Pull My Daisy is a 1959 short film that typifies the Beat Generation. Directed by Robert Frank and Alfred Leslie, Daisy was adapted by Jack Kerouac from the third act of a stage play he never finished entitled Beat Generation. Kerouac also provided improvised narration. It starred Allen Ginsberg, Gregory Corso, Larry Rivers, Peter Orlovsky, David Amram, Richard Bellamy, Alice Neel, Sally Gross and Pablo, Frank’s then-infant son. Based on an incident in the life of Neal Cassady and his wife Carolyn, Daisy tells the story of a railway brakeman whose painter wife invites a respectable bishop over for dinner. However, the brakeman’s bohemian friends crash the party, with comic results. Pull My Daisy was praised for years as an improvisational masterpiece, until Leslie revealed in 1968 that the film was actually carefully planned, rehearsed, and directed by him and Frank.
This eclectic scapbook profiles the photographer/filmmaker Robert Frank, whose book The Americans is generally acknowledged to be one of the most important achievements in the history of photography. Included are essays, film reviews, drawings, letters, photographs, and personal documents from the past 20 years.
In order to remain autonomous, at some point art began to copy everything that is not autonomous. There was no lack of supply and demand since power, as we know, can only be held over the production of truth or else it does not function. –Peter Friedl Since the early 1980s, Friedl has written on a variety of subjects. The book Secret Modernity: Selected Writings and Interviews 1981–2009 compiles for the first time a representative selection of his (partly unpublished) texts, along with a series of interviews. As in his artworks, Friedl’s writings quote from and rework multiple genres. He offers reviews and portraits of George Sand and Clarice Lispector, of Alighiero Boetti and Jean-Luc Godard; articles and documents contributing to theater and film history, which examine the work of, among others, Richard Foreman, Robert Wilson, or Glauber Rocha; as well as comments and reflections on his own projects. Alongside these are essays delving deep into the past, exploring mainly colonial history and its paradoxical traces in the present: narratives about Haiti, South Africa, and Italy’s repressed colonial rule in Africa.
Das Forschungsprojekt Umwelt und Kunst – Kunst und Umwelt wurde in Verbindung mit Wissenschaftlern, Künstlern und Forschungsinstituten aus europäischen und außereuropäischen Ländern durchgeführt. Die Untersuchung hat universellen Charakter und befaßt sich mit Denkmalpflege, Städteplanung, Landschaftsgestaltung, dem Verhältnis von Natur und Kunst, Museologie, Zivilisationspsychologie und Umwelttechnologie. Hinzu kommen Analysen der Abfallwirtschaft und Thematisierungen dieses Aspekts in der modernen Kunst. Fragen der Entwicklung der Industriegesellschaft werden ebenso untersucht wie der Verlust der mittelalterlichen Paradies-Vorstellung und die resignativen Versuche einer Gestaltung synthetischer Paradiese in der modernen Freizeitindustrie. Gegenwartshistorisch wird die Bewegung der «Grünen» im Verhältnis zur modernen Kunst und allgemein der politische Aspekt der Beziehung von Ökologie und Ökonomie angesprochen.
Artists Papo Colo and Jeanette Ingberman founded Exit Art in 1982 as a space for “unusual” art. A few months prior, they curated an exhibition at Franklin Furnace on the theme of art that had run afoul of the law. The works ranged from so-called desecrations of the American flag to Charlotte Moorman playing the cello topless to Chris Burden having his assistant shoot him in the arm with a rifle to the occupation of abandoned buildings by the Real Estate Show. The catalogue consists of 27 folded sheets in a brown cardboard box, mostly artists’ statements and documentation. The box is sealed shut with an American dollar bill. To open it you had to slice through the bill, itself an illegal act. (A 1948 law states that “Whoever mutilates, cuts, defaces, disfigures, or perforates, or unites or cements together, or does any other thing to any bank bill, draft, note, or other evidence of debt issued by any national banking association, or Federal Reserve bank, or the Federal Reserve System, with intent to render such bank bill, draft, note, or other evidence of debt unfit to be reissued, shall be fined under this title or imprisoned not more than six months, or both.”) The catalogue features contributions byVito Acconci, Gempei Akasegawa, Louis Aragon, Scott Billingsley, Marc Blane, Gunther Brus, Barry Bryant, Chris Burden, Papo Colo, Bogomir Ecker, William Farley, John Fekner, Lou Forgione, John Giorno, GAAG, John Halpern, Abbie Hoffman, Sam Hsieh, Jay Jaroslov, Komar & Melamid, George Maciunas, Gordon Matta Clark, Ann Messner, Richard Mock, Peter Monnig, Charlotte Moorman, Otto Muehl, Hermann Nitsch, Dennis Oppenheim, People’s Flag Show, Jan Van Ray and Real Estate Show.
Proposing a history of exhibitions sourced from a wide corpus reaching beyond the framework of art institutions. This volume gathers and expands upon the results of the research project “Theater, Garden, Bestiary: A Materialist History of Exhibitions,” held at ECAL/University of Art and Design Lausanne, and proposes a history of exhibitions sourced from a wide corpus reaching beyond the framework of art institutions. It undertakes a transdisciplinary history at the nexus of art history, science studies, and philosophy, exploring the role the exhibition played in the construction of the conceptual categories of modernity, and outlines a historiographical model that conceptualizes the exhibition as both an aesthetic and an epistemic site. Contributors Etienne Chambaud, Elitza Dulguerova, Anselm Franke, Tristan Garcia, Fabien Giraud & Raphaël Siboni, Dorothea von Hantelmann, Yuk Hui, Pierre Huyghe, Sami Khatib, Jeremy Lecomte, Stéphane Lojkine, Rafael Mandressi, Vincent Normand, Peter Osborne, Filipa Ramos, Juliane Rebentisch, João Ribas, Pamela Rosenkranz, Anna-Sophie Springer, Lucy Steeds, Olivier Surel, Etienne Turpin, Kim West, Charles Wolfe
«Non sono un mercante d’arte, sono un gallerista» amava ripetere Leo Castelli. Per i suoi artisti è stato molto di più: un mecenate. Dall’apertura della prima galleria nel 1957 fino alla morte nel 1999, Castelli domina la vita culturale newyorkese ed eleva lo status dell’artista americano, che in quegli anni raggiunge la vetta più alta nel panorama artistico mondiale. Con lui si afferma la figura del gallerista polivalente. Imprenditore e infaticabile scopritore alla perenne ricerca del nuovo, è pronto a correre rischi e a servirsi delle strategie commerciali più efficaci per dare visibilità ai suoi protetti. Affiancato da Ileana Sonnabend – ex moglie con cui mantiene un rapporto di grande complicità – Castelli incoraggia i talenti emergenti e li promuove presso le istituzioni museali. Tramite una vasta rete di rapporti internazionali reinventa le regole del mercato e rivoluziona la cultura artistica stessa. La scoperta di Jasper Johns, suo artista feticcio, e la consacrazione di Robert Rauschenberg alla Biennale di Venezia del 1964 sono solo i primi colpi messi a segno. Si susseguono numerose altre epifanie – Frank Stella, Roy Lichtenstein, Andy Warhol, James Rosenquist, Cy Twombly, per citarne solo alcuni – che lo confermano come creatore di miti. Ma chi è Leo Castelli, l’uomo che ha atteso i cinquant’anni per aprire la sua prima galleria? Dietro il carisma di europeo affabile e mediatico si nasconde un uomo dalle molteplici identità. Nato nel 1907 a Trieste da genitori ebrei, Leo trascorre i primi trent’anni nelle grandi città d’Europa – Vienna, Milano, Budapest, Bucarest, Parigi. La sua traiettoria professionale inizia con l’esodo rocambolesco nel Nuovo Mondo per fuggire al drammatico contesto politico-sociale delle leggi razziali naziste e degli sconvolgimenti che ne seguiranno. Annie Cohen-Solal affonda le radici del suo racconto nel passato remoto della famiglia Castelli, ne rintraccia gli antenati nella Toscana rinascimentale e ricostruisce una storia fitta di persecuzioni, guerre, rotture, spostamenti, che offre sorprendenti analogie con il passato più recente della famiglia e con la parabola stessa di Leo. Ironia della sorte: un uomo sempre reticente sulla propria identità ebraica trova proprio nel Jewish Museum, dopo il MOMA, l’istituzione che lo sancirà come paladino dei grandi movimenti dell’arte americana – dal Pop al Concettuale – che sono l’imponente lascito di Leo Castelli.
Beuys’ iconic work Titus Andronicus / Iphigenie was created at a turning point in art history, when performance art was declaring its independence as a genre distinct from classical theater. Described as an “action event” originally enacted at the Frankfurt Theater am Turm for the 1969 Experimenta 3, his famous performance contrasts the violence and cruelty present in Shakespeare’s Titus Andronicus with the themes of redemption, love, and forgiveness found in Goethe’s Iphigenie auf Tauris. Beuys shared the stage with a white horse and golden cymbals. His actions—pacing back and forth, feeding sugar cubes to the horse, imitating the flight of birds, playing the cymbals—were accompanied by off-stage voices reciting texts from Titus Andronicus and Iphigenie. Award-winning theater photographer Abisag Tüllmann documented this legendary pioneering performance in 46 black-and-white photographs. It is the only complete documentation of the work.
Come the 1990s, the great Michelangelo Antonioni’s directing career was widely considered to have been finally curtailed by the effects of a stroke which left him scarcely able to speak. But with the support of committed financiers and fellow professionals, Antonioni was able to undertake Beyond the Clouds, a portmanteau piece adapted from several of his short stories and sketches. A stellar cast (John Malkovich, Sophie Marceau, Peter Weller, Irene Jacob, Jean Reno, Fanny Ardant) was assembled. Wim Wenders, a passionate admirer of Antonioni, agreed to back-stop the production: to direct some linking sequences and to assist Antonioni on the shoot. This book is his journal of that process, in which Wenders writes thoughtfully and frankly about the pleasures and problems to be had in collaborating with such a renowned maestro under such extraordinary conditions.
«Experimental Architecture. 1959-1999» – Raimund Abraham, Alchimia, Archizooom, Lapo Binazzi, Andrea Branzi, Cliostraat, Nigel Coates, Coop Himmelb(l)au, Michele de Lucchi, Elisabeth Diller+Ricardo Scofidio, Günther Domenig, Peter D. Eisenman, Klaus W. Gartler+Helmuth Rieder, Frank O. Gehry, Heidulf Gerngross, Global tools, Bernhard Hafner, Haus/Rucher/Co., Zvi Hecker, Hans Hollein, Massimo Iosa Ghini, Arata Isozaki, Kiyonori Kikutake, Rem Koolhaas, Kisho Noriaki Kurokawa, Ugo La Pietra, Lars Lerup, Frantisek Lesàk, Ugo Marano, Ingo Maurer, Memphis, Alessandro Mendini, Missing Link,Moebius, Nox, Onyx, Max Peintner, Gaetano Pesce,Gianni Pettena, Walter Pichler, Franco Raggi, Stiletto Studios,Denis Santachiara, Josh Schweitzer, Site, Ettore Sottsass Jr., Speciale, Friedrich St.Florian, Gruppo Strum, Superstudio,Mario Terzic, Ufo, Lebbeus Woods.
The New York proto-punk zine that defined postconceptualism, now in a facsimile edition
Edited by Walter Robinson, Edit DeAk and Joshua Cohn, Art-Rite was published in New York City between 1973 and 1978. The periodical has long been celebrated for its underground/overground position and its cutting, humorous, on-the-streets coverage and critique of the art world. Art-Rite moved easily through the expansive community it mapped out, paying homage to an emergent generation of artists, including many who were―or would soon become―the defining voices of the era. Through hundreds of interviews, reviews, statements and projects for the page―as well as artist-focused and thematic issues on video, painting, performance and artists’ books―Art-Rite‘s sharp editorial vision and commitment to holding up the work of artists stands as a meaningful and lasting contribution to the art history of New York and beyond. All issues of Art-Rite are collected in this volume.
Artists include: Vito Acconci, Kathy Acker, Bas Jan Ader, Laurie Anderson, John Baldessari, Gregory Battcock, Lynda Benglis, Mel Bochner, Marcel Broodthaers, Trisha Brown, Chris Burden, Scott Burton, Ulises Carrión, Judy Chicago, Lucinda Childs, Christo, Diego Cortez, Hanne Darboven, Agnes Denes, Ralston Farina, Richard Foreman, Peggy Gale, Gilbert & George, John Giorno, Philip Glass, Leon Golub, Peter Grass, Julia Heyward, Nancy Holt, Ray Johnson, Joan Jonas, Richard Kern, Lee Krasner, Shigeko Kubota, Les Levine, Sol LeWitt, Lucy Lippard, Babette Mangolte, Brice Marden, Agnes Martin, Gordon Matta-Clark, Rosemary Mayer, Annette Messager, Elizabeth Murray, Alice Neel, Brian O’Doherty, Genesis P-Orridge, Nam June Paik, Charlemagne Palestine, Judy Pfaff, Lil Picard, Yvonne Rainer, Dorothea Rockburne, Ed Ruscha, Robert Ryman, David Salle, Carolee Schneemann, Richard Serra, Jack Smith, Patti Smith, Robert Smithson, Holly Solomon, Naomi Spector, Nancy Spero, Pat Steir, Frank Stella, Alan Suicide (Vega), David Tremlett, Richard Tuttle, Andy Warhol, William Wegman, Lawrence Weiner, Hannah Wilke, Robert Wilson, Yuri and Irene von Zahn.
A groundbreaking history of pioneering alternative art venues in New York where artists experimented, exhibited, and performed outside the white cube and the commercial mainstream.
This groundbreaking book―part exhibition catalogue, part cultural history―chronicles alternative art spaces in New York City since the 1960s. Developed from an exhibition of the same name at Exit Art, Alternative Histories documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the development of alternative spaces was almost synonymous with the rise of the contemporary art scene. Beginning in the 1960s and early 1970s, it was within a network of alternative sites―including 112 Greene Street, The Kitchen, P.S.1, FOOD, and many others―that the work of young artists like Yvonne Rainer, Vito Acconci, Gordon Matta-Clark, Ana Mendieta, David Wojnarowicz, David Hammons, Adrian Piper, Martin Wong, Jimmie Durham, and dozens of other now familiar names first circulated.
Through interviews, photographs, essays, and archival material, Alternative Histories tells the story of such famous sites and organizations as Judson Memorial Church, Anthology Film Archives, A.I.R. Gallery, El Museo del Barrio, Franklin Furnace, and Eyebeam, as well as many less well-known sites and organizations. Essays by the exhibition curators and scholars, and excerpts of interviews with alternative space founders and staff, provide cultural and historical context.
Jacki Apple, Papo Colo, Jeanette Ingberman, Melissa Rachleff, Lauren Rosati, Mary Anne Staniszewski, Herb Tam
Steve Cannon, Rhys Chatham, Peter Cramer and Jack Waters, Carol Goodden, Alanna Heiss, Bob Lee, Joe Lewis, Inverna Lockpez,
Ann Philbin, Anne Sherwood Pundyk and Karen Yama, Irving Sandler, Adam Simon, Martha Wilson
Paul Thek occupied a place between high art and low art, between the epic and the everyday. During his brief life (1933-1988), he went against the grain of art world trends, humanizing the institutional spaces of art with the force of his humor, spirituality, and character. Twenty years after Thek’s death from AIDS, we can now recognize his influence on contemporary artists ranging from Vito Acconci and Bruce Nauman to Matthew Barney, Mike Kelley, and Paul McCarthy, as well as Kai Althoff, Jonathan Meese, and Thomas Hirschhorn. This book brings together more than 300 of Thek’s works–many of which are published here for the first time–to offer the most comprehensive display of his work yet seen. The book, which accompanies an exhibition at ZKM ? Museum of Contemporary Art presenting Thek’s work in dialogue with contemporary art by young artists, includes painting, sculpture, drawing, and installation work, as well as photographs documenting the room-size environments into which Thek incorporated elements from art, literature, theater, and religion. These works chart Thek’s journey from legendary outsider to foundational figure in contemporary art. In their antiheroic diversity, Thek’s works embody the art revolution of the 1960s; indeed, Susan Sontag dedicated her classic Against Interpretation to him. Thek’s treatment of the body in such works as “Technological Reliquaries,” with their castings and replicas of human body parts, tissue, and bones, both evoke the aura of Christian relics and anticipate the work of Damien Hirst. The book, with more than 500 images (300 in color) and nineteen essays by art historians, curators, collectors, and artists, investigates Thek’s work on its own terms, and as a starting point for understanding the work of the many younger artists Thek has influenced.Essays byJean-Christophe Ammann, Margrit Brehm, Bazon Brock, Suzanne Delehanty, Harald Falckenberg, Marietta Franke, Stefan Germer, Kim Gordon, Roland Groenenboom, Axel Heil, Gregor Jansen, Mike Kelley, John Miller, Susanne Neubauer, Kenny Schachter, Harald Szeemann, Annette Tietenberg, Peter Weibel, Ann Wilson
In 1967, Peter Roehr and Paul Maenz curated the first German Minimalist exhibition, Serial Formation, at the University of Frankfurt s studio gallery. A total of 48 artists from both America and Germany presented serial-based works ranging from the German Zero movement to American Minimal and Conceptual, Nouveau Réalisme, and Op and Pop art. Celebrating the exhibition s 50th anniversary and in the context of its ongoing Minimalism in Germany exhibition series, Daimler Contemporary, Berlin, restages this historically significant exhibition while expanding on its theme in the exhibition and catalog Serial Formations 1967/2017. The voluminous and well-illustrated publication features a complete facsimile of the long-out-of-print 1967 exhibition catalog, as well as the new and expanded exhibition. Included are 1960 artists from Donald Judd and Agnes Martin to Heinz Mack, artist s statements, and essays from the original two curators, along with contributions from Siegfried Bartels, Nadine Henrich, Daniel Lippitsch, Meredith North, Michaela Filla-Raquin, and Frederik Schikowski and the new show curator, Renate Wiehager.
Exhibition catalogue published in conjunction with show held in July 1971. Organized by Jorge Glusberg. Artists include Vito Acconci, Eleanor Antin, Arakawa, Sue Arrowsmith, David Askevold, Walter Ave, John Baldessari, Manuel Barbadillo, Robert Barry, Otto Beckmann, Luis Benedit, Mel Bochner, Christian Boltanski, Ian Breakwell, Eugen Brikcius, Stuart Brisley, Stanley Brouwn, Donald Burgy, Don Celender, Jürgen Claus, James Collins, Christo, Agnes Denes, Mirtha Dermisache, Antonio Dias, Geniy Dignac, Gregorio Dujovny, David Dye, Stano Filko, Barry Flanagan, Terry Fox, Dr. Herbert Franke, Ken Friedman, Hamish Fulton, Nicolás Garcia Uriburu, Jochen Gerz, Gilbert & George, Carlos Ginzburg, Jorge González Mir, Dan Graham, Víctor Grippo, Klaus Groh, Hans Haacke, Olaf Hanel, Rafael Hastings, Douglas Huebler, Peter Hutchinson, Alain Jacquet, Richards Jarden, Allan Kaprow, On Kawara, Michael Kirby, Alain Kirili, Dusan Klimes, J.H. Kocman, Joseph Kosuth, Uzi Kotler, Christie Kozlov, Alexis Rafael Krasilovsky, Josef Kroutvor, Peter Kuttner, David Lamelas, John Latham, Auro Lecci, Les Levine, Richard Long, Lea Lublin, Jorge de Luján Gutiérrez, Mario Mariño, Vicente Marotta, Charles Mattox, Mario Merz, Mauricio Nannucci, Georg Nees, Dennis Oppenheim, Marie Orensanz, Luis Pazos, Alberto Pellegrino, Alfredo Portillos, Juan Pablo Renzi, Dorothea Rockburne, Juan Carlos Romero, Edward Ruscha, Bernardo Salcedo, Jean Michel Sanéjouand, Richard Serra, Petr Stembera, Clorindo Testa, Antonio Trotta, Timm Ulrichs, Franco Vaccari, Jiri Valoch, John van Saun, Bernar Venet, Edgardo Antonio Vigo, Lawrence Weiner, Ian Wilson, Robert Wittmann, William Woodrow and Gilberto Zorio. Includes biographies of the artists. Text in English and Spanish.
We now have the technology to reach nearby planets. Even though many long-term technical issues still need to be solved to create the conditions for a permanent, self-sustaining human presence on another planet, imagining humans as a multi-planetary species is no longer mere fantasy. Against this backdrop, the publication Planetary Echoes focuses on our imagination of life on other planets in the arts, literature, and sciences at the beginning of the 21st century, attempting to integrate the discourse into the very fabric of society today and connect artistic research and the abstract theoretical sciences on an international level. Text: Buzz Aldrin, Anousheh Ansari, Nelly Ben Hayoun, Thore Bjørnvig, Richard Branson, Clouds Architecture Office, Pierre Cox, Xavier De Kestelier, Lukas Feireiss, Norman Foster, Alexander C. T. Geppert, Ulrich Köhler, Michael López-Alegría, Greg Lynn, Michael Najjar, Fabian Reimann, Tim Smit, Christiane Stahl, Sethu Vijayakumar, Andy Weir, Frank White, Peter Weibel
This book presents 123 calling cards of artists (painters, sculptors, photographers, architects, graphic designers, illustrators etc.) from the 18th century to the present day. The facsimiled cards are slipped like bookmarks into a book by several authors on the history of the use of calling cards, the social context in which they were produced, and related historical and fictional narratives. The often unexpected graphic qualities of these personalized objects, each designed to capture an individual identity within the narrow confines of a tiny rectangle card, implicitly recount a history of taste and typographic codes in the West. But this calling card collection also lays the foundations for a microhistory of art, inspired by the Italian microstoria, or a looser narrative that breaks free from geographic contexts and historical periods. We can imagine how social networks were formed before the advent of Facebook, and how artists defined themselves in the social sphere, whether they were students or teachers, dean of the art school or museum curator, founder of a journal, firm, restaurant or political party, and so on. Superimposed on this imaginary or idealized network formed by chance encounters is a living network of students of art or history, historians or anthropologists, librarians, archivists, gallerists, museum curators and artists themselves, the network upon which this pocket museum is constructed. The sheer variety of perspectives and stories brought together here makes this book a prodigious forum for discussion. The carded artists include: Absalon, Anni and Josef Albers, John Armleder, Iain Baxter, Larry Bell, Joseph Beuys, Joseph Binder, Max Bill, Pierrette Bloch, Rosa Bonheur, Irma Boom, Aglaüs Bouvenne, Constantin Brancusi, Marcel Broodthaers, Antonio Canova, Caran d’Ache, A.M. Cassandre, Chenue malletier, Iris Clert, Claude Closky, Le Corbusier, Silvie Défraoui, Sonia Delaunay, Fortunato Depero, Marcel Duchamp, A.R. Dunton, Céline Duval, Nathalie Du Pasquier, Yan Duyvendak, Daniel Eatock, Edward Fella, Sylvie Fleury, Schwestern Flöge, Piero Fornasetti, Hans Frank, Lene Frank, Emile Gallé, General Idea, Dan Graham, Wolfgang von Gœthe, Jean-Baptiste Greuze, Walter Gropius, Guerrilla Girls, Hector Guimard, Friedrich Haeffcke, Raymond Hains, Keith Haring, Raoul Hausmann, John Heartfield, Anton Herrgesell, Jean-Auguste-Dominique Ingres, Ray Johnson, Ana Jotta, Wassily Kandinsky, André Kertész, Martin Kippenberger, Paul Klee, Johann Adam Klein, Yves Klein, Július Koller, Joseph Kosuth, Yayoi Kusama, Carl Gotthard Langhans, Fernand Léger, Pierre Leguillon, George Maciunas, Robert Mallet-Stevens, Edouard Manet, Piero Manzoni, Christian Marclay, Filippo Tommaso Marinetti, Karel Martens, Annette Messager, Lucia Moholy, Piet Mondrian, Valérie Mréjen, Félix Nadar, Isamu Noguchi, The Offices of Jenny Holzer, Peter Nadin, Richard Prince and al., Yoko Ono, Claes Oldenburg, Nam June Paik, Francis Picabia, Adrian Piper, Emil Pirchan, Man Ray, Les ready made appartiennent à tout le monde®, Carl August Reinhardt, Gerrit Rietveld, Auguste Rodin, Edward Ruscha, Alexander Search, Willem Sandberg, Erik Satie, Gino Severini, Johan Gottfried Schadow, Egon Schiele, Oskar Schlemmer, Käthe Schmidt, Roman Signer, Alec Soth, Gertrude Stein and Alice Toklas, Jack Smith, Hélène Smith, Harald Szeemann, Sophie Taeuber, Karel Teige, Oliviero Toscani, Theo van Doesburg, Roman Vishniac, Andy Warhol, Weegee, Neill Whistler, Heimo Zobernig, Piet Zwart, Emmy Zweybrück Prochaska With texts by: Samuel Adams, Damarice Amao, Daniel Baumann, Stuart Bertolotti-Bailey, Géraldine Beck, Paul Bernard, Christian Besson, Christianna Bonin, Véronique Borgeaud, Marie de Brugerolle, Garance Chabert, Kyrill Charbonnel, Yann Chateigné, Manuel Cirauqui, Chiara Costa, Caroline Coutau, Jean-Baptiste Delorme, Carla Demierre, Dakota DeVos, Corinne Diserens, Eva Fabbris, Patricia Falguières, Arthur Fink, Sophie Gayerie, Kati Gegenheimer, Mark Thomas Gibson, Nicolas Giraud, Victor Guégan, Andrea Gyorody, Nastassja Haidinger, Dean Inkster, Aurélie Jacquet, Elisabeth Jobin, Vincent Jolivet, Moritz Küng, Angela Lampe, Charlotte Laubard, Anaël Lejeune, Quentin Lannes, Pierre Leguillon, Charlotte Magnin, Nicole Marchand-Zañartu, Valérie Mavridorakis, Aurélien Mole, Michael J. Moore, Adrien Mouginot, Christiane Mühlegger, Émilie Parendeau, Ying Sze Pek, Corine Pencenat, Mathias Pfund, Fabien Pinaroli, Raphaël Pirenne, Paulo Pires do Vale, Carrie Pilto, Frans Postma, Jeanne Quéheillard, Fabienne Radi, Ivan Ristić, Vincent de Roguin, Paul-Louis Roubert, Margot Sanitas, Gilles Saussier, Elana Shapira, Klaus-Peter Speidel, Friedrich Tietjen, Rebecca Topakian, Gesine Tosin, Xiaoda Wang, Christophe Wavelet, David Zerbib, Célia Zuber Co-published by HEAD – Genève (Geneva University of Art and Design) and Edition Patrick Frey under the patronage of the Museum of Mistakes Editors: Pierre Leguillon in collaboration with Barbara Fédier and Kyrill Charbonnel, Pauline Cordier, Aurélie Jacquet, Aline Melaet, Anaïs Perez, and Charlotte Schaer, students of WorkMaster at HEAD – Genève
This magnificent book is the new, expanded, complete edition of Nourmand and Marsh’s cult bestseller, with text by renowned writer Peter Doggett. The 1960s and ’70s were the Golden Age of the X-rated movie. For the first time, these films were shown in mainstream cinemas to a fashionable, young crowd. The “porno chic” movement around films like Deep Throat (1972), The Opening of Misty Beethoven (1976) and Debbie Does Dallas (1978) gave skin flicks an air of credibility that had never existed before. Johnny Carson and Bob Hope talked about Deep Throat on TV, and respected artists became involved in promotional campaigns for adult films.
Of all film genres, the X-rated movie is possibly the one that lends itself best to the use of posters as a promotional medium. Screaming taglines, provocative titles and scantily clad bodies are all elements that can be used to great advantage in poster form. Even though many of the adult movies of the ‘60s and ‘70s have faded into cinematic history, their posters remain an inspiration for graphic designers. And today they are wonderful, joyful period pieces that evoke the temptations and taboos of a bygone age of suspender belts, stockings and eye-popping, gravity-defying brassieres. To quote Steve Frankfurt’s iconic ad campaign for the soft core masterpiece Emmanuelle, “X was never like this.”
Art and architecture project alongside the N16 route. With projects by Tractor (Peter Aerts, Denis Dujardin, Honoré d’O, Lore Perneel, Luc Reuse, Frank Vande Veire, Hugo Vanneste, Dirk Zoete), Architecten De Vylder Vinck Taillieu, Sarah & Charles, Office Kersten Geers en David Van Severen , Michaël Vanden Abeele, Uaps, Wesley Meuris, Architecten Robbrecht en Daem, Valérie Mannaerts, Philippe Vander Maren, Richard Venlet, Ann Veronica Janssens. Text contributions by Joeri de Bruyn, Maarten Van Acker, Jeroen Boomgaard, Isabelle Makay and Oscar Van den Boogaard. Photograpy by Geert Goiris and Kristien Daem. Initiated by the cities Bornem, Puurs, Willebroek and Mechelen in collaboration with VAi, vlaamsarchitectuurinstituut.
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
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