casco
2003
TMSM054
Transkultura: sztuka a plynna rzeczywistosc XXI wieku / Transkultura: Art and Fluid Reality of the 21st Century
Bunker Sztuki Contemporary Art Gallery
2008
TMSM141
The Letters of Rosemary and Bernadette Mayer, 1976-1980
Lenbachhaus; Ludwig Forum; Spike Island; Swiss Institute
2022
TMMA909

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.

Everything Under Heaven Is Total Chaos / Spangbergianism
Göteborgs Konsthall
2010
TMEV548
Afterthought: New Writing on Conceptual Art
Rachmaninoff’s
2005
TMSP413
Assuming The Ecosexual Position. The Earth As Lover
University Of Minnesota Press
2021
TMSP940

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.

The Art of Creating a State. New World Academy Reader #4
BAK, basis voor actuele kunst
2014
TMST527
Stateless Democracy. New World Academy Reader #5
BAK, basis voor actuele kunst
2014
TMST559
Poststovietinis Lietuvos teatras: istorija, tapatybė, atmintis
VDA leidykla
2014
TMST508
The Power of Display: A History of Exhibition Installations at the Museum of Modern Art
The MIT Press
1998
TMST773
Kauno miesto ir rajono kultūros abonentų sąrašas 2022
Kauno fotografijos galerija
2022
TMKA913

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.

Absence of clutter. Minimal writing as art and literature
The MIT Press
2020
TMST859
Duty Free Art. Art in the Age of Planetary Civil War
Verso
2017
TMST637
Contemporary art. A Sourcebook of Artists' Writings
University of California Press
1996
TMST469
Collectivism after Modernism: The Art of Social Imagination after 1945
University of Minnesota Press
2007
TMST132
Analyzes collective artistic practice from the Cold War to the global present

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.

Add Metaphysics
Aalto University
2013
TMSU767
With by through because towards despite. Catalogue of all Exhibitions 1957-2005
Edition Voldemeer
2007
TMSZ194
The Art of the 20th Century. Neo-avant-gardes, Postmodern and Global Art 1969-1999
Skira Editore
2008
TMTE131

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.

Lietuvos dailės gyvenimas ir institucijų kaita. Sovietmečio pabaiga – nepriklausomybės pradžia
Artseria
2014
TMTR630
No Reservation: New York Contemporary Native American Art Movement
Amerinda Inc.
2017
TMTR905

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.

Artist Group: Possibility of Collaboration in Contemporary Art of Estonia. Addenda to Estonian Art History
Center for Contemporary Arts, Estonia
2009
TMTR215
The Museological Unconscious
The MIT Press
2009
TMTU447
Zero Visibility: Of the Reverse Order
Maska
2003
TMVA401
Margi fotografijos dešimtmečiai
Lietuvos fotomenininkų sąjungos fotografijos fondas
2009
TMVA212
Muntadas Activating Artifacts: About Academia
Center of Art, Design and Visual Culture University of Maryland
2017
TMTO670
Vistas of Modernity. Decolonial aesthesis and the end of the contemporary
Mondriaan Fonds
2020
TMVA844
Public Abstraction
Verlag der Buchhandlung Walther Konig
2015
TMVE 627
Cookie!
Piet Zwart Institute; Sternberg Press
2014
TMVE436
Tell me what you want, what you really, really want
Piet Zwart Institute; Sternberg Press
2013
TMVE437
Cultures of the Curatorial. Timing On the Temporal Dimension of Exhibiting
Sternberg Press
2014
TMBI518
Curatorial Things
Stenberg press
2019
TMVO804
Of(f) our times. Curatorial Anachronics
Sternberg Press
2019
TMVO848
(Ne)priklausomo šiuolaikinio meno istorijos / (In)dependent Contemporary Art Histories. Savivaldos ir iniciatyvos Lietuvoje 1987-2014 m. / Artist-run Initiatives in Lithuania 1987-2014. II tomas / 2nd volume
LTMKS
2014
TMMI554
Women Looking at Women Looking at Women
Page Not Found
2022
TMWA952
Depiction, Object, Event. Hermes lecture
Hermes Lecture Foundation
2006
TMWA111

(Languages: English, Dutch)

Essais et entretiens 1984-2001
École Nationale Supérieure des Beaux-Arts
2001
TMWA513
The First documenta, 1955 / Die erste documenta 1955. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2011
TMWA701
Low Tide. Writings on Artists’ Collaborations
Black Dog Publishing
1997
TMWA064
The Philosophy of Andy Warhol (From A to B and Back Again)
Penguin Books
2007
TMWA532
Toward a Poetics for the Anthropocene
The MIT Press
2019
TMWE840
Making Art Global (Part 1 ). The Third Havana Biennial 1989. Exhibition Histories
Afterall Books
2011
TMWE357
Forensic Architecture: Violence at the Threshold of Detectability
Zone Books
2018
TMWE899

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.

Forensic Architecture: Notes from Fields and Forums / Forensische Architektur. Notizen von Feldern und Foren. 100 Notes - 100 Thoughts, dOCUMENTA (13)
Hatje Cantz
2012
TMWE679
Institutional Critique and After
JRP Ringier
2006
TMWE177
Coexisting Differences. Women Artists in Contemporary Korean Art
Arts Council Korea
2012
TMWH335
Coexisting Differences, Women Artists in Contemporary Korean Art
Hollym International Corporation
2012
TMWH516
Grace Crowley. A compilation of letters
Kunstverein Amsterdam
2019
TMCR771
Abstraction Creation Art non - figuratif (1932 - 1936)
Kunstverein Amsterdam
2019
TMAB772
Artwork as Social Model. A Manual of Questions and Propositions
Cornerhouse
2012
TMWI560
Books Make Friends; Os livros fazem amigos.
Roma publications
2006
TMWI484
Cream 3: Contemporary Art in Culture
Phaidon
2003
TMWI081

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.

During the Exhibition the Gallery Will Be Closed. Contemporary Art and the Paradoxes of Conceptualism
Valiz Publishers
2012
TMWI365
Toward a Lexicon of Usership
Van Abbemuseum
2013
TMWR476
Picture Titles: How and Why Western Paintings Acquired Their Names
Princeton University Press
2015
TMYE858
Visual Thinking Strategies: Using Art to Deepen Learning Across School Disciplines
Harvard Educational Publishing Group
2013
TMYE837
No Style
EHU
2012
TMZB374
Dread. The Dizziness of Freedom
Valiz Publishers
2013
TMZE370
Acta Academiae Artium Vilnensis. Nr.80-81. Kūnas: ne laiku ir be vietos / The Body: Out of Time and Without a Place.
VDA leidykla
2016
TMZE615
When Attitudes Become the Norm: The Contemporary Curator and Institutional Art
Archive Books
2015
TMZE782
Performance Works
Mousse Publishing
2020
TMZI847
The Lip Anthology: an Australian Feminist Arts Journal, 1976-1984
Kunstverein Amsterdam
2013
TMZI713
Violence
Profile books
2009
TMZI486
Traction. An Applied and Polemical Attempt to Locate Contemporary Art
Sternberg Press
2016
TMZO605
Atminties ir žvilgsnio trajektorijos: vaizdo kultūros refleksija
Lietuvos kultūros tyrimų institutas
2018
TMZU748
A Question of Evidence
Verlag der Buchhandlung Walther Konig
2008
TMZY410
Из эмигрантской дали спасти отчизну
Прогресс-Традиция
2012
TMCE385