The Blind Man était un magazine clé du début du XXe siècle, issu d'un riche réseau de salons et de publications proto-dada, modernistes et d'avant-garde new-yorkais, publié aux États-Unis. Produit par Marcel Duchamp, Béatrice Wood et Henri-Pierre Roché, seuls deux numéros de Blind Man ont paru, mais ils constituent un who's who des avant-gardes new-yorkaise et parisienne: Mina Loy, Walter Conrad Arensberg, Francis Picabia, Gabrielle Buffet, Allen Norton, Clara Tice, Alfred Stieglitz, Charles Demuth, Charles Duncan, Erik Satie, Carl Van Vechten et Louise Norton ont tous figuré dans ses pages.
Celebrated for her singular contributions to 20th-century sculpture, drawing, painting, printmaking, installation and writing, French-born American artist Louise Bourgeois' (1911-2010) explorations of the human condition originated from her own lived experience. "My goal is to relive a past emotion," Bourgeois explained. "My art is an exorcism." Psychologically, emotionally and often sexually charged, Bourgeois' works intermingle the abstract and corporeal, the voluptuous and the distressing, to striking effect.
Louise Bourgeois: To Unravel a Torment accompanies the first exhibition of the artist's work at Glenstone Museum, and features more than 30 major works drawn from the museum's collection. From her early wooden Personages to her large hanging sculptures, from suites of drawings and prints to textile works and her immersive Cells, To Unravel a Torment surveys Bourgeois' career through selected examples from her enormous body of work.
Bourgeois was also a prolific writer, matching her sculptural language with reams of psychoanalytic musings on repression, symbolism and material. To Unravel a Torment also brings together never-before-published diary entries by the artist, annotated by Bourgeois scholar Philip Larratt-Smith, a contribution by art historian Briony Fer and an introduction by Emily Wei Rales, founder and director of Glenstone Museum.
Powr Mastrs Vol. 3--brainchild of C.F., who emerged from the fabled Providence, Rhode Island, art and noise scene and who also performs under the monikers Kites and Daily Life--is one of the most anticipated graphic novels of the year. This latest installment continues C.F.'s Dune-like science fiction/fantasy epic featuring a misguided scientist and the race of beings he has created, who inhabit a surreal world called New China. The narrative follows the ever-shifting power relations of these mystical warriors who transform their physical and psychological identities each time the tide of power turns. Powr Mastrs Vol. 2 hit over a dozen "top-ten graphic novels of 2008" lists, both volumes 1 and 2 have been described by Vice Magazine as "dark doors into the stunningly fantastic," and The Village Voice has noted that "the homemade arcane dominates in C.F.'s sexy danger world." This third installment is no exception: it overflows with graphic innovation, from the intricately designed costumes each character wears to the exactingly drawn architectural detail, all rendered in C.F.'s distinctive pencil line. In this volume, C.F. firmly takes the reins both as a visual and comics artist, making a book as essential to the practice of drawing as to the graphic novel.
Presenting paintings of some of the artist's key models and muses, I Can't See You Without Me illuminates the work of Brooklyn painter Mickalene Thomas (born 1971). Culling from art history and popular culture, Thomas creates scintillating portraits that deconstruct the highly charged connections between sitter, artist and viewer. Whether depicted as classically composed 19th-century odalisques, Afro-adorned vixens of blaxploitation films or as a powerful maternal figure yearning for social mobility, the recurring models in Thomas' compositions (almost exclusively women of color) convey a spirit of strength and self-confidence. Across this archetypal array, it is both their contradictions and kinships that make the black female body such fertile terrain for the artist's ongoing investigations. By casting herself, her late mother and other formidable women in her life as models, muses and collaborators, Thomas particularizes her distinctive oeuvre of portraiture. Focused yet expansive, the catalog both reasserts and further contextualizes issues of identity, sexuality and agency in Thomas' work that have only become more nuanced and palpable over time.
In the late 1960s, while still a recent graduate with scant means, artist Bruce Nauman (born 1941) explored a trio of interwoven subjects: the studio, the daily practice of making art and the role of the artist. He outlined the latter, for example, in a memorable neon sign, alongside more commercial counterparts affixed to the exterior of his building. The work's cool spiral letters traced the claim, at once ironic and heartfelt: "The true artist helps the world by revealing mystic truths." Questioning the role of the spectator and channeling Nauman's inquisitive attitude, this book features contributions by Judith Barry, William Kentridge, David Levine, Gedi Sibony, Gary Simmons, Charline von Heyl and Mark Wallinger.
The Brooklyn-based Jonny Negron, editor of the ongoing anthology zine Chameleon, emerged in 2011 as a web sensation, appearing in many anthologies and the subject of numerous features in Vice Magazine. An acclaimed «master of voluptuousness» in the tradition of Robert Crumb and Tom of Finland, his highly erotic drawings occupy a space that draws from fashion drawings, video games, Japanese hentai and street art. Negron is his first book and explores the ample proportions of his vision. It features all-new drawings of his signature zaftig women and gangsta men, placed in fantastical, raunchy scenarios involving multi-fluid lactation, demon-faced copulations and exaggerated accidents with various condiments. With new comic strips created especially for this publication, lists of the artist's favorite things and selected vintage photography from 1970s magazines, Negron demonstrates how he has successfully combined high fashion with street comics. This is a guide to his brave new world, produced in as lush a package as the women in his work: printed on high-gloss paper, this dust-jacketed paperback is an art object unto itself, and will be coveted by fans of Juxtapoz magazine and street-style erotica.
Destroy All Monsters were an influential Detroit group that made music, art, zines and an elaborate junk-based self-mythology. Two of its members have become renowned artists: Mike Kelley and Jim Shaw. But aside from the zines, the actual output by the members has never been examined as independent art objects. This is the first retrospective of the artwork itself, as opposed to the zines and memorabilia produced. Nearly all of this work has never been published. Included are: dozens of candid photographs of the group, offering a snapshot of a proto-punk unit.
Pansy Beat was a short-lived fanzine published by Michael Economy in New York from 1989 to 1990, totaling five quarterly issues. Each issue's 50-some black-and-white pages documented the exuberant downtown gay and drag club scene of that era and included one free condom. The zine offered a glimpse into an exhilarating alternative universe during the darkest years of the AIDS crisis. Interviews profiled downtown personalities on the verge of global stardom, many still working to this day. Artists such as Lady Bunny, Billy Erb, Connie Fleming, Kenny Kenny, Lady Miss Kier and Larry Tee first shared their memorable selves in print on the pages of Pansy Beat. The zine also featured interviews with Edwige Belmore, Leigh Bowery and Quentin Crisp. This book celebrates Pansy Beat's brief but influential life, including a reprinting of all five issues in their original format, previously unseen photographs by staff photographer Michael Fazakerley, new full-color artwork by some of the original contributors, plus new essays and interviews. Book design by Jan Wandrag.
From the 1930s until his death in 1983, Eugene Von Bruenchenhein was a prolific artist, producing paintings, sculptures, photographs, drawings and poetry in his small Milwaukee home.
His large and unusual body of work was unknown to anyone except his closest family and friends until after his death; he is now deservedly considered, according to Roberta Smith, «among the great American outsider artists.» Von Bruenchenhein's first creative venture was to photograph his wife, Marie. In the 1950s, he began painting surreal subjects, ranging from atomic mushrooms to mythical creatures and futuristic metropolises. Further evidence of his personal mythologies is found in his sculptures: elaborate chairs constructed out of chicken bones, ceramic and metal crowns, sensor pots made out of leaves and plant forms.
After Von Bruenchenhein's death, the John Michael Kohler Arts Center began cataloguing and photographing his work. Mythologies emerges out of this research, exploring Von Bruenchenhein's art, the people and contexts that spurred his imagination, and his creative legacy.
Depuis 2008, le centre de documentation Morbid Anatomy de Brooklyn, à New York, accueille certains des meilleurs érudits, artistes et écrivains travaillant au croisement de l'histoire de l'anatomie et de la médecine, de la mort et du macabre, de la religion et du spectacle. Ce livre rassemble les extraits emblématiques de ce travail dans 28 essais richement illustrés.
Published by leading outsider art imprint Raw Vision, Singular Spaces is a groundbreaking survey of art environments created by self-taught artists from across Spain. The book introduces and examines 45 artists and their idiosyncratic sculptures, gardens and buildings, most of which have never been published. The sites are developed organically, without formal architectural or engineering plans; they are at once evolving and complete. Often highly fanciful and quixotic, the work is frequently characterized by incongruous juxtapositions, an approach that appears impulsive and spontaneous. Director of the organization SPACES (Saving and Preserving Arts and Cultural Environments), Jo Farb Hernández, combines detailed case studies of the artists and their work with contextualized historical and theoretical references to art history, anthropology, architecture, Spanish area studies and folklore. Breaking down the standard compartmentalization of genres, she reveals how most creators of art environments, who are building within their own personal spaces, fuse their creations with their daily lives.
This exhibition catalogue marks the 20th anniversary of the death of American artist Nancy Graves (1939-1995), featuring work from the first half of her career, from 1969 to 1982. In 1969, Graves became internationally recognized as the first female artist to receive a solo retrospective at the Whitney Museum in New York City. It was at this exhibition that her now iconic series Camels was first displayed--a collection of three larger-than-life camels made from animal hides, burlap, wax and fiberglass. Graves, filled with curiosity about the natural world, continued to work with the image of these majestic and mysterious creatures. In 1970, she fabricated steel camel skeletons for Inside-Outside, and in the same year, she captured them in their natural habitat in the Sahara for her rarely exhibited film Izy Boukir. Alongside the artist's sculptures and films, this publication also includes her large-scale watercolors and pointillist-style canvases.
Reviled, rioted over and banned as pornographic even as it was recognized by many as an unprecedented visionary masterpiece, Jack Smith's Flaming Creatures is one of the most important and influential underground movies ever released in America. J. Hoberman's monograph details the creative making--and legal unmaking--of this extraordinary film, a source of inspiration for artists as disparate as Andy Warhol, Federico Fellini and John Waters. Described by its maker as "a comedy set in a haunted music studio," the story of Flaming Creatures is here augmented with a dossier of personal recollections, relevant documents and remarkable, previously unpublished on-set photographs by Norman Solomon. Expanding on notes originally prepared for the 1997 retrospective on Jack Smith at the American Museum of the Moving Image, the monograph includes further material on his unfinished features Normal Love and No President, as well as shorter film fragments.
Ce livre célèbre et reproduit en détail toutes les gravures sur bois et les linogravures que Katz fabrique depuis 1951, oeuvres qui mettent en évidence les articulations anguleuses et maladroites, l'ambivalence émotionnelle et la complexité psychologique de son meilleur travail. Les 78 impressions sont également reproduites dans un insert informatif en couleurs au verso du catalogue.
"When we were making the 5 Deaths paintings, with the car upside down and the people underneath, Andy asked, 'Are they still alive?' as if the accident had actually occurred in front of us." --Gerard Malanga Within Warhol's Death and Disaster series, the so-called Car Crashes comprise the most numerous and diverse set of images. As Gerard Malanga writes in his accompanying essay, "We would return to this silkscreen again and again for several months; in effect, the first painting repeated many times over, this initiating Andy's serial imagery on separate identically shaped canvases, and anticipating the Flower paintings to come." The book also includes a contemporary interview between Malanga and Jeff Koons as well as a reprint of an interview between Malanga and Warhol from 1963.
In photographs characterized by subtle geometries and penetrating natural light, Los Angeles-based artist Melanie Schiff (born 1977) achieves dramatic effects with everyday objects, found landscapes and interiors. This is the first survey of Schiff's photographs including work from 2002-2012.
Titled after James Lee Byars' famous proclamation, Triple Candie's I Cancel All My Works at Death posits that Byars and his work are better misremembered than reexperienced. Triple Candie is a fugitive institution operated by two art historians that produces exhibitions "about art but devoid of it" that are realized without the involvement of artists. This book includes documentation of the exhibition as well as two recollections (by the artist's teenage sweetheart and a late-life acquaintance), essays on creative reconstruction and Byars' relationship to Detroit, a conversation between Triple Candie and a lawyer on the legal ramifications of artistic cancelation, and an assortment of quotes by Radiohead, Ivor Cutler and others that have nothing and everything to do with Byars and this show. The book is available in two different dust jackets.
INFOMANIACS is a graphic novel about the tangled workings of the internet--a hilarious detective story that manages to both cheekily critique and document the outer reaches of digital culture. Readers will recognize much of their own daily obsessions, tunnel vision and wacky e-antics in this work. With the intrepid (and memorably named) Amy Shit as his Philip Marlowe, Thurber looks in on «The Scriveners of Tweet Street,» Albert Radar, a Joseph Beuys-lookalike psychiatrist, a perfectly preserved brain that has never seen the internet, an organic server farm, the Anthropomorphic Task Force, and so many more weird and wonderfully inventive characterizations. All these quirky personae are skillfully woven into a tightly plotted and fast-paced thriller. The narrative does indeed move at the speed of light--perhaps partly reflecting this publication's genesis as an online serial--and the white knuckle twists and turns are done full justice by Thurber's deft drawing. (Indeed, in its internet incarnation, INFOMANIACS has already garnered a cult of devoted followers.) But above all, the book is marked by the author's restless questioning and heightened sense of the absurd. Accessible and extremely funny, this tour-de-force could be seen as The Long Goodbye for the Tumblr generation.
Brooklyn-based cartoonist Matthew Thurber's previous book, 1-800-MICE, was praised by the likes of Daniel Clowes and Matt Groening. He is also a musician who performs under the name of Ambergris, and is the co-owner of the gallery Tomato House.
The U.S. debut of internationally acclaimed poet and performance artist Shailja Patel, Migritude is a tour-de-force hybrid text that confounds categories and conventions. Part poetic memoir, part political history, Migritude weaves together family history, reportage and monologues to create an achingly beautiful portrait of women's lives and migrant journeys undertaken under the boot print of Empire. Patel, who was born in Kenya and educated in England and the U.S., honed her poetic skills in performances of this work that have received standing ovations throughout Europe, Africa and North America. She has been described by the Gulf Times as "the poetic equivalent of Arundhati Roy" and by CNN as "the face of globalization as a people-centered phenomenon of migration and exchange." Migritude includes interviews with the author, as well as performance notes and essays.
This monograph presents 13 paintings and one sculpture that demonstrate a new refinement in Ellsworth Kelly's work. In each of the paintings a rectangular canvas is painted with numerous layers of white paint, on top of which the artist affixes a (usually) black canvas. With their sharp diagonals and dramatic curves, these reliefs are among the most dynamic of Kelly's career.
On February 20th, 1909, a belligerent manifesto announcing the birth of the Futurist movement appeared on the front page of the Paris newspaper Le Figaro and sent immediate shockwaves throughout Europe. The author, a young Italian poet named F.T. Marinetti, demanded that writers and artists reject the classic art of the past and celebrate the dynamic technology of modern city life. Joined by a group of like-minded artists, over the following years Marinetti pioneered an art that would eulogise speed and industry, in a reaction against the stasis of the classics, and even against contemporary movements such as Cubism. Available in English for the first time in over 20 years, the Futurist Manifestos are fiery, explosive and witty, and crucial to any full appreciation of modern art.
Men visit a city. They watch aeroplanes departing and arriving at an airport. They go on board a ship and across a river. Finally they arrive at the building that is their destination. A man guides them to the """"world map room"""". It seems they have an appointment there, although there is no description about the appointment. They see the books on the shelves and have some desultory conversation. Then they go to the courtyard and carry on the conversation. They reach a pond with a sunken ship. The guide starts to explain the ship's history. The book ends.
Public Intimacy brings together 25 artists and collectives who disrupt expected images of a country known largely through its apartheid history. The book presents a critical sensibility that existed but was mostly overlooked during apartheid, and which is now shared by many artists and writers of a new generation--the expression of the poetics and politics of the "ordinary act." Public Intimacy includes works by Ian Berry, Chimurenga, Ernest Cole, DavidGoldblatt, Handspring Puppet Company, Nicholas Hlobo, ijusi (Garth Walker), Anton Kannemeyer, William Kentridge, Donna Kukama, Terry Kurgan, Sabelo Mlangeni, Santu Mofokeng, Billy Monk, Anthea Moys, Zanele Muholi, Sello Pesa and Vaughn Sadie, Cameron Platter, Lindeka Qampi, Jo Ractliffe, Athi-Patra Ruga, Berni Searle, Penny Siopis, Mikhael Subotzky and Patrick Waterhouse and Kemang Wa Lehulere.
Reinventing Abstraction looks at 15 painters born between 1939 and 1949: Carroll Dunham, Louise Fishman, Mary Heilmann, Bill Jensen, Jonathan Lasker, Stephen Mueller, Elizabeth Murray, Thomas Nozkowski, David Reed, Joan Snyder, Pat Steir, Gary Stephan, Stanley Whitney, Jack Whitten and Terry Winters. Challenging official accounts of the decade, which tend to ignore the individualistic abstraction exemplified by these painters in favor of more easily identifiable movements and styles, Rubinstein chronicles how, around 1980, a generation of New York painters embraced elements that had been largely excluded from the radical, deconstructive abstraction of the late 1960s and 1970s, which had influenced many of them. In a long, informative essay titled "The Lure of the Impure," Rubinstein seeks to uncover the "street history" of painting, and redress past, sometimes race-based exclusions. Although many of the artists in Reinventing Abstraction are well known, their collective history has not yet been addressed by art history.