Exhibition catalogue published in conjunction with Art Metropole’s 10th Anniversary exhibition held November 17 – December 8, 1984. Designed by AA Bronson. Text by AA Bronson, John Goodwin, Christina Ritchie, and Peggy Gale. Includes an exhibition checklist and an Art Metropole chronology from 1974 – 1984. Indexes works by: Vito Acconci, Vincenzo Agnetti, Shelagh Alexander, Laurie Anderson, Carl Andre, Ant Farm, Eleanor Antin, Ida Applebroog, Shusaka Arakawa, Ryan Arnott, Robert Ashley, David Askevold, Alice Aycock, John Baldessari, Robert Barry, Carole Gallagher, Luciano Bartolini, Lothar Baumgarten, Joseph Beuys, Caroline Tisdall, Dara Birnbaum, Mel Bochner, Alighiero Boetti, Christian Boltanski, Pierre Boogaerts, Jonathan Borofsky, Brad Brace, George Brecht, Hans Breder, Marcel Broodthaers, Stanley Brouwn, David Buchan, Hank Bull, Daniel Buren, Victor Burgin, Michael Buthe, James Lee Byars, Richard C., Miriam Cahn, John Cage, Ulises Carrion, James Casebere, Sarah Charlesworth, Sandro Chia, Giuseppe Chiari, Robert Christo, Collective Chromazone, Heinz Cibulka, Francesco Clemente, James Collins, Claudio Costa, Robert Cumming, Greg Curnoe, Hanne Darboven, Lowel D. Darling, Juan Da Villa, Constance De Jong, Tom Dean, Mario Diacono, Antonio Dias, Jan Dibbets, Martin Disler, Jean Dubuffet, Marcel Duchamp, Mary Beth Edelson, Kit Edwards, Felipe Ehrenberg, Valie Export, Hans-Peter Feldmann, Robert Filliou, A.M. Fine, Hervé Fischer, Joel Fisher, Copp Fletcher, Robert Fones, Ken Friedman, Hamish Fulton, Phillip Galgiani, Eldon Garnet, Gilbert and George, Jochen Gerz, Michael Gibbs, Jon Gibson, Oliver Girling, Randy Gledhill, Tom Graff, Dan Graham, John Greer, Walther Gutman, Hans Haacke, Dieter Hacker, Noel Harding, Keith Haring, Stephen Harris, Matt Harley, Michael Heizer, Gerard Hemsworth, Jan Herman, Geoff Hendricks, Dick Higgins, Susan Hiller, Hans Hollein, Jenny Holzer, Rebecca Horn, Douglas Huebler, Sonja Ivekovic, Jasper Johns, Ray Johnson, Joe Jones, On Kawara, Anselm Kiefer, Kijkhuis, Yves Klein, John Knight, Richard Kostelanetz, Joseph Kosuth, Jannis Kounellis, Les Krims, David Lamelas, Bernard Lassus, Vera Lemecha, Les Levine, Sol LeWitt, Tina Lhotsky, Roy Lichtenstein, Colin Lochhead, Richard Long, Robert Longo, Nino Longobardi, Urs Luthi, George Maciunas, Allan Mackay, David MacWilliam, Paul Maenz, Arnaud Maggs, Liz Magor, John Massey, Hansjorg Mayer, Bruce McLean, Sandra Meigs, Mario Merz, Eric Metcalfe, Phillip Monk, Michael Morris, Muntadas, Ian Murray, Norman Ogue Mustill, Maurizio Nannucci, Opal L. Nations, Bruce Nauman, Linda Neaman, Al Neil, Hermann Nitsch, Barbara Noah, Arlene Golant, Claes Oldenburg, Luigi Ontani, Dennis Oppenheim, Nam June Paik, Giulio Paolini, Andy Patton, Steve Paxton, A.R. Penck, Giuseppe Penone, Bern Porter, Royden Rabinowitch, Marcus Rätz, Steve Reich, Lothar Reiners, James Riddle, David Rosenberg, Martha Rosler, Dieter Rot, Ed Ruscha, Lawerence Weiner, Reiner Ruthenbeck, Jim de Sana, Lucas Samaras, Bernd Schmitz, Carolee Schneemann, Rudolf Schwarzkogler, Kurt Schwitters, Tom Sherman, Chieko Shiomi, Seth Siegelaub, Jack Wendler, Michael Snow, Valerie Solanas, Daniel Spoerri, Klaus Staeck, Ernesto Tatafiore, Paul Thek, Edwin Klein, Vincent Trasov, John Mitchell, Richard Tuttle, Cy Twombly, Ulay, Roland Van Den Berghe, M. Vaughan-James, Ben Vautier, Bernar Venet, Claudio Verna, Wolf Vostell, Martin Walde, Jeff Wall, Duane Lunden, Ian Wallace, Andy Warhol, Robert Watts, George Whiteside, Robert Wiens, Stephan Willats, Emmett Williams, Martha Wilson, Robert Wilson, Ludwig Wittgenstein, Krzysztof Wodiczko, Va Wölfl, Peter Wronski, Donna Wyszomierski, Keigo Yammamoto, La Monte Young, and R. Zybert.

How did a small art college in Nova Scotia become the epicenter of art education–and to a large extent of the postmimimalist and conceptual art world itself–in the 1960s and 1970s? Like the unorthodox experiments and rich human resources that made Black Mountain College an improbable center of art a generation earlier, the activities and artists at Nova Scotia College of Art and Design (aka NSCAD) in the 1970s redefined the means and methods of art education and the shape of art far beyond Halifax.

A partial list of visiting artists and faculty members at NSCAD would include Joseph Beuys, Sol LeWitt, Gerhard Richter, Dan Graham, Mel Bochner, Lucy Lippard, John Baldessari, Hans Haacke, Yvonne Rainer, Robert Frank, Jenny Holzer, Robert Morris, Eric Fischl, and Dara Birnbaum. Kasper Koenig and Benjamin Buchloh ran the NSCAD Press, publishing books by Hollis Frampton, Lawrence Weiner, Donald Judd, Daniel Buren, Michael Asher, Martha Rosler, and Michael Snow, among others. The Lithography Workshop produced early works by many of today’s masters, including John Baldessari, Vito Acconci, and Claes Oldenburg. With The Last Art College, Garry Kennedy, the college’s visionary president at the time, gives us the long-awaited documentary history of NSCAD during a formative era. From gallery openings to dance performances to visiting lectures to exhibitions to classroom projects, the book gives a rich historical and visual account of the school’s activities, supplemented by details of specific events, reminiscences by faculty and students, accounts of artists’ talks, and notes on memorable controversies.

Contains photographs by Barbara Ess, Glenn Branca, Alice Albert, Vikky Alexander, Al Arthur, Lynne Augeri, Judith Barry, Ellen Brooks, Brian Buczak, Susan Britton, Alan Belcher, Tom Brazelton, Glenn Branca, Dara Birnbaum, Ellen Carey, Jim Casebere, Catherine Ceresole-Bachman, Sarah Charlesworth, Myrel Chernick, Nancy Chunn, Glegg & Guttman, Ellen Cooper, Mitch Corber, William Coupon, Paula Court, Peter Cummings, Roger Cutforth, Dorit Cypis, Mararet Dewys, Lea Douglas, Sara Driver, Nancy Dwyer, Bradley Eros, Aline Mare, Bart Everly, Stephen Frailey, Matthew Geller, Joe Gibbons, Mike Glier, Nan Goldin, Robert Goldman, Jack Goldstein, Dan Graham, Rodney Graham, Rudolph Grey, Susan Hanel, Sam Marshall Harvey, Steven Harvey, Marilyn Hawkridge, Geoff Hendricks, Susan Hiller, John Hilliard, Becky Howland, Ulli Rimkus, Peter Hujar, Peter Hutton, Glenda Hydler, Gary Indiana, Jeffrey Isaac, Bill Jacobson, Jim Jarmusch, Tod Jorgensen, Daile Kaplan, Peggy Katz, Christof Kohlhofer, Silvia Kolbowski, Barbara Kruger, Beth Lapides, Louise Lawler, Thomas Lawson, Annette Lemieux, Greg Letson, Daniel Levine, Nancy Linn, Carla Liss, Rik Little, Ken Lum, Meredith Lund, Mark Lyon, Francie Lyshak, Rona Patrice Lytkens, Frank Majore, Gianfranco Mategna, Sheila McLaughlin, Allan McCollum, Paul McMahon, Richard Morrison, Matt Mullican, Peter Nadin, Peter Nagy, Joseph Nechvatal, Gary Nickard, Mike Osterhout, Carol Parkinson, Victor Poisontete, Virginia Piersol, Jeffrey Pittu, Richard Prince, John Rehberger, Bill Rice, Walter Robinson, Jon Rubin, Arleen Schloss, Kathleen Seltzer, Laurie Simmons, Teri Slotkin, Kiki Smith, Michael Smith, Studio Melee, Jim Sutcliffe, Karen Sylvester, Lynne Tillman, Diane Torr, Anne Turyn, Gail Vachon, Sokhi Wagner, Jeff Wall, Tom Warren, Oliver Wasow, James Welling, Sally C. White, Robin Winters, Dan Witz, David Wojnarowicz, and Michele Zalopany. Essays by Rosetta Brooks, Tricia Collins, Richard Millazzo, John Hilliard, Gary Indiana, Cookie Mueller, David Rattray, Carol Souiers, Amy Taubin, and Lynn Tillman.

Situation–a unique set of conditions produced in both space and time and ranging across material, social, political, and economic relations–has become a key concept in twenty-first-century art. Rooted in artistic practices of the 1960s and 1970s, the idea of situation has evolved and transcended these in the current context of globalization. This anthology offers key writings on areas of art practice and theory related to situation, including notions of the site specific, the artist as ethnographer or fieldworker, the relation between action and public space, the meaning of place and locality, and the crucial role of the curator in recent situation specific art. In North America and Europe, the site-specific is often viewed in terms of resistance to art’s commoditization, while elsewhere situation-specific practices have defied institutions of authority. The contributors discuss these recent tendencies in the context of proliferating international biennial exhibitions, curatorial place-bound projects, and strategies by which artists increasingly unsettle the definition and legitimation of situation-based art.Artists surveyed include [from Ian 1/30]Vito Acconci, Allora & Calzadilla, Francis Alÿs, Carl Andre, Artist Placement Group, Michael Asher, Amy Balkin, Ursula Biemann, Bik Van der Pol, Daniel Buren, Victor Burgin, Janet Cardiff, Center for Land Use Interpretation, Adam Chodzko, Collective Actions, Tacita Dean, Elmgreen & Dragset, Andrea Fraser, Hamish Fulton, Dan Graham, Liam Gillick, Renée Green, Group Material, Douglas Huebler, Bethan Huws, Pierre Huyghe, Robert Irwin, Emily Jacir, Ilya Kabakov, Leopold Kessler, Július Koller, Langlands & Bell, Ligna, Richard Long, Gordon Matta-Clark, Graeme Miller, Jonathan Monk, Robert Morris, Gabriel Orozco, Walid Ra’ad, Raqs Media Collective, Paul Rooney, Martha Rosler, Allen Ruppersberg, Richard Serra, Situationist International, Tony Smith, Robert Smithson, Vivan Sundaram, Rirkrit Tiravanija, Lawrence Weiner, Rachel Whiteread, Krzysztof Wodiczko, Qiu Zhijie Writers include Arjun Appaduri, Marc Augé, Wim Beeren, Josephine Berry Slater, Daniel Birnbaum, Ava Bromberg, Susan Buck-Morss, Michel de Certeau, Douglas Crimp, Gilles Deleuze, T. J. Demos, Rosalyn Deutsche, Thierry de Duve, Charles Esche, Graeme Evans, Patricia Falguières, Marina Fokidis, Hal Foster, Hou Hanrou, Brian Holmes, Mary Jane Jacob, Vasif Kortun, Miwon Kwon, Lu Jie, Doreen Massey, James Meyer, Ivo Mesquita, Brian O’Doherty, Craig Owens, Irit Rogoff, Peter Weibel

This handsome book is the first comprehensive examination of the Pictures Generation, a loosely knit group of artists working in New York from the mid-1970s to the mid-1980s. The overarching subject of the work of these artists was imagery itself—how pictures not only depict but also shape how we perceive the world and ourselves. The collective achievement of this group is an extremely important chapter in the history of contemporary art. Born into an expanding media and consumer culture and educated in the strategies of Minimal and Conceptual art, the artists of the Pictures Generation, including Robert Longo, Richard Prince, David Salle, and Cindy Sherman, chose to return to representation, addressing the rhetorical, social, and psychological functions of the image across all media (photography, painting and sculpture, drawings and prints, film and video, and music and performance). While the careers of these artists are typically considered in isolation, this catalogue traces their complex interrelationships and mutual development—beginning with the emergence of a group sensibility characterized by techniques of distancing and theatricality and ending with a resurgence of painting by mostly male artists (which was contested by women artists working in media such as video, photography, and installation). Featured artists: * Ericka Beckman * Dara Birnbaum * Barbara Bloom * Eric Bogosian * Glenn Branca * Troy Brauntuch * James Casebere * Sarah Charlesworth * Rhys Chatham * Charlie Clough * Nancy Dwyer * Jack Goldstein * Barbara Kruger * Louise Lawler * Thomas Lawson * Sherrie Levine * Robert Longo * Allan McCollum * Paul McMahon * Matt Mullican * Richard Prince * David Salle * Cindy Sherman * Laurie Simmons * Michael Smith * James Welling * Michael Zwack

Through its close look at the artist and their works, this book traces the major thematic and technical developments that have distinguished video as an art form. Major artists–Nam June Paik, Bill Viola, Dara Birnbaum, William Wegman, Joan Jonas, Peter Campus, and others–are represented in examples of virtually every genre, from independent documentary to “guerrilla television.”

With contributions by Sabeth Buchmann, Mercedes Bunz, Diedrich Diederichsen, Kodwo Eshun, Anselm Franke, Erich Hörl, Norman M. Klein, Maurizio Lazzarato, Flora Lysen, Eva Meyer, John Palmesino, Laurence Rickels, Bernd M. Scherer, Fred Turner In the year 1966, a young man named Stewart Brand handed out buttons in San Francisco reading: “Why haven’t we seen a photograph of the whole Earth yet?” Two years later, the NASA photograph of the “blue planet” appeared on the cover of the Whole Earth Catalog. In creating the catalogue, frequently described as the analogue forerunner of Google, Brand had founded one of the most influential publications of recent decades. It mediated between cyberneticists and hippies, nature romantics and technology geeks, psychedelia and computer culture, and thus triggered defining impulses for the environmentalist movement and the rise of the digital network culture. The photo of the blue planet developed a sphere of influence like almost no other image: it stands not only for ecological awareness and crisis but also for a new sense of unity and globalization. The universal picture of “One Earth” hence anticipated an image of the end of the Cold War, whose expansion into space it accompanied, and overwrote or neutralized political lines of conflict by transferring classical politics and criticism of it to other categories, such as cybernetic management or ecology. The exhibition “The Whole Earth” is an essay composed of cultural-historical materials and artistic positions that critically address the rise of the image of “One Earth” and the ecological paradigm associated with it. The accompanying publication includes image-rich visual essays that explore key themes: “Universalism,” “Whole Systems,” “Boundless Interior,” and “Apocalypse, Babylon, Simulation,” among others. These are surrounded by critical essays that shed light onto 1960s California and the networked culture that emerged from it. Artists: Nabil Ahmed, Ant Farm, Eleanor Antin, Martin Beck, Jordan Belson, Ashley Bickerton, Dara Birnbaum, Erik Bulatov, Angela Bulloch, Bruce Conner, Öyvind Fahlström, Robert Frank, Jack Goldstein, Nancy Holt and Robert Smithson, Lawrence Jordan, Silvia Kolbowski, Philipp Lachenmann, David Lamelas, Sharon Lockhart, Piero Manzoni, Raymond Pettibon, Adrian Piper, Robert Rauschenberg, Ira Schneider, Richard Serra, Alex Slade, Jack Smith, Josef Strau, The Center for Land Use Interpretation, The Otolith Group, Suzanne Treister, Andy Warhol, Bruce Yonemoto, et al.

There had never been art like the art produced by women artists in the 1970s ;and there has never been a book with the ambition and scope of this one about that groundbreaking era. WACK! documents and illustrates the impact of the feminist revolution on art made between 1965 and 1980, featuring pioneering and influential works by artists who came of age during that period ;Chantal Akerman, Lynda Benglis, Theresa Hak Kyung Cha, Valie Export, Mary Heilmann, Sanja Ivekovič, Ana Mendieta, Annette Messager, and others ;as well as important works made in those years by artists whose whose careers were already well established, including Louise Bourgeois, Judy Chicago, Sheila Levrant de Bretteville, Lucy Lippard, Alice Neel, and Yoko Ono.The art surveyed in WACK! includes work by more than 120 artists, in all media ;from painting and sculpture to photography, film, installation, and video ;arranged not by chronology but by theme: Abstraction, “Autophotography,” Body as Medium, Family Stories, Gender Performance, Knowledge as Power, Making Art History, and others. WACK!, which accompanies the first international museum exhibition to showcase feminist art from this revolutionary era, contains more than 400 color images. Highlights include the figurative paintings of Joan Semmel; the performance and film collaborations of Sally Potter and Rose English; the untitled film stills of Cindy Sherman; and the large-scale, craft-based sculptures of Magdalena Abakanowicz. Written entries on each artist offer key biographical and descriptive information and accompanying essays by leading critics, art historians, and scholars offer new perspectives on feminist art practice. The topics ;including the relationship between American and European feminism, feminism and New York abstraction, and mapping a global feminism ;provide a broad social context for the artworks themselves. WACK! is both a definitive visual record and a long-awaited history of one of the most important artistic movements of the twentieth century.Essays by:Cornelia Butler, Judith Russi Kirshner, Catherine Lord, Marsha Meskimmon, Richard Meyer, Helen Molesworth, Peggy Phelan, Nelly Richard, Valerie Smith, Abigail Solomon-Godeau, Jenni SorkinArtists include:Marina Abramovič, Chantal Akerman, Lynda Benglis, Dara Birnbaum, Louise Bourgeois, Judy Chicago, Lygia Clark, Jay DeFeo, Mary Beth Edelson, Valie Export, Barbara Hammer, Susan Hiller, Joan Jonas, Mary Kelly, Maria Lassnig, Linda Montano, Alice Neel, Senga Nengudi, Lorraine O’Grady, Pauline Oliveros, Yoko Ono, Orlan, Howardena Pindell, Yvonne Rainer, Faith Ringgold, Ketty La Rocca, Ulrike Rosenbach, Martha Rosler, Betye Saar, Miriam Schapiro, Carolee Schneemann, Cindy Sherman, and Hannah Wilke.

When recession-plagued New York City abandoned its industrial base in the 1970s, performance artists, photographers, and filmmakers found their own mixed uses for the city’s run-down lofts, abandoned piers, vacant lots, and deserted streets. Gordon Matta-Clark turned a sanitation pier into the celebrated work Day’s End and Betsy Sussler filmed its making; the photographic team Shunk-Kender shot a vast series of images of Willoughby Sharp’s Projects: Pier 18 (which included work by Vito Acconci, Mel Bochner, Dan Graham, Matta-Clark, and William Wegman, among others); and Cindy Sherman staged some of her Untitled Film Stills on the streets of Lower Manhattan. Mixed Use, Manhattan documents and illustrates these projects as well as more recent work by artists who continue to engage with the city’s public, underground, and improvised spaces. The book (which accompanies a major exhibition) focuses on several important photographic series: Peter Hujar’s 1976 nighttime photographs of Manhattan’s West Side; Alvin Baltrop’s Hudson River pier photographs from 1975-1985, most of which have never before been shown or published; David Wojnarowicz’s Rimbaud in New York (1978-1979), the first of Wojnarowicz’s works to be published; and several of Zoe Leonard’s photographic projects from the late 1990s on. The book includes 70 color and 130 black-and-white images, a chronology of the policy decisions and developments that altered the face of New York City from 1950 to the present; an autobiographical story by David Wojnarowicz; and essays by Johanna Burton, Lytle Shaw, Juan Suarez, and the exhibition’s curators, Lynne Cooke and Douglas Crimp. Artist included: Alvin Baltrop, Bernd and Hilla Becher, Dara Birnbaum, Jennifer Bolande, Stefan Brecht, Matthew Buckingham, Tom Burr, Roy Colmer, Moyra Davey, Terry Fox, William Gedney, Bernard Guillot, David Hammons, Sharon Hayes, Peter Hujar, Joan Jonas, Louise Lawler, Zoe Leonard, Sol LeWitt, Glenn Ligon, Robert Longo, Vera Lutter, Danny Lyon, Babette Mangolte, Gordon Matta-Clark, Steve McQueen, John Miller, Donald Moffett, James Nares, Max Neuhaus, Catherine Opie, Gabriel Orozco, Barbara Probst, Emily Roysdon, Cindy Sherman, Harry Shunk & Janos Kender, Charles Simonds, Thomas Struth, James Welling, David Wojnarowicz, and Christopher Wool

From TVTV’s iconoclastic television broadcast from the floor of the 1972 Republican Convention to Gregory Green’s recent pirate-radio-station installations, artists have frequently intervened into systems of broadcasting in order to challenge the influence and power of TV and radio. Broadcast examines these often courageous interventions, showing how artists since the late 1960s have engaged with or inserted themselves into official TV and radio channels, often fruitfully exploiting the conditions of live broadcasting–whether by appropriating news reporting, intervening in live programs or creating extensive broadcasts themselves. It is the first book of its kind to address this provocative and exciting body of work, published on the occasion of the exhibition at Baltimore’s Contemporary Museum of Art, and it also includes an illustrated and annotated timeline that traces moments in television and radio history related to developments in contemporary art. This timeline serves as an addendum to the catalogue’s texts, offering a place for any details, events and facts that lie outside the particular scope of each essay. Artists in the exhibition include Dara Birnbaum, Chris Burden, Gregory Green, Christian Jankowski, Inigo Manglano-Ovalle, Antonio Muntadas, Nam June Paik, TVTV (Top Value Television) and Siebren Versteeg.

This catalogue accompanies ARTISTS’ BOOK NOT ARTISTS’ BOOK, an exhibition of about one hundred books (all of them classifiable as artists’ books, or not) which includes publications by Chris Burden, Ira Cohen, Richard Meltzer, John Baldessari, Seth Price, Michelangelo Pistoletto, Richard Hell, Tina Lhotsky, Sue Williams, Tom Sachs, Richard Prince, William Gibson, David Wojnarowicz, Dara Birnbaum, Jim Shaw, Ed Ruscha, Sean Landers, and many others (not to mention, Various, Anonymous, and Unknown). The show is jointly curated by Johan Kugelberg and Jeremy Sanders and to the catalogue is formatted in the style of an old “Ace double” pulp novel–there is a variation of the cover design on both front and back (front and front?) and the two curators’ alternative viewpoints on artists’ books within. The catalogue contains bibliographic information and descriptive text on every book in the exhibition and it comes wrapped within a large fold-out poster that shows every book in full color. Edition of 500