Mark Lewis

Contributor

  • Sharon Lockhart

    Sharon Lockhart

    Pine Flat

    Howard Singerman

    A nuanced reading of an artwork that explores a place, transitory and pastoral, where childhood might be lived and imagined differently

    Sharon Lockhart's Pine Flat (2006) takes its name from a small hamlet in the foothills of the western slope of the Sierra Nevadas, just inside the Giant Sequoia National Monument. The work itself comprises three distinct parts: a set of three photographs of landscapes; a larger set of posed studio portraits of children and young teenagers; and a 138-minute 16-millimeter film, which is itself assembled from twelve ten-minute scenes—each a single immobile take—divided in half by a ten-minute intermission. This volume in Afterall's One Work series offers a nuanced reading of Lockhart's work, with color illustrations from both series of photographs and the film.

    Art historian Howard Singerman sees in Pine Flat not a straightforward portrait of a community of children or ethnography of a place. Rather, the work explores the possibility of a space for childhood in which children have the right to intimacy, innocence, and interest outside adult narratives. The children in Pine Flat are posed formally and conventionally, but the space they occupy and the identities they construct are their own. Youth culture has long been exploited, to sell itself in order to be sold to; today, the rights of children to their own childhoods are constantly eroded. In Pine Flat, Singerman argues, Lockhart proposes a place, transitory and pastoral, “where childhood might be lived differently, imagined under a different order of power and possibility.”

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  • Mark Leckey

    Mark Leckey

    Fiorucci Made Me Hardcore

    Mitch Speed

    An illustrated examination of Mark Leckey's celebrated video montage.

    In 1999, the British artist Mark Leckey released his video-montage Fiorucci made me Hardcore, a dreamscape vignette that communes with the rapturous promises of youth. Putting archive material to use, Leckey entwined footage of underground dance and street culture in Britain with audio grifted and recorded in the artist's studio. In this illustrated study, the first comprehensive examination of the work, Mitch Speed argues that by interweaving personal and collective memory, this work gives voice to the complexities of class and cultural transformation during Britain's Thatcherite era. Oscillating between local and expansive resonances, Fiorucci made me Hardcore takes form as a homage, love letter, and work of criticism that eschews analysis, instead incanting the deeper implications of its subject.

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  • Walker Evans

    Walker Evans

    Kitchen Corner

    Olivier Richon

    An examination of one of Walker Evans's iconic photographs of the Great Depression.

    Kitchen Corner, Tenant Farmhouse, Hale County, Alabama shows a painstakingly clean-swept corner in the house of an Alabama sharecropper. Taken in 1936 by Walker Evans as part of his work for the Farm Security Administration, Kitchen Corner was not published until 1960, when it was included in a new edition of Walker Evans and James Agee's classic Let Us Now Praise Famous Men. The 1960 reissue of Evans and Agee's book had an enormous impact on Americans' perceptions of the Depression, creating a memory-image retrospectively through Walker's iconic photographs and Agee's text. In this latest addition to the Afterall One Work series, photographer Olivier Richon examines Kitchen Corner. The photograph is particularly significant, he argues, because it uses a documentary form that privileges detachment, calling attention to overlooked objects and to the architecture of the dispossessed. Given today's growing economic inequality, the photograph feels pointedly relevant.

    The FSA, established in 1935, commissioned photographers to document the impact of the Great Depression in America and used the photographs to advertise aid relief. For four weeks in the summer of 1936, Evans collaborated with Agee on an article about cotton farmers in the American South. The result of that project was the landmark publication Let Us Now Praise Famous Men, documenting three sharecropper families and their environment. These photographs were intimate, respectful portraits of the farmers, and of their homes, furniture, clothing, and rented land. Kitchen Corner powerfully evokes Agee's observations of the significance of “bareness and space” in these homes: “general odds and ends are set very plainly and squarely discrete from one another... [giving] each object a full strength it would not otherwise have.”

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  • Glenn Ligon

    Glenn Ligon

    Untitled (I Am a Man)

    Gregg Bordowitz

    An illustrated examination of Glenn Ligon's iconic Untitled (I Am a Man) (1988)—a quotation, an appropriated text turned into an artifact.

    The iconic work Untitled (I Am a Man) (1988) by the important contemporary American artist Glenn Ligon is a quotation, an appropriated text turned into an artifact. The National Gallery of Art in Washington presents the work as a “representation—a signifier—of the actual signs carried by 1,300 striking African American sanitation workers in Memphis, made famous by Ernest Withers' 1968 photographs.” In this illustrated study of the work, Gregg Bordowitz takes the National Gallery's presentation as his starting point, considering the museum's juxtaposition of Untitled (I Am a Man) and the ca. 1935 sculpture, Schoolteacher, by William Edmondson, and the relation of the two terms, “markers” and “signs.”

    After closely examining the canvas itself, its textures, brushwork, and structure, Bordowitz presents a theoretical framework that draws on the work of American philosopher Charles Sanders Peirce and his theory of Firstness, Secondness, and Thirdness. He makes a case for Thirdness as a function, operation, or law of meaning-making, not limited by the gender, age, ethnicity, race, class, or personal history of the viewer. Bordowitz goes on to examine Ligon's work in terms of the representation of self, race, and gender, focusing on three series: Profile Series (1990–91), Narratives, and Runaways (both 1993). He cites such historical figures as Sojourner Truth and her famous 1851 speech, “Ain't I a Woman?” as well as influences ranging from Bo Diddley's 1955 song, “I'm a Man” to the cultural theories of Stuart Hall.

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  • Sigmar Polke

    Sigmar Polke

    Girlfriends

    Stefan Gronert

    An illustrated exploration of Girlfriends (1965/66), one of Sigmar Polke's important early paintings.

    The artist Sigmar Polke (1941–2010) worked across a broad range of media—including photography, painting, printmaking, sculpture, and film—and in styles that varied from abstract expressionism to Pop. This volume in Afterall's One Work series offers an illustrated exploration of Freundinnen (Girlfriends 1965/66), one of Polke's important early paintings. Taken from a found image of two young women, and using the raster dots also found in mass media reproductions, Girlfriends offers a statement about the use and social function of images. 

    Stefan Gronert approaches Girlfriends through its deliberate and elusive ambiguity, providing technical detail and historical background that allow some of the work's motivation and depth to become clearer. Gronert analyzes Polke's relationship to his tutors and peers, especially Gerhard Richter; describes the art historical context in which Polke worked; and discusses some of the social and political issues to which Girlfriends refers. Considering such topics as the distinction between Polke and Alain Jacquet in their use of photographed material, between Polke's use of the raster technique and that of Roy Lichtenstein, and the feminist discourse of the time, Gronert draws on a variety of critical interpretations of Polke's work, including some material that has not yet been translated into English.

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  • David Hammons

    David Hammons

    Bliz-aard Ball Sale

    Elena Filipovic

    Drawing on unpublished documents and oral histories, an illustrated examination of an iconic artwork of an artist who has made a lifework of tactical evasion.

    One wintry day in 1983, alongside other street sellers in the East Village, David Hammons peddled snowballs of various sizes. He had neatly laid them out in graduated rows and spent the day acting as obliging salesman. He called the evanescent and unannounced street action Bliz-aard Ball Sale, thus inscribing it into a body of work that, from the late 1960s to the present, has used a lexicon of ephemeral actions and self-consciously “black" materials to comment on the nature of the artwork, the art world, and race in America. And although Bliz-aard Ball Sale has been frequently cited and is increasingly influential, it has long been known only through a mix of eyewitness rumors and a handful of photographs. Its details were as elusive as the artist himself; even its exact date was unrecorded. Like so much of the artist's work, it was conceived, it seems, to slip between our fingers—to trouble the grasp of the market, as much as of history and knowability.

    In this engaging study, Elena Filipovic collects a vast oral history of the ephemeral action, uncovering rare images and documents, and giving us singular insight into an artist who made an art of making himself difficult to find. And through it, she reveals Bliz-aard Ball Sale to be the backbone of a radical artistic oeuvre that transforms such notions as “art,” “commodity,” “performance,” and even “race” into categories that shift and dissolve, much like slowly melting snowballs.

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  • Agnes Martin

    Agnes Martin

    Night Sea

    Suzanne P. Hudson

    A close examination of Agnes Martin's grid painting in luminous blue and gold.

    Agnes Martin's Night Sea (1963) is a large canvas of hand-drawn rectangular grids painted in luminous blue and gold. In this illustrated study, Suzanne Hudson presents the painting as the work of an artist who was also a thinker, poet, and writer for whom self-presentation was a necessary part of making her works public. With Night Sea, Hudson argues, Martin (1912–2004) created a shimmering realization of control and loss that stands alone within her suite of classic grid paintings as an exemplary and exceptional achievement.

    Hudson offers a close examination of Night Sea and its position within Martin's long and prolific career, during which the artist destroyed many works as she sought forms of perfection within self-imposed restrictions of color and line. For Hudson, Night Sea stands as the last of Martin's process-based works before she turned from oil to acrylic and sought to express emotions of lightness and purity unburdened by evidence of human struggle.

    Drawing from a range of archival records, Hudson attempts to draw together the facts surrounding the work, which were at times obfuscated by the artist's desire for privacy. Critical responses of the time give a sense of the impact of the work and that which followed it. Texts by peers including Lenore Tawney, Donald Judd, and Lucy Lippard are presented alongside interviews with a number of Martin's friends and keepers of estates, such as the publisher Ronald Feldman and Kathleen Mangan of the Lenore Tawney archive, which holds correspondence between Martin and Tawney.

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  • Sturtevant

    Sturtevant

    Warhol Marilyn

    Patricia Lee

    An illustrated examination of a work—a Warhol that isn't by Warhol—that embodies a shift in attitudes about artistic authorship and originality.

    Warhol Marilyn (1965) is not a work by Andy Warhol but by the artist Elaine Sturtevant (1930–2014). Throughout her career, Sturtevant (as she preferred to be called) remade and exhibited works by other contemporary artists, among them Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg. For Warhol Marilyn, Sturtevant used one of Warhol's own silkscreens from his series of Marilyn printed multiples. (When asked how he made his silkscreened work, Warhol famously answered, “I don't know. Ask Elaine.”) In this book, Patricia Lee examines Warhol Marilyn as representing a shift in thinking about artistic authorship and originality, highlighting a decisive moment in the rethinking of the contemporary artwork.

    Lee describes the cognitive dissonance a viewer might feel on learning the identity of Warhol Marilyn's author, and explains that mistaken identity is part of Sturtevant's intention for the operation of the work. She discusses the ways that Sturtevant's methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber's shooting a bullet through a stack of Warhol's Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant's decision to remake the work.

    Lee writes that Sturtevant's critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges's “Pierre Menard, Author of the Quixote,” who recreates a section of Cervantes's masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant's work as illuminating her broader artistic aims and principles.

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  • Lee Friedlander

    Lee Friedlander

    The Little Screens

    Saul Anton

    An illustrated examination of an early photo-essay by Lee Friedlander that shows television screens broadcasting eerily glowing images into unoccupied rooms.

    Lee Friedlander's The Little Screens first appeared as a 1963 photo-essay in Harper's Bazaar, with commentary by Walker Evans. Six untitled photographs show television screens broadcasting eerily glowing images of faces and figures into unoccupied rooms in homes and motels across America. As distinctive a portrait of an era as Robert Frank's The Americans, The Little Screens grew in number and was not brought together in its entirety until a 2001 exhibition at the Fraenkel Gallery in San Francisco.

    Friedlander (b. 1934) is known for his use of surfaces and reflections––from storefront windows to landscapes viewed through car windshields—to present a pointed view of American life. The photographs that make up The Little Screens represent an early example of this photographic strategy, offering the narrative of a peripatetic photographer moving through the landscape of 1960s America that was in thrall to a new medium.

    In this astute study, Saul Anton argues that The Little Screens marked the historical intersection of modern art and photography at the moment when television came into its own as the dominant medium of mass culture. Friedlander's images, Anton shows, reflect the competing logics of the museum and print and electronic media, and anticipate the issues that have emerged with the transition to a world of ubiquitous “little screens.”

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  • Mike Kelley

    Mike Kelley

    Educational Complex

    John Miller

    An illustrated examination of a 1995 work by Mike Kelley that marked a significant change in his work.

    One of the most influential artists of our time, Mike Kelley (1954–2012) produced a body of innovative work mining American popular culture as well as modernist and postmodernist art—relentless examinations of subjectivity and of society that are both sinister and ecstatic. With a wide range of media, Kelley's work explores themes as varied as post-punk politics, religious systems, social class, and repressed memory. Using architectural models to represent schools he attended, his 1995 work, Educational Complex, presents forgotten spaces as frames for private trauma, real or imagined. The work's implications are at once miniature and massive. In this book, John Miller offers an illustrated examination of this milestone work that marked a significant change in Kelley's practice.

    A “complex” can mean an architectural configuration, a psychological syndrome, or a political apparatus, and Miller approaches Educational Complex through corresponding lines of inquiry, considering the making of the work, examining it in terms of education and trauma (sexual or otherwise), and investigating how it tests the ideological horizon of art as an institution. Miller shows that in Educational Complex, Kelley expands his political and aesthetic focus, including not only such artifacts as generic forms of architecture but (inspired by the infamous McMartin Preschool case) popular fantasies associated with ritual sex abuse and false memory syndrome. Through this archaeology of the contemporary, Miller argues, Kelley examines the mandate for education and the liberal democratic premises underpinning it.

    • Hardcover $35.00 £25.00
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  • Thomas Hirschhorn

    Thomas Hirschhorn

    Deleuze Monument

    Anna Dezeuze

    An illustrated examination of one of Hirschhorn's “precarious” monuments, now dismantled.

    Part-text, part-sculpture, part-architecture, part-junk heap, Thomas Hirschhorn's often monumental but precarious works offer a commentary on the spectacle of late-capitalist consumerism and the global proliferation of commodities. Made from ephemeral materials—cardboard, foil, plastic bags, and packing tape—that the artist describes as “universal, economic, inclusive, and [without] any plus-value,” these works also engage issues of justice, power, and moral responsibility. Hirschhorn (born in Switzerland in 1957) often chooses to place his work in non-art settings, saying that he wants it to “fight for its own existence.” In this book, Anna Dezeuze offers a generously illustrated examination of Hirschhorn's Deleuze Monument (2000), the second in his series of four Monuments.

    Deleuze Monument—a sculpture, an altar, and a library dedicated to Gilles Deleuze—was conceived as a work open to visitors twenty-four hours a day, seven days a week. Part of the exhibition “La Beauté” in Avignon, Deleuze Monument was controversial from the start, and it was dismantled two months before the end of the exhibition after being vandalized. Dezeuze describes the chronology of the project, including negotiations with local residents; the dynamic between affirmation and vulnerability in Hirschhorn's work; failure and ”scatter art” in the 1990s; participatory practices; and problems of presence, maintenance, and appearance, raised by Hirschhorn's acknowledgement of “error” in his discontinuous presence on site following the installation of Deleuze Monument.

    • Hardcover $35.00 £25.00
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  • Philip Guston

    Philip Guston

    The Studio

    Craig Burnett

    An illustrated examination of Philip Guston's comic and complex painting The Studio.

    Throughout his career, Philip Guston's work metamorphosed from figural to abstract and back to figural. In the 1950s, Guston (1913–1980) produced a body of shimmering abstract paintings that made him—along with Willem de Kooning, Jackson Pollock, and Franz Kline—an influential abstract expressionist of the “gestural” tendency. In the late 1960s, with works like The Studio came his most radical shift. Drawing from the imagery of his early murals and from elements in his later drawings, ignoring the prevailing “coolness” of Minimalism and antiform abstraction, Guston invented for these late works a cast of cartoon-like characters to articulate a vision that was at once comic, crude, and complex. In The Studio, Guston offers a darkly comic portrait of the artist as a hooded Ku Klux Klansman, painting a self-portrait.

    In this concise and generously illustrated book, Craig Burnett examines The Studio in detail. He describes the historical and personal motivations for Guston's return to figuration and the (mostly negative) critical reaction to the work from Hilton Kramer and others. He looks closely at the structure of The Studio, and at the influence of Piero della Francesca, Manet, and Krazy Kat, among others; and he considers the importance of the column of smoke in the painting—as a compositional device and as a ghost of abstraction and metaphysics. The Studio signals not only Guston's own artistic evolution but a broader shift, from the medium-centric and teleological claim of modernism to the discursive, carnivalesque, and mucky world of postmodernism.

    • Hardcover $35.00 £28.00
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  • Lee Lozano

    Lee Lozano

    Dropout Piece

    Sarah Lehrer-Graiwer

    An examination of Lee Lozano's greatest experiment in art and endurance—a major work of art that might not exist at all.

    The artist Lee Lozano (1930–1999) began her career as a painter; her work rapidly evolved from figuration to abstraction. In the late 1960s, she created a major series of eleven monochromatic Wave paintings, her last in the medium. Despite her achievements as a painter, Lozano is best known for two acts of refusal, both of which she undertook as artworks: Untitled (General Strike Piece), begun in 1969, in which she cut herself off from the commercial art world for a time; and the so-called Boycott Piece, which began in 1971 as a month-long experiment intended to improve communication but became a permanent hiatus from speaking to or directly interacting with women. In this book, Sarah Lehrer-Graiwer examines Lozano's Dropout Piece, the culmination of her practice, her greatest experiment in art and endurance, encompassing all her withdrawals, and ending only with her burial in an unmarked grave.

    And yet, although Dropout Piece is among Lozano's most important works, it might not exist at all. There is no conventional artwork to be exhibited, no performance event to be documented. Lehrer-Graiwer views Dropout Piece as leveraging the artist's entire practice and embodying her creative intelligence, her radicality, and her intensity. Combining art history, analytical inquiry, and journalistic investigation, Lehrer-Graiwer examines not only Lozano's act of dropping out but also the evolution over time of Dropout Piece in the context of the artist's practice in New York and her subsequent life in Dallas.

    • Hardcover $35.00 £28.00
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  • Rodney Graham

    Rodney Graham

    Phonokinetoscope

    Shepherd Steiner

    An examination of the complex and subtle world on display in Rodney Graham's film of an LSD-inflected bicycle ride.

    Rodney Graham's Phonokinetoscope (2001) is a five-minute 16mm film loop in which the artist is seen riding his Fischer Original bicycle through Berlin's Tiergarten while taking LSD, to the soundtrack of a fifteen-minute song (written and performed by Graham) recorded on a vinyl LP. The turntable drives the projection of the film; the film starts when the needle is placed on the record and stops when the needle is taken off. Graham's ride evokes the Swiss scientist Albert Hoffman's famous 1943 bicycle ride home after an experimental dose of LSD as well as Paul Newman's backward-facing ride in Butch Cassidy and the Sundance Kid; the accompanying music presents a thicket of riffs and borrowings. As the images and visual details repeat in the film's endless loop, the artist's Phonokinetoscope refers to a surprising number of works of art and literature, displaying a world rich with subtle meaning.

    In this illustrated study of Phonokinetoscope, Shep Steiner describes the work as marking Graham's transition into a new medium. Steiner positions Graham's practice in relation to postminimalist practice and that of other artists including Dan Graham, but especially, Ian Wallace and Jeff Wall; considers Graham's rhetoric of playfulness; and finally, beyond the web of references, argues for a notion of allegory and memory theater keyed to the durational work yet satisfying the aesthetic standards of static art. Phonokinetoscope, Steiner argues, looks back to Graham's earlier works focusing on the notion of protocinema and forward to his later musical preoccupations.

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  • Hélio Oiticica and Neville D'Almeida

    Hélio Oiticica and Neville D'Almeida

    Block-Experiments in Cosmococa—Program in Progress

    Sabeth Buchmann and Max Jorge Hinderer Cruz

    An illustrated study that casts a new light on Oiticica's most important work of “quasi-cinema” on its fortieth anniversary.

    Hélio Oiticica (1937–1980) occupies a central position in the Latin American avant-garde of the postwar era. Associated with the Rio de Janeiro-based neo-concretist movement at the beginning of his career, Oiticica moved from object production to the creation of chromatically opulent and sensually engulfing large-scale installations or wearable garments. Building on the idea for a film by Brazilian underground filmmaker Neville D'Almeida, Oiticica developed the concept for Block-Experiments in Cosmococa—Program in Progress (1973–1974) as an “open program”: a series of nine proposals for environments, each consisting of slide projections, soundtracks, leisure facilities, drawings (with cocaine used as pigment), and instructions for visitors. It is the epitome of what the artist called his “quasi-cinema” work—his most controversial production, and perhaps his most direct effort to merge art and life. Presented publicly for the first time in 1992, these works have been included in major international exhibitions in Los Angeles, Chicago, London, and New York.

    Drawing on unpublished primary sources, letters, and writings by Oiticica himself, this illustrated examination of Oiticica's work considers the vast catalog of theoretical references the artist's work relies on, from anticolonial materialism to French phenomenology and postmodern media theory to the work of Jean-Luc Godard, Andy Warhol, and Brazilian avant-garde filmmakers. It discusses Oiticica's work in relation to the diaspora of Brazilian intellectuals during the military dictatorship, the politics of media circulation, the commercialization of New York's queer underground, the explicit use of cocaine as means of production, and possible future reappraisals of Oiticica's work.

    • Hardcover $35.00 £28.00
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  • Sanja Iveković

    Sanja Iveković

    Triangle

    Ruth Noack

    The first sustained examination of a canonical and widely exhibited work by a leading artist of the former Yugoslavia.

    In Sanja Iveković's Triangle (Trokut, 1979), four black-and-white photographs and written text capture an eighteen-minute performance from May 10, 1979. On that date, a motorcade carrying Josip Broz Tito, then president of Yugoslavia, drove through the streets of downtown Zagreb. As the President's limousine passed beneath her apartment, Ivokevic began simulating masturbation on her balcony. Although she could not be seen from the street, she knew that the surveillance teams on the roofs of neighboring buildings would detect her presence. Within minutes, a policeman appeared at her door ordered her inside. Not only did Ivekovic's action expose government repression and call attention to the rights of women, it also called attention to the relationship of gender to power, and to the particular experience of political dissidence under communist rule in Eastern Europe. Triangle is considered one of Iveković's key works and yet, despite Iveković's stature as one of the leading artists of the former Yugoslavia, it has received little direct attention. With this book, Ruth Noack offers the first sustained examination of Iveković's widely exhibited, now canonical artwork.

    After a detailed analysis of the work's formal qualities, Noack considers its position in the context of artistic production and political history in socialist Yugoslavia. She looks closely at the genesis of the performance and its documentation as a work of art, and relates the making of the work and the politics of canon-making to issues pertaining to the former East-West divide. She discusses the artistic language and meaning-making in relation to conceptualism and performance and to the position of women in Tito's Yugoslavia and in society at large, and investigates the notion that Iveković's work of this period is participating in citizenship, shifting the focus from the artist's subversive act to her capacity to shape the terms through which we order our world.

    • Hardcover $35.00 £25.00
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  • Yayoi Kusama

    Yayoi Kusama

    Infinity Mirror Room - Phalli's Field

    Jo Applin

    A study of Kusama's era-defining work, a “sublime, miraculous field of phalluses,” against the background of abstraction, eroticism, sexuality, and softness.

    Almost a half-century after Yayoi Kusama debuted her landmark installation Infinity Mirror Room—Phalli's Field (1965) in New York, the work remains challenging and unclassifiable. Shifting between the Pop-like and the Surreal, the Minimal and the metaphorical, the figurative and the abstract, the psychotic and the erotic, with references to “free love” and psychedelia, it seemed to embody all that the 1960s was about, while at the same time denying the prevailing aesthetics of its time. The installation itself was a room lined with mirrored panels and carpeted with several hundred brightly polka-dotted soft fabric protrusions into which the visitor was completely absorbed. Kusama simply called it “a sublime, miraculous field of phalluses.” A precursor of performance-based feminist art practice, media pranksterism, and “Occupy” movements, Kusama (born in 1929) was once as well known as her admirers—Andy Warhol, Donald Judd, and Joseph Cornell. In this first monograph on an epoch-defining work, Jo Applin looks at the installation in detail and places it in the context of subsequent art practice and theory as well as Kusama's own (as she called it) “obsessional art.”

    Applin also discusses Kusama's relationship to her contemporaries, particularly those working with environments, abstract-erotic sculpture, and mirrors, and those grappling with such issues as abstraction, eroticism, sexuality, and softness. The work of Lee Lozano, Claes Oldenburg, Louise Bourgeois, and Eva Hesse is seen anew when considered in relation to Yayoi Kusama's.

    • Hardcover $35.00 £28.00
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  • Michael Asher

    Michael Asher

    Kunsthalle Bern 1992

    Anne Rorimer

    An examination of a major 1992 installation by a pioneer of site-specific experimentation.

    Michael Asher (born in 1943), one of the foremost installation artists of the Conceptual art period, is a founder of site-specific practice. Considered a progenitor of institutional critique, he spearheaded the creation of artworks imbued with a self-conscious awareness of their dependence on the conditions of their exhibition context.

    In the work Kunsthalle Bern 1992, Asher removed the radiators from all the museum's exhibition spaces and reassembled them in its entryway gallery. Metal pipes connected the relocated radiators to their original sockets; these tubular conduits, coursing in linear fashion along the Kunsthalle's walls, kept the steam heat flowing and endowed the installation with directional lines of force. This “displacement of givens” offers a perfect example of site-specific practice, one that took the gallery space and the institution itself as its subject. In this detailed examination of Kunsthalle Bern 1992, Anne Rorimer considers the work in the context of Asher's ongoing desire to fuse art with the material, economic, and social conditions of institutional presentation.

    Rorimer analyzes Kunsthalle Bern 1992 in relation to the earlier innovations of such minimalist artists as Donald Judd, Carl Andre, Robert Morris, Sol LeWitt, Bruce Nauman, and Dan Flavin as well as to such conceptualist contemporaries as Daniel Buren, Dan Graham, and Maria Nordman. She also considers the installation in the context of other works by Asher that have used non-art, functional elements, including walls, or that have investigated museological issues.

    • Hardcover $35.00 £28.00
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  • Dan Graham

    Dan Graham

    Rock My Religion

    Kodwo Eshun

    An illustrated exploration of a groundbreaking work and its connections to New York's art and music scenes of the 1980s.

    Dan Graham's Rock My Religion (1982–1984) is a video essay populated by punk and rock performers (Patti Smith, Jim Morrison, Jerry Lee Lewis, and Eddie Cochran) and historical figures (including Ann Lee, founder of the Shakers). It represented a coming together of narrative voice-overs, singing and shouting voices, and jarring sounds and overlaid texts that proposed a historical genealogy of rock music and an ambitious thesis about the origins of North America's popular culture. Because of its passionate embrace of underground music, its low-fi aesthetics, interest in politics, and liberal approach to historiography, the video has become a landmark work in the history of contemporary moving image and art; but it has remained, possibly for the same reasons, one of Graham's least written about works—underappreciated and possibly misunderstood by the critics who otherwise celebrate him. This illustrated study of Graham's groundbreaking work fills that critical gap.

    Kodwo Eshun examines Rock My Religion not only in terms of contemporary art and Graham's wider body of work but also as part of the broader culture of the time. He explores the relationship between Graham and New York's underground music scene of the 1980s, connecting the artistic methods of the No Wave bands—especially their group dynamics and relationship to the audience—and Rock My Religion's treatment of working class identity and culture.

    • Hardcover $35.00 £28.00
    • Paperback $19.95 £15.99
  • Martha Rosler

    Martha Rosler

    The Bowery in two inadequate descriptive systems

    Steve Edwards

    The first sustained critical examination of a work by Martha Rosler that bridged the concerns of conceptual art with those of political documentary.

    In The Bowery in two inadequate descriptive systems (1974–1975) Martha Rosler bridged the concerns of conceptual art with those of political documentary. The work, a series of twenty-one black-and-white photographs, twenty-four text panels and three blank panels, embraces the codes of the photo-text experiments of the late 1960s and applies them to the social reality of New York's Lower East Side. The prevailing critical view of The Bowery focuses on its implicit rejection, or critique, of established modes of documentary. In this illustrated, extended essay on the work by Rosler, Steve Edwards argues that although the critical attitude towards documentary is an important dimension of the piece, it does not exhaust the meaning of the project.

    Edwards situates the work in relation to debates and practices of the period, especially conceptual art and the emergence of the photo-text paradigm exemplified by the work of Robert Smithson, Bernd and Hilla Becher, Hans Haacke, Victor Burgin, and the Women and Work group. In particular, he contextualizes Rosler's work of this period within the politicized San Diego group (which included, in addition to Rosler, Allan Sekula, Fred Lonidier, and Philip Steinmetz). Comparing The Bowery to Rosler's later video vital statistics of a citizen, simply obtained (1977) and the films of the Dziga-Vertov Group (formed by Jean-Luc Godard and Jean-Pierre Gorin), Edwards shows how the work engages with conceptual art and the neo-avant-garde of the 1960s and 1970s.

    • Hardcover $35.00 £28.00
    • Paperback $19.95 £15.99
  • Jeff Koons

    Jeff Koons

    One Ball Total Equilibrium Tank

    Michael Archer

    An examination of a work that captures the spirit of the 1980s—commodification, seduction, and political inactivity.

    In Jeff Koons's One Ball Total Equilibrium Tank (1985), a Spalding basketball floats in the center of a glass tank that stands on a four-legged black metal structure. It has been called one of the defining works of the 1980s—but also described (by such critics as Craig Owens, Rosalind Krauss, and Hal Foster) as “an endgame,” “misleading,” and “repulsive.” The work presents what the artist called “the ultimate state of being”—neither death nor life but the absence of change. It captured a spirit of the time, characterized by commodification, seduction, and political inactivity. Its stillness embodied the opposite of social revolution. But the “total equilibrium” of the work is actually temporary. For purely physical reasons, the equilibrium is lost every six months and must be reset.

    In this extended essay on Koons's famous work, Michael Archer puts One Ball Total Equilibrium Tank in an art historical framework, describing its initial exhibition at International With Monument in New York and related issues of media, commercialism, and class. He discusses the wider context of the 1980s art world, in which a renewed attention to painting practices met the legacy of Pop and appropriation art—setting the stage for the negative critical reception Koons's artwork first received. Archer goes on to consider sport as celebrity-maker and industry; the physical science of equilibrium; and the implications of the fact that the equilibrium of One Ball Total Equilibrium Tank is indeed total—but temporary.

    • Hardcover $35.00 £28.00
    • Paperback $19.95 £15.99
  • Richard Hamilton

    Richard Hamilton

    Swingeing London 67 (f)

    Andrew Wilson

    An illustrated study of Richard Hamilton's famous Pop art painting of Mick Jagger and art dealer Robert Fraser in handcuffs.

    One of the defining paintings of British Pop art, Richard Hamilton's Swingeing London 67 (f) depicts two men—Mick Jagger and Hamilton's art dealer Robert Fraser—handcuffed together in the back of a police van. The image is taken from a newspaper photograph that shows the two being driven from Lewes prison to Chichester Magistrates Court following their June 1967 arrest for possession of drugs. The title is a clever and bitter play on words, conflating the “swinging” of 1960s-era London with the “swingeing” (to swinge is to beat or scourge) punishment meted out to new cultural heroes by the law. Hamilton's painting is far from reportage; it portrays the historical clash of cultures between Pop (and Pop art) and the establishment.

    In this illustrated study of Hamilton's celebrated painting, Andrew Wilson views Swingeing London 67 (f) as history painting, to be understood in the context of the struggle against the British state's attempt—aided and abetted by the popular press—to repress any expression of personal liberation. Hamilton's Pop art idiom of figuration and media images was his way of refusing the demands of an old aesthetic order. For him, Pop art was the expression of an open-ended, analytical, critical, and artistic process that reflected his own direct engagement with ethical issues. With Swingeing London 67 (f), Hamilton offers not only a representational image but also a trigger for critical activity—an image of an event and an image of what determines the conditions of that image.

    • Hardcover $35.00 £28.00
    • Paperback $19.95 £15.99
  • Gordon Matta-Clark

    Gordon Matta-Clark

    Conical Intersect

    Bruce Jenkins

    A landmark work by Gordon Matta-Clark, examined as an “act of communication” about sustainability and the public role of art.

    Gordon Matta-Clark's Conical Intersect (1975) was a torqued, spiraling “cut” into two derelict seventeenth-century Paris buildings adjacent to the construction site of the controversial Centre Pompidou. With this landmark work of “anarchtecture,” Matta-Clark not only opened up these venerable residences to light and air, he also began a dialogue about the nature of urban development and the public role of art. Considered three and a half decades later, Conical Intersect reveals the multivalent nature of the artist's practice and his prescient focus on sustainability and creative reuse of the built environment. Conical Intersect and the two buildings were demolished as part of a large-scale urban renovation of the historic market district of Les Halles; today we can know the work only from drawings, photographs, and a short Super 8 film. In this illustrated study, Bruce Jenkins examines Matta-Clark's “non-u-ment,” looking closely at the artist's proposals, working process, various forms of documentation, and the dialogue begun by Matta-Clark's decision to transform two abandoned buildings “into an act of communication.”

    • Hardcover $35.00 £28.00
    • Paperback $16.00 £12.99
  • Jeff Wall

    Jeff Wall

    Picture for Women

    David Campany

    Examining a work that marked the emergence of photography as an art made for the gallery wall instead of the printed page.

    Jeff Wall's Picture for Women (1979) marks the transition of photography as an art form from the printed page to the gallery wall. Before this, photographs—from the orthodox photographic work of Walker Evans to the Conceptual photography of Dan Graham—seemed intended for the page even when hung in a gallery. In Picture for Women, a woman looks outward, as if at the viewer; a camera occupies the center of the photograph; the photographer stands on the right. Modeled on Manet's famous painting Un bar aux Folies-Bergère, in which a barmaid seems to look directly out of the painting, observed by a man on the right, Picture for Women establishes its own art historical genealogy, claiming its rightful position within the canon. Wall's photograph is an ambitious attempt to relate the artistic and spectatorial demands of the late 1970s to a modernist pictorial art that had been too hastily rejected by Conceptualism. In this illustrated study, David Campany offers an account of Wall's move from a Conceptual approach to a reengagement with the idea of a singular (as opposed to serial) picture. He shows that Wall's decision to present his work as a large-scale back-lit transparency, together with his commitment to a singular image, amounted to a radical departure. He contrasts Wall's idea of the photograph as a tableau or “picture,” inherited from the history of painting, with the works of the “Pictures Generation” - including Richard Prince, Cindy Sherman, and Jack Goldstein—and argues that Picture for Women is inseparable from the modern fate of the picture in general

    • Hardcover $35.00 £28.00
    • Paperback $16.00 £12.99
  • General Idea

    General Idea

    Imagevirus

    Gregg Bordowitz

    An art project that spread AIDS consciousness like a virus, examined by an artist-activist.

    In the mid-1980s, the Canadian art group General Idea (AA Bronson, Felix Partz, and Jorge Zontal) created a symbol using the acronym AIDS, arranging the letters in a manner that resembled Robert Indiana's famous LOVE logo. This launched Imagevirus, a project of paintings, sculptures, videos, posters, and exhibitions that investigated the term AIDS as both word and image, using the mechanism of viral transmission. The Imagevirus spread like a virus, producing an image epidemic in urban spaces from Manhattan to Sydney. It was displayed as, among other things, a Spectacolor sign in Times Square, a sculpture on a street in Hamburg, and a poster in the New York subway system. In this detailed study of the Imagevirus project, artist and writer Gregg Bordowitz analyzes the work from the perspective of his own involvement with activist art initiatives in New York during the 1980s and 1990s. Bordowitz explores the virus as idea, as tactic, and as identity. General Idea felt compelled to make Imagevirus at a time when AIDS was emerging as a global epidemic affecting gay men disproportionately; when homophobia seemed to drive U.S. AIDS policy; and when the exigencies of AIDS activism created a demand for agit-prop and direct action. General Idea adapted their methods to the new situation, using the threat of viral infection and a poetic understanding of language as their model for artistic production and ideological struggle.

    • Hardcover $35.00 £28.00
    • Paperback $19.95 £15.99
  • Dara Birnbaum

    Dara Birnbaum

    Technology/Transformation: Wonder Woman

    Thomas J. Demos

    A critical examination of Dara Birnbaum's action-packed and riveting video of Wonder Woman's transformations.

    Opening with a prolonged salvo of fiery explosions accompanied by the warning cry of a siren, Dara Birnbaum's video Technology/Transformation: Wonder Woman (1978–79) is a concise, action-packed, and visually riveting video. During its seven-minute span we see, again and again, the transformation of the drab secretary Diana Prince into the super-heroic Wonder Woman. By isolating and repeating the moment of transformation—spinning figure, arms outstretched—Birnbaum unmasks the technology at the heart of the metamorphosis. In this illustrated examination of Birnbaum's video, T. J. Demos situates it in its historical context—among other developments in postmodernist appropriation, media analysis, and feminist politics—and explores the artist's pioneering attempts to open up the transformative abilities of video as a medium. Demos examines Birnbaum's influence on such artists as Douglas Gordon, Pierre Huyghe, Philippe Parreno, and Candice Breitz, and the turn toward “postproduction procedures”—the mobilization of existing imagery for innovative uses. He also reveals a fascinating historical shift in the reception of Birnbaum's work: a move from an emphasis on her deconstruction of mass culture ideology to an appreciation of her creative use of consumer imagery.

    • Hardcover $35.00 £28.00
    • Paperback $19.95 £15.99
  • Richard Long

    Richard Long

    A Line Made by Walking

    Dieter Roelstraete

    An illustrated study of a work that marks the transition from minimalism to a new mode of practice encompassing conceptual art, land art, and performance art.

    In 1967, Richard Long, then twenty-two years old and a student at Saint Martin's School of Art in London, walked back and forth along a straight line in the grass in the English countryside, leaving a track that he then photographed in black and white. The resulting work, A Line Made by Walking, was not only the starting point for Long's career as an artist but also a landmark for a new kind of art emerging in Europe and the Americas. The formal simplicity of Long's artwork suggested a relation to minimalism, but its location outside the gallery context and its suggestion of bodily actions also connected it to a new generation of artists whose work combined the organic, the temporary, the nonmaterial, and the performative to offer a critique of the art system and its language, forms, and values. Long's work bridged the concerns of his North American and European counterparts, connecting the industrial scale of Robert Smithson to the modesty of Gilberto Zorio, the exercises in dematerialization of Robert Morris with the organic forms of Alighiero e Boetti, and the performance of Yvonne Rainer with that of Joseph Beuys. Although A Line Made by Walking is an instantly recognizable work, no detailed analysis of this foundational piece has yet been published. At a time when Richard Long's career is being celebrated and reassessed, this study by writer and curator Dieter Roelstraete could not be more timely.

    • Hardcover $35.00 £28.00
    • Paperback $16.00 £12.99
  • Marcel Duchamp

    Marcel Duchamp

    Étant donnés

    Julian Jason Haladyn

    Duchamp's famous last artwork, seen not as a summation of his work but as an invitation to endless interpretation.

    Following Marcel Duchamp's death in 1968, the Philadelphia Museum of Art stunned the art world by unveiling a project on which he had been working secretly for twenty years, long after he had supposedly given up art for chess. Installed by the museum curators with the assistance of Duchamp's widow Teeny and stepson Paul Matisse, Étant donnés (known in English as Given, or, literally, “being given”) consists of a small room with a locked wooden door; through a peephole can be seen a landscape of trees, with a naked female figure at the front, her arm outstretched, holding a lamp. In this illustrated study, Julian Haladyn argues that Duchamp's intention in this final piece was similar to Raymond Roussel's in How I Wrote Certain of My Books: not, as many have maintained, to provide a neat summation of his career, but the opposite—to open his artwork (which he had made sure was fully represented in the Philadelphia Museum of Art's collection) to endless interpretation and reinterpretation. Duchamp's engagement with his legacy (by orchestrating first the purchase of his work and then the donation of those purchases to the museum) is a significant historical development in the critical relationship between artists and the institution of art—a relationship that would later be further explored by such artists as Andrea Fraser and Michael Asher. Additionally, Haladyn sees that the staging of Étant donnés—especially the way that Duchamp forces viewers to become aware of the act of looking and their bodily presence in the gallery space—foreshadowed strategies used by Minimalism as well as installation, spectatorship, and institutional critique.

    • Hardcover $35.00 £28.00
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  • Sarah Lucas

    Sarah Lucas

    Au Naturel

    Amna Malik

    Does art have a sex? A study of Sarah Lucas's famous assemblage of objects that suggest male and female body parts.

    Amna Malik opens her study of Sarah Lucas's Au Naturel (1994) by asking “Does art have a sex? And if so, what does it look like?” Au Naturel is an assemblage of objects—a mattress, a bucket, a pair of melons, oranges and a cucumber—that suggest male and female body parts. Through much of Lucas's work, and particularly through Au Naturel, Malik argues, we are placed in a position of spectatorship that makes us see “sex” as so many dismembered parts, with no apparent morality attached—no implication of guilt, shame, or embarrassment. The sardonic and irreverent nature of Lucas's observations, moreover, violates certain assumptions about what kind of art women artists make. This, Malik proposes, is the significance of Lucas's work for a later generation of artists who are unburdened by the need to insist on questions of gender and sexual politics as a necessary subject for the woman artist. Lucas's shift between high and low art and culture operates as a shift between “high” aesthetic ideas about the art object as a metaphoric play of meaning and its “low” associations with the materiality of the literal object and its allusions to the genitals and sex. Au Naturel creates a series of associations that bring the ideal into collision with a base materialism emphasizing desire as a condition of the meaning of the object.

    • Hardcover $35.00 £28.00
    • Paperback $19.95 £15.99
  • Michael Snow

    Michael Snow

    Wavelength

    Elizabeth Legge

    An illustrated study of Michael Snow's “zoom film,” which has become a touchstone for art and film studies.

    In 1966, at the height of minimal art in New York, artist Michael Snow chose not to make another object to be placed in a room but instead spent a year planning a film of a room: Wavelength, a forty-five-minute more or less straight-line zoom from the near to the far wall of a loft space, accompanied by a rising sine wave. In this illustrated study, Elizabeth Legge describes Wavelength as a film of virtuosically managed tensions, sensuous beauty, subtle light and color, and recession into perspectival depth. At the same time, she points out, it is also austere: the loft space where the action unfolds could be the last clerical outpost of a defunct business. The zoom is punctuated by what Snow laconically called “4 human events”: a woman directs two men who carry in a bookcase and place it against the left wall of the room; two women come in and listen to the Beatles' “Strawberry Fields” on the radio; a man briefly appears after protracted crashing and glass-breaking noises, wheels around, and drops dead; a young woman comes into the room and makes a frightened telephone call reporting the dead man (“And he doesn't look drunk, he looks dead.”). Wavelength won the grand prize for experimental film at Knokke-le-Zoute in 1967, and it was crucial to critics' efforts to establish a vocabulary for temporal art. It was a “wavelength” that could stand up to the French new wave, and it has has functioned ever since as a touchstone for art and film studies, and as a blue screen in front of which a range of ideological and intellectual dramas have been played.

    • Hardcover $35.00 £28.00
    • Paperback $19.95 £15.99
  • Chris Marker

    Chris Marker

    La Jetée

    Janet Harbord

    A reconsideration of Chris Marker's famous film, examining its treatment of time, its use of sound, the influence of the comic book form, and other topics.

    Chris Marker's legendary “ciné roman” (“film novel”) La Jetée is considered one of the greatest and most influential experimental films of all time. This short film—a postapocalyptic story composed almost entirely of black-and-white still photographs—has been praised by cultural theorists and Netflix subscribers alike. In this illustrated study of La Jetée, Janet Harbord focuses in part on the film's treatment of time—its shifts from a pre-war past to a projected future a further future of the future (each with its own signature images and sound)—arguing that in this way it addresses the nature of consciousness and the simultaneity of time-frames that we inhabit. Harbord moves easily from a close reading of the film to discussions of broader cultural issues, lucidly piecing together the enigma that is La Jetée.

    • Hardcover $35.00 £28.00
    • Paperback $16.00 £12.99
  • Hanne Darboven

    Hanne Darboven

    Cultural History 1880–1983

    Dan Adler

    An illustrated study of Hanne Darboven's masterwork, the massive Kulturgeschichte 1880-1983 (Cultural History 1880-1983).

    Hanne Darboven's Kulturgeschichte 1880-1983 (Cultural History 1880-1983) (1980-1983) is an overwhelming and encyclopedic installation consisting of 1,590 works on paper and 19 sculptural objects. The work weaves together cultural, social, and historical references with autobiographical documents, postcards, pinups of film and rock stars, documentary references to the first and second world wars, geometric diagrams for textile weaving, a sampling of New York doorways, illustrated covers from news magazines, the contents of an exhibition catalogue devoted to postwar European and American art, a kitschy literary calendar, and extracts from some of Darboven's earlier works. The panels are sequenced and grouped, with the groups then juxtaposed in arrangements that often seem little more than chance associations. In his illustrated walk through Darboven's massive work, Dan Adler explores its visual and aesthetic complexities and considers the work in relation to various projects undertaken by European artists in the 1960s—including Gerhard Richter's ongoing Atlas. The work is now permanently installed at Dia: Beacon.

    • Hardcover $35.00 £28.00
    • Paperback $19.95 £15.99
  • Alighiero e Boetti

    Alighiero e Boetti

    Mappa

    Luca Cerizza

    A study of Boetti's 1988 work Map, a tapestry map of the pre-postcommunist world made of brightly colored, painstakingly woven national flags; illustrated with many color images.

    In 1968, the Italian artist Alighiero Boetti renamed himself Alighiero e (“and”) Boetti, effectively expressing the duality of his personality and his work—and, by extension, the dichotomies of society and culture and art and life. Boetti was a central figure in the arte povera movement, a group of Italian artists in the late 1960s who expressly distanced themselves from commercialization and the slickness of Pop Art. These artists worked with a wide range of nonconventional materials—from wool and vegetables to silk and dirt. This illustrated study examines Boetti's 1988 work Map (or Mappa), one of the artist's series of woven tapestry maps of the world. In the cartography of this Map, each country is depicted by its flag; its pre-postcommunist picture of the world shows the Soviet Union as a vast expanse of red in the upper eastern corner, projecting the last image of a long-failed socialist utopia. Opposed to “the myth of originality,” Boetti saw his role as that of triggering a work of art rather than executing it. Map (and the rest of the series) was based on a schema designed by Boetti's friend and collaborator Rinaldo Rossi and embroidered by a team of craftswomen in Kabul, Aghanistan. The finished work, with its brightly colored, painstakingly woven national flags, transforms the rigid norms of state division into a maze of colors. Map offers not just the beauty of a handcrafted carpet but a movingly interwoven pattern of interdependence that the world too often fails to recognize. Pier Luigi Tazzi is a critic, lecturer, and curator, currently based in Capalle, Italy. Alighiero e Boetti (1940-1994) was a central figure of the arte povera movement of radical Italian artists in the 1960s.

    • Hardcover $35.00 £25.00
    • Paperback $19.95 £15.99
  • Andy Warhol

    Andy Warhol

    Blow Job

    Peter Gidal

    A critical close-up of Warhol's famous film and its cultural impact

    In Andy Warhol's silent black-and-white movie, Blow Job (1964), a youth is filmed as he is apparently being given the sex act named in the title. The 35-minute film is accentuated by the paucity of expression on the actor's face: we see only his head and shoulders, rigidly framed so that all offscreen space has to be imagined, or avoided. Sometimes the young actor looks bored, sometimes as if he is thinking, sometimes as if he is aware of the camera, sometimes as if he is not. Like the protagonists of other Warhol films, he is apparently left to his own devices. Warhol's 16mm films (including Blow Job, Sleep, Empire, and Henry Geldzahler), with their take on boredom, voyeurism, and the supposedly unmoving camera, continue to be influential today. In their own era of the early 1960s, they forced avant-garde film away from various forms of romantic illusionism and onto the reality of the specific film-as-projected. The film process itself became inseparable from the act of the viewer's viewing. In this extended examination of Blow Job, Peter Gidal deciphers the structures, abstract and concrete, of Warhol's crucial film. Warhol's techniques—the use of the close-up, the general use of camera movement, and the complete theatrical mis-en-scène—(especially when compared to the Godardian cinema verité of the time) make the materiality of the film process, its making and viewing, ineluctably present. Peter Gidal has written books on the works of Samuel Beckett, Andy Warhol, and Gerhard Richter, as well as on avant-garde materialist film. An experimental filmmaker himself, Gidal has had retrospectives at the London Film Co-op, LUX, the National Film Theatre, Centre Pompidou, and the Institute of Contemporary Arts, London. Andy Warhol (1928-1987) was one of the twentieth century's most important artists and cultural icons.

    • Hardcover $35.00 £25.00
    • Paperback $19.95 £15.99
  • Fischli and Weiss

    Fischli and Weiss

    The Way Things Go

    Jeremy Millar

    An illustrated discussion of Fischli and Weiss's famous film The Way Things Go, marking the twentieth anniversary of its first screening, explores why this captivating work continues to fascinate viewers.

    The Way Things Go (Der Lauf der Dinge) is a thirty-minute film by Swiss artists Peter Fischli and David Weiss featuring a series of chain reactions involving ordinary objects. It is also one of the truly amazing works of art produced in the late twentieth century. Admired, even loved, by members of the public as much as it is praised by the more specialist audience of artists, critics, and curators, The Way Things Go was perhaps the most popular work shown at Documenta 8, Kassel, in 1987. The work embodies many of the qualities that make Fischli and Weiss's work among the most captivating in the world today: slapstick humor and profound insight; a forensic attention to detail; a sense of illusion and transformation; and the dynamic exchange between states of order and chaos. In discussing what makes The Way Things Go utterly compelling to its viewers—whether they have seen it one time or many times—Jeremy Millar leaves no doubt as to why this film was chosen for the One Works series. As everyday objects crash, scrape, slide, or fly into one another with devastating, impossible, and persuasive effect, viewers find themselves witnessing a spectacle that seems at once prehistoric and postapocalyptic. Millar tells us why this extraordinary film speaks to us at the beginning of the twenty-first century. If history is “just one thing after another,” then The Way Things Go is truly a historic work.

    Jeremy Millar is an artist. He is the author of Place (with Tacita Dean) and has contributed to many artist's monographs. He has also curated many solo and group exhibitions internationally. Swiss artists Peter Fischli and David Weiss received Europe's most coveted art prize, the Roswitha Haftmann Prize, in November 2006. A major retrospective of their work, “Flowers and Questions,” originating at the Tate, London, travels to Zurich and Hamburg in 2007 and 2008.

    • Hardcover $35.00 £25.00
    • Paperback $19.95 £15.99
  • Marc Camille Chaimowicz

    Marc Camille Chaimowicz

    Celebration? Realife

    Tom Holert

    A richly illustrated study of Marc Chaimowicz's groundbreaking 1972 post-Pop installation-performance piece Celebration? Realife.

    Marc Camille Chaimowicz (born in 1947) was one of the first artists to merge the realms of performance and installation art. Chaimowicz distinguished himself in an era of stark minimalism by his unabashed pursuit of the beautiful, establishing himself in the 1970s with art that was playful and subtly seductive. Chaimowicz's post-Pop scatter environments owed as much to glam rock as to art practice and were informed by modern French literature (Gide, Cocteau, Proust, and Gênet) as well as by art theory. His important 1972 installation Celebration? Realife featured masks, mirrors, various small objects (including a pair of orange knickers and a white bra), a glitter ball, music by the Rolling Stones, David Bowie, and others—and the artist, serving tea and engaging visitors in conversation in an adjacent room. It raised questions about public/private dichotomies, art/design boundaries, and identifications based on gender, and recast the artist as a kind of art director and stage designer. This work's recent reinstallation (as Celebration? Realife Revisited 1972/2000) and the critical acclaim it inspired confirms Chaimowicz's importance and points to his relationships with artists as different and as difficult as Cerith Wyn Evans, Jutta Koether, Kai Althoff, and others. This richly illustrated study of Celebration? Realife, with many color images, uses Chaimowicz's installation to reconstruct that cultural moment in the 1970s when the role of the artist and the relationships of art, design, popular culture, and performance changed.

    Performance artist Marc Camille Chaimowicz, born in Paris in 1947, teaches in the M.F.A. course at the University of Reading and is visiting consultant at L'Ecole Nationale des Beaux-Arts, Dijon. He is the author of Café du Réve.

    • Hardcover $35.00 £25.00
    • Paperback $14.95 £11.99
  • Mary Heilmann

    Mary Heilmann

    Save the Last Dance for Me

    Terry R Myers

    An illustrated study of Mary Heilmann's seductive 1979 abstract painting in hot pink and black, Save the Last Dance for Me.

    "You want beauty? I'll give you beauty!"—Mary Heilmann

    Mary Heilmann is one of the most important abstract painters of her generation. Her distinctively fluid, humorous, and bright canvases combine the modes of Abstract Expressionism with a vibrant Pop sensibility. Heilmannn's 1979 painting in hot pink and black, evocatively titled Save the Last Dance for Me, marked a shift in the artist's perspective. Heilmann describes it: "Now the work came from a different place. Instead of working out of modernist non-image formalism, I began to see that the choices in the work depended more on content for their meaning." This beautifully illustrated study of Save the Last Dance for Me explores the development of Heilmann's work, and the way it continues to engage us—psychologically, sensually, and socially.

    The three bright pink rectangles in Heilmann's painting seem to dance off the edge of the canvas, through a black field that seems dark as a nightclub after midnight—or perhaps the three are actually one pink rectangle, seen in a blissfully formal time lapse, moving across the dance floor/canvas. These definitively modernist geometric forms coexist with a sense of movement in real time. For many, abstraction may have been dancing its last dance in 1979, but Heilmann's bright pink rectangles boogie on.

    • Hardcover $35.00 £25.00
    • Paperback $19.95 £15.99
  • Joan Jonas

    Joan Jonas

    I Want to Live in the Country (And Other Romances)

    Susan Morgan

    An illustrated study of performance and video artist Joan Jonas's 1974 video, an elliptical narrative that moves between the countryside of Nova Scotia and the artists's New York City studio.

    Joan Jonas approaches video as a drawing tool, a mirror, and a framing device. Since 1968, she has used video and performance to explore ways of seeing, the rhythms of ritual, and the archetypal authority of objects and gestures. With her influential 1976 work, I Want to Live in the Country (And Other Romances) Jonas nimbly structures an elliptical narrative that unmistakably establishes her voice and visual lexicon. I Want to Live in the Country features two locations—the untamed landscape of Nova Scotia and an artist's studio in New York City—as it examines themes of loss, displacement, time, and memory through still life compositions and Super-8 footage. Jonas creates a meditation of frames within frames, monitors within monitors, overlaid with poetic musings—a murmured story of the unconscious.

    Jonas's influences have included the writing of Samuel Beckett, the films of Yasujiro Ozu, Japanese Noh theater, and the work of John Cage. Stripped down to intimate, indelible gestures, I Want to Live in the Country (And Other Romances) explores a Beckettian dilemma: "I am both the observer and the object that I observe. Which of the two is the real 'I'?" In this richly illustrated Afterall book, Susan Morgan examines the emergence of Jonas's original work from this synthesis of influences and ideas.

    • Hardcover $35.00 £28.00
    • Paperback $19.95 £15.99
  • Richard Prince

    Richard Prince

    Untitled (couple)

    Michael Newman

    A year after Richard Prince's Untitled (cowboy) photograph set a record for the most expensive photograph ever sold at auction, a study of a work from Richard Prince's series of Untitled (couples) considers the long history of the image and Prince as a pioneer of the approproated image.

    In Richard Prince's 1977 work Untitled (couple), difference mixes uncannily with sameness. We can't quite tell whether the shiny couple we see is human or android; their clothing seems curiously out of date. Why do they fascinate us? What is it about their typicality that produces an impression of strangeness? Michael Newman explores Prince's work and his revival of the image through photography—rephotographed reproduced photographs—after the impasses of conceptualism. Newman examines the relation of Prince's work to images appearing in illustrated magazines, advertising, and television during the artist's formative years and argues that the vintage TV series The Twilight Zone is crucial to understanding Prince's use of images in his work. He considers Prince's strategy of rephotographing photographs and looks at the theoretical, cultural, and critical implications of that practice. Drawing on previously unpublished material from a discussion he had with Prince in the early 1980s, Newman places Untitled (couple) within the context of Prince's writings and his other work including the famous Untitled (cowboy) series (rephotographed images of the iconic Marlboro man) and its expression of the role of fantasy in advertising. During the 1960s, structuralism recast the image as text; Prince's work, Newman argues, revived the image in such a way that it is irreducible to text. Richard Prince is an artist based in New York known as a critic of and commentator on American consumer culture, including movies, advertisements, cartoons, and popular jokes.

    • Hardcover $35.00 £28.00
    • Paperback $19.95 £15.99
  • Bas Jan Ader

    Bas Jan Ader

    In Search of the Miraculous

    Jan Verwoert

    An illustrated investigation into the critical motives behind the last, unfinished work that has defined the romantic legacy of conceptual artist Bas Jan Ader.

    In 1975 Bas Jan Ader disappeared at sea while trying to sail from the East Coast of the United States to Europe as part of a project titled In Search of the Miraculous. Ader's considerable influence on later conceptual artists stems from the way in which he used the cool analytic and antisubjective aesthetics of conceptual art to explore experiences that would seem definitively subjective—the emotional intensity of tragedy and the romantic quest for the sublime. In Search of the Miraculous was conceived as a three-part project: a lonely nighttime walk from the hills of Los Angeles down to the sea, documented in photographs; the Atlantic crossing; a night walk through Amsterdam, mirroring the LA photographs.The circumstances of his disappearance have led many interpreters to identify Ader (as a person) with the role of the tragic romantic hero. The cult status of the artist as a hero whose work is authenticated through his death, however, has obscured the fact that Ader's art was a critical investigation of precisely those romantic motives his persona has now come to be identified with. This book unpicks these ties in Ader's work in order to highlight the specific and unique way in which Ader explores the existential and emotional with an artistic approach that is as conceptual and analytic as it is poetic and personal. Afterall Books are distributed by The MIT Press.

    • Hardcover $30.00 £25.00
    • Paperback $16.00 £12.99
  • Hollis Frampton

    Hollis Frampton

    (nostalgia)

    Rachel Moore

    An extended illustrated account of the Hollis Frampton film that marks critical moment in art history when photography meets filmmaking.

    In his 1971 short film, (nostalgia), American artist and writer Hollis Frampton oveturned the conventional narrative roles of words and images. In his account of an artists's transformation from photographer to filmmaker, Frampton burns photographs he had taken and selected from his past along with one found photograph. A calm voice tells a story about an image, but the story is about the following image, not the one shown. Confounding comprehension still further, the narration begins and ends during the photograph's combustion; smoke and ashes get in our eyes while we are trying to make sense of the image and the narration—trying to remember the story that fits the image, trying to remember the image that fits the story... Frampton's (nostalgia) is a formal masterpiece, long overlooked and understudied. It emerges from a body of film work that is rarely screened, the prints damaged and difficult to locate. Frampton's work is valued in artist filmmaking and film theory circles, but it has never taken its rightful place at the heart of modern art theory. This study will introduce a new generation to a critical moment in art history—when (nostalgia) confirmed both the essence and fragility of cinema itself. Afterall Books are distributed by The MIT Press.

    • Hardcover $35.00 £25.00
    • Paperback $19.95 £15.99
  • Ilya Kabakov

    Ilya Kabakov

    The Man Who Flew into Space from his Apartment

    Boris Groys

    An illustrated study of one of Ilya Kabakov's most fantastic installations.

    The fictitious hero of this 1984 installation is a lonely dreamer who develops an impossible project: to fly alone in cosmic space. But this dream is also an individual appropriation of a collective Soviet project and the official Soviet propaganda connected to it. Having built a makeshift slingshot, the hero apparently flies through the ceiling of his shabby room and vanishes into space. The miserable room and the primitive slingshot suggest the reality behind the Soviet utopia, in which where cosmic vision and the political project of the Communist revolution are seen as indissoluble.

    The Man who Flew into Space from His Apartment also raises questions of authorship in modernity. All of Kabakov's work is made in the name of other, fictitious artists. This reveals a hidden rule of the modern art system: only an artist who doesn't want to be an artist or who doesn't even know that he is an artist is a real artist—just as only an artwork that does not look like an artwork is a real artwork. The installation is a narrative, the documentation of a fictitious event.

    Afterall Books are distributed by The MIT Press.

    • Hardcover $35.00 £28.00
    • Paperback $19.95 £15.99