MoMA PS1 presents the fourth iteration of Greater New York. Recurring every five years, the exhibition has traditionally showcased the work of emerging artists living and working in the New York metropolitan area. Considering the “greater” aspect of its title in terms of both geography and time, Greater New York. begins roughly with the moment when MoMA PS1 was founded in 1976 as an alternative venue that took advantage of disused real estate, reaching back to artists who engaged the margins of the city.
In conjunction with the exhibition, MoMA PS1 is publishing a series of readers that will be released throughout the run of the exhibition. These short volumes revisit older histories of New York while also inviting speculation about its future, highlighting certain works in the exhibition and engaging a range of subjects including disco, performance anxiety, real estate and newly unearthed historical documents. The series features contributions from Fia Backstrüm, Mark Beasley, Gregg Bordowitz, Susan Cianciolo, Douglas Crimp, Catherine Damman, David Grubbs, Angie Keefer, Aidan Koch, Glenn Ligon, Gordon Matta-Clark, Claudia Rankine, Collier Schorr, and Sukhdev Sandhu, concluding with a round-table conversation with exhibition curators Peter Eleey, Douglas Crimp, Thomas J. Lax and Mia Locks. The series is edited by Jocelyn Miller, Curatorial Associate, MoMA PS1.

Well known for his radical “anarchitectural” interventions throughout the 1970s, Gordon Matta-Clark (1943–78) was always deeply, though less publicly, committed to drawing. His works on paper―which span three-dimensional reliefs, calligraphy and notebook entries―capture the interdisciplinary spirit that defined the art world in the 1970s, testifying to his interest in the crossovers between visual and performance arts. Gordon Matta-Clark: The Beginning of Trees and the End, published on the occasion of the eponymous 2015 show at David Zwirner, New York, documents his extraordinary accomplishment as a draftsman. Organized by theme, the catalogue presents selections from Matta-Clark’s Cut Drawings, Energy Rooms, Energy Trees and his own “calligraphy,” many of which have never been published. Perhaps the best known of the group, the Cut Drawings explore smaller-format versions of his architectural interventions; slicing meticulously through several layers of paper, gesso or cardboard, Matta-Clark created flat sculptural works that emphasized the voids created by extracting matter. Drawings with Matta-Clark’s own “calligraphy” emphasize the medium of drawing as an independent form. Some of the most elaborate and colorful compositions include trees, several of which refer to Matta-Clark’s Tree Dance performance at Vassar College in 1971. Near-abstract tree shapes also incorporate his calligraphic marks, with branches constructed from imaginary letters. Matta-Clark’s Notebooks, which combine elements of Surrealist automatic drawing with an interest in choreography, appealed to performance artists, including Laurie Anderson and Trisha Brown. This unparalleled presentation of Matta-Clark’s drawings is accompanied by new scholarship by Briony Fer, as well as an interview with artist Sarah Sze by Jessamyn Fiore, co-director of the Estate of Gordon Matta-Clark.

A companion guide to the retrospective now on view at Los Angeles’s Museum of Contemporary Art (MOCA), this catalog is intended as the first comprehensive monograph on Gordon. Exhibition curator Ferguson (In Memory of My Feelings) opens with an essay that requires some prior knowledge of Gordon’s themes. His interpretive journey can be dizzying and labyrinthine and often leads to lengthy, initially inexplicable sojourns into literary analysis. Essays by MOCA assistant curator Michael Darling and Guggenheim curator Nancy Spector provide a more solid rationale for their interpretations, while Scottish writer Francis McKee (Luminous) stitches together a Frankenstein-like fabric of textual snippets by other writers that tell the tale of a good man who struggles against his inherently evil side and loses. The late critic David Sylvester closes with an interview of Gordon that reveals the motives behind his use of the film medium. The catalog’s graphics, which include white text that seemingly hovers over dark-toned film stills, is a visual manifestation of Gordon’s conceptual preoccupation: dualism and battling opposites. A valuable, comprehensive bibliography follows the essays.

“Hotel Carlton Palace Chambre 763” is a printed yellow slipcase / box holding an exhibition brochure and 55 postcards by artists such as: Absalon, Armleder John, Baumgarten Lothar, Bertrand Jean-Pierre, Boetti Alighiero, Boltanski Christian, Bruly-Bouabré , Brandl Herbert, Cattelan Maurizio, Eichorn Maria, Faust Max, Feldmann Hans Peter, Fischli Peter & Weiss David, Friedman Gloria, Fritsch Katharina, Genzken Isa, Gette Paul-Armand, Gilbert & George, Golub Leon, Gonzales-Foerster Dominique, Gonzales-Torres Felix, Gordon Douglas, Hains Raymond, Hirakawa Noritoshi, Hoffmann Leni, Hybert Fabrice, Kabakov Emilia und Ilya, Kawara On, Knowles Alison, Lavier Bertrand, Lehanka M., Lüthi Urs, Marisaldi Eva, Messager Annette, Mühl Otto, Obholzer Walter, Othoniel Jean-Michel, Pippin Steven, Pistoletto Michelangelo, Reed David, Richter Gerhard, Rullier Jean-Jacques, Ruppersberg Allen, Ruscha Ed, Ruthenbeck Rainer, Skala , Slominski Andreas, Spero Nancy, Tiravanija Rikrit, Toroni Niele, Trenet Didier, Weiner Lawrence, Wentworth Richard, West Franz,

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

This book begins with the observation that contemporary artists have embraced and employed gravity as an immaterial readymade. Necessarily focusing on material practices – chiefly sculpture, installation, performance, and film – this discussion takes account of how and why artists have used gravity and explores the similarities between their work and the popular cultural forms of circus, vaudeville, burlesque, and film. Works by Rodney Graham, Stan Douglas, and Robert Smithson are mediated through ideas of Gnostic doubt, atomism, and new materialism. In other examples – by John Wood and Paul Harrison, Gordon Matta-Clark, Peter Fischli and David Weiss, Trisha Brown, and Bas Jan Ader – mass and momentum, falling objects, and falling bodies are examined in relation to architecture, sculpture, and dance. In performances, projects and events curated by Bruce Nauman, Santiago Sierra, and Catherine Yass, gravity is resisted in Sisyphean ordeals and death-defying stunts. This account of contemporary art and performance, read through the invisible membrane of gravity, exposes new and distinctive approaches to agency reduction, authorial doubt, and redemptive failure.

Exhibition catalogue published in conjunction with the exhibition “Photography and Language” at the Camerawork Gallery and La Mamelle’s Art Center in San Francisco in 1976. Includes essays by Lew Thomas, James Hugunin, Robert Leverant, Allan Sekula, Donna-Lee Phillips, John Brumfield, Geoffrey Cook, Sam Samore, Harley W. Lond, and James Hugunin. With photographs by Peter D’Agostino, John Gutmann, Steven Langehough, Joan Ferrell, Lew Thomas, Robert Leverant, Fred Lonidier, Phil Steinmetz, Ricki Blau, Jack Butler, Nancy Gordon, Meryl Meisler, Richad Newton, David B. Stanton, Lisa Kahane, Harry Wilson, Donna-Lee Phillips, Victor Landweber, Bart Parker, Johnny Indersen, Carl E. Loeffler, David Watanabe, Susie Reed, Christine Oatman, Iris Landig, Janet Fries, Tom McLaughlin, Susan Grieger, Stephen Laub, Scott Goodman, Richard Mock, Lutz Bacher, John Kline, Jim Melchert, Robert Cumming, Sue Kubly, John Baldessari, Stan Strembicki, Steven J. Cahill and Dennis Kraft.

One of the most influential artists of the twentieth century, Marcel Duchamp (1887-1968) was a master of self-invention who carefully regulated the image he projected through self-portraiture and through his collaboration with those who portrayed him. During his long career, Duchamp recast accepted modes for assembling and describing identity, indelibly altering the terrain of portraiture. This groundbreaking book (which accompanies a major exhibition at the Smithsonian Institution’s National Portrait Gallery) demonstrates the ways in which Duchamp willfully manipulated the techniques of portraiture both to secure his reputation as an iconoclast and to establish himself as a major figure in the art world. Although scholars have explored Duchamp’s use of aliases, little attention has been paid to how this work played into, and against, existing portrait conventions. Nor has any study yet compared these explicitly self-constructed projects with the large body of portraits of Duchamp by others. Inventing Marcel Duchamp showcases approximately one hundred never-before-assembled portraits and self-portraits of Duchamp. The (broadly defined) self-portraits and self-representations include the famous autobiographical suitcase Boîte-en-Valise and Self-Portrait in Profile, a torn silhouette that became very influential for future generations of artists. The portraits by other artists include works by Duchamp’s contemporaries Man Ray, Alfred Stieglitz, Francis Picabia, Beatrice Wood, and Florine Stettheimer as well as portraits by more recent generations of artists, including Andy Warhol, Jasper Johns, Sturtevant, Yasumasa Morimura, David Hammons, and Douglas Gordon. Since the mid-twentieth century, as abstraction assumed a position of dominance in fine art, portraiture has been often derided as an art form; the images and essays in Inventing Marcel Duchamp counter this, and invite us to rethink the role of portraiture in modern and contemporary art.

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

I want it to be revealing. I’ll talk about anything you like. I want it to be truthful. Let’s do it. There is no off-limits. I’m afraid of nothing.’ Immediately recognised as a young artist with a brilliant, sordid and uncompromising imagination, Damien Hirst is the most celebrated artist Britain has produced for generations. The undisputed leader and originator of the dominant movement in contemporary art on both sides of the Atlantic, he is now so ingrained in the public consciousness that even those with only a passing interest in art are familiar with his notorious shark and pickled sheep. Gordon Burn met Hirst for the first time nine years ago. Both admirers of David Sylvester’s interviews with Francis Bacon and Jan Wenner’s interviews with John Lennon, there was always an unspoken understanding between them that they would do something similar when the time was right. The resulting conversations in On the Way to Work are electrifyingly candid. True to the undertaking Hirst gave Burn, there is no off-limits: here are Hirst’s thoughts on celebrity, money, art, alcohol, sex, death, the North of England, class, crime and cocaine; his views on Marco Pierre White, Charles Saatchi, David Bowie, Gilbert and George and Lucian Freud. More than any other individual, Damien Hirst’s art and life came to define the nineties. Like the generation Hirst has come to represent, On the Way to Work is brave, unpredictable, scabrously funny and corrosively intelligent. It is also a how-to guide to becoming the most famous artist in the world.

Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples of artists certificates from the past fifty years, this book reveals how roles have shifted and developed, as well as how the materials and content of art have changed. With certificates by: Ruben Aubrecht, Judith Barry, Robert Barry/Stefan Brüggemann, Hemali Bhuta and Shreyas Karle, Pierre Bismuth, George Brecht, Marinus Boezem, Daniel Buren, Andre Caderé, Marcel Duchamp, Maria Eichhorn, Urs Fischer, Dan Flavin, Andrea Fraser, Liam Gillick, The Felix Gonzalez-Torres Foundation, Hans Haacke, Edward Kienholz, Yves Klein, Joseph Kosuth, Sol LeWitt, Ken Lum, Piero Manzoni, Gordon Matta-Clark, Josiah McElheny and Allan Kaprow, Jonathan Monk, Robert Morris, Antoni Muntadas, Yoko Ono, Cesare Pietroiusti, Adrian Piper, Emilio Prini, Robert Projansky and Seth Siegelaub, Raqs Media Collective, Robert Rauschenberg, Sharmila Samant, Joe Scanlan, David Shrigley, Daniel Spoerri, Haim Steinbach, Superflex, Rirkrit Tiravanija, Ben Vautier, Lawrence Weiner, Franz West, Cerith Wyn Evans, Carey Young, Andrea Zittel, Heimo Zobernig.

The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel’s Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism. Still photography—cinema’s ghostly parent—was eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic “shots”; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the “decisive moment” of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s on—including László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine David—documenting the photography-film dialogue that has enriched both media. Contributors: Roland Barthes, Jean Baudrillard, Raymond Bellour, Anton Giulio Bragaglia, Victor Burgin, Henri Cartier-Bresson, Catherine David, Thierry de Duve, Gilles Deleuze, Philip-Lorca diCorcia, Philippe Dubois, Régis Durand, Sergei Eisenstein, Mike Figgis, Hollis Frampton, Susanne Gaensheimer, Nan Goldin, Chris Marker, Christian Metz, Laura Mulvey, László Moholy-Nagy, Beaumont Newhall, Uriel Orlow, Pier Paolo Pasolini, Constance Penley, Richard Prince, Steve Reich, Carlo Rim, Raul Ruiz, Susan Sontag, Blake Stimson, Michael Tarantino, Agnès Varda, Jeff Wall, Andy Warhol, and Peter Wollen.

With contributions by Agency, Irene Albers, Oksana Bulgakowa, Edwin Carels, Bart De Baere, Didier Demorcy, Brigid Doherty, Sergei Eisenstein, Anselm Franke, Masato Fukushima, Avery F. Gordon, Richard William Hill, Darius James, Gertrud Koch, Joachim Koester, Bruno Latour, Maurizio Lazzarato and Angela Melitopoulos, Vivian Liska, Henri Michaux, Santu Mofokeng, Philippe Pirotte, Florian Schneider, Erhard Schüttpelz, Michael Taussig, Eduardo Viveiros de Castro, Martin Zillinger What is the role of aesthetic processes in the drawing of the boundaries between nature and culture, humans and things, the animate and inanimate? Structured around the aesthetic processes and effects of animation and mummification, Animism—a companion publication to the long-term exhibition of the same title, which premiered at Extra City Kunsthal Antwerpen in January 2010—brings together artistic and theoretical perspectives that reflect on the boundary between subjects and objects, and the modern anxiety that accompanies the relation between “persons” and “things.” With works by Agency, Art & Language, Christian W. Braune & Otto Fischer, Marcel Broodthaers, Paul Chan, Tony Conrad, Didier Demorcy, Walt Disney, Lili Dujourie, Jimmie Durham, Eric Duvivier, Harun Farocki, León Ferrari, Christopher Glembotzky, Victor Grippo, Brion Gysin, Luis Jacob, Ken Jacobs, Darius James, Joachim Koester, Zacharias Kunuk, Louise Lawler, Len Lye, Étienne-Jules Marey, Daria Martin, Angela Melitopoulos & Maurizio Lazzarato, Wesley Meuris, Henri Michaux, Santu Mofokeng, Vincent Monnikendam, Tom Nicholson, Otobong Nkanga, Reto Pulfer, Félix-Louis Regnault, Józef Robakowski, Natascha Sadr Haghighian, Paul Sharits, Yutaka Sone, Jan Švankmajer, David G. Tretiakoff, Rosemarie Trockel, Anne-Mie Van Kerckhoven, Dziga Vertov, Klaus Weber, Apichatpong Weerasethakul

A personal encounter with 50 of the world’s most significant contemporary artists, “pressPlay” draws together the full texts of the complete Phaidon interviews with living artists, 1995-2005, originally appearing in “Phaidon’s Contemporary Artists” series and “Robert Mangold” monograph. Highlights include veteran painter Vija Celmins and noted sculptor Robert Gober (who represented the US at the 2001 Venice Biennale) in an intimate discussion on their differing art practices; longtime friends and fellow travellers for decades, Benjamin Buchloh and Lawrence Weiner recall 35 years of work, in the definitive, career-long interview for this key Conceptual artist; the late Sir Ernst Gombrich honoured the “Contemporary Artists” series in a discussion with the UK’s pre-eminent sculptor Antony Gormley – who confesses that it was Gombrich’ “Story of Art” that first inspired him to become an artist; the taciturn, legendary Raymond Pettibon muses on the evolution of his work with noted hip novelist Dennis Cooper; musician artist Christian Marclay is interviewed by Sonic Youth rockstar Kim Gordon. From highly established artists Louise Bourgeois and Alex Katz, to midcareer masters Richard Prince, Mike Kelley, Fischli and Weiss, Jenny Holzer, and Raymond Pettibon, to the most exciting artists of the current generation, including Maurizio Cattelan, Olafur Eliasson and Pipilotti Rist, pressPlay is a highly readable, comprehensive look at contemporary art today. Vito Acconci/Mark C Taylor; Doug Aitken/Amanda Sharp; Uta Barth/Matthew Higgs; Christian Boltanski/Tamar Garb; Louise Bourgeois/Paulo Herkenhoff; Cai Guo Qiang/Octavio Zaya; Maurizio Cattelan/Nancy Spector; Vija Celmins/Robert Gober; Richard Deacon/Pier Luigi Tazzi; Mark Dion/Miwon Kwon; Stan Douglas/Diana Thater; Marlene Dumas/Barbara Bloom; Jimmie Durham/Dirk Snauwaert; Olafur Eliasson/Daniel Birnbaum; Peter Fischli and David Weiss/Beate Soentgen; Tom Friedman/Dennis Cooper; Isa Genzken/Diedrich Diederichsen; Antony Gormley/Sir Ernst Gombrich; Dan Graham/Mark Francis; Paul Graham/Gillian Wearing; Hans Haacke/Molly Nesbit; Mona Hatoum/Michael Archer; Thomas Hirschhorn/Alison M Gingeras; Jenny Holzer/Joan Simon; Roni Horn/Lynne Cooke; Ilya Kabakov/David A Ross; Alex Katz/Robert Storr; Mary Kelly/Douglas Crimp; Mike Kelley/Isabelle Graw; William Kentridge/Carolyn Christov-Bakargiev; Yayoi Kusama/Akira Tatehata; Robert Mangold/Sylvia Plimack Mangold; Christian Marclay/Kim Gordon; Paul McCarthy/Kristine Stiles; Cildo Meireles/Gerardo Mosquera; Lucy Orta/Roberto Pinto; Raymond Pettibon/Dennis Cooper; Richard Prince/Jeff Rian; Pipilotti Rist/Hans Ulrich Obrist; Doris Salcedo/Carlos Basualdo; Thomas Schutte/James Lingwood; Lorna Simpson/Thelma Golden; Nancy Spero/Jo Anna Isaak; Jessica Stockholder/Lynne Tillman; Wolfgang Tillmans/Peter Halley; Luc Tuymans/Juan Vicente Aliaga; Jeff Wall/Arielle Pelenc; Gillian Wearing/Donna De Salvo; Lawrence Weiner/Benjamin H D Buchloh; Franz West/Bice Curiger.

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

CONTENTS OF THE BOOK ANTHOLOGY OF AFRICAN PHOTOGRAPHY : APPROCHES (by Jean Loup Pivin) Shifting Africa (by Elikia M’Bokolo) Africa of gods, Africa of people (by Agnès de Gouvion Saint-Cyr): Zaccharia Kaba, (Guinea), Antoine Freitas (RDCongo) The writer, the griot and the photographer (by Simon Njami) : José Ondoa (Cameroon) TThe icon and the totem (by Jean Loup Pivin) : A family album (RDCongo) BEGINNINGS Studio photography in Freetown (by Vera Viditz-Ward) : Dionysius Leomy, J.P. Decker, Alphonso Lisk-Carew, Freetown Sierra Leone Photographer-publishers in Togo (by Philippe David) : Alex A. Acolatse, Olympio,les frères Aguiar, John Badohu, Lomé Togo The pioneers of St Louis (by Frédérique Chapuis) : Meïssa Gaye, St-Louis du Senegal Memory of a stolen photograph (by Aminata Sow Fall) The Black Album, South Africa (by Santu Mofokeng) PORTRAIT PHOTOGRAPHERS The art of the portrait, 4 portfolios (by Pascal Martin St Leon & Jean Loup Pivin) : Mama Casset, Senegal, Joseph Moïse Agbodjelou, Benin, Daniel Attoumo Amichia, Ivory Coast Twilight of the studios in Ivory Coast (by Jean-François Werner) : Cornélius Yao Augustt Azaglo, Ivory Coast, Studio 3Z, RD Congo Portraits and scenery in Ghana (by Tobias Wendl) : James K. Bruce Vanderpuye, Philip Kwame Apagya, Nelson Ankruma Event, Ghana The golden age of black-and-white in Mali (extract from Éricka Nimis) : Mountaga Dembélé, Félix Diallo, Seydou Keita, Abderramane Sakaly, Mali Court photographers in Ethiopia (by Richard Pankhurst & Denis Gérard) : Famille Boyadjian, Ethiopia Tinted portrait photography in Addis Ababa (by Guy Hersant) : Emanuel Negash Wolde, Photo Jiro, Photo Addis Zemen, Ethiopia A short history of photography in Kenya (by Heike Behrend) : Kenneth Kamau, Omar Said Bakor, Nairobi Kenya Studios in the Congo (par Sophie Erlich Mapaka) : John Kiyaya, Tanzanie ; Franck Bitemo, Congo Brazza Portfolios : Samuel Fosso, Central Africa So long forgotten…(by Gaston-Paul Effa) THE AWAKENING OF A VISION Portfolios of Philippe Koudjina, Niger ; Jean Depara, R.D. du Congo ; Malick Sidibé, Mali ; Ricardo Rangel, Mozambica ; Billy Monk, South Africa; Mohamed Abdallah Kayari, Djibouti ThHE OFFICIAL AGENCIES In the time of Sékou Touré, Guinée (by Guy Hersant) : Anim – Amap, Mali ; Sily Photo, Guinea ; Congo Press, R.D. du Congo ; A FOTO, Angola ; ANTA FTM, Madagascar Portrait of my grandfather, Guinea (par Tierno Monenembo) My uncle, my memory (by Michèle Rakotoson) IMAGES OF REALITY The press in Kenya (by Sébastien Porte) : John Mauluka, Harrare Zimbabwe; Khamis Ramadan, Nairobi Kenya ; Alexander Joe, Zimbabwe Camerapix (by Roger Barnard) : Mohamed Amin, Tanzania Portfolio : John Liebenberg, Namibia South Africa Chronicles of war (by Simon Njami) : Rui Assubuji, Maputo Mozambica The development of photography in South Africa (by Kathleen Grundlingh) : Bob Gosani / Drum, South Africa Comrades and Cameras (by Pierre-Laurent Sanner) :Peter Magubane, Alfred Kumalo, David Goldblatt, Omar Badsha, Guy Tillim, South Africa Trajectory of a street-photographer (by Santu Mofokeng) : Akinbodé Akinbiyi, Nigeria ; Houssein Assamo, Abdourahman Issa, Amin Mahamoud Ahmed, Ramadan Ali Ahmed, Djibouti; Dorris Haron Kasco, Ivory Coast ; Alioune Bâ, Mali. In SEARCH OF AN AESTHETIC Portfolios : Rotimi Fani-Kayodé, Nigeria/UK ; Julia Tiffin, South Africa ; Penny Siopis, South Africa; Cathy Pinnock, South Africa; Obie Oberholzer, South Africa; Chris Ledechowski, South Africa ; Zwelethu Mthwetwa, South Africa ; Rui Tavares, Angola ; Bouna Medoune Seye, Senegal ; Antonio Olé, Angola ; Sergio Afonso, Angola. INDIAN OCEAN En route to India, Mauritius (by Tristan Bréville) : Tristan Bréville, Yves Pitchen, Mauritius The great island, Madagascar (by Frédéric Izydorczyk) : Rasolonjatavo, Razaka, Razafitrimo, Randria, Maurille Andrianarivelo, Ramilijoana, Dany Be, Daddy, Pierrot Men, Madagascar Anthropometry of memory, The Reunion Island (by William Zitte) : Mne Grandmaison, J. Eyckermans, Désiré Charney, Henri Mathieu, François Cudenet, Eugène Bidache, Richeville Lauratet, Charles Saunier, René-Paul Savignan, Philippe Gaubert, Raymond Barthes, The Reunion Island DIASPORA Shreds of identity in Europe (by Simon Njami) : Patrice Félix-Tchicaya, Congo/France ; David Damoison, Martinique/France ; René Peña Gonzales, Cuba ; Ajamu, Jamaica/UK ; Rose-Ann Marie Bailey, Serge Emmanuel Jongué, David Zapparoli, Stella Fakieyesi, Canada Framing black photography in America (by Deborah Willis) : Foster Studio, Gordon Parks, Robert Mc.Neill, Carla Williams, Usa The image and religious syncretism in Brazil (by Maria Lucia Montes) : Anisio C.De Carvalho, Bauer Sa, Eustáquio Neves, Vantoen Pereira Jr., Walter Firmo, Carla Osório, Januário Garcia, Charles Silva Duarte, Denise Camargo, Lita Cerqueira ; Brazil BIOGRAPHIES of the photographers BIBLIOGRAPHY

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.

Marina Abramovic, Vito Acconci, Mac Adams, Billy Adler, Vincenzo Agnetti, Adriano Altamira, Eleanor Antin, David Askjevold, Gabor Attalai, John Baldessari, Didier Bay, B. & I. Beckley, Christian Boltansky, Bon Vie, Gunter Brus, Chris Burden, Victor Burgin, Cioni Carpi Giorgio Ciam, Claudio Cintoli, Francesco Clemente, James Collins, M. Teresa Corvino, Giancarlo Croce, Robert Cumming, Roger Cutforth, Fernando De Filippi, Iole De Freitas, Ger Dekkers Giuliano Della Casa, Nicola De Maria, Antonio Dias, Jan Dibbets, Braco Dimitrievic, Ugo Dossi, Valie Export, Antonio Faggiano, Hans Peter Feldman, Hreinn Fridfinnson, Hamish Fulton, Gandus, Alberto Garutti, Jochen Gerz, Paul Armand Gette, Gilbert & George, Dan Graham, Nicole Gravier, Laura Grisi, Sigurdur Gudmundsson, Haka, Michael Heizer, John Hilliard, Rebecca Horn, Duglas Huebler, Peter Hutchinson, Nancy Kitchel, Juergen Klauke, Robert Kleyn, Christina Kubisch, Edmuns Kuppel, Andzèj Lachowicz, Suzy Lake, David Lamelas, Ketty La Rocca, Jean Le Gac, M. & B. Leisgen, Les Levine, Bruno Locci, Richard Long, Urs Luthi, Carlo Maria Mariani, Gordon Matta Clark, Fabio Mauri, Annette Messager, Karel Miller, Alzek Misheff, Verita Monselles, Tania Moraud, Alberto Moretti, Maurizio Nannucci, Natalia LL-, Hermann Nitch, Bruce Nauman, Louis Nyst, Luigi Ontani, Dennis Oppenheim, Maurizio Osti, Stephanie Oursler, Stanislao Pacus, Mimmo Paladino, Gina Pane, Giulio Paolini, Antonio Paradiso, Claudio Parmiggiani, Luca Patella, Lamberto Pignotti, A. & P. Poirier, Arnulf Rainer, Marcia Resnik, Klaus Rinke, Ulrike Rosenbach, Allen Ruppersberg, Carole Scheemann, Rudolf Schwrzkogler, Helmut Schweizer, Toni Shafrasi, Berty Skuber, Katharina Sieverding, Robert Smithson, Zdislaw Sosnowski, Peter Stembera, Aldo Tagliaferro, Antonio Trotta, Franco Vaccari, Jiri Valoch, Gen van Elk, Van Schley, Roger Welch, William Wegman, Willatz

Dall’avvento dell’immagine tecnologica, in modo particolare con fotografia, video e web, la cultura contemporanea perde il controllo sull’immagine. Luca Panaro rilegge teorici quali Susan Sontag, Walter Benjamin, Vilém Flusser, scrittori come Luigi Pirandello, Italo Calvino e Penelope Lively, ma anche registi come Buster Keaton, Michelangelo Antonioni, Wayne Wang, autori che hanno evidenziato come un’immagine si generi al di là delle previsioni del proprio autore, lasciando quindi l’impressione che qualcosa sfugga al proprio controllo. Riportando queste considerazioni al mondo dell’arte contemporanea, l’autore accompagna il lettore attraverso alcuni lavori fotografici di Andy Warhol, Douglas Huebler, David Lamelas e Franco Vaccari, Douglas Gordon e Philippe Parreno, per giungere alle opere web di Wolfgang Staehle, Roberto Cuoghi, Carlo Zanni, Eva e Franco Mattes.

In the summer of 2013, Raymond Pettibon (born 1957) converted the David Zwirner exhibition space into an improvised studio, in order to prepare the drawings and collages for his critically acclaimed show at the gallery. The works ranged from depictions of Joe DiMaggio as a young boy, Bob Dylan and the comic strip character Bazooka Joe to pieces dovetailing popular imagery with quotations from Marcel Proust, William Faulkner, Henry James, Gustave Flaubert or the Bible, and addressing themes of violence, humor, sex, evolution, religion, politics, literature, youth, art history and sports. This volume documents both the making of these works during Pettibon’s intensive tenure in the space and the finished works themselves. Boasting a drawing made especially for the cover, Raymond Pettibon: To Wit includes an essay by Lucas Zwirner titled “A Month with Raymond” that describes the show’s making and offers fresh observations on the relationship between word and image, and reading and writing, in Pettibon’s art. This essay is complemented by a selection of black-and-white photographs from Andreas Laszlo Konrath, who also documents the creation of these works, and an interview with Pettibon by artist and founding member of Sonic Youth Kim Gordon, who first encountered Pettibon’s work in the early 1980s in Los Angeles.



Over the last twenty years an increasing number of artists have turned to expressing themselves through postcards. Whether by way of installation, collage, addition to, or alteration of existing postcards, or the production of postcards themselves, many prominent artists employ the medium in some form. Artists’ Postcards traces the origin of artists’ fascination with postcards from the early 1900s but with a focus on the contemporary, revealing the significant number of artists who have made creative and unusual artworks in postcard form. With 400 images of postcards created by many well-known artists, Artists’ Postcards is the first critical guide to the subject. From surrealists to Fluxus and conceptual artists, this book includes an array of historical and contemporary postcards by such artists as George Grosz, Bruce Nauman, Richard Long, David Hockney, Richard Hamilton, Susan Hiller, Joseph Beuys, Ben Vautier, Dieter Roth, Ray Johnson, Gordon Matta-Clark, Gavin Turk, Tacita Dean, Gilbert and George and Rachel Whiteread. Artists’ Postcards will be of interest to artists and graphic designers, as well as to postcard collectors.

Living Arts magazine was edited by Theo Crosby and John Bodley. Designed by Gordon House. Published by The Institute of Contemporary Arts in association with Tillotsons (Boulton) Ltd. © 1963. The front and back covers are from a photograph taken by Robert Freeman of a setting arranged by Richard Hamilton in connection with his “Urbane Image” essay which was also in this publication. The Living City catalogue which was included in this, the second issue of Living Arts, was produced by members of the Archigram Group, Warren Chalk, Peter Cook, Dennis Crompton, David Greene, Ron Herron and Michael Webb with Ben Fether and Peter Taylor.

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