This comprehensive retrospective of Sophie Calle not only celebrates the breadth of her iconoclastic work but also leads to a deeper understanding of her unique artistic vision. The work of conceptual artist Sophie Calle embraces numerous media: photography, storytelling, film, and memoir, to name a few. Often controversial, Calle’s projects explore issues of voyeurism, intimacy, and identity as she secretly investigates, reconstructs and documents the lives of strangers – whether she is inviting them to sleep in her bed, trailing them through a hotel, or following them through the city. Taking on multiple roles – detective, documentarian, behavioral scientist and diarist – Calle turns the interplay between life and art on its head. The book presents Calle’s best-known works, including “The Blind”, “No Sex Last Night”, “The Hotel”, “The Address Book” and “A Woman Vanishes”, as well as lesser known and earlier projects that have largely escaped the public eye. The book also includes diary excerpts and video stills, along with three critical essays, a revealing interview with the artist and a dialogue with fellow artist Damien Hirst.

The Address Book, a key and controversial work in Sophie Calle’s oeuvre, lies at the epicenter of many layers of reality and fiction. Having found a lost address book on the street in Paris, Calle copied the pages before returning it anonymously to its owner. She then embarked on a search to come to know this stranger by contacting listed individuals–in essence, following him through the map of his acquaintances. Originally published as a serial in the newspaper Libération over the course of one month, her incisive written accounts with friends, family and colleagues, juxtaposed with photographs, yield vivid subjective impressions of the address book’s owner, Pierre D., while also suggesting ever more complicated stories as information is parsed and withheld by the people she encounters. Collaged through a multitude of details–from the banal to the luminous, this fragile and strangely intimate portrait of Pierre D. is a prism through which to see the desire for, and the elusivity of, knowledge. Upon learning of this work and its publication in the newspaper, Pierre D. expressed his anger, and Calle agreed not to republish the work until after his death. Until then, The Address Book had only been described in English–as the work of the character Maria Turner, whom Paul Auster based on Calle in his novel Leviathan; and in Double Game, Calle’s monograph which converses with Auster’s novel. This is the first trade publication in English of The Address Book (Gemini G.E.L. in Los Angeles released a suite of lithographs modeled on the original tabloid pages from Libération in an edition of 24). The book has the physical weight and feel of an actual address book with a new design of text and images which allow the story to unfold and be savored by the reader.

In this remarkable artist’s book, French conceptual artist/provocateur Sophie Calle presents 107 outside interpretations of a “breakup” e-mail she received from her lover the day he ended their affair. Featuring a stamped pink metallic cover, multiple paper changes, special bound-in booklets, bright green envelopes containing DVDs and even Braille endpapers, it is a deeply poignant investigation of love and loss, published to coincide with the 2007 Venice Biennale–where Calle served as that fair’s French representative. All of the interpreters of Calle’s breakup letter were women, and each was asked to analyze the document according to her profession–so that a writer comments on its style, a justice issues judgment, a lawyer defends Calle’s ex-lover, a psychoanalyst studies his psychology, a mediator tries to find a path towards reconciliation, a proofreader provides a literal edit of the text, etc. In addition, Calle asked a variety of performers, including Nathalie Dessay, Laurie Anderson and Carla Bruni, among others, to act the letter out. She filmed the singers and actresses and photographed the other contributors, so that each printed interpretation stands alongside at least one riveting image of its author, and some are also accompanied by digital documentation. The result is a fascinating study and a deeply moving experience–as well as an artwork in its own right. Already a collector’s item, this is a universal document of how it feels to grieve for love.

This is the first major publication in English on the work of French artist Sophie Calle, yet this volume is in no way an ordinary monograph. In fact, it takes the form of a “double jeu”, a “double game,” between the work of Sophie Calle and the fiction of Paul Auster. Representing an imaginative interplay of fact and fiction, “Double Game” creates a publication of endless intrigue and layers: part novel, part diary, part artist’s book, and part jest.

A unique assembly of Calle’s own thoughts and photographs of her belongings juxtaposed with objects from Sigmund Freud’s personal collection, still kept in the house where he lived.

In February 1998, I was invited to create an exhibition entitled Appointment at a house at 20 Maresfield Gardens, London, where Dr Freud lived and died. After having a vision of my wedding dress laid across Freud’s couch, I immediately accepted. I chose to display relics of my own life amongst the interior of Sigmund’s home.’—Sophie Calle

A unique and beautifully produced assembly of Calle’s own texts and personal objects juxtaposed with objects from Sigmund Freud’s personal collection, still kept in his Hampstead house, Appointment features fragments from the artist’s own fascinating life story, characteristic texts that reveal intimate secrets and unravel some of Calle’s childhood memories as well as her adult relationships.

Calle’s references to certain mementos and the emotionally charged events with which they are associated have many parallels to Freud’s own psychoanalytic theories and his passion for collecting. 80 illustrations, 50 in color

Covering the retrospective show on Sophie Calle, this book sheds light on her powerful iconoclastic work and help you better understand her unique artistic approach. The work of conceptual artist Sophie Calle embraces multiple media: photography, storytelling, movies, and memoir, to name a few. Calle explores hot-button issues such as voyeurism, intimacy, and identity by investigating and documenting on the lives of strangers. Wearing many different hats – detective, documentarian, behavioural scientist and diarist – Sophie Calle is connecting art to life. The book features Calle’s best-known works, including The Blind, No Sex Last Night, The Hotel, The Address Book and A Woman Vanishes, as well as previously unseen images. Photographs, diary excerpts and video stills sit alongside three critical essays, and intimate interviews with the artist and with fellow artist Damien Hirst.

“Appointment: Sophie Calle & Sigmund Freud” is a unique assembly of Calle’s own texts and personal objects juxtaposed with objects from Sigmund Freud’s collection, still kept in the house where he lived. Featured here are fragments from the artist’s own fascinating life story; these characteristic texts reveal intimate secrets, unraveling some of her childhood memories as well as her adult relationships. Calle’s references to certain mementos and the emotionally charged events with which they are associated parallel Freud’s own psychoanalytical theories and his passion for collecting. “Appointment” is a compelling and beautifully designed follow-up to Calle’s “Double Game,” right down to the satin ribbon page marker.
5.5 x 7.5 inches, 80 color illustrations. Author Quote:
“…I was invited to create an exhibition entitled “Appointment” in the house at 20 Maresfield Gardens, London, where Dr. Freud lived, and died. After having a vision of my wedding dress laid across Freud’s couch, I immediately accepted. I chose to display relics of my own life amongst the interior of Sigmund’s home.” -Sophie Calle

« Elle s’est appelée successivement Rachel, Monique, Szyndler, Calle, Pagliero, Gonthier, Sindler. Ma mère aimait qu’on parle d’elle. Sa vie n’apparaît pas dans mon travail. Ça l’agaçait. Quand j’ai posé ma caméra au pied du lit dans lequel elle agonisait, parce que je craignais qu’elle n’expire en mon absence, alors que je voulais être là, entendre son dernier mot, elle s’est exclamée : “Enfin”. »Sophie Calle raconte Monique à travers des extraits de carnets intimes et de photographies issues d’albums de famille et présente son installation créée au Palais de Tokyo en hommage à sa mère décédée en 2007. Mais ce livre est avant tout un véritable objet conçu avec l’artiste. Le texte de la couverture est brodé pour en faire un objet précieux et l’ensemble des textes liés à l’installation sont gaufrés afin de retrouver la matière de certaines œuvres de Sophie Calle.Il s’agit d’un ouvrage très personnel et émouvant et en même temps d’une réflexion sur la mort qui touche chacun d’entre nous.

After graduating from high school, Sophie Calle traveled around the world, working as a barmaid, erotic dancer, and dog trainer. Her Autobiographical Stories, presented here for the first time in a cycle of text- and photo-based work, were created in response to this seven-year hiatus. Also included are The Blind, Double Blind, and a remake of The Shadow.

First published in French in 1994, quickly acclaimed as a photobook classic and since republished and enhanced, True Stories returns for the fifth time, gathering a series of short autobiographical texts and photos by acclaimed French artist Sophie Calle, this time with four new tales. Calle’s projects have frequently drawn on episodes from her own life, but this book–part visual memoir, part meditation on the resonances of photographs and belongings–is as close as she has come to producing an autobiography, albeit one highly poetical and fragmentary, as is characteristic of her work. The tales–never longer than a page–are by turns lighthearted, humorous, serious, dramatic or cruel. Each is accompanied by an image; each offers a fragment of life. The slim, portable volume is divided into sections: the first is composed of various reflections on objects such as a shoe, a postcard or “the breasts”; the second, “The Husband,” of recollections of episodes from Calle’s first marriage; and the third gathers a variety of autobiographical recollections. Calle herself is the author, narrator and protagonist of her stories and photography; her words are somber, chosen precisely and carefully. One of the 21st century’s foremost artists, Calle here offers up her own story–childhood, marriage, sex, death–with brilliant humor, insight and pleasure.

A pioneer of Italian radical design, Gaetano Pesce remains one of the world’s greatest living creators—the critic Joseph Giovannini once called him the “perennial enfant terrible of iconoclastic design”. Now in his 80s, Pesce works daily from his New York studio, inventing ambitious, remote-controlled cabinets, gargantuan resin vases, and gold-leaf covered cupboards, each wearing the impressions of imperfect, unique gestures. This 116-page book is an intimate, left-of-center ode to Pesce’s work, with a focus on his furniture. It includes an extended conversation between Pesce and art critic Sophie Haigney, unusually playful portraits by Duane Michals, and newly-commissioned photographs from around the world, featuring his chairs from collectors and museums. With a limited-edition print run, this book functions as a portable exhibition: a new lens through which to understand the forever surprising, funny, and provocative design icon.

« Dans l’obscurité, il racontait les instants qui précédaient sa décision de prendre une photo, puis il montrait l’image le temps d’un déclic ». C’est par ce récit, Déclic, le déclic de l’appareil photo aussi bien que celui du cerveau dans lequel l’idée surgit, que Sophie Calle ouvre Parce que.Comme Denis Roche, elle entreprend d’y raconter la raison, ou du moins une raison, qui l’a poussée à appuyer sur le déclencheur. Inversant ainsi le rapport de primauté naturel entre une image et les mots qui l’accompagnent, Sophie Calle soulève une réflexion sur l’influence que peuvent avoir ces derniers sur notre réception de la photographie. Celle-ci ne se révèle d’ailleurs qu’a posteriori, dissimulée dans l’interstice de la reliure à la japonaise. Loin de se réduire à de simples légendes, ces mots – une pensée, un récit ou une interrogation – n’adhèrent pas de manière conforme à l’image qui les accompagne : ils marquent, au contraire, un fort contraste avec elle, le plus souvent avec malice, parfois avec nostalgie.Sophie Calle signe ainsi un ouvrage à la conception originale, qui s’inscrit dans la continuité de son oeuvre impertinente et poétique.

A new publication spotlights Gordon Matta-Clark’s only extant architectural piece

In 1972, Gordon Matta-Clark (1943–78) installed a dumpster on the street between 98 and 112 Greene Street in New York’s SoHo neighborhood, an architectural artwork he called Open House. Matta-Clark used discarded, scavenged materials old pieces of wood, doors to subdivide the space inside the dumpster, creating corridors and small rooms within the container. Dancers and artists moved around the space, their pedestrian movements activating the sculpture and captured in a Super-8 film of the piece.

Matta-Clark is best known for his building cuts and architectural interventions. Because of the nature of this work and its context sited in spaces abandoned or slated for demolition Matta-Clark’s “anarchitecture” was almost necessarily ephemeral, surviving as only documentation and sculptural sections. Open House (1972) is the only still-extant architectural piece by Matta-Clark.

Gordon Matta-Clark: Open House is the first publication to focus on this crucial piece by the artist, using it as a way into his complex body of work. Featuring contributions from Sophie Costes, Thierry Davila and Lydia Yee, this volume takes a historical and theoretical approach to Open House and Matta-Clark’s entire oeuvre.

Reverse Hallucinations in the Archipelago unfolds an itinerant encounter with nineteenth-century European naturalists in the Malay world, where the theory of evolution by natural selection emerged alongside less celebrated concerns about mass extinction and climate change; by re-considering the reverse hallucinatory condition of colonial science in the tropics—how scientists learned to not see what was manifestly present—the reader-as-exhibition-viewer may exhume from the remains of this will to knowledge an ethical conviction of particular relevance for confronting forms of neocolonization in the Anthropocene. Reverse Hallucinations in the Archipelago reflects on the changing role of colonial natural history collections in the current ecological crisis called the Anthropocene. The volume features an essay by Anna-Sophie Springer and Etienne Turpin, which considers in parallel the histories of scientific publications and personal letters sent by European naturalists from the tropics in order to discern a schizophrenic dilemma at the core of the colonial-scientific project. The book also includes a science fiction graphic novella by Mark von Schlegell, Iwank Celenk, and The Slave Pianos (with Punkasila) about a futurist entomological meltdown. Photographer Fred Langford Edwards presents a series of works documenting tropical specimens held in the natural history collections of the British Natural History Museum, while artist Lucy Davis uses DNA tracking and oral history to retrace the path of teak furniture from Singapore to Indonesian plantations. Also featured in the collection are interviews with the director of the Wallace Correspondence Project and entomologist, George Beccaloni, and the geologists James Russell and Satrio Wicaksono, who discuss, respectively, the history of biological specimen collecting and a drilling project in the Malay archipelago which recently obtained 300 meters of soil samples containing 800,000 years of Nusantara climate history. To compliment these collections, musician Rachel Thompson adds a two-part composition relaying the Javanese osteo-mythology of the Dutch paleoanthropologist Eugène Dubious. Finally, the volume includes an original translation (from German) of a text by Matthias Glaubrecht, Scientific Director of the Hamburg Center for Natural History, which outlines the maddening rate of species extinction in the rapidly transforming Malay world, an interview with Zenzi Suhadi, Head of the Department of Research, Advocacy, and Environmental Law at the Indonesian non-governmental organization WALHI/Friends of the Earth, as well as a series of aerial drone photographs documenting some of the most recent transformations of forest landscapes in Nusantara.

A story of the ’70s: when six New York ex-gangsters met Buckminster Fuller and built a geodesic dome

In 1970 a meeting took place in an empty loft on the Lower East Side of Manhattan between R. Buckminster Fuller, the revolutionary architect and inventor of the geodesic dome, and six ex-gang members who called themselves “CHARAS.” After a few hours, they found themselves having an earnest and important conversation, and the young men of CHARAS decided to begin implementing Bucky’s ideas. They wanted to create a program that would develop a sense of community autonomy, reclaim public space and give their lives a newfound sense of purpose. Following a period of intensive study of solid geometry, spherical trigonometry and principles of dome building, all led by Michael Ben-Eli, CHARAS constructed a geodesic dome on a vacant lot in the shadow of the Manhattan Bridge.

Originally published in 1973 and now published in an expanded edition, Charas: The Improbable Dome Builders is an intimate portrait in pictures and words of these dynamic young men and their community. The first half chronicles the trials and tribulations of building the dome, their intensive training, search for funding, accidental fires, holiday potlucks and Bucky visiting to see their incredible work. The second half contains interviews with the members of CHARAS and their friends, sharing personal stories of their time on the streets, as gang leaders, drug addicts, serving time in prison and finding a new sense of self and community through the applied philosophies of Buckminster Fuller. This edition also includes a new interview with Michael Ben-Eli looking back on the project four decades later.

Wanderlust highlights artists as voyagers who leave their studios to make art. This book (and the exhibition it accompanies) is the first comprehensive survey of the artist’s need to roam and the work that emerges from this need. Wanderlust presents the work of under-recognized yet pioneering artists alongside their well-known counterparts, and represents works that vary in process, with some artists working as solitary figures implanting themselves physically on the landscape while others perform and create movements in a collaborative manner or in public.

Many of the earlier works use what were at the time nontraditional methods of art making. In Trail Markers (1969), for example, Nancy Holt spent time in the English countryside, where she documented the painted orange trail markers she found dotting the landscape. Vito Acconci explored his body’s “occupancy” of public space through the execution of preconceived actions or activities. In Following Piece (1969), Acconci followed one randomly chosen stranger through the streets of New York. A Line Made by Walking (1967), a black-and-white photograph of Richard Long’s imprint of a straight line in a field, was Long’s first walking art work, made on a journey to St Martin’s from his home in Bristol. Ana Mendieta’s influential Silueta Works in Mexico (1977) documents performances by the artist during her travel between Iowa and Mexico, in which she imprints her body on the landscape while addressing issues of displacement.

Each of these works recognizes the walk and the journey as much more than just a basic human act. Rebecca Solnit observes that walking replicates thinking, adding “the motions of the mind cannot be traced, but those of the feet can.” These works trace the motions of wandering artists’ focused minds.

Artists include Vito Acconci, Bas Jan Ader, Nevin Aladag, Francis Alÿs, Janine Antoni, John Baldessari, Kim Beck, Roberley Bell, Blue Republic, Sophie Calle, Rosemarie Castoro, Cardiff/Miller, Zoe Crosher, Fallen Fruit, Mona Hatoum, Nancy Holt, Kenneth Josephson, William Lamson, Richard Long, Marie Lorenz, Mary Mattingly, Anthony McCall, Ana Mendieta, Teresa Murak, Wangechi Mutu, Efrat Natan, Gabriel Orozco, Carmen Papalia, John Pfahl, Pope.L, Teri Rueb, Michael X. Ryan, Todd Shalom, Mary Ellen Strom, and Guido van der Werve. 

Contributors Rachel Adams, Lucy Ainsworth, Andrew Barron, Pamela Campanaro, Andy Campbell, Hannah Cattarin, Ian Cofre, Jamie DiSarno, Katherine Finerty, Joshua Fischer, Natalie Fleming, Melanie Flood, Jason Foumberg, Allison Glenn, Kate Green, Ross Stanton Jordan, Anna Kaplan, Jamilee Lacy, Jennie Lamensdorf, Toby Lawrence, Jane McFadden, Lynnette Miranda, Conor Moynihan, Liz Munsell, Karen Patterson, Ariel Lauren Pittman, Sean Ripple, Eve Schillo, Holly Shen, Rebecca Solnit, Lexi Lee Sullivan, Whitney Tassie, Charlie Tatum, Zoë Taleporos, Lori Waxman

The Art of Walking: A Field Guide is a unique look at walking as a mode of artistic practice and is the first book to explore this fascinating subject of how walking can be used as an artistic medium.

An introductory essay identifies breaks and continuities between walking artists now and the pedestrian activities of the historic- and neo-avant-gardes of the early- and mid-20th Century, respectively. Subsequent visually-led sections deal with recent art engaging with different types of walkers including pilgrims, peripatetic writers and philosophers, dandies, drifters, marchers, stalkers, tour guides and dog walkers.

Artists to be evaluated include Marina Abramovic and Ulay, Vito Acconci, Dennis Adams, Francis Alÿs, Keith Arnatt, Tim Brennan, Stanley Brouwn, Bruce Nauman, Sophie Calle, Janet Cardiff and George Bures Miller, Jeremy Deller, Simon Faithfull, Hamish Fulton, Regina José Galindo, Mona Hatoum, Akira Kanayama, Richard Long, The Long March Foundation, Melanie Manchot, Yoko Ono, Adrian Piper, Simon Pope and Kryzysztov Wodiczko.

Privacy–today, that sometimes feels like a word from a different era. It seems hardly applicable at a time when people post everything on Facebook, from their current relationship status down to intimate pictures. Exhibitionism and voyeurism are the social strategies of our lives. Today’s art uses photographs, Polaroids, cell phone pictures, films, objects, and installations to focus on domestic scenes and personal secrets. In the present book and the exhibition of the same title at the Schirn Kunsthalle, Frankfurt, numerous contemporary artists explore the evanescence of the private sphere and the resulting “public intimacy”: Ai Weiwei / Merry Alpern / Michel Auder / Evan Baden / Richard Billingham / Mike Bouchet / Stan Brakhage / Sophie Calle / Tracey Emin / Hans-Peter Feldmann / Nan Goldin / Christian Jankowski / Birgit Jürgenssen / Edgar Leciejewski / Leigh Ledare / Leo Gabin / Christian Marclay / Ryan McGinley / Jenny Michel and Michael Hoepfel / Marilyn Minter / Gabriel de la Mora / Mark Morrisroe / Laurel Nakadate / Peter Piller / Martha Rosler / Jörg Sasse / Dash Snow / Fiona Tan / Mark Wallinger / Andy Warhol / Michael Wolf / Kohei Yoshiyuki / Akram Zaatari

In Under Blue Cup, Rosalind Krauss explores the relation of aesthetic mediums to memory–her own memory having been severely tested by a ruptured aneurysm that temporarily washed away much of her short-term memory. (The title, Under Blue Cup, comes from the legend on a flash card she used as a mnemonic tool during cognitive therapy.) Krauss emphasizes the medium as a form of remembering; contemporary artists in what she terms the “post-medium” condition reject that scaffolding. Krauss explains the historical emergence of the post-medium condition and describes alternatives to its aesthetic meaninglessness, examining works by “knights of the medium”–contemporary artists who extend the life of the specific medium. These artists–including Ed Ruscha, William Kentridge, Sophie Calle, Harun Farocki, Christian Marclay, and James Coleman–reinstate the recursive rules of a modernist medium by inventing what Krauss terms new technical supports, battling the aesthetic meaninglessness of the post-medium condition. The “technical support” is an underlying ground for aesthetic practice that supports the work of art as canvas supported oil paint. The technical support for Ruscha’s fascination with gas stations and parking lots is the automobile; for Kentridge, the animated film; for Calle, photojournalism; for Coleman, a modification of PowerPoint; for Marclay, synchronous sound. Their work, Krauss argues, recuperates more than a century of modernist practice. The work of the post-medium condition–conceptual art, installation, and relational aesthetics–advances the idea that the “white cube” of the museum or gallery wall is over. Krauss argues that the technical support extends the life of the white cube, restoring autonomy and specificity to the work of art.

A collection of artists’ books by: Marina Abramovic, Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth, Robert Morris, Ida Applebroog, Armando, Sophie Taeuber-Arp, Jean Arp, Richard Artschwager, Enrico Baj, Guido Ballo, John Baldessari, Miroslaw Balka,Balthus, Georg Baselitz, Marius Bauer, Merina Beekman, Joseph Beuys, Marcel Broodthaers, David Bunn, Chris Burden, Eduardo Chillida, Catherine Claeyé, Francesco Clemente, Chuck Close, Jean Cocteau, George Hugnet, Bruce Conner, Michael Craig-Martin, Olafur Eliasson, Max Ernst, Yves Tanguy, Tristan Tzara, Anya Gallaccio, Ryan Gander, Alberto Giacometti, Gilbert & George, Pim van Halem, Jonathan Hammer, Sjoerd Hofstra, John Billingham, Jörg Immendorf, Xu Pei, Rein Jansma, Jasper Johns, Ellsworth Kelly, Paul Klee, Jannis Kounellis, Barbara Kruger, Stephen King, André Lanskoy, Henri Laurens, Richard Long, Kasper Andreasen, Tine Melzer, Christien Meindertsma, Sophie Calle , Constant Nieuwenhuys / Gerrit Kouwenaar, Guiseppe Penone, Sigmar Polke, Ken Price / Charles Bukowski, Robert Rauschenberg, David Sandlin, Koosje Schmeddes, Sean Scully, Kiki Smith, Nicolas de Staël, Antoni Tàpies, Andrea Tippel, Richard Tuttle, Damian van der Velden, herman de vries, Hans Waanders, Kara Walker, Alicja Werbachowska, Christopher Wool, Raymond Pettibon, Paul Éluard, Marino Marini, Alicia Martin, Paul McCarthy, Jason Roades, Jack Milroy, René Char, Henry Moore, Robert Motherwell, Octavio Paz, Roman Ondak, Henk Peeters, Edward Ruscha, Man Ray, Louise Bourgeois, Sonia Delaunay, Wassily Kandinsky, Ellsworth Kelly, Joan Miró, Fernand Leger, Sol LeWitt, Henry Matisse, A.R. Penck, Pablo Picasso, Andy Warhol and Lawrence Weiner.

The relaxed photograph of Lawrence Weiner that graces the cover of this edition sets the tone for the rest of this collection of portraits of well and lesser-known personalities that were taken by Japanese photographer Shingo Wakagi. Neither forceful or overly orchestrated, the photographer invariably captures his subjects in a relaxed state and often in a familiar environment. Terry Riley, Wolfgang Tillmans, Gilbert & George, Brassai, Sophie Calle, Jim Jarmusch, Yoshimoto Nara, Sam Taylor-Wood, Luc Tuymans, Daniel Buren, Elein Fleiss, Jurgen Lehl and Sori Yanagi are some of the 57 personalities collected here, presented one full photograph to a page.

With the ascent of multimedia art, feminist and postcolonial theory, and the collapse of the art gallery’s “white walls,” the 1970s saw countless upheavals and shifts in the paradigms of Western art–upheavals that were recorded by some of today’s finest photographers. The mingling of art and socio-political change in the 1970s is a theme throughout this superb volume, a groundbreaking consideration of one decade’s art through the lenses of its greatest photographers. The 70sincludes about ten photographs by each of the selected artists: Alberto Garcia-Alix, Allan Sekula, Ana Mendieta, Anders Petersen, Carlos Pazos, Christian Boltanski, Cindy Sherman, Claudia Andujar, David Goldblatt, Douglas Huebler, Ed van der Elsken, Eugene Richards, Fina Miralles, Gabriele and Helmut Nothhelfer, Hans-Peter Feldmann, J.D. Okhai Ojeikere, Karen Knorr, Kohei Yoshiyuki, Malick Sidibe, Sophie Calle, Victor Burgin, Viktor Kolar and William Eggleston. Alongside this parade of great photography, The 70salso includes two illustrated essays by relevant artists of the time, as well as presentation texts of the participating artists and a selection of classic writings on photography published in this decade, by Roland Barthes, Susan Sontag, John Berger, Allan Sekula and Victor Burgin. Finally, it supplies a detailed chronology of socio-political transformations and the evolution of photography, illustrated with original documents and news media reproductions.

The chance situation or random eventówhether as a strategy or as a subject of investigationóhas been central to many artists’ practices across a multiplicity of forms, including expressionism, automatism, the readymade, collage, surrealist and conceptual photography, fluxus event scores, film, audio and video, performance, and participatory artworks. But whyóa century after Dada and Surrealism’s first systematic enquiriesódoes chance remain a key strategy in artists’ investigations into the contemporary world?

The writings in this anthology examine the gap between intention and outcome, showing it to be crucial to the meaning of chance in art. The book provides a new critical context for chance procedures in art since 1900 and aims to answer such questions as why artists deliberately set up such a gap in their practice; what new possibilities this suggests; and why the viewer finds the art so engaging.

Artists surveyed include: Vito Acconci, Bas Jan Ader, Francis Alys, William Anastasi, John Baldessari, Walead Beshty, Mark Boyle, George Brecht, Marcel Broodthaers, John Cage, Sophie Calle, Tacita Dean, Stan Douglas, Marcel Duchamp, Brian Eno, Fischli & Weiss, Ceal Floyer, Huang Yong Ping, Douglas Huebler, Allan Kaprow, Alison Knowles, Jiri Kovanda, Jorge Macchi, Christian Marclay, Cildo Meireles, Robert Morris, Bruce Nauman, Yoko Ono, Gabriel Orozco, Cornelia Parker, Robert Rauschenberg, Gerhard Richter, Daniel Spoerri, Wolfgang Tillmans, Keith Tyson, Jennifer West, Ceryth Wyn Evans, La Monte Young

Writers include: Paul Auster, Jacquelynn Baas, Georges Bataille, Daniel Birnbaum, Claire Bishop, Guy Brett, Benjamin H. D. Buchloh, Stanley Cavell, Lynne Cooke, Fei Dawei, Gilles Deleuze, Anna Dezeuze, Russell Ferguson, Branden W. Joseph, Siegfried Kracauer, Jacques Lacan, Susan Laxton, Sarat Maharaj, Midori Matsui, John Miller, Alexandra Munroe, Gabriel Perez Barreiro, Jasia Reichardt, Julia Robinson, Eric L. Santner, Sarah Valdez, Katharina Vossenkuhl

Documents of Contemporary Art series
Copublished with Whitechapel Gallery, London

The Big Archive features an impressive cast of characters: Sigmund Freud, Marchel Duchamp, Alexandr Rodchenko, Andy Warhol, Sophie Calle—all masterfully catalogued and filed into Sven Spieker’s meta-archival project. This original and carefully crafted book reveals the extent to which modernity produced and was produced by archival technologies ranging from Wunderblocks to typewriters, from boites-en-valise to filing cabinets.

A Secret Service: Art, Compulsion, Concealment examines the work of 16 international modern and contemporary artists whose practices centre on the construction of private worlds or focus on the exposure of hidden facts. The book makes specific reference to Kurt Schwitters, whose seminal work, the “Merzbau”, remains one of the confounding riddles of contemporary art. Including essays by artist and curator, Richard Grayson, specialist in outsider art Roger Cardinal, and Hayward Exhibitions Curator Clare Carolin, “A Secret Service” explores the spaces between psychological compulsion and philosophical expression, and maps the strange and awesome possibilities of the human imagination. Artists featured include: Sophie Calle, Roberto Cuoghi, Henry Darger, Gedewon, Susan Hiller, Tehching Hsieh, Joachim Koester, Kataryzna Josefowicz, Paul Etienne Lincoln, Mark Lombardi, Mike Nelson, Kurt Schwitters, Speculative Archive, Jeffery Vallance and Oskar Voll.

The Berlin Wall fell almost 20 years ago, and since then a generation of artists has come of age in reunified Germany. Reality Bites investigates the effect of that historical context, identifying the new kinds of work that have grown out of it, full of strategies and materials borrowed from and referring back to one kind of recent German reality or another, aesthetic exploration of experience in which the themes of reality and history take on increased meaning. This representative selection of about 70 pieces created since 1989 includes work from Franz Ackermann, Kutlug Ataman, Sophie Calle, Tacita Dean, Thomas Demand, Sabine Hornig, Christian Jankowski, Andre Korpys, Markus Loffler, Via Lewandowsky, rude_architecture, Gregor Schneider, Collier Schorr, Wolfgang Tillmans. Among those less known to U.S. audiences are Cosima von Bonin, born in Kenya, who plays curator, critic, DJ and producer in the course of her sometimes risque work; Rudolf Herz, whose Lenin on tour put busts of the great leader on the back of a flatbed and took them on the road; and Renata Stih and Frieder Schnock, whose “Places of Remembrance,” in Berlin’s Bavarian Quarter and “Bus Stop,” Holocaust Memorial project build the city’s history into its streetscape.

Die vorliegende Veröffentlichung erweitert diese theologische Fragestellung auf die zeitgenössische Kunst und deren Verarbeitung von Problemen der Gegenwart: Es werden Werke internationaler Künstler zusammengeführt, die sich in ihrer Arbeit mit existenziellen Aspekten des Lebens befassen. Zugleich wird nach den in der Kunst heute noch anwesenden Bildern der alt- und neutestamentarischen Überlieferung gesucht. Die ausgewählten Kunstwerke spüren das Religiöse im Säkularen und das Säkulare im Religiösen auf. In ihnen entwirft der Mensch Bilder von sich selbst in seiner körperlichen und geistigen Existenz. In miteinander verknüpften ikonografischen Linien führt die Publikation Entwürfe von Menschen, ihren Orten und Zeichen zusammen, die ihrerseits spirituelle Fragen stellen. In einführenden Essays werden die künstlerischen und die theologischen Aspekte des Themas erörtert. Hinzu kommen Texte zu den ausgestellten Werken sowie Selbstzeugnisse der beteiligten Künstler. Die Künstler: Dennis Adams, Pawel Althamer,Samuel Beckett, Joseph Beuys, Louise Bourgeois, Sophie Calle, Peter Campus, John Coplans, Hartwig Ebersbach, Jochen Gerz, Roni Horn, Thomas Huber, Martin Kippenberger, Harald Klingelhöller, Willem de Kooning, Maria Lassnig, Via Lewandowsky, Jonathan Meese, Boris Michailow,Juan Muñoz,Bruce Nauman, Gerhard Richter, Anri Sala, Thomas Schütte, Florian Slotawa, Kiki Smith,Robert Smithson, Thomas Struth, Hiroshi Sugimoto, Fiona Tan, Wolfgang Tillmans/Isa Genzken, Patrick Tosani, Mark Wallinger, Andy Warhol, Remy Zaugg

Mark Durden and Craig Richardson has a simple goal: to examine the history of documentary photography and map out solutions to the relationship between photographer and subject. Well, mayble not so simple. But in Face On, these two photographers make an intriguing effort with photographic and other lens-based works featuring artists including Jennifer Bornstein, Adam Chadzko, Sophie Calle, Rineke Dijkstra and Philip-Locra di Corcia.

Carl Andre (born 1935), the American minimalist artist, is perhaps best known for his grid-based floor sculptures but also for large, outdoor public artworks and small sculptures, poetry and installations. Alistair Rider here shows that it is the materials that he uses to make his works that inspire him from his controversial bricks to all sorts of metals, found wood, even hay bales, Andre is fascinated by what materials make up the world and presents them for contemplation.Andre’s early wood sculptures show the influence of Brancusi, who he had met through their mutual friend Hollis Frampton when a student in the early 1950s. Then towards the end of that decade he shared a studio with Frank Stella and their conversations led to rapid development in his work, when he began using a radial saw to shape his sculptures.Between 19604 Andre worked as freight brakeman and conductor in New Jersey for the Pennsylvania Railroad, and focused mainly on writing, including his poems in the tradition of Concrete Poetry that makes visual use of the words on the page. His experiences working on the freight trains would have a later influence on Andre’s sculpture, in ordered organization, and his artistic personality it was not uncommon for Andre to dress in overalls and a blue work shirt, even to attend formal occasions.His most well known writings were published in 1980 in a book called 12 Dialogues, in which Andre and Frampton took turns responding to one another at a typewriter using mainly poetry and free-form essay-like texts. Andre’s Concrete Poetry has exhibited in the USA and Europe, a comprehensive collection of which is in the collection of the Stedelijk Museum in Amsterdam.His first public exhibition of work was in 1965, in the ‘Shape and Structure’ show curated by Henry Geldzahler at the Tibor de Nagy Gallery, and in 1966 his controversial Lever was included in the important exhibition at the Jewish Museum in New York, Primary Structures. In 1970 he had a solo exhibition at the Solomon R. Guggenheim Museum, and has had one man exhibitions and participated in group shows in major museums and galleries throughout the USA and Europe. His work features in many important collections, including he UK’s Tate, which bought Equivalent VIII in 1972 and a few years later was the inspiration for much public controversy over the nature of contemporary art. He is now represented by the Paula Cooper Gallery in New York, by Sadie Coles HQ in London, and Yvon Lambert Gallery in Paris, and lives and works in New York.Alistair Rider here divides Andre’s works into the major themes and series that have shaped his career’s development, exploring how each has grown from Andre’s philosophies and artistic growth. For the first time, Andre’s poetry is given due place in his oeuvre, making this a uniquely comprehensive understanding of the artist and his art.

Since the rise of the photographic medium in the late 19th century, people have been fascinated by the camera’s ability to record striking moments both public and private. From Mathew Brady’s haunting images of the Civil War to the present day paparazzi’s brand of voyeurism-for-hire, photography has long served to capture not only the posed portrait but also the personal, the intimate, the unexpected, and the taboo. This fascinating book examines the ways in which acts of voyeurism and surveillance have inspired, challenged, and expanded the medium of photography throughout its evolution. Featuring photography by Sophie Calle, Henri Cartier-Bresson, Walker Evans, Harun Farocki, Nan Goldin, Robert Mapplethorpe, Helmut Newton, Andy Warhol, and Weegee, among others, Exposed chronicles the artistic, political, and even moral dilemmas that underlie some of these artists’ best known works. Through insightful essays and commentary by Sandra Phillips, one of the foremost authorities on the history of 20th-century photography, Exposed examines some of the most invasive and unsettling aspects of photography, including the use of the hidden camera, the production of erotic pictures and pornography, and the intersection of photography with both celebrity and violence.

Street Art, Street Life examines the street as subject matter, venue and source of inspiration for contemporary artists and photographers from the late 1950s to the present. This unique volume includes street photography; documentation of performance, events and artworks presented in the street; works using material from the street; and examples of street culture. Through works by more than 30 world-renowned artists, including Vito Acconci, Amy Arbus, Sophie Calle, Robert Frank, Lee Friedlander, William Klein, Robin Rhode, Martha Rosler, Jamal Shabazz and Garry Winogrand, Street Art, Street Life explores a range of themes related to the street–as arena for political and cultural expression, violence and crime, gender roles in an urban context, advertising and commerce and as counterpoint to museums and other traditional art venues. This volume is published on the occasion of an exhibition of the same name organized by Lydia Yee, Curator at the Barbican Art Gallery in London and Senior Curator at the Bronx Museum of the Arts in New York. Yee contributes an essay, along with Frazer Ward and Katherine Bussard.

Among the many lessons we have learned from photography since its inception are a few about the nature of reality and its representation. Long considered a mirror image of the real world, a direct and objective record of what exists in the visual stratosphere, the photograph has come to be understood as something much more complicated and variable, something easily manipulated and modified. Subjective Realities is thus a most apt title for this publication, which presents a stellar selection of contemporary photography from the Refco Collection. Included are works by Vito Acconci, Janine Antoni, Matthew Barney, Chris Burden, Jean-Marc Bustamante, Sophie Calle, Gregory Crewdson, Rineke Dijkstra, Olafur Eliasson, Barbara Ess, Walker Evans, Adam Fuss, Ann Hamilton, Eva Hesse, Axel Hutte, Seydou Keita, Inigo Manglano-Ovalle, Ana Mendieta, Gordon Matta-Clark, Mariko Mori, Catherine Opie, Richard Prince, and many, many more artists. An essay by Dave Hickey introduces the book, and short texts on individual artists have been contributed by Lynne Cooke, Kathryn Hixson, A.M. Homes, Glenn O’Brien, Saul Ostrow, Luc Sante, Katy Siegel, and others. Edited by Adam Brooks.~Essays by Lynne Cooke, Dave Hickey, A.M. Homes, David Rimanelli and Katy Siegel. ~Introduction by Judith Russi Kirshner.

Today artist’s books are more varied than ever, with practitioners treating the book as a medium in ever more open ways and attitudes. Herewith please find the complete bookworks of Werner Bttner, Albert Oehlen, Georg Herold, Hans-Peter Feldmann, Barbara Bloom, Sophie Calle, Fischli & Weiss, Gelatin, Damien Hirst, Richard Prince, Mike Kelley, Ida Applebroog and Heimo Zobernig. Essays by Uwe Koch, Sabine Roeder, Dorothea Klein, Klaus Pohl and Melitta Kliege.

Over 200 works by figures in modern and contemporary art movements are being shown in an exhaustive look at the art of the 20th century and how it has interpreted everyday life. With the opening of the Castello di Rivoli’s exhibition spaces, this show – which includes works by artists outside Europe – juxtaposes avant-garde culture with the everyday. This book opens with works by the masters of cubism and futurism with Braque, Picasso and Boccioni; it continues with New Dadaism, exemplified by Rauschenberg, the underground films of Warhol, the pop images of Hamilton and Oldenburg, and on to the Sixties with Pistoletto and Richter. The Seventies are presented by Gilbert & George, Boltanski, Dan Graham and On Kawara. Late-1990s movements are seen through the works of Nan Goldin, Fischli & Weiss, Sophie Calle, Jeff Wall, to the younger Beat Streuli, Felix Gonzales-Torres, Richard Billingham and Rikrit Tiravanija.

In questo libro vengono presentati documenti e immagini di artiste quali Cindy Sherman, Francesca Woodman, Ana Mendieta, Marina Abramovic, Annette Messager, Sherrie Levine, Jenny Holzer, Barbara Kruger, Guerrilla Girls, Rebecca Horn, Yayoi Kusama, Kiki Smith, Sophie Calle, Nan Goldin, Marlene Dumas, Rosemarie Trockel, Mona Hatoum, Doris Salcedo, Zoe Leonard, Sue Williams, Karen Kilimnik, Andrea Zittel, Eva Marisaldi, Sam Taylor-Wood, Pipilotti Rist, Grazia Toderi, Tacita Dean, Shirin Neshat, Gillian Wearing, Vanessa Beecroft, Rineke Dijkstra, Elke Krystufek, Margherita Manzelli, Tracey Moffatt, Luisa Lambri, Eija-Liisa Ahtila, Kara Walker, Ghada Amer, Lucy Orta, Soo-Ja Kim.

A reappraisal of the position and work of women artists from the Middle Ages to the present. It examines the way in which women’s work has been perceived in the history of Western art – often in direct reference to gender – and re-examines the works themselves. Revisions and new illustrations bring this volume up-to-date, with an additional chapter focusing on issues of identity, class, race and sexuality, many of which are addressed in the work of contemporary artists. Some of those discussed are Rachel Whiteread, Mona Hatoum, Hanna Wilke, Kiki Smith, Sophie Calle and Susan Hiller.

What role does the family play in the construction of identity? How has the social and political structure of the family changed? How have artists reacted to and/or documented societal reality and the changing role of the family? Family explores these questions and others in an effort to understand how humanity’s oldest social structure has evolved and adapted to life in the 21st century. Expanding beyond the hyped notion of “family values” and the supposed breakdown of the family, this volume includes related work by 38 artists–from Sanford Biggers, Richard Billingham, Louise Bourgeois, and Sophie Calle, to Nicole Eisenman, Margi Geerlinks, Nan Goldin, and Adrian Piper–and poems by 10 contemporary poets including Robert Hass, Louise Glck and Cal Bedieut. In place of the traditional essays found in art catalogues, each artist submitted a brief essay or quote on the concept of family and its relevance to their lives and work.

Artists: MORA, Gilles, SEKAER, Peter, HILL, John T., MODOTTI, Tina, ALBERS, Patricia, STOURDZE, Sam, SAYAG, Alain, NIXON, Nicholas, GALASSI, Peter, FUKASE, Masahisa, YAMAGISHI, Koko, WESTON, Edward, TUGGENER, Jakob, GASSER, Martin, SOMMER, Frederick, DURAND, Régis, MATTER, Herbert, HEINECKEN, Robert, PITTS, Terence, STAHEL, Urs, ALBEROLA, Jean-Michel, DRAHOS, Tom, MILLET, Bernard, GRANCHER, Valéry, RONIS, Willy, BONHOMME, Pierre, RIGOLINI, Luciano, MILOVANOFF, Christian, BAZZOLI, François, BAUDRILLARD, Jean, GUNTHERT, André, CLERGUE, Lucien, ALDRICH, Stephen, COLEMAN, A.D., FURUYA, Seiichi, FABER, Monika, FUCHS, Daniel and Geo, WILLIAMS, Val, CALLE, Sophie