Forty years of hyperchromatic immersive installations from the Neo-Geo pioneer Highly celebrated as a painter since his early days as a prominent member of New York’s 1980s art scene and a leading main champion of the Neo-Geo movement, Peter Halley (born 1953) has also created challenging and idiosyncratic site-specific installations, exhibition scenography and permanent public works that have extended his practice to a larger scale. A companion to Paintings of the 1980s: The Catalogue Raisonné (2017), this volume gathers together all the installation works realized by the artist between 1980 and 2022, with extensive documentation. From his collaborations with legendary design maestro Alessandro Mendini to his monumental projects at the Schirn Kunsthalle, Frankfurt, and the Lever House in New York, from his early groundbreaking exhibitions in downtown New York to private and public commissions, this book encompasses a lesser-known but decisive aspect of Halley’s oeuvre.

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.

An encyclopedia of protest movements of 190 years and their architectural manifestations. Protest movements shape public space not only through their messages but in many cases also through their mostly temporary buildings. Frankfurt’s Deutsches Architekturmuseum DAM and Vienna’s MAK—Museum of Applied Arts explore this thesis in a joint exhibition project. The exhibition and this coinciding book examine the topic further using examples spanning from 1830 to 2022. Protest Architecture is the first international survey of the architecture of protest and presents it in all its manifold forms and, in some cases, ambivalence. It is conceived as an encyclopedia with 176 entries, supplemented by 16 expansive case studies. A preceding chronology portrays 68 protest movements and their architectural manifestations through concise texts and one image each, including examples from all over the world.

Behind the dance enthusiasm at the beginning of the 20th century was the desire for harmony of nature and man. From the life reform through dance at Isadora Duncan (approx. From 1902) to the socio-utopian “rhythmic education” in Emil Jaques-Dalcrroze (1905/11) to art revolution through the self-awareness “expression dance” z. T. without music from Mary Wigman (from 1913) the “artistic dance” had long since influenced the high and mass culture when Langewiesche came out with his blue book in 1928. This is precisely why it could offer a “review. The artists who are carriers of dance development” offer (Aubel page V or 5). This company Langewiesches even found the Vienna exhibition “Dance: Photo” by Monika Faber in 1990, which, however, demonstrated its recess, for example the Loie Fuller, certain Bauhaus stage projects and avant-garde dance photography. The first edition of 1928 was reprinted almost unchanged in the same year and was released in 1930 and last 1935 in changed editions with pictures by: Rolf Arco (1935) – La Argentina (1928-35) – Clotilde from DERP (28-35) – Isadora Duncan (28-35) – Eleonora Duse (28-35) – Fanny Elssner (28-35) – Lala Herdmenger (1928) – Niddy Impekoven (28-35) – Raden Mas Jodjana (1935) – Tamara Karsavina (28-35 ) – Harald Kreutzberg (from 1930) – Rudolf von Laban (28-35) – Sent M’ahesa (28-35) – Nijinski (28-35) – Novikoff (1928) – Palucca (28-35) – Anna Pavlowa ( 28-35)- Ellen Petz (28-35)- Siti Soendari (or Sundari, 28-35)- Raden Mas Sokamto and Raden Mas Suebanto (or “Javanian dance group”; 28-35)- Alexander Sacharoff (28- 30) – UDay Shan Khar (1935) – Alexander von Swaine (1935) – Maria Taglioni (28-35) – Alice Uhlen (1935) – Sisters Wiesenthal (28-35) – Mary Wigman (28-35). The following photographers have contributed to the volume, each of which should record characteristic “poses” of the dancers: Atelier Lili Baruch – Becker & Maaß – Arthur Benda – Atelier Binder – Mario v. Bucovich – Suse byk – Joan Craven – Atelier Dührkoop – Atelier Eberth – Atelier – Atelier Elvira – S. Enkelmann – Hugo Erfurth – Stephanie Held – Atelier Hermann Hänse – Nini & Carry Hess – Atelier Hanns Holdt – E. O. Hoppé – Lotte Jacobi – Atelier Jobst – Emy Limpert – Studio Lipnitzky – Atelier Meta Lohding – Atelier Franz Löwy – Angelo – Angelo Müterme – Madame d’Or – Atelier Ortéga – Hans Robertson – Atelier Charlotte Rudolph – Atelier Ernst Schneider – Atelier Setzer – Atelier – Atelier – Wasow. The reprint of the first edition (1928) was supplemented by the image and text variants of the later editions until 1935 and other materials on edition history (including 90 reviews 1928-1938) as well as an introductory essay by Frank-Manuel Peter from the German Dance Archive (Cologne) with comparison images. In the appendix, also short biographies of the dancers and then addresses of the photographers.

Presented in an oversized format with a specially bound case with three-dimensional finishes, 1000 beautiful duotone photographs throughout bring the graphic strength, emotional power, and compelling architectural presence of Brutalism to life. From 20th century masters to contemporary architects, much-loved masterpieces in the UK and USA sit alongside lesser-known examples in Europe, Asia, Australia, and beyond – 102 countries in all. Twentieth-century masters included in the book: Marcel Breuer, Lina Bo Bardi, Le Corbusier, Carlo Scarpa, Ernö Goldfinger, Frank Lloyd Wright, Louis Kahn, Oscar Niemeyer, and Paul Rudolph. Contemporary architects featured include Peter Zumthor, Alvaro Siza, Coop Himmelb(l)au, David Chipperfield, Diller and Scofidio, Herzog & de Meuron, Jean Nouvel, SANAA, OMA, Renzo Piano, Tadao Ando, and Zaha Hadid.

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

#1 “The Opening Salvo” Richard Kostelanetz and Henry Korn, editors (1970) “Assembling: A cooperative annual magazine of the unpublished and the unpublishable – selected and printed by the contributors. Compiled by Richard Kostelanetz and Henry James Korn… Contributors were invited to submit 1000 copies of up to four 8.5 x 11 in. pages of anything they wanted to include, printed at their own expense on any paper by any means…” – from introduction. Contributions to this issue include original works by Vito Acconci, Tom Ahern, Arakawa, Lee Baxandall, Gay Beste, George Chambers, Marvin Cohen, Regina Cohen, Mad Dog, Raymond Federman, Rosalie Frank, Paul Friedman, Madeline Gins, Elizabet Ginsberg, Dan Graham, Aime Rene Groulx, Jan Jacob Herman, Roni Hoffman, Scott Hyde, David Ignatow, Arno Karlen, Lynn P. Kohl, Henry J. Korn, Richard Kostelanetz, Robert Lax, Arthur Layzer, Bernadett Mayer, Carole S. McCauley, Peter Melnick, Richard Meltzer, Michael Metz, Elana Nachman, Liam O’Gallagher, Michael J. Phillips, Edward Ruscha, Alan Sondheim, Ronald M. Spatz, K. & R. Waldrop, Nancy Weber, Hannah Weiner, Steve Welte, Stephen Wiest

Martha Wilson is an American feminist who began her career in the early 1970s at the Nova Scotia College of Art and Design. Working in the male-dominated Conceptualist milieu of the time, Wilson generated pioneering photographic and video work that explored her female subjectivity through role playing and invasions of male and other female personas. After moving to New York City in 1975, she further developed her performative and video-based practice in founding and directing Franklin Furnace, an artist-run centre dedicated to the exploration and promotion of innovative installation, performance and time-based art practices. This publication chronicles Wilson’s journey from the virtual isolation of her early work to the transformative experience of working with then-unknown artists like Jenny Holzer and Shirin Neshat in a socially-engaged feminist art practice that defied and challenged established artistic and political values.

Contains artists’ projects by artists and musicians including: Barbara Ess, J.M. Sherry, Nick Antonopolus, Robert Appleton, Andy Baird, Barbarians for Socialism, S. Battista, Coetow Birnbaum, Carol Black, M. Bock, Eric Gogosian, Cara Brownell, Glenn Branca, ellen Bruno, Nina Canal, The Coachmen, Michele Confredo, Mitch Corber, Peter Cummings, Dan, Demi, Margaret Dewys, Marcel Duchamp, Barbara Ess, Louis Feitler, Benny Ferdman, Mr. and Mrs. Frank, Bobby G., Henry Garfunkel, Michael Glier, Kim Gordon, Dan Graham, Christine Hahn, Steven Harvey, Kristen Hawthorne, Jenny Holzer, Becky Howland, Glenda Hydler, Todd Jorgensen, Peggy Katz, Jeff Koons, Barbara Kruger, Rona Kuscher, Joe Lewis, Carla Liss, Jeff Lohn, N.Y. Lost, Mark Marek, Peter Marra, Lucinda Marshall, Ray Matthews, Aline Mayer, Paul McMahon, Ann Mesner, Dick Miller, peter Moenig, Alan Moore, Gary Morgan, Mr. Mental, Matt Mullican, Charlie Nash, Joseph Nechvatal, Tom Tooerness, Bart Plantenga, Brian Piersol, Michael Warren Powel, ‘R’, Nancy Radloff, Howard Rodman, Christy Rupp, Thaddeus Rutkowski, Sammy, John Savas, Janet Schwartz, R.L. Seltma, J.M. Sherry, Ingrid Sischy, William Skrips, Smegma, Jim Sutcliffe, Taro Suzuki, Wharton Tiers, Lynne Tillman, Diane Torr, Douglas Turnbough, Gail Vachon, Peter Velez, Sally White, Martha Wilson, Robin Winters, Stephen Wischerth.

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

The multilayered, fragmented, postmodern style of graphic design revolutionized by desk-top computing has run its course. Anything that could be tried has been tried. Graphic design today has entered a new period, one of greater experimentation that often takes place outside the commercial realm and forces us to reconsider what we have taken as a given. What has emerged is a radical body of work that is rapidly redefining the very nature and scope of design. As presented in this dynamic international showcase of the world’s hottest thirty-seven studios, three sensibilities characterize this avant-garde: “Code,” “Generic,” and “Disjunction.” “Code” looks at the innovative ways designers, tired of using the computer as a tool with applications that are analogues to conventional media, are becoming programmers, unleashing the computer’s processing powers to discover new worlds of extreme beauty. Designers in “Generic” confront the ordinary to offer us an offbeat system of signs, symbols, and meanings that are still strangely familiar. Finally, “Disjunction” considers work that appropriates anything to advance its own, often self-interested aims, whether they be political, social, aesthetic, or even personal. All of these approaches respond in their different ways to the problems facing the graphic designer, and while none endeavors to set out a single systematic solution for design, many suggest unexpected and entirely original ways to communicate images and words. In the ever-shifting realm of contemporary culture, Restart offers a new grid. With over 600 illustrations in color and black and white. Contributors: Joshua Berger/Plazm; Paul Farrington/Tonne; Henrik Kubel + Scott Williams; Andreas Lauhoff; John Maeda; Sara Maconkey; Norm; Ralph Steinbrüchel; Stefanie Barth; Tomato Interactive; Bump; Anthony Burrill; Paul Elliman; Miles Murray Sorrell (Fuel); Graphic Thought Facility; Müller + Hess; Paul Plowman; Jake Tilson; 2×4; Alexander Boxill; Peter Anderson; Irma Boom; Darren Hughes; Angus Hyland; Scott King; Mitsuo Katsui; M/M; Bruce Mau; Ellen Lupton and J. Abbott Miller; Mevis + van Deursen; One9ine; Paul Sahre; Peters Saville; Frank Philippin; Cornel Windlin; Ian Wright and Bob Wilkinson; Michael Worthington

COOP HIMMELB(L)AU s projects include recent urban structures
like the BMW Welt, Munich (2001 07), the Musée des
Confluences, Lyon (2001 10), and the European Central Bank,
Frankfurt (2003 11). These and many others are presented
through photographs, renderings, planning materials and
sketches and offer the reader a look at realized structures as
well as construction projects that are still in the planning
stages. Texts from Jeffrey Kipnis, Sylvia Lavin and Peter
Noever highlight the relationships between the specific work
of COOP HIMMELB(L)AU and architecture, history, literature,
film and art. Project-specific and programmatic texts from
COOP HIMMELB(L)AU offer an in-depth look at the conceptual
practices of the architects, whose work is some of the most
innovative and important of our time.

* Philip Johnson: 6 pages with 13 b/w illustrations of the Sheldon Art Gallery, a Benedictine Priory, a Pavilion for his New Canaan property and the Union Air Terminal Building at Idlewild * Louis Kahn: 20 pages with 14 b/w text illustrations and 15 b/w illustrations of the Goldberg House (Rydal, PN), the American Consulate (Luanda, Portugese Angola) and a Unitarian Church (Rochester, NY) * Eero Saarinen: 14 pages with 21 b/w illustrations of the World Health Organization Headquarters (Geneva, Switzerland), the Samuel F. B. Morse and Ezra Stiles Colleges, Yale University and the John Deere and Company Administration Center (Moline, IL) * John Johansen: Act and Behavior in Architecture * Paul Rudolph: 14 pages with 26 b/w illustrations of Yale University Married Student Housing, Yale University Art and Architectural School Building and Milam House (St. John’s County, Florida) * The Future of the Past by Sibyl Moholy-Nagy (includes work by Peter Behrens, Eero Saarinen, Mies van der Rohe, Philip Johnson, Paul Rudolph and Louis Kahn * Notes on American Architecture by James Gowan (includes work by Frank Lloyd Wright, Eero Saarinen, Twitchell and Rudolph, R. M. Schindler, Mies van der Rohe, Philip Johnson and Louis Kahn) * The Exploded Landscape by Walter McQuade (includes work by Paul Rudolph, Philip Johnson, Eero Saarinen, John Johansen and Louis Kahn) * Form-givers: Peter Collins * Open and Closed: Colin St. John Wilson (includes work by Theo van Doesburg, Walter Gropius, Hugo Haering, Le Corbusier, Mies van der Rohe, Eero Saarinen and Louis Kahn

* Philip Johnson: 6 pages with 13 b/w illustrations of the Sheldon Art Gallery, a Benedictine Priory, a Pavilion for his New Canaan property and the Union Air Terminal Building at Idlewild * Louis Kahn: 20 pages with 14 b/w text illustrations and 15 b/w illustrations of the Goldberg House (Rydal, PN), the American Consulate (Luanda, Portugese Angola) and a Unitarian Church (Rochester, NY) * Eero Saarinen: 14 pages with 21 b/w illustrations of the World Health Organization Headquarters (Geneva, Switzerland), the Samuel F. B. Morse and Ezra Stiles Colleges, Yale University and the John Deere and Company Administration Center (Moline, IL) * John Johansen: Act and Behavior in Architecture * Paul Rudolph: 14 pages with 26 b/w illustrations of Yale University Married Student Housing, Yale University Art and Architectural School Building and Milam House (St. John’s County, Florida) * The Future of the Past by Sibyl Moholy-Nagy (includes work by Peter Behrens, Eero Saarinen, Mies van der Rohe, Philip Johnson, Paul Rudolph and Louis Kahn * Notes on American Architecture by James Gowan (includes work by Frank Lloyd Wright, Eero Saarinen, Twitchell and Rudolph, R. M. Schindler, Mies van der Rohe, Philip Johnson and Louis Kahn) * The Exploded Landscape by Walter McQuade (includes work by Paul Rudolph, Philip Johnson, Eero Saarinen, John Johansen and Louis Kahn) * Form-givers: Peter Collins * Open and Closed: Colin St. John Wilson (includes work by Theo van Doesburg, Walter Gropius, Hugo Haering, Le Corbusier, Mies van der Rohe, Eero Saarinen and Louis Kahn

Around 1970 the exhibition program of the Kunsthalle Basel partly aimed at opening up the structures of the art institution. Peter F. Althaus, curator at that time, programmatically formulated: “There’s this space here, come and do something in it.” With this he gave up the authoritarian position of the curator in favor of a close dialogue with the artists and other local groups to discuss the role of art as well as the role of the art institution. The publication examines how the Kunsthalle Basel was situated in this context, focusing on two exhibition projects of the years 1969 and 1970. with contributions by Peter F. Althaus, Regula Maritz, Pierre Raetz, Sören Schmeling, Silke Wagner und Florian Waldvogel, Adam Szymczyk and Isabel Zürche

Sometimes, but very rarely these days, one can announce a real discovery in contemporary photography — a book that will emphatically place its author on the international map on the same level as such giants of photography as Robert Frank and Nan Goldin. After the international success of Lux et Nox Scalo is proud and excited to announce the definitive mid-life retrospective book on Australian artist Bill Henson. The book combines all groups of work that Henson has created up to the present: from his early Ballet pictures (1974), to his body and nude portraits (1977–1986), from his photographs of street-crowds (1979–1982) to his Baroque Triptychs (1983–84), from his fantastic combinations of pictures taken in the Australian Suburbs and Egypt (1985/86) to his Los Angeles and New York nightscapes (1987–88), from his famous cut-out collages shown at the centenary Venice Biennale in 1995, to the portraits of adolescents and his magical color compositions for the Paris Opera (1990/91), and, most recently, a haunting selection of his images of children adrift in the wilderness of night (1997-2004), many of these appearing for the first time. Bill Henson is a continent in photography to be discovered. This book will be one of Scalo’s major contributions to the understanding of contemporary photography. Published on the occasion of the artist’s retrospective at the Art Gallery of New South Wales, Sydney, opening January 2005 and touring to the National Gallery of Victoria, Melbourne in April.

Essays by Judy Annear, Jennie Boddington, Edmund Capon, Dennis Cooper, Peter Craven, Isobel Crombie, John Forbes, Michael Heyward, Alwynne Mackie, David Malouf, Bernice Murphy, Peter Schjeldahl, and an interview with Bill Henson by Sebastian Smee.

In the decades following World War II artists in Europe, North America, and South America began experimenting with geometric forms. Rebelling equally against the mathematical purity of earlier geometric modernism and what many saw as the emotional excesses of abstract expressionism and Art Informel, these artists emphasized three-dimensionality, the repetition of modular elements, the conceptual underpinnings of art, and the performative to engage the viewer in the creative process and achieve broader intellectual, sensual, and emotive range in their work. Beyond Geometry, which accompanies an exhibition at the Los Angeles County Museum of Art, showcases over 200 works by 139 artists that chart the development of these experiments in form. It is noteworthy that artists on three continents began exploring these forms at the same time, often unaware of aesthetic developments elsewhere. Beyond Geometry brings together examples of European and Latin American concrete art, Argentine Arte Madí-Brazilian Neo-Concretism, Kinetic and Op Art, Minimalism, and various forms of post-minimalism including systematic forms of process and conceptual art. These movements and genres developed from a concern with the idea that all meaning resides in the physical object itself, rather than in its metaphorical content or relationship to the outside world.

Beyond Geometry includes work by such artists as Josef Albers, Bernd and Hilla Becher, Max Bill, Lucio Fontana, Eva Hesse, On Kawara, Sol LeWitt, Helio Oiticica, Blinky Palermo, Bridget Riley, Jesus Rafael Soto, and Victor Vasarely. It contains essays by Lynn Zelevansky, Ines Katzenstein, Valerie Hillings, Miklos Peternak, Peter Frank, and Brandon LaBelle that place the work in the context of art history and the aesthetic and social issues of the time.

Presenting unique and in-depth collaborations and editions with leading international artists, Parkett No. 67 features John Bock (Germany), Peter Doig (Great Britain) and Fred Tomaselli (United States of America). John Bock’s hypnotic and clownish lectures–his signature artistic medium–mix language, social theory, dramatic elements, history and fairy tales, among other things. He performs on stage-like structures made from household furniture and multi-level wooden platforms while constructing handmade sculptures out of clothing, household appliances and other common materials. Contributing writers on Bock are independent curator Jens Hoffmann, Daniel Birnbaum, director of Portikus in Frankfurt, and art critic Jan Avgikos. Peter Doig’s paintings are at once romantic and nostalgic. With a vaguely impressionistic veil, he turns representational imagery taken from photographs into dream-like abstractions. For Doig authors include art historian Paul Bonaventura, former artistic director of the Stedelijk Museum in Amsterdam, Rudi Fuchs and Kunsthalle Zurich director Beatrix Ruf. Fred Tomaselli makes paintings that incorporate resin, photo-collage, pills, hallucinogenic plants and medicinal herbs in abstract compositions, figurative scenes and fictive landscapes. His multi-layered works (literally and metaphorically) map out the tension between control and chaos: civilization and nature, nature and culture. Dan Cameron, curator at the New Museum of Contemporary Art and curator of the next Istanbul Biennial, writes on Tomaselli, as well as writer Daniel Pinchbeck and Art Institute of Chicago curator James Rondeau. Also in this issue are Sibylle Omlin on Hanne Darboven, Troy Selvaratnam on Simon Starling, Hartmut Bahme on Wang Du, an insert by Canadian artist Marcel Dzama and a new spine designed by Fiona Banner.

This is the first introductory textbook to examine key debates in photographic theory and place them in their social and political contexts. Written especially for students in further and higher education, it provides a coherent introduction to the nature of photographic seeing. Individual chapters cover key debates and theorists; the documentary role of the camera; the popular and personal with particular attention to the family album; advertising and commodity culture; photography as fine art and photography and digital imaging. Designed to direct students of photography to key reading and assist the understanding of key terms, a list of resources which includes archives and galleries and a comprehensive bibliography. It is lavishly illustrated with over 80 illustrations. Among these are key nineteenth-century photographers Camille Silvy and Peter Henry Emerson; documentary photographers Frank Sutcliffe and Dorothea Lange; images from Victorian and family albums; early product advertising form Kodak and contemporary fashion photography from Benetton; computer generated images and a NASA satellite image of earth; images from famous artists such as Alexander Rodchenko, Bill Brandt and Lee Miller.

The Portikus is one of the most important alternative exhibition spaces in the world. This catalogue studies it’s role in the art world, and the seminal exhibitions which have been held there.

This anthology presents over two decades of the most memorable issues and events of contemporary art as seen through the pages of Flash Art, the controversial, contradictory art magazine that has influenced both cultural taste and artistic development for twenty-one years. From Arte Povera, Process Art, Conceptual Art, Performance Art, and Post-Conceptualism to Pictures, the Transavantgarde, the East Village, and NeoConceptualism, Flash Art has functioned as both forum and catalyst for current art trends. The book includes such artists and theorists as Bernd and Hilla Becher, Rebecca Horn, Joseph Kosuth, John Baldessari, Gordon Matta-Clark, Sherrie Levine, Gilles Deleuze, Edward Ruscha, Mimmo Paladino, Jean-Francois Lyotard, Frank Stella, Julia Kristeva, Jean Baudrillard, Fredric Jameson, Jeff Koons, Donald Judd, Peter Halley, David Salle, Gerhard Richter, and Germano Celant. It documents the magazine’s policy and trajectory throughout the course of contemporary culture a policy that has been consistently concerned with capturing the new and the radical, transforming them inevitably, into the event.

This book contains four different views of an artists’ books collection. We just sorted in chronological order and took a picture of what was inside. Vincenzo Agnetti, Carl Andre, Nobuyoshi Araki, Stefano Arienti, Enrico Baj, John Baldessari, Fiona Banner, Matthew Barney, Robert Barry, Carlo Bertè, Alighiero Boetti, Christian Boltanski, Agostino Bonalumi, Brad Brace, Stanley Brouwn, James Lee Byars, Vincenzo Cabiati, Antonio Calderara, Enrico Castellani, Mariana Castillo Deball, Eduardo Chillida, Jean Cocteau, Gianni Colombo, Pietro Consagra, Gino De Dominicis, Sonia Delaunay, Herman De Vries, Giulia Di Lenarda, Gillo Dorfles, Peter Downsbrough, Marcel Duchamp, Olafur Eliasson, Peter Fischli & David Weiss, Lucio Fontana, Tom Friedman, Natalia Gončarova, Douglas Gordon, Roni Horn, Emilio Isgrò, Alex Katz, Anselm Kiefer, Terence Koh, Jannis Kounellis, Melissa Kretschmer, Frank Kupka, Maria Lai, Sol LeWitt, Ugo Locatelli, Claudia Losi, Françoise Mairey, Man Ray, Ari Marcopoulos, Brice Marden, Amedeo Martegani, Fausto Melotti, Jonathan Monk, Mariko Mori, Bruno Munari, Mario Nigro, Mimmo Paladino, Luca Pancrazzi, Giulio Paolini, Jes Petersen, Pablo Picasso, Sigmar Polke, Arnaldo Pomodoro, Markus Raetz, Angelo Savelli, Salvatore Scarpitta, Jim Shaw, Roman Signer, Kiki Smith, Dash Snow, Ettore Spalletti, Hiroshi Sugimoto, Wolfgang Tillmans, Richard Tuttle, Erik Van Der Weijde, Bram Van Velde, Luigi Veronesi, Jan Voss, Andy Warhol, Christopher Wool, Erwin Wurm, Yasuhiro Yoshioka

The Bronx had almost stopped burning by 1979. The intensity and extent of the devastation permeated the landscape. It was an awesome mess, not just another neighborhood, but another realm, visible but incomprehensible. The Bronx came undone in a confluence of unfortunate circumstances: the life cycle of community, rampant city planning, economic change, racism, poverty, failed hopes, drugs, crime, abandonment, counterproductive government response. It was destroyed for profit. The entire story has yet to be told.

A friend suggested to photographer Lisa Kahane that she record it for a time when it would be a memory, which was then impossible to imagine. The ruins of the immediate past overwhelmed any idea of a future. Ironically, Kahane had a good time in the Bronx. People smiled and said, “Throw me a photo!” Few objected to having their picture taken and no one tried to take her camera away. They wanted their story told. Any discomfort the camera might inflict was nothing compared to what they’d endured.

The result, Do No Give Way to Evil: Photographs of the South Bronx, 1979–1987, is an extraordinary document of devastation and rejuvenation, as Kahane records the first seeds of rebuilding. Throughout this desolate world, the people live alongside abandoned buildings and debris-strewn lots, carrying on their business with civic pride. Though the buildings may be ghosts of their former selves, the spirit of the people holds strong.

With an essay by Peter Frank and text by the photographer, John Ahearn, CRASH, DAZE, Jane Dickson, Stefan Eins, John Fekner, Joe Lewis, SHARP, Rigoberto Torres.

Buildings descriptions by Peter Behrens, Tony Garnier, A. Perret, Frank Lloyd Wright, et al.

Minimalism in Germany offers a definitive overview of constructivist and concrete abstraction and the avant-garde in 1960s Germany. With a wealth of color illustrations, this massive and ambitious compendium features approximately 100 works–from serial sculptures to action-oriented works, mostly drawn from the Daimler Art Collection–by around 40 artists. Opening with an examination of predecessors such as Josef Albers, Norbert Kricke, Herbert Zangs and Siegfried Cremer, it looks at developments in abstract art in the cities of Frankfurt, Düsseldorf, Stuttgart, Berlin and Munich, also acknowledging relevant developments in neighboring Switzerland. Among the artists included here are Hartmut Böhm, Imi Giese, Hanne Darboven, Hermann Glöckner, Heinz Mack, Peter Roehr, Charlotte Posenenske, Ulrich Rückriem and Franz Erhard Walther. Essays on minimalist tendencies in German architecture, literature, film and design of the period in Germany expand the context for their activities.

Contains artists’ projects by artists and musicians including: Barbara Ess, J.M. Sherry, Nick Antonopolus, Robert Appleton, Andy Baird, Barbarians for Socialism, S. Battista, Coetow Birnbaum, Carol Black, M. Bock, Eric Gogosian, Cara Brownell, Glenn Branca, ellen Bruno, Nina Canal, The Coachmen, Michele Confredo, Mitch Corber, Peter Cummings, Dan, Demi, Margaret Dewys, Marcel Duchamp, Barbara Ess, Louis Feitler, Benny Ferdman, Mr. and Mrs. Frank, Bobby G., Henry Garfunkel, Michael Glier, Kim Gordon, Dan Graham, Christine Hahn, Steven Harvey, Kristen Hawthorne, Jenny Holzer, Becky Howland, Glenda Hydler, Todd Jorgensen, Peggy Katz, Jeff Koons, Barbara Kruger, Rona Kuscher, Joe Lewis, Carla Liss, Jeff Lohn, N.Y. Lost, Mark Marek, Peter Marra, Lucinda Marshall, Ray Matthews, Aline Mayer, Paul McMahon, Ann Mesner, Dick Miller, peter Moenig, Alan Moore, Gary Morgan, Mr. Mental, Matt Mullican, Charlie Nash, Joseph Nechvatal, Tom Tooerness, Bart Plantenga, Brian Piersol, Michael Warren Powel, ‘R’, Nancy Radloff, Howard Rodman, Christy Rupp, Thaddeus Rutkowski, Sammy, John Savas, Janet Schwartz, R.L. Seltma, J.M. Sherry, Ingrid Sischy, William Skrips, Smegma, Jim Sutcliffe, Taro Suzuki, Wharton Tiers, Lynne Tillman, Diane Torr, Douglas Turnbough, Gail Vachon, Peter Velez, Sally White, Martha Wilson, Robin Winters, Stephen Wischerth.

Included artists: Adams Alice, Agostini Peter, Andre Carl, Antonakos Stephen, Arneson Robert, Artschwager Richard, Bochner Mel, Bollinger Bill, Bourgeois Louise, Brown Marvin, Calder Alexander, Celmins Vija, Chamberlain John, Chase-Riboud Barbara, Chryssa, Corse Mary, De Andrea John, De Rivera Jose, Di Suvero Mark, Duff John, Edwards Melvin, Eversley Frederick John, Ferrara Jackie, Ferrer Rafael, Flavin Dan, Frank Mary, Friedberg Richard, Gilhooley David, Graham Robert, Graves Nancy, Grieger Scott, Haber Ira Joel, Hanson Duane, Hubbard Robert, Hudson Robert, Hunt Richard, James Laurace, Johnson Daniel La Rue, Judd Danald, Kipp Lyman, Kohn Gabriel, Larson Haydn, Lerner Marilyn, Le Va Barry, Levinson Mon, Linder Jean, Lipton Seymour, Lobe Robert, McCracken John, Melchert James, Miss Mary, Moore G.E., Morris Robert, Morton Ree, Murray Robert, Myers Forrest, Nauman Bruce, Neri Manuel, Noguchi Isamu, Noland Kenneth, Oldenburg Claes, Oppenheim Dennis, Ossorio Alfonso, Price Kenneth, Reginato Peter, Rickey George, Roche Jim, Rockburne Dorothea, Rohm Robert, Ruppersberg Allen, Saar Bettye, Samaras Lucas, Scanga Italo, Segal george, Serra Richard, Shapiro Joel, Shaw Richard, Shostak Ed, Smith George, Smith Tony, Smithson Robert, Snelson Kenneth, Sonnier Keith, Steiner Michael, Stone Sylvia, Strider Marjorie, Sugarman George, Tetherow Michael, Todd Mike, Truitt Anne, Valentine DeWain, Van Buren Richard, Van Fleet Ellen, Voulkos Peter, Westermann H.C., Wiley William T., Wilmarth Christopher, Wilson May, Winsor Jackie

Charles Prosper Wolff Schoemaker (1882-1949) is the Frank Lloyd Wright of Indonesia. Between 1910 and 1940 he designed numerous buildings on Java, including Villa Isola and Hotel Preanger in Bandung, which are among the absolute highlights of colonial architecture. This publication presents his complete oeuvre. Dutch architects in Dutch East Indies Histories of Dutch architecture often pass over the architecture of Dutch architects in the former Dutch East Indies. Wolff Schoemaker and Henri Maclaine Pont were the main architects in Indonesia in the 1920s and 1930s. They determined the architectural landscape and the discussion of it. Modernism Magazines and newspapers between 1923 and 1937 carried a heated debate on vernacular applications in modern architecture. Maclaine Pont translated them into a regionally based architecture, while Wolff Schoemaker developed a new modern language of forms based on tropical conditions and principles. The way in which architects incorporate the history of a location in their design is once again a topical issue, both in Indonesia and in the Netherlands.

Blue Universe presents the collaboration between architectural photographer Gerald Zugmann and the architectural group COOP HIMMELB(L)AU. Gerald Zugmann is an internationally recognized architectural photographer who has worked for over 30 years with architects such as Frank Lloyd Wright, Carlo Scarpa, Louis I. Kahn, and Rudolph M. Schindler. With his precise and individual style, he helped establish a new generation of architectural photographers. Eschewing the functional aspects of the buildings and models he photographs, Zugmann focuses on the play of light and shadow. His photographs are dramatic, yet faithful representations, able to highlight essential details while maintaining the integrity of the structural unit. COOP HIMMELB(L)AU emerged in 1968 as one of the most innovative of new architectural groups in Europe. Founded in Vienna by Wolf Dieter Prix and Helmut Swiczinsky, COOP HIMMELB(L)AU is known for its increasingly experimental structures. Each project starts as a series of discussions, ultimately yielding a fully formed model. For Blue Universe, Zugmann photographed a selection of these resulting models. Bringing together the expertise and innovation of a leading architectural firm and a well-known architectural photographer, Blue Universe provides a unique glimpse into the future of experimental architecture.

Band 1: malerei, plastik, performance.- Band 2: fotografie film video.- Band 3: handzeichnungen, utopisches design, bücher.- Artsts: Berenice Abbott, Hermann Albert, Carl Andre, Ben d’Armagnac, Christian Ludwig Attersee, Vito Acconci, Pierre Alechinsky, Theo Angelopoulos, Arman (Armand Fernandez), Bernhard Aubertin, Valerio Adami, Gerhard Altenbourg, Ottomar Anschütz, Fernando Arrabal, Joannis Avramidis, Robert Adamson, Robert Altman, Horst Antes, Eduardo Arroyo, Alice Aycock, Peter Ackermann, Anatol, Ant Farm, Art & Language, Billy Adler, Gisela Andersch, Shusaku Arakawa, David Askevold, Chantal Akerman, Laurie Anderson, Diane Arbus, Eugène Atget, Francis Bacon, Monika Baumgartl, Joseph Beuys, Fernando Botero, Kevin Brownlow & Andrew Mollo, Michael Badura, Hippolyte Bayard, Michael von Biel, Margaret Bourke-White, Günter Brus, Eduard Denis Baldús, Thomas Bayrle, Werner Bischof, Mathew B. Brady, Anatol Brosilowsky, Balthus, Cecil Beaton, Louis-Auguste Bisson & Auguste-Rosalie Bisson, Brassaï (Gyula Halász), Wojciech Bruszewski, Joachim Bandau, Bernd e Hilla Becher, Irma Blanck, George Brecht, Luis Buñuel, Jared Bark, Stephan Beck, Karl Blossfeldt, KP Brehmer, Chris Burden, Robert Barry, Bill Beckley, Bernhard Blume, George Hendrik Breitner, Daniel Buren, Jennifer Bartlett, John Ernest Joseph Bellocq, Mel Bochner, Heinz Breloh, Scott Burton, Gianfranco Baruchello, Carmelo Bene, Peter Bogdanovich, Robert Bresson, Michael Buthe, Giorgio Batistella, Franz Bernhard, Claus Böhmler, Stuart Brisley, James Lee Byars, Gerd Baukhage, Jean-Marie Bertholin, Blythe Bohnen, Jürgen Brodwolf, Horst H. Baumann, Nuccio Bertone, Karl Bohrmann, Marcel Broodthaers, Bodo Baumgarten, Jean-Louis Bertucelli, Christian Boltanski, Stanley Brouwn, Enzo Cacciola, Robert Capa, Barbara Chase-Riboud, Pinchas Cohen-Gan, Michael Craig-Martin, Julia Margaret Cameron, Henri Cartier-Bresson, Eduardo Chillida, James Collins, Fritz Cremer, Colin Campell, Étienne Carjat, Christo, Miguel Condé, José Luis Cuevas, Peter Campus, Ugo Carrega, Chryssa, Tony Conrad, Edward Curtis, Louis Cane, Lewis Carroll, Chuck Close, Steven Cortright, Veassis Caniaris, Claude Chabrol, Harold Cohen, Claudio Costa, Miodrag Djuric (Dado), Douglas Davis, Walter De Maria, Jim Dine, Juan Downey, Louis Daguerre, Ger Dekkers, Agnes Denes, Henry + Bool Alfred + John Dixon, Peter Downsborough, Hanne Darboven, Willem de Kooning, Fred Deux, Dore O., Michael Druks, Alan Davie, Philip Henry Delamotte, Jan Dibbets, Ugo Dossi, Marcel Duchamp, John Davies, Jack Delano, Braco Dimitrijevic, Christian Dotremont, David Douglas Duncan, Don Eddy, Paul Eliasberg, Heinz Emigholz, Ulrich Erben, Walker Evans, Benni Efrat, Ger van Elk, Ed Emshwiller, Hugo Erfurth, Valie Export, Sergej Eisenstein, Peter Henry Emerson, Leo Erb, Garth Evans, Öyvind Fahlström, Federico Fellini, Dan Flavin, Charles Frazier, Lee Friedlander, Herbert Falken, Roger Fenton, Richard Fleischer, Hermine Freed, Hamish Fulton, Ralston Farina, Armand Fernandez, Lucio Fontana, Will Frenken, Heidi Fasnacht, Vincenzo Ferrari, Fred Forest, Achim Freyer, Rainer Werner Fassbinder, Robert Filliou, Terry Fox, Gisèle Freund, Hans-Peter Feldmann, Wolfgang Gäfgen, Jochen Gerz, Tina Girouard, Dan Graham, Nancy Graves, Abel Gance, Paul-Armand Gette, Michael Gitlin, Eve Gramatzki, Alan Green, Alexander Gardner, Peter Gidal, Wilhelm von Gloeden, Tom J. Gramse, Marty Greenbaum, Winfred Gaul, Wolfram Giersbach, Jean-Luc Godard, Gotthard Graubner, Alberto Grifi, Rupprecht Geiger, Gilbert & George, Hubertus Gojowczyk, Nancy Graves, Robert Grosvenor, Michael Geissler, Frank Gilette, Kuno Gonschior, Walter Grasskamp, Hetum Gruber, Arnold Genthe, Raimund Girke, Camille Graeser, Gotthard Graubner, Renato Guttuso, Roel D’Haese, Haus-Rucker-Co, Wilhelm Hein, Lewis Hine, Nan Hoover, Helfried Hagenberg, Erich Hauser, Bernhard Heisig, Leon Hirszman, Rebecca Horn, David Hall, Lady Hawarden, Michael Heizer, Antonius Höckelmann, Horst P. Horst, Nigel Hall, Ron Hays, Al Held, David Hockney, George Hoyningen-Huene, Phillipe Halsman, Tim Head, Werner Herzog, Anatol Herzfeld, Alfred Hofkunst, Richard Hamilton, Erwin Heerich, Eva Hesse, Rudolf Hoflehner, Douglas Huebler, Heijo Hangen, Axel Heibel, David Octavius Hill, Edgar Hofschen, Danièle Huillet, Noriyuki Haraguchi, Birgit Hein, John Hilliard, Hans Hollein, Alfonso Hüppi, Karl Horst Hödicke, Shohei Imamura, Will Insley, Jean Ipoustéguy, Patrick Ireland, Hans Paul Isenrath, Ken Jacobs, Paul Jaray, Jasper Johns, Francis Benjamin Johnston, Miklós Jancsó, Jo Jastram, J. Douglas Johnson, Donald Judd, Horst Janssen, Alejandro Jodorowsky, Joan Jonas, Martha Jungwirth, Wolf Kahlen, Buster Keaton, Jürgen Klauke, Beril Korot, Ferdinand Kriwet, Max Kaminski, Ellsworth Kelly, Alexander Kluge, Joseph Kosuth, Germaine Krull, Howard Kanovitz, Michael Kenny, Werner Knaupp, Jannis Kounellis, Shigeko Kubota, Tadeusz Kantor, André Kertész, Günther Knipp, Andras Kovács, Stanley Kubrick, Allan Kaprow, Anselm Kiefer, Milan Knížák, Attila Kovács, Gary Kuehn, Dani Karavan, Harry Kipper, Imi Knoebel, Kurt Kren, Marin Karmitz, Alain Kirili, Alice Kochs, Dieter Krieg, Gertrude Kasebier, Ronald B. Kitaj, Christof Kohlhöfer, Richard Kriesche, On Kawara, Konrad Klapheck, Jiří Kolář, Les Krims, Willem de Kooning, László Lakner, Barry Le Va, Michael Leisgen, Lawrence Lobe, Urs Lüthi, Arthur Lamothe, Russell Lee, Les Levine, Francisco Lopez, Georg Platt Lynes, Richard Landry, Jean Le Gac, Sol LeWitt, Antonio Lopez-Garcia, Nikolaus Lang, Gustave Le Gray, Roy Lichtenstein, Joseph Losey, Dorothea Lange, Malcolm Le Grice, Richard Lindner, Bernhard Luginbühl, John Latham, Barbara Leisgen, Michael Lingner, Bernhard Lüthi, Heinz Mack, Kenneth Martin, Gerhard Merz, Alexander Mitta, Robert Morris, Nino Malfatti, Charles Marville, Mario Merz, Milan Mölzer, Alfons Maria Mucha, Felix H. Man (Hans Baumann), Roberto Matta, Borg Mesch, Bernard Moninot, Ugo Mulas, Robert Mangold, Gordon Matta-Clark, Anette Messager, Henry Moore, Antoni Muntadas, Andy Mann, Wolfgang Mattheuer, Adolphe de Meyer, Stefan Moore, Walter Murch, Werner Mantz, Cynthia Lee Maughan, Duane Michals, Carmengloria Morales, J.-J. Murphy, Piero Manzoni, Antony McCall, Henri Michaux, Marcello Morandini, Zoran Mušič, Giacomo Manzù, Barry McCallion, Rune Mields, Pit Morell, Eadweard Muybridge, Robert Mapplethorpe, Bruce McLean, Antoni Miralda, François Morellet, Brice Marden, Syd Mead, Josef Mikl, Maria Moreno, Agnes Martin, Dariush Mehrjui, Joan Miró, Malcolm Morley, Tomitaro Nachi, Bruce Nauman, Wolfgang Nestler, Joseph Nicéphore Niépce, Maria Nordman, Félix Nadar, Charles Nègre, Richard Newton, Ansgar Nierhoff, Gabriele & Helmut Nothhelfer, Maurizio Nannucci, Werner Nekes, Max Neuhaus, Richard Nonas, Lev V. Nussberg, Dore O., Timothy O’Sullivan, Roman Opalka, Nagisa Oshima, Oswald Oberhuber, Claes Oldenburg, Dennis Oppenheim, Jean Otth, Brian O’Doherty, Claudio Olivieri, Anna Oppermann, Hilmar Pabel, Giulio Paolini, A. R. Penck, Pablo Picasso, Lucio Pozzi, Nam June Paik, Eduardo Paolozzi, Peng-Wan-Ts, Otto Piene, Heinz-Günter Prager, Blinky Palermo, Gordon Parks, Beverly Pepper, Walter Pichler, Mario Prassinos, Magnus Palsson, Sergei Paradschanow, Elio Petri, Anne & Patrick Poirier, Panamarenko, Pier Paolo Pasolini, Wolfgang Petrick, Sigmar Polke, Gina Pane, Max Peintner, Friederike Pezold, Don Potts, Isabel Quintanilla, Daniel Quintero, William Raban, John Reilly, Jacob August Riis, Peter Roehr, Ed Ruscha, David Rabinowitch, James Reineking, Bridget Riley, Ulrike Rosenbach, Ken Russell, Arnulf Rainer, Albert Renger-Patzsch, Klaus Rinke, James Rosenquist, Claude Rutault, Yvonne Rainer, Jean Renoir, Larry Rivers, Francesco Rosi, Reiner Ruthenbeck, Robert Rauschenberg, Alain Resnais, Jacques Rivette, Roberto Rossellini, Robert Ryman, Man Ray, Erich Reusch, Józef Robakowski, Dieter Roth, Éric Rohmer, Tony Ray-Jones, Hans Peter Reuter, Dorothea Rockburne, Arthur Rothstein, Martial Raysse, George Warren Rickey, Alexander Rodtschenko, Gerhard Rühm, Reindeer Werk, Hans Salentin, Tomas Schmit, Eugen Schönebeck, Michael Singer, Edward Steichen, Sohrab Shadid Saless, Wolfgang Schmitz, Martin Schwarz (Künstler), Willi Sitte, Saul Steinberg, Erich Salomon, Helmut Schober, Martin Scorsese, Neal Slavin, Frank Stella, Lucas Samaras, Eugen Schönebeck, George Segal, David Smith, Alfred Stieglitz, Fred Sandback, Ben Schonzeit, Antonio Seguí, Robert Smithson, Sir Benjamin Stone, August Sander, Rudolf Schoofs, Friedrich Seidenstücker, Fernando Ezequiel Solanas, Paul Strand, Sarkis Zabunyan, Jan Schoonhoven, Richard Serra, Michael Snow, Jean-Marie Straub, Antonio Saura, Werner Schroeter, Ben Shahn, Alan Sonfist, Liselotte Strelow, Konrad Balder Schäuffelen, Heinz Schubert, Joel Shapiro, Eve Sonneman, Michell Stuart, Georgij Schengalaja, Alf Schuler, Charles Sheeler, Keith Sonnier, Josef Sudek, Alexander Schleber, HA Schult, Stephen Shore, Daniel Spoerri, István Szábo, Barbara Schmidt-Heins, Bernard Schultze, Katharina Sieverding, Klaus Staeck, Gabriele Schmidt-Heins, Emil Schumacher, Charles Simonds, Ted Stamm, Jiro Takamatsu, Andrej Tarkowskij, George Trakas, Peter Tuma, Vassilakis Takis, André Thomkins, François Truffaut, Deborah Turbeville, William Henry Fox Talbot, Jean Tinguely, Costas Tsoclis, Richard Tuttle, Antoni Tàpies, Gérard Titus-Carmel, Werner Tübke, Cy Twombly,Günther Uecker, Lee U Fan, Timm Ulrichs, Ursula Schultze-Bluhm, Giuliano Vangi, Wladimir Veličkovič, Bill Viola, Klaus Vogelsang, Hannsjörg Voth, Agnès Varda, Bernard Venet, Luchino Visconti, Wolf Vostell, Andrzej Wajda, Weegee, Orson Welles, Gottfried Wiegand, Claus Peter Wittig, Willie Walker, William Wegman, Wim Wenders, Klaus Wildenhahn, Krzysztof Wodiczko, Franz Erhard Walther, Peter Weibel, Lina Wertmüller, Dorothee von Windheim, Erwin Wortelkamp, Andy Warhol, Lawrence Weiner, Dsiga Wertow, Gerd Winner, Fritz Wotruba, Ryszard Wasko, Roger Welch, Marthe Wéry, Reindert Wepko van de Wint, Klaus Wyborny, Wolfgang Weber, Peter Weller, Tom Wesselmann, Rainer Wittenborn, Keigo Yamamoto, Yves Yerson, Yoshio Yoshida, Frank Young, Herbert Zangs, Gianfranco Zappettini, Jerry Zeniuk, Heinrich Zille, Krzysztof Zanussi, Michele Zaza, Christian Ziewer, Zush

* Philip Johnson: 6 pages with 13 b/w illustrations of the Sheldon Art Gallery, a Benedictine Priory, a Pavilion for his New Canaan property and the Union Air Terminal Building at Idlewild * Louis Kahn: 20 pages with 14 b/w text illustrations and 15 b/w illustrations of the Goldberg House (Rydal, PN), the American Consulate (Luanda, Portugese Angola) and a Unitarian Church (Rochester, NY) * Eero Saarinen: 14 pages with 21 b/w illustrations of the World Health Organization Headquarters (Geneva, Switzerland), the Samuel F. B. Morse and Ezra Stiles Colleges, Yale University and the John Deere and Company Administration Center (Moline, IL) * John Johansen: Act and Behavior in Architecture * Paul Rudolph: 14 pages with 26 b/w illustrations of Yale University Married Student Housing, Yale University Art and Architectural School Building and Milam House (St. John’s County, Florida) * The Future of the Past by Sibyl Moholy-Nagy (includes work by Peter Behrens, Eero Saarinen, Mies van der Rohe, Philip Johnson, Paul Rudolph and Louis Kahn * Notes on American Architecture by James Gowan (includes work by Frank Lloyd Wright, Eero Saarinen, Twitchell and Rudolph, R. M. Schindler, Mies van der Rohe, Philip Johnson and Louis Kahn) * The Exploded Landscape by Walter McQuade (includes work by Paul Rudolph, Philip Johnson, Eero Saarinen, John Johansen and Louis Kahn) * Form-givers: Peter Collins * Open and Closed: Colin St. John Wilson (includes work by Theo van Doesburg, Walter Gropius, Hugo Haering, Le Corbusier, Mies van der Rohe, Eero Saarinen and Louis Kahn

Elenco degli artisti e architetti presenti: Radovan Delalle, Johann Georg Gsteu, Leonardo Mosso e Laura Mosso Castagno, Peter Nigst, Barna Von Satory e Georg Kohlmaier, Hans Peter Schlosser, Superstudio (con un inserto di 24]pp. illustrato con foto-collages, immagini fotografiche di megastrutture e istogrammi), Ekkehard Anderle, Hans Bischoffshausen, Planungsgruppe, Franz Enzenhofer, Heinz Frank, Atelier m 9, Angela Hareiter, Bau-Coperative Himmelblau, Hans Hollein, Operator Co, Herbert Murauer e Richard Kriesche, Herbert Missoni e Franz Cziharz, Jo-hanne-Charlotte Flegel e Gernot Nalbach, Giovanni Soccol e Romano Perusini, Ateler P + F, Predrag Ristic, Ingo Klug e Manfred Schwarzbauer, Jorrit Tornquist, Michael Tritthart, Rolf Wessely.

C’est vrai! (One Hour) is a single-take of Robert Frank and actor Kevin O’Connor walking and riding in the back of a minivan through lower Manhattan. Shot between 3:45 and 4:45 p.m. on July 26, 1990, it appears to document a journey, but this little and little-known book, first issued by Hanuman in 1992, reveals it to have had a script (by Frank and his assistant, Michal Rovner) and enough actors (27) and crew to fill two pages of credits. Frank also acknowledges that a conversation heard in a diner is written by Mika Moses, but that Peter Orlovsky’s crucial plot-turning lines, intercepted by Frank roughly halfway through the hour, in front of the Angelika Cinema on Houston Street, are “total improvisation.” C’est Vrai is published as a part of a long-term program to re-issue all of Frank’s works; the film will also be issued as a DVD within Robert Frank: The Complete Film Works.