The most highly publicized of the infamous Young British Artists, Emin has stirred as much controversy as she has acclaim, being both highly personal and extremely original in her art. Emin’s work is engaging, titillating, disturbing, and startlingly confessional. One of her most famous pieces is Everyone I Ever Slept With 1963-1995, a tent appliquéd with names. Another notorious work, My Bed—the scene where she spent four days contemplating suicide—was exhibited at Tate Britain when the artist was short-listed for the Turner prize in 1999. Though denounced by conservative critics at the outset, Emin’s work has attracted serious critical attention for more than a decade. In the words of Art in America, “What brought Emin to prominence was shock value, but what keeps her work powerful as she continues is the strength and nuance of its form and content.” Compiled in close collaboration with the artist herself—and unprecedented in its scope—this is the definitive book on Emin, featuring drawings, paintings, sculptures, appliqués and embroideries, neon and video stills as well as her own writing.

The career of Tracey Emin, one of the best known contemporary British artists, has become a potent symbol of the relationship between art and celebrity in our time. When it was exhibited in London at the Tate in 1999, her now notorious installation My Bed was denounced by conservative critics as a national scandal, but this and her other work have continued to attract ever larger audiences. Whether storming drunkenly out of live television debates, talking tearfully about her abortions or modelling evening gowns for Vivienne Westwood, Tracey Emin makes headlines. Yet if Emin is now universally recognized as a media phenomenon, her work has also begun to attract serious critical attention. In The Art of Tracey Emin, distinguished critics from Britain and the United States explore her various artistic influences, for example Edvard Munch and Egon Schiele, and the separate parts of her oeuvre – her installations (most notably My Bed and Everyone I Have Ever Slept With), her film and video works, and her monoprints. The final essay takes the form of an interview with the artist.

The most highly publicized of the infamous Young British Artists, Emin has stirred as much controversy as she has acclaim, being both highly personal and extremely original in her art. Emin’s work is engaging, titillating, disturbing, and startlingly confessional. One of her most famous pieces is Everyone I Ever Slept With 1963-1995, a tent appliqued with names. Another notorious work, My Bed–the scene where she spent four days contemplating suicide–was exhibited at Tate Britain when the artist was short-listed for the Turner prize in 1999. Though denounced by conservative critics at the outset, Emin’s work has attracted serious critical attention for more than a decade. In the words of Art in America, “What brought Emin to prominence was shock value, but what keeps her work powerful as she continues is the strength and nuance of its form and content.” Compiled in close collaboration with the artist herself–and unprecedented in its scope–this is the definitive book on Emin, featuring drawings, paintings, sculptures, appliques and embroideries, neon and video stills as well as her own writing.

The most highly publicized of the infamous Young British Artists, Emin has stirred as much controversy as she has acclaim, being both highly personal and extremely original in her art. Emin’s work is engaging, titillating, disturbing, and startlingly confessional. One of her most famous pieces is Everyone I Ever Slept With 1963-1995, a tent appliquéd with names. Another notorious work, My Bed—the scene where she spent four days contemplating suicide—was exhibited at Tate Britain when the artist was short-listed for the Turner prize in 1999. Though denounced by conservative critics at the outset, Emin’s work has attracted serious critical attention for more than a decade. In the words of Art in America, “What brought Emin to prominence was shock value, but what keeps her work powerful as she continues is the strength and nuance of its form and content.” Compiled in close collaboration with the artist herself—and unprecedented in its scope—this is the definitive book on Emin, featuring drawings, paintings, sculptures, appliqués and embroideries, neon and video stills as well as her own writing. –This text refers to an out of print or unavailable edition of this title.

‘Here I am, a fucked, crazy, anorexic-alcoholic-childless, beautiful woman. I never dreamt it would be like this.’ Tracey Emin’s STRANGELAND is her own space, lying between the Margate of her childhood, the Turkey of her forefathers and her own, private-public life in present-day London. Her writings, a combination of memoirs and confessions, are deeply intimate, yet powerfully engaging. Tracey retains a profoundly romantic world view, paired with an uncompromising honesty. Her capacity both to create controversies and to strike chords is unequalled in British life.

Just Love Me–with its title taken directly from a late 90s neon sign by Tracey Emin–reveals how complex and differentiated female identity constructions have become today. Classically assigned roles have broken down. Radical feminist positions of the 70s and 80s no longer make sense. But if much has changed since the late 60s, when feminist artists began to make their most prominent moves, many social and structural problems remain. The strategies and perspectives of women artists today–and, presumably, of women today–are here considered through a selection of works by an important group of contemporary (mostly) women artists: Matthew Barney, Rineke Dijkstra, Tracey Emin, Mona Hatoum, Jonathan Horowitz, Sarah Jones, Mike Kelley, Karen Kilimnik, Sarah Lucas, Tracey Moffat, Cady Noland, Catherine Opie, Pipilotti Rist, Daniela Rossell, Cindy Sherman, Ann-Sofi Sidan, Sam Taylor-Wood, Gillian Wearing, Sue Williams, and Andrea Zittel.

One of the stars of fashion photography and one of its most resolute interpreters of beauty and fashion, Juergen Teller is known for disregarding conventions and pointing his camera behind the scenes of glamour to reveal models in all their personality and vulnerabiliy. Teller serves the world of the beautiful, but with a critical, personal eye. In his last book, More, he collaborated with supermodel Stephanie Seymour, photographing her in her three lavish homes, surrounded by her art collection, her home furnishings, her property, and her unexpectedly hilarious, bare-all, exaggerated attitude. This examination of the private sphere led Teller to produce his most recent series, Märchenstüberl, which explores his and his family’s roots–literally. Taking his camera down into the basement of his parents’ house, he photographed their wet bar, known among family members as the Märchenstüberl (“fairy tale corner”). Intensely reminiscent and abstractly personal, Märchenstüberl also contains selections from Teller’s entire body of work, providing the first complete look at his multifaceted work.

An Intriguing and Diverse Survey of Some of the Most ImportantArtists of the Century; New Affordable Format.As part of its critically-acclaimed “Themes and Movements” series, PhaidonPress is pleased to announce the new edition of THE ARTIST’S BODY, acompelling look at the artists’ use of self and body as object and subjectin their work, a movement that represents the state of contemporary art andmakes a wider comment on the human condition.Bound or beaten naked orpainted, still or spasmodic: the artist lives his or her art publicly inperformance or privately in video and photography.Amelia Jones’ surveyexamines the most significant works in the context of social history andTracey Warr’s selection of documents combines writings by artists, criticsand philosophers.Beginning with such key artists as Marcel Duchamp and Jackson Pollock, thisbook examines a selection of the most significant players who have usedtheir bodies to create their art – among them, in the 1960s CaroleeSchneemann, Rudolf Schwarzkogler, Yoko Ono; in the 1970s, Chris Burden, AnaMendieta, Vito Acconci, Marina Abramovic; up to the turn of the millennium,Matthew Barney, Mac Quinn, Tracey Emin and Mona Hatoum.In the survey, Amelia Jones, among the world experts in the field,discusses performance and body art against the background of socialhistory.She examines the breakdown of barriers between art and life,visual and sensual experience – how artists have expanded and renewed theage-old tradition of self-portraiture, moving art out of the gallery intounexpected spaces and media. Each image is accompanied by an extendedcaption. The works are organized thematically.* Painting Bodies, concerns work that shows the trace, stain or imprintof the artist’s body in response to the paint-on-canvas tradition. * Gesturing Bodies, examines artists who transform the body – its acts,its gesture – into art, gesture, behavior and situations are used in placeof art objects.* Ritualistic and Transgressive Bodies, looks at work which uses thebody to enact challenges to the social expectations of the body, often inrituals that perform a cathartic function.Mutilation and sacrifice areused to rupture personal and social homogeneity. * Body Boundaries, examines boundaries between the individual body andthe social environment and between the inside and outside of the bodyitself. * Performing Identity, looks at issues of representation and identity. * Absent Bodies, explores absence and the mortality of the body throughphotography, casting, imprints or remnants of the body.* In Extended and Prosthetic Bodies, the body is extended throughprosthetics or technology, to explore cyberspace and alternative states ofconsciousness.Parallel to the illustrated works of art, this section combines texts bycritics who shaped the movement, from Lucy R. Lippard to Thomas McEvilley. Alongside these writings by philosophers and thinkers such as GeorgeBataille and Gilles Deleuze who have contributed on a theoretical level tothe discussion around the body – a prevalent theme in twentieth-centurycultural theory.THE ARTIST’S BODY is a powerful and poignant look at an increasinglysignificant movement and art form.This book is an essential referencethat examines some of the most cutting edge and innovative artists of ourtime.This new affordable edition is perfect for students of theater andart as well as anyone with an interest in contemporary art.

The world without money is just unimaginable! Just as unimaginable as a world without purpose, ideals and dreams that go beyond the merely materialistic. Philosophers, artists, poets, statesmen and revolutionaries have always since time immemorial given serious thought to current and forward-looking concepts of value and their visual representation. The topic of money and value directly awakens many associations. Obviously, that is precisely what the golden pavilion built specifically for the exhibit in Biel does: hoarding and jewellery, precious and conflict, blame and atonement, myths and fairy-tales. Money and Value / The last taboo shows a wide panorama of different views of this as portrayed by various artists, including works by Joseph Beuys, Marcel Broodthaers, Marcel Duchamp, Tracey Emin, Mona Hatoum, Barbara Kruger, Piero Manzoni, Jean Baptiste Ngnetchopa, Wang Du, Yukinori Yanagi and many others. Reflections on the topic of money by poets and thinkers, from Aristotle all the way to Oscar Wilde round off the refreshing spectrum of this fascinating picture gallery.

Presenting unique and in-depth collaborations and editions with leading contemporary artists, Parkett has been the foremost international journal on contemporary art for nearly two decades. Issue No. 63 features collaborations with Tracey Emin, William Kentridge, and Gregor Schneider, three artists whose highly personal works affect viewers in an evocative manner, yet through strikingly different means. Emin bares her soul from the inside out, in her confessional multimedia photographs, drawings, videos, and installations. Kentridge’s highly-charged films, drawings, sculptures, and theatrical productions analyze the history of his native South Africa and the implications and legacy of apartheid. And finally, Schneider’s inside-out abodes turn the seemingly cozy and reassuring context of “home” into a haunting maze of opened and closed rooms, claustrophobic corridors and tunnels, and impenetrable windows and doors. Each of these artists draws us into their private worlds, diminishing the boundaries between artist and audience.

Taking its title from Samuel Beckett, Besser Scheitern (“fail better”) looks at the theme of failure in the work of 17 performance and video artists, including Marina Abramovic, Bas Jan Ader, Tacita Dean, Tracey Emin, Fischli & Weiss, Bruce Nauman and Gillian Wearing.

The declaration that a work of art is “about sex” is often announced to the public as a scandal after which there is nothing else to say about the work or the artist-controversy concludes a conversation when instead it should begin a new one.

Moving beyond debates about pornography and censorship, Jennifer Doyle shows us that sex in art is as diverse as sex in everyday life: exciting, ordinary, emotional, traumatic, embarrassing, funny, even profoundly boring. Sex Objects examines the reception and frequent misunderstanding of highly sexualized images, words, and performances. In chapters on the “boring parts” of Moby-Dick, the scandals that dogged the painter Thomas Eakins, the role of women in Andy Warhol’s Factory films, “bad sex” and Tracey Emin’s crudely evocative line drawings, and L.A. artist Vaginal Davis’s pornographic parodies of Vanessa Beecroft’s performances, Sex Objects challenges simplistic readings of sexualized art and instead investigates what such works can tell us about the nature of desire.

In Sex Objects, Doyle offers a creative and original exploration of how and where art and sex connect, arguing that to proclaim a piece of art “about sex” reveals surprisingly little about the work, the artist, or the spectator. Deftly interweaving anecdotal and personal writing with critical, feminist, and queer theory, she reimagines the relationship between sex and art in order to better understand how the two meet-and why it matters.

Jennifer Doyle is associate professor of English at the University of California, Riverside. She is coeditor, with Jonathan Flatley and José Esteban Muñoz, of Pop Out: Queer Warhol.

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

Diffuso ormai da un secolo in ogni ambito della vita quotidiana e da subito divenuto un simbolo della modernità, il neon è anche uno dei materiali più ricchi di potenzialità espressive tra quelli utilizzati nel campo artistico contemporaneo. Dagli anni cinquanta del Novecento in avanti, la sua energia smaterializzata, l’intensa gamma dei colori, la sua capacità di trasformarsi in segni, lettere e forme a due o tre dimensioni, lo ha infatti tramutato in una vera e propria “materia” duttile e luminosa, un medium di cui gli artisti hanno indagato di volta in volta le potenzialità comunicative, i risvolti fenomenologici, gli effetti sull’ambiente e sulla psiche umana. Il catalogo della mostra Neon. La materia luminosa dell’arte indaga in modo specifico la fortuna dei tubi fluorescenti nel panorama artistico internazionale degli ultimi cinque decenni, disegnando un viaggio attraverso poetiche, visioni e sensibilità diverse accomunate dalla attrazione per le possibilità espressive di un materiale straordinariamente versatile, in cui si combinano origine industriale e realizzazione artigianale, dimensione architettonica e linguistica, immagine e parola, luce e spazio. Mentre il neon tende a scomparire dalle città contemporanee, sostituito da più prosaiche insegne luminose a led, è l’arte visiva a rammentarci oggi la sua vicenda straordinaria e ad aprire le sue ancora inesplorate possibilità. Artisti: Jean-Michel Alberola, Stephen Antonakos, Olivo Barbieri, Massimo Bartolini, Jean-Pierre Bertrand, Bik Van der Pol, Pierre Bismuth, Stefan Brüggemann, Marie José Burki, Pedro Cabrita Reis, Pier Paolo Calzolari, Maurizio Cattelan, Chul Hyun Ahn, Claire Fontaine, John Cornu, Tim Davis, Cédric Delsaux, Laddie John Dill, Tracey Emin, Flavio Favelli, Spencer Finch, Dan Flavin, Piero Golia, Douglas Gordon, He An, Alfredo Jaar, Gyula Kosice, Joseph Kosuth, Piotr Kowalski, Brigitte Kowanz, Sigalit Landau, Bertrand Lavier, Marcello Maloberti, Mario Merz, François Morellet, Andrea Nacciarriti, Maurizio Nannucci, Moataz Nasr, Bruce Nauman, Valerio Rocco Orlando, Fritz Panzer, Anne e Patrick Poirier, Riccardo Previdi, Delphine Reist, Jason Rhoades, Paolo Scirpa, Jamie Shovlin, Keith Sonnier, Tsuneko Taniuchi, Pascale Marthine Tayou, Massimo Uberti, Grazia Varisco, Vedovamazzei, Cerith Wyn Evans.

Designed to look and feel like a chic new artsy/underground magazine, this big, floppy, glossy publication features art that mines contemporary youth subcultures–from vapid suburban party girls, to urban graffiti artists, to Goths, student athletes, losers, sluts, political activists, computer geeks, skaters and burgeoning homoeroticists. The artists featured include: Abetz / Drescher, Rita Ackermann, Joe Andoe, Marc Bijl, Anuschka Blommers & Niels Schumm, Slater Bradley, Daniele Buetti, Ian Cooper, Annelies Coste, Sue de Beer, Philip Lorca-DiCorcia, Amie Dicke, Tracey Emin, Luis Gispert, Anthony Goicolea, Janine Gordon, Matthew Greene, Lauren Greenfield, Kevin Hanley, Esther Harris, Rachel Howe, Pierre Huyghe, Laura Kikauka, Clemens Krauss, Hendrik Krawen, Liisa Lounila, Martin Maloney, Marlene McCarty, Ryan McGinley, Alex McQuilkin, Bjarne Melgaard, Alex Morrison, Joao Onofre, Lea Asja Pagenkemper, Mike Pare, Frederic Post, Bettina Pousttchi, L.A. Raven, Julika Rudelius, Collier Schorr, Kiki Seror, Ulrike Siecaup, Hannah Starkey, Tomoaki Suzuki, Alex Tennigkeit, Sue Tompkins, Gavin Turk, Iris van Dongen, Alejandro Vidal, Banks Violett. This book also contains essays by Jens Hoffman, Georg Seeslen, Niels Werber, Mercedes Bunz, Matthias Ulrich. What distinguishes the youth of today? The impulse of the young, the youthful and the forever young in our society is ever present and determining – independent of its affiliation to a generation: dynamism, flexibility, enthusiasm, but also friction and protest are just some parameters which influence our everyday life and our life together. In the exhibition, “The Youth of Today”, young artists grant us a diverse critical-analytical insight into the lives of young people. Through their selected media, the questions and problems, as well as the emotional structures describing these themes, are revealed. It is accompanying an exhibition at Schirn Kunsthalle Frankfurt.

One-hundred years ago, Einstein solved the elemental mystery of the nature of light: it is both an electromagnetic wave and a stream of particles. It is a form of energy that moves at a speed of 299.792.458 m/s. It is a medium like no other, and nothing has revolutionized and democratized our world in the way that the control of electric light has.~We live in cities and gardens of light. For almost a century, artists have been working with light bulbs, fluorescent and neon, spotlights or LEDs, to cultivate these gardens. Light Art. Artificial Light offers a broad overview of the development of this genre, from the pioneers of light art in the 1920s to the immersive, interactive environments of ZERO, GRAV, Gruppo T and Gruppo N. Outstanding contemporary pieces, fascinating, profound illuminated spheres, ironic cross-references and plays of filigreed light complete this glowing spectrum of work. Featured artists include Vito Acconci, Olafur Eliasson, Tracey Emin, Dan Flavin, Zaha Hadid, Jenny Holzer, Mike Kelley, Julio Le Parc, Mario Merz, László Moholy-Nagy, Bruce Nauman, Jorge Pardo, Tobias Rehberger, Anselm Reyle, Jason Rhoades, Keith Sonnier, Yves Tinguely, James Turrell and Chen Zhen.

At this point in art time, new media work needs no longer be prefixed by “new.” With a firm place in institutional and private collections, with an ever-burgeoning range of practitioners, media art can safely be considered a part of the contemporary canon. And hence Fast Forward, a hefty, thorough reference guide, a virtual catalogue raisonné of the medium, from works found in the Goetz Collection. Over 180 film and video works by almost 80 international artists are represented, including: Eija-Liisa Ahtila, Doug Aitken, Chantal Akerman, Francis Alÿs, Emmanuelle Antille, Kutlug Ataman, Matthew Barney, Andrea Bowers, Janet Cardiff / George Bures Miller, Tacita Dean, Rineke Dijkstra, Stan Douglas, Tracey Emin, Peter Fischli / David Weiss, Douglas Gordon, Rodney Graham, Mona Hatoum, Teresa Hubbard / Alexander Birchler, Pierre Huyghe, Annika Larsson, Sharon Lockhart, Steve McQueen, Bjørn Melhus, Arnout Mik, Tracey Moffatt, Sarah Morris, Gabriel Orozco, Tony Oursler, Paul Pfeiffer, Jeroen de Rijke / Willem de Rooij, Pipilotti Rist, Santiago Sierra, Beat Streuli, Sam Taylor-Wood, Diana Thater, Wolfgang Tillmans, Rosemarie Trockel, and Gilian Wearing. The book is rounded off with introductory essays by Peter Weibel, Stephan Urbaschek, Mark Nash, and Sabine Himmelsbach, plus short essays on individual artists, and bibliographic and technical information.

Presenting unique and in-depth collaborations and editions with leading contemporary artists, Parkett has been the foremost international journal on contemporary art for nearly two decades. Issue No. 63 features collaborations with Tracey Emin, William Kentridge, and Gregor Schneider, three artists whose highly personal works affect viewers in an evocative manner, yet through strikingly different means. Emin bares her soul from the inside out, in her confessional multimedia photographs, drawings, videos, and installations. Kentridge’s highly-charged films, drawings, sculptures, and theatrical productions analyze the history of his native South Africa and the implications and legacy of apartheid. And finally, Schneider’s inside-out abodes turn the seemingly cozy and reassuring context of “home” into a haunting maze of opened and closed rooms, claustrophobic corridors and tunnels, and impenetrable windows and doors. Each of these artists draws us into their private worlds, diminishing the boundaries between artist and audience.

A photographic journey across London, taking in a selection of contemporary art and a curry along the way. Based in London, nvisible Museum is the product of twelve years’ worth of acquisitions by a collector who prefers to remain anonymous. Works are often seminal pieces by young artists early in their careers. Uniquely, the contents of collection are dispersed and nomadic, lent to friends and artists in the collection, and from time to time loaned to art institutions in thematic exhibitions, including the Yerba Buena Center for the Arts, San Francisco; Migros Museum, Zurich; Kiasma Museo, Helsinki; and Sir John Soane’s Museum, London in 2002. <I>Invisible London</I> is a photographic journey from Heathrow to Brick Lane, taking in some of the city’s public places and moving inside the flats, houses and studios where the collection of nvisible Museum is locatedin subtle and compelling opposition to the gigantism and monumentalism of contemporary art collecting. Combines art and voyeurism with glimpses of an extraordinary art collection. 90 color photographs. Artists represented: Nobuyoshi Araki; Matthew Barney; Richard Billingham; Kate Blacker; Louise Bourgeois; Jake and Dinos Chapman; Tacita Dean; Tracey Emin; Katharina Fritsch; Paul Graham; Douglas Gordon; Richard Hamilton; Tim Head; Damien Hirst; Gary Hume; Callum Innes; Emma Kay; Simon Linke; Adam Lowe; Steve McQueen; Paul Miller aka DJ Spooky; Tatsuo Miyajima; Paul Morrison; Cady Noland; Gabriel Orozco; Simon Patterson; Mark Pimlott; Marc Quinn; Liisa Roberts; Tim Rollins + K.O.S.; Gregor Schneider; Simon Starling; Georgina Starr; Thomas Struth; Sam Taylor-Wood; Mark Wallinger; Rachel Whiteread; Gerard Williams; Yves Klein.

In 1965, the Walker Art Center presented the work of 13 young British artists in the exhibition London: The New Scene. In recent years, international art magazines have been attempting to come to grips with the explosion of work from the British art scene. The Walker is the first major museum to mount a sweeping review of this provocative work with “Brilliant!” New Art from London, organized by Chief Curator Richard Flood. Heralded by The Independent on Sunday as the highlight of the 1995 art season, the exhibition features 22 young artists internationally acknowledged as among the most exciting working today. “Brilliant!” New Art from London will be on view October 22, 1995-January 7, 1996. The artists chosen for the exhibition have become increasingly visible over the past six years in self-promoted, renegade exhibitions and publications that have cropped up throughout London. Their aesthetically diverse and provocative artworks are united by a shared interest in ephemeral materials, unconventional presentation, and an anti-authoritarian stance that lends their objects a youthful, aggressive vitality. Ranging in age from 22 to 35, most of the artists are graduates of a handful of London art schools (notably Goldsmiths’ College and the Slade School of Fine Art), which have provided a fertile ground for the development of emerging artists in the late 1980s and early 1990s. At the end of the 1980s, faced with a flattened art market and a sense that the aesthetic options open to them were extremely limited, these artists adopted an entrepreneurial attitude of collective self-promotion evident in such exhibitions as Freeze (1988), organized by then-Goldsmiths’ student Damien Hirst and held in a rundown warehouse on the Surrey Docks of East London. A seminal event in this history, Freeze demonstrated the independence, self-reliance, and intense professionalism of these young students. “Brilliant!” New Art from London will be comprised of approximately 100 works of widely diverse and hybrid media, including painting, drawing, sculpture, installation, video, photography, and CD-ROM by Henry Bond, Glenn Brown, Dinos Chapman, Jake Chapman, Adam Chodzko, Mat Collishaw, Tracey Emin, Angus Fairhurst, Anya Gallaccio, Liam Gillick, Damien Hirst, Gary Hume, Michael Landy, Abigail Lane, Sarah Lucas, Chris Ofili, Steven Pippin, Alessandro Raho, Georgina Starr, Sam Taylor-Wood, Gillian Wearing, and Rachel Whiteread. Rachel Whiteread and Damien Hirst both share a relationship to Minimalism, but twist it back toward the social. Whiteread has come to prominence for her castings of the negative space of rooms, bathtubs, beds, and even a house. Her Untitled (Room) (1993), a cast of the interior of a room, recently earned her the much coveted Turner Prize. Also on view will be Hirst’s The Acquired Inability to Escape, Inverted (1993), a large vitrine with an office desk, chair, and ashtray suspended from its ceiling. Providing a commentary on class structures in England, the business world is here invoked as a site of surveillance, exclusion, and suffocating conformity. Photography and video also play a central role in “Brilliant!” New Art from London. On view will be the photographic series Documents (1991-1994) by Henry Bond and Liam Gillick, a collaborative photo-text installation archived in a filing cabinet with a card catalog to be used by the public in a library-like situation.

Linder Sterling’s work had its first exposure in the punk fanzine The Secret Public and as art for the sleeve of the Buzzcocks’ first single, “Orgasm Addict.” Soon she had her own band, Ludus, founded with Ian Divine. Her visuals and her performances have remained legendary in the musical world–for example, a costume consisting of raw meat and a black vibrator, worn for a special evening at the Hacienda–but these formative contributions to the aesthetics of punk and its offshoots have only recently received wider recognition. With no clear academic career path, without institutional or curatorial support, Linder has continued to make multidisciplinary work, work that has led observers to call her the missing link between Yoko Ono and Tracey Emin. This first book, a rediscovery and a debut at once, includes contributions from writers and cultural figures including Philip Hoare, Jon Savage, Andrew Renton, Lynne Tillman, Paul Bailey and Morrissey.

The title may say “please,” but the 19 artists featured here are anything but polite in their rejection of traditional notions of fashion, gender and beauty. The media strategies employed are manifold, from staged photographic images, projections and performances to body sculptures, video and film. From Jeff Bark’s painterly and perverse “Flesh Rainbow” to Sophia Wallace’s portraits of feminized male models, these daring and reckless experiments veer closer to the ceremonies and rituals of body art than to fashion, and reinvent the red-carpet question: “who are you wearing?” Participating artists include Chan-Hyo Bae, Tracey Baran, Jeff Bark, Leigh Bowery/Fergus Greer, Steven Cohen/Marianne Greber, Philip-Lorca diCorcia, Matthias Herrmann, Lea Golda Holterman, Izima Kaoru, Luigi & Luca, Sandra Mann, Martin & The evil eyes of Nur, Brigitte Niedermair, Erwin Olaf, Alex Prager, Hanna Putz, Viviane Sassen, Sophia Wallace and Bruce Weber.

Art and Text covers the development of the textual medium in art from the early combinations of text, lettering and image in the work of seminal artists such as El Lissitzky and Kurt Schwitters right up to the present day. The use of written language has been one of the most defining developments in visual art of the twentieth century. Art and Text is a unique and timely survey of this most contemporary and relevant artistic tool. The use of text can be seen in some of the most avant-garde artwork of the twentieth century; René Magritte and dadaist artists used it to describe anti-art and anti-aesthetic sentiment. The work of some of the most famous conceptual artists of the 1960s began to use written language as an artwork in itself. Artists such as John Baldessari, Lawrence Weiner and Bruce Nauman, who are still today some of the world’s most respected artists, helped push the boundaries of what constitutes art at the time and it has continued to develop since that period. The expansive Art & Language group of artists and theorists, including Joseph Kosuth, also reconsidered the possibilities of ‘linguistic art.’ Contemporary artists continue to use this medium and expand its possibilities, which range from being a most direct and immediate means of artistic expression (Tracey Emin, Cy Twombly), to an effective socio-political artistic mechanism (BANK, Jean-Michel Basquiat, Jenny Holzer).

We all remember our experiences with finger painting as children- the delight in sanctioned messiness, the swirls of color on our paper, maybe having the result taped to the classroom wall or stuck on the refrigerator at home. With many artists, the childish preoccupation with smearing continues as a sensual play with pigment and its tactile quality. The provocatively titled Ca-ca poo-poo endeavors to trace this phenomenon with works by a variety of artists including Tracey Emin, Mike Kelley, Paul McCarthy, Tony Tasset, and others.

The collection of texts on contemporary art by Jean-Christophe Ammann, with essays on, among others, Alighiero Boetti, Louise Bourgeois, Miriam Cahn, David Claerbout, Marlène Dumas, On Kawara, Markus Raetz, Pipilotti Rist, Rosemarie Trockel, and Jeff Wall. Préface de l’édition française Chapitre I Qu’est-ce que l’art ? L’art commence là où s’arrête le goût Déterminer une position Créativité et innovation Tentatives d’unification Chapitre II Art et public Lire des images et penser dedans des images « Ça, je peux le faire aussi » Chapitre III Musées, collectionneurs, marché de l’art De la maison de l’art aux œuvres qui y sont logées Vademecum pour les commissaires Connaissez-vous Marbot ? Chapitre IV Espace et temps Le point temporel : la date – On Kawara A propos des cartes du monde (Mappa) de Alighiero Boetti et de quelques œuvres analogues L’insondable Francesco Clemente Méditer – Jürgen Krause Le monde avec la tête à l’envers – Markus Raetz Réciprocité – pas de réciprocité : Andreas Slominski Un autre regard sur l’œuvre de Franz Gertsch Anton Henning, le peintre Andy Warhol – Superstar Espérons que le magnétophone fonctionne – un entretien avec Matthias Weischer Paul Thek : transsubstantiation Chapitre V Femmes – Hommes, Erotisme – Sexualité Qu’est-ce qui distingue une artiste femme d’un artiste homme ? Trois artistes femmes et leurs perspectives : Zoe Leonard, Cecilia Edefalk, Miriam Cahn Les femmes de Bettina Rheims (avec des commentaires de Natalie de Ligt) Marlene Dumas – tendre, débauchée, clairvoyante et extatique La pornographie sous-estimée Traumatismes – presque comme dans un conte de fées : Sandra Vásquez de la Horra Homme et femme – Eric Fischl Max Mohr : pourquoi toujours dans un lit ? Masculin – féminin : Rosemarie Trockel Métamorphoses – Elly Strik Vagabonder – les bagues de Dieter Roth Le chien aimant : Johannes Hüppi Porter l’intime dans le monde – Lucie Beppler Les extases de Martin Eder Nobuyoshi Araki Tracey Emin parle d’elle-même Faire pipi – Pipilotti Rist Christoph Hein : Frau Paula Trousseau Antéchrist de Lars von Trier Chapitre VI Torture/Violence Des cuisines comme des instruments de torture – Louise Bourgeois Robert Gober : « La Vierge Marie » au Schaulager de Bâle Les sept dernières paroles Chapitre VII La société – Ordre/Désordre Les pilules miracle de Dana Wyse Fantasmagories : Single Wide – Teresa Hubbard et Alexander Birchler House with Pool – Teresa Hubbard et Alexander Birchler Fratricide : Whitehouse de David Claerbout Pièges – Andreas Slominski « Do it yourself » – Ceal Floyer Jeff Wall – The Storyteller Stefan Exler raconte Un réaliste : Philipp Hennevogl Jeux de rôles vécus – Slawomir Elsner Une merveille : les dessins, aquarelles et vases d’Anna Lea Hucht La clairvoyance intime d’Irene Bisang La perception nue – Judith Ammann Des portes, des portes d’immeubles et des entrées Des escaliers Fenêtres de rue – regarder dedans, regarder dehors, se taire Vérification : la photographie en tant qu’art reste à découvrir Références biographiques Liste et crédits des illustrations

Drawing – classically means pencil on paper. It is characterized by certain swiftness, a spontaneity and geniality of simplicity, inspiration and rapid realization. A drawing is often an interleaving of text and image as well as the invention of manners of notation. The More I Draw and the exhibition at Museum für Gegenwartskunst Siegen, 5 September 2010 – 13 February 2011, provides a survey of the current practice of drawing and its historic roots in the 1960s. Featuring 50 international artists, contemporary tendencies in drawings, especially the serial, narrative, descriptive and mythologizing forms, are comprehensively introduced. Ryoko Aoki, Silvia Bächli, Joseph Beuys, Frédric Bruly Brouabré, Jimmie Durham, Heinz Emigholz, Tracey Emin, Nanne Meyer, Dan Perjovschi, Raymond Pettibon, Alexander Roob, Tomas Schmit, David Shrigley, Nedko Solakov, Mariusz Tarkawian, André Thomkins, Cy Twombly, Sandra Vásquez de la Horra, Jorinde Voigt, Anne-Mie van Kerckhoven, Ralf Ziervogel