Lee Miller (1907-1977) had many lives: she was a model, muse, photographer, war correspondent and Surrealist chef. It is well known that she was ‘discovered’ on the street at nineteen and that her face appeared on the cover of Vogue a few months later, that she inspired numerous famous illustrators, photographers and artists, and that she flouted convention by picking up a camera and making a name for herself with seductive fashion photos, Surrealist experiments and penetrating war reports. Through this publication, Museum Boijmans Van Beuningen reveals the less-well-known fact that, during her lifetime, Miller’s impressive oeuvre was mainly accessible in magazines. Curator Saskia van Kampen-Prein traces Miller’s life and work through the pages of popular lifestyle magazines such as Vogue and Harper’s Bazaar and avant-garde Surrealist periodicals. Through these magazines, Miller helped to shape the modern world and was her whole life ‘in print’. Written by Saskia van Kampen-Prein, with short essays by: Antony Penrose, Ami Bouhassane, Madelief Hohé, Hripsimé Visser, Julie Summers, Robin Muir, Lisa Hostetler, Hilary Roberts

I Grew up on the Back of a Water Ox is an artistic project that uniquely juxtaposes the calculated pictorial language of advertising with the emotionally charged, unintentional beauty of private photography. The result is a book in which an extraordinary advertising campaign interwines with an immigrant’s oral history, laconically but breath-takingly told. Lee has been the face of Lily’s Stomach Supply for more than ten years. Lee came to Europe from Thailand in the 1970s. First to Germany, then to Switzerland. She stands for the Zurich based panasian restaurant’s unconventional and surprising advertising campaign. A.C. Kupper has directed the design for this project from the outset. Lee, who ist actually called Jintana Junhom, is not a fictious figure, but an authentic protagonist who is closely connected to Lily’s in many ways. A.C. Kupper has made Lee, a face that has changed over time and yet remains familiar and recognizable, into its visual communication icon. This book takes us through the world of Lily’s Stomach Supply and Lee’s life, featuring wonderful private photographs, advertisements, slogans and design. Esther Epstein met Lee regularly and talked to her about her life and has now made these conversations into a fascinating true story about a woman who came to Zurich from Bangkok. Cello Rohr & Stefan Tamò are catering entrepreneurs from Zurich (Josef, Italia, Mobile Cuisine, Primitivo) and they also initiated Lily’s Stomach Supply—from 1999 in Langstrasse in Zurich and from 2003 in Rebgasse in Basel.

Eileen Gray (1878-1976) was a versatile designer and architect who navigated numerous literary and artistic circles over the course of her life. This handsome volume chronicles Gray&;s career as a designer, architect, painter, and photographer. The book&;s essays, featuring copious new research, offer in-depth analysis of more than 50 individual designs and architectural projects, accompanied by both period and new photographs. Born in Ireland and educated in London, Gray proceeded to Paris where she opened a textile studio, studied the Japanese craft of lacquer that would become a primary technique in her design work, and owned and directed the influential gallery and store known as Jean Desert; Gray struggled for acceptance as a largely self-taught woman in male-dominated professions. Although she is now best known for her furniture, lighting, and carpets, she dedicated herself to many architectural and interior projects that were both personal and socially driven, including the Villa E 1027, the iconic modern house designed with Jean Badovici, as well as economical and demountable projects, such as the Camping Tent.

The Calabash Gallery is an art space founded by nos:books in 2014. Its dimension transforms to accommodate different artists’ works, and it exists everywhere. The Calabash Gallery has been a portable and assembled space, touring exhibitions around. This time it turns two-dimensional, to present Lee Yun Mei’s Tuplets. Lee Yun Mei is keen on organizing and reorganizing space, and she is blissfully content with her sensibility for everyday objects. In Tuplets, Lee takes inspiration from daily objects, designs and produces acrylic stencils of various shapes. With the plastic stencil accompanied with the book, the author / readers could trace the stencil contours on the 3-ply carbonless copy paper, organizing the objects unlimitedly in the limits of the page, leaving three layers of traces of space, to tear off and share them. Tuplets is jointly published with Lee’s other two titles Moderato and Tenuto.

Nelle lettere ai familiari e alla fidanzata, la pianista Lily Stumpf, il resoconto del soggiorno del ventiduenne artista bernese che, partito da Monaco di Baviera nell’ottobre del 1901, vivrà in Italia oltre sei mesi. Un viaggio alla ricerca di se stesso, profondamente segnato dall’impatto con la civiltà artistica e musicale italiana.

Offering an incisive rejoinder to traditional histories of modernism and postmodernism, this original book examines the 1960s performance work of three New York artists who adapted modernist approaches to form for the medium of the human body. Finding parallels between the tactility of a drip of paint and a body’s reflexive movements, Elise Archias argues convincingly that Yvonne Rainer (b. 1934), Carolee Schneemann (b. 1939), and Vito Acconci (b. 1940) forged a dialogue between modernist aesthetics and their own artistic community’s embrace of all things ordinary through work that explored the abstraction born of the body’s materiality. Rainer’s task-like dances, Schneemann’s sensuous appropriations of popular entertainment, and Acconci’s behaviorist-inflected tests highlight the body’s unintended movements as vital reminders of embodied struggle amid the constraining structures in contemporary culture. Archias also draws compelling comparisons between embodiment as performed in the work of these three artists and in the sit-ins and other nonviolent protests of the era. 

No Sleep is a visual history of the halcyon days of New York City club life as told through flyer art. Spanning the late 80s through the late 90s, when nightlife buzz travelled via flyers and word of mouth, No Sleep features a collection of artwork from the personal archives of NYC DJs, promoters, club kids, nightlife impresarios, and the artists themselves. Club flyers, by design, were ephemeral objects distributed on street corners, outside of nightclubs and concert halls, in barbershops and retail shops, and were not intended to be preserved for posterity. Through the 90s, they became both increasingly prevalent and more sophisticated as printing technology evolved. Overnight, however, with the advent of the internet, the flyer essentially disappeared, despite it being common at one time for promoters to print thousands of flyers for any given event. Recently, these flyers have become sought-after collector’s items.

”I see my autobiography as an arbitrary segment of so many pages of time, of things that I have paid attention to at this point in my life,” wrote James Lee Byars (1932–1997) in 1969. He was then 37, about half the average male lifespan at the time, and accordingly thought it appropriate to write his “1/2 autobiography.” Byars’ art ranged from highly refined objects to extremely minimal performance and events, and books, ephemera and correspondence that he distributed widely among friends and colleagues. Today, more than 15 years after his death, assessments of his art must negotiate Byars’ performance of his charismatic self in his life and art. For his first major posthumous survey in the US, exhibition curators Magalí Arriola and Peter Eleey decided to produce a catalogue in two “halves,” playing on his “1/2 autobiography”: a catalogue of the exhibition itself, including new scholarship, and a sourcebook of primary documents. 1/2 an Autobiography, Sourcebook constitutes the latter volume–a reference guide filled with photographs and documents drawn from a variety of archival sources, including The Getty Research Institute, the Berkeley Art Museum and Pacific Film Archives, MoMA and Byars’ own papers. This volume also includes a series of previously unseen interviews that artist and art historian David Sewell conducted with Byars in the late 1970s in preparation for a book that was never published. These discussions cover a number of Byars’ major projects, among them The World Question CenterThe Holy Ghost and the artist’s time at CERN.

Carolee Schneemann is one of the pioneers of performance, installation, and video art. Although other visual artists, such as Salvador Dali and Yves Klein, had used live self-portraiture and performance as a vehicle for public provocation, Schneemann was among the first to use her body to animate the relationship between the world of lived experience and the imagination, as well as issues of the erotic, the sacred, and the taboo. In the 1960s, her work prefigured the feminist movement’s sexual self-assertion for women, and by the mid-1970s, her work anticipated the field of women’s studies and its critique of patriarchal institutions. In the 1980s, she was one of the first to experiment with virtual environments.

Imaging Her Erotics integrates images from Schneemann’s works in painting, collage, drawing, and video sculptures with written material drawn from the artist’s journals, dream diaries, essays, and lectures. Encompassing four decades of her work, it demonstrates her profound influence on artists in all media. An opening essay by Kristine Stiles presents Schneemann’s major themes and places her work in a historical context. Among other topics, the book covers Schneemann’s response to the widespread use by artists of the ideas of theoreticians such as Georges Bataille, Jacques Derrida, and Jacques Lacan; her relationship to male artists such as Joseph Cornell, Robert Morris, and Claes Oldenburg; and reminiscences about her friends Ana Mendieta, Charlotte Moorman, and Hannah Wilke. The book also contains essays by Jay Murphy and David Levi-Strauss and interviews with the artist by Kate Haug, Linda Montano, and Aviva Rahmani.

Uncollected Texts gathers out-of-print and unpublished early writings by groundbreaking artist Carolee Schneemann (born 1939).

Edited by art historian Branden W. Joseph, the texts span diverse formats: included are journal entries, criticism, poems, essays and performance notes culled primarily from short-run magazines such as Caterpillar, Film Culture, The Fox, Manipulations and Matter, as well as academic journals such as Performing Arts Journal and Art Journal and mainstream media outlets including the New York Times and the Village Voice.

The book serves as a companion to Schneemann’s two earliest books―Parts of a Body House Book and Cézanne, She Was a Great Painter―offering new perspectives on the artist’s life, work and ideas through many writings that have never been reproduced in their original form. It features Schneemann’s reflections on her own works, including “Meat Joy,” “Divisions and Rubble,” and “Kitch’s Last Meal.”

For this book, Danish artist and photographer Kasper Akhøj documented the ongoing restoration of E-1027, Eileen Gray’s modernist villa in France. Based on photographs taken by Gray which were first published in 1929, Akhøj’s photographs are a kind of remake, recreating the perspective and composition of the originals. During several visits to the villa between 2009 and 2017, he produced up to six versions of each of Gray’s images, but only included one of them here. The overlap of chronologies emphasises the restoration process and references the fascinating influence of a succession of occupants. With essays by Beatriz Colomina and Amy Zion, plus an interview with Akhøj.

“Their mutual obsession to record it all in their own media: egocentrifugal forces… who have succeeded here in dedicating their work to each other in the best way, by making them with each other in mind.”

F#1-13 is a collection of photographs, sculptures, wind barbs and texts around a gridded flag that blew for thirty-nine days in Citadel Park, Ghent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements – taken at the same instant as the photographs – were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly

It’s hard to believe that the first edition of Alec Soth’s Sleeping by the Mississippi appeared only in 2004, so swiftly has the book become a classic of our time. Evolving from a series of road trips along the Mississippi River, Sleeping by the Mississippi captures America’s iconic yet oft-neglected “third coast.” Soth’s richly descriptive, large format color photographs describe an eclectic mix of individuals, landscapes and interiors. Sensuous in detail and raw in subject, his book elicits a consistent mood of loneliness, longing and reverie. “In the book’s 46 ruthlessly edited pictures,” writes Anne Wilkes Tucker, “Soth alludes to illness, procreation, race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex… The coherence of the project places Soth’s book exactly within the tradition of Walker Evans’ American Photographs and Robert Frank’s The Americans.” Like Frank’s classic book, Sleeping by the Mississippi merges a documentary style with a poetic sensibility. The Mississippi River is less the subject of the book than its organizing structure. Not bound by a rigid concept or ideology, the series is created from a quintessentially American spirit of wanderlust. Featuring a new linen-bound cover with a tipped-on image, this is the third print run of a volume which has become one of the most widely collected and highly acclaimed photo books of recent times. –This text refers to an out of print or unavailable edition of this title.

Todd Fisher´s photography originates from everyday life. He draws inspiration from his immediate surroundings and shoots just at the right moment to capture the mystical momentum rather than the narrative. His motives are of unknown protagonists at non-places. In the moment of taking a picture the situations seem to arise spontaneously, which in combination with his working methods makes Fisher´s photography authentic. Their documentary character is undeniable. Yet there is a clear distinction from photojournalism, because Fisher’s photographs incorporate artistic composition with a shifted and often non-linear focus. Where the street has a clear narrative, his personal view is more abstract and even opaque at times. Context is deliberately absent or left vague, allowing the viewer to create their own reality. His protagonists behave remarkably uniform, staring into nothingness or seem to be engaged in a strange relationship with structural features of their immediate environment. Following Todd Fishers photography is always fascinating, his work is intimate, mysterious, spontaneous, witty, and sad at the same time.

Exhibition catalogue published in conjunction with show held February 7 – March 29, 2008. Text by Brenda Richardson. Includes checklist and a “fictional conversation” between Byars and Marie-Puck Broodthaers.

Fashion model, surrealist artist, muse, photographer, war correspondent—Lee Miller defies categorization. She was a woman who refused to be penned in, a free spirit constantly on the move from New York to London to Paris, from husbands to lovers and back, from photojournalistic objectivism to surrealism.
Midcareer, she made the unprecedented transition from one side of the lens to the other, from a Condé Nast model in Jazz Age New York to fashion photographer, creating stunning images that imbued fashion with her signature wit and whimsy. Miller became a celebrated Surrealist under the tutelage of her lover, Man Ray, and then joined the war effort during World War II, documenting everything from the liberation of concentration camps to the daily life of Nazi-occupied Paris. Miller was recognized as “one of the most distinguished living photographers” during her hey-day as a fashion photographer, but an astonishing number of these images have remained unpublished. Lee Miller in Fashion is the first book to examine how her career as a model and fashion photographer illuminates her life story and connects to international fashion history from the late 1920s until the early 1950s.
The world of fashion emerges as the backbone of Miller’s creative development, as well as an integral lens through which to understand the effects of war on the lives of women in the 1940s and 1950s. Miller witnessed incredible acts of resistance born out through fashion—and her photographic record of women’s indomitable spirit even in times of war has remained an invaluable resource in fashion and global history. Lee Miller in Fashion presents these striking archival fashion photographs as well as contact sheets, memos, and Miller’s published illustrations, vividly setting the wit, irrepressible creativity, and daring of Miller within the larger story of women’s experience of fashion, art, and war in the twentieth century.
“In all her different worlds, she moved with freedom. In all her roles, she was her own bold self.”
—Antony Penrose

Founded in 1987 at the initiation of Kasper König, Portikus is Frankfurt’s hottest venue for contemporary art and has quickly become one of Germany’s leading venues, with an impressive roster of shows by artists such as On Kawara, Luc Tuymans and Franz West. In 2004 Portikus gained a new curator, Nikola Dietrich, a prominent presence on the European art scene. Dietrich has done much to further energize Portikus, and this volume presents a survey of the gallery’s last three years under her guidance. Dietrich has mounted more than 20 exhibitions with international artists, among them Koo Jeong-a, Felix Gmelin, Yoko Ono (in collaboration with students from the Städelschule), Olafur Eliasson, Matthew Ritchie, Chung Seoyoung, Sean Snyder, Mark Leckey, Marjetica Potrc, Tomas Saraceno, Dan Perjovschi, Francis Alÿs, John Baldessari, Daniel Buren and Maurizio Cattelan.

“In Spleen and Ideal, beauty is pursued across the disintegrating boundaries between male and female. Transgressive sexual encounters with what at times seems to be one and the same person are captured on instant film and mixed with impressions of the urban architecture in which they are anchored. In this project, which centers on gender and identity confusions, photography is a matter of decisive distance between immersion and detachment.”

James Lee Byars–who was born in Detroit in 1932 and died in Cairo in 1997–was one of the twentieth-century art world’s most unusual and elusive figures. Enamored with the imaginary and fleeting, pitting the immaterial against the material, Byars was not just an artist, he was a visionary and a dandy, who, always seeking perfection, knew how to cast a spell over his audience through his enigmatic performances, installations and sculptures. Using sandstone, marble, glass and gold, Byars created classical sculptural forms like spheres, circles, gates and columns. Im Full of Byars reveals his work to be a symbiosis of Fluxus, Minimalism and Conceptualism, that has lost none of its mystery or poetry with time. The volume includes a selection of sculptures, installations and never-before-seen documentation of his performances.

Softcover exhibition catalogue full of drawings of visionary projects by Boullee, Ledoux and Lequeu, made during the late 18th and early 19th centuries.

In this work, the author’s hometown is the main stage. It is a story that swings the memory while searching for a faint rip carved for the living in every day and a few shadows.

The most obvious Byars influence is Joseph Beuys, whom Byars met in 1969. And indeed, Byars adored Beuys. Beuys had a signature fedora and fisherman’s vest; Byars affected a top hat and gold lame outfit. Byars wrote Beuys a stream of letters, addressing them to Genius Beuys” and “Great Beuys,” each an elaborately folded work of art, expressing admiration and proposing collaborations (“Let’s do a little show together”). Beuys never wrote back.” http://www.artnet.com/magazineus/reviews/davis/davis6-15-06.asp

Lee Friedlander’s exploration of one of photography’s most enduring genres began almost by chance, in the late 1970s, when a teacher colleague at Rice University in Houston lined up a regular schedule of nude models for his students. Almost immediately, Friedlander found that he preferred to photograph the models at their homes, and ingeniously deployed household objects such as bedside lamps, potted plants and sofa fabrics to play off against the angular poses of the models and the emphatic framing of the overall composition. Friedlander’s nudes show every blemish, every contour that makes each body unique, while his flash often serves to counter this realism with a softening effect that often recedes the body’s shadow right up to its outline. With the publication of Friedlander’s nude portraits of Madonna (prints of which fetch huge sums), the series became among the photographer’s best known work, and eventually saw publication in 1991, from Jonathan Cape. Lee Friedlander: The Nudes significantly expands on the Cape edition (itself long out of print), with a total of 84 nudes, plus a new layout and design by Katy Homans and new separations by Thomas Palmer. As such, it offers the most lavish presentation of this key series in Friedlander’s massive oeuvre.
Lee Friedlander (born 1934) first came to public attention in the landmark exhibition New Documents, at The Museum of Modern Art, New York, in 1967. More than 40 books about his work have been published since the early 1970s, including Self-Portrait, Sticks and Stones, Cherry Blossom Time in Japan, Family, America by Car, People at Work, The New Cars 1964 and Mannequin. His career was the focus of a major traveling retrospective organized by The Museum of Modern Art in 2005.

Carolee Schneemann is one of the most important artists of the postwar period. Her work in a range of media—painting, film, video, dance and performance, constructions and installations, the written word, and assemblage—presents an unparalleled catalogue of radical aesthetic experimentation. Meat Joy, 1964, Fuses, 1964-66, Up To and Including Her Limits, 1973-1976, and Interior Scroll, 1975, are now considered canonical projects, required entries in any meaningful account of contemporary art, belying their once notoriety as feminist challenges of the very concept of the art historical canon. Throughout the last fifty years, Schneemann has participated in the most significant formulations of the avant-garde, having made crucial contributions in Fluxus, happenings, expanded cinema, and performance cultures, while complicating generic definitions that might cohere to her work. Schneemann has been the subject of numerous exhibitions and publications throughout her career, and her work is in the collections of Tate Modern, Commune di Milano, Centre Georges Pompidou, Muzeum Wspóczesne Wroclaw, Whitney Museum of American Art and the Museum of Modern Art. Carolee Schneemann: Unforgivable is the most thorough visual overview of Schneemann’s work to date. Organized by five interrelated categories—Interviews and Correspondence, Painting, Cinema, Sites, and Technological Processes—this volume brings together previously published essays and interviews by authorities on the artist’s work. The texts, many scarce or out of print, examine the significance of Schneemann’s work in its historical context, and its vital urgency for our present.

As the winner of the fourth Joan Miró prize, American artist Roni Horn (born 1955) received a monograph exhibition of her work at the Fundació Joan Miró in Barcelona and CaixaForum, which this volume accompanies. Though Horn considers drawing to be the activity unifying all strands of her work, she is prolific across multiple media, including sculpture, photography, books and works on paper. Her artistic practice links aspects of nature, landscape and materiality with the mechanics of perception and communication. As affirmed by this recent award, Horn’s oeuvre is endlessly open-ended. Roni Horn: Everything Was Sleeping as if the Universe Were a Mistake includes an interview with the artist by Julie Ault.

Bringing together unique and rarely seen photographs, paintings, sculpture and drawings, this exquisite book tells the story of the tumultuous relationship between the artists Man Ray (1890–1976) and Lee Miller (1907–1977). From 1929 to 1932, the two lived together in Paris, first as teacher and student, and later as lovers. Historically, Miller has been described as Man Ray’s muse, but Partners in Surrealism reveals how their brief, mercurial love affair was a key source of mutual and sustained inspiration, resulting in some of the most powerful work of each artist’s career. Featuring a candid and poignant contribution from Antony Penrose, the son of Miller and the English painter Roland Penrose, on the relationship between Man Ray and his parents in later years, this is an extraordinary exploration of the love, lust and desire that drove the art of the Surrealists.

“Like most fathers, Lee Friedlander has made photographs of his wife and children throughout their lives together. Unlike most fathers, Friedlander happens to be one of the greatest living photographers. In Family, Friedlander departs from his well-known terrain of the open road and the city street, focusing instead on his wife, Maria, his children and (later) his grandchildren. The result is an intimate narrative of a family’s complex life, from 1958 to the present. The subjects are natural and unaffected in front of the ever-present lens, and the pictures make it clear that Friedlander’s camera was a constant presence in the home, a natural extension of the artist himself. Over and over Friedlander recognized in an instant things that were precious and universal, yet specific to his own situation. Friedlander has done us a great honor by publishing these images. The inventive design of Family enhances the integrity of Friedlander’s family album.”

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

Published on the occasion of the Paul Klee – Fausto Melotti exhibition at Museo d’Arte Lugano, the catalog compares over 70 paintings, watercolors and drawings by the Swiss-German painter Paul Klee, a leading figure in twentieth-century art, with some 80 sculptures and drawings by Fausto Melotti, an Italian artist whose name has become increasingly well-known at an international level in recent years. The catalog highlights the relationships and affinities between Paul Klee and Fausto Melotti by means of a surprising dialogue between their works. The division by chapters on specific topics underscores the convergence between the two artists on such subjects as music, the alphabet, the city, nature and animals. Just as Klee’s compositions are determined by ever-changing rhythms and geometries, and breathe life into slender acrobatic subjects and a succession of letters and symbols, Melotti’s wire sculptures, welded and twisted together into aerial constructions, adhere to a musical cadence, agree with and contradict mathematical proportions, trace letters of the alphabet and the essential figures of people and animals. A large selection of critical essays and short writings by contemporary artists contribute to casting light on the relationship between these two protagonists of twentieth-century art.

This artist’s book is published on the occasion of Dedobbeleer s solo exhibition at Lokremise St. Gallen, travelling to Centre d art contemporain d Ivry, Le Crédac, Ivry-sur-Seine, and De Vleeshal, Middelburg. The book, together with Dedobbeleer’s sculptural works, reflects in a refined, and sometimes humorous manner on centuries-old traditions in sculpture, sophisticated design and banal, everyday culture

Published on the occasion of an exhibition at Rat Hole Gallery, Tokyo. Features excerpts from Friedlander’s Self Portrait, Little Screen, Early Works, The American Monument, Portraits, Nudes, Letters from the People, Self Portrait 1990s, Architectural America, Stems and Landscape.

Transiting Pop art, Feminist Expressionism, Conceptualism and Minimalism, Lee Lozano (1930-1999) sits alongside Eva Hesse and Hannah Wilke as a radical and influential model for younger generations of female artists. Lozano’s notebooks, which she approached as drawings, and which were later dismantled and sold as individual pages, became a part of her artmaking at the height of her fame in the late 1960s. Reproduced here for the first time, as an affordably-priced facsimile reprint, the three notebooks collected here, which were kept between 1967-1970, contain sketches for her Wavepaintings, writings about the trajectory of her artistic process and the language pieces that she became famous for prior to her withdrawal from the art world. They thus constitute the fullest and richest document on an artist whose relevance and profile have recently seen a steady ascent.

Evolving from a series of road trips along the Mississippi River, Alec Soth’s Sleeping by the Mississippi captures America’s iconic yet oft-neglected “third coast.” Soth’s richly descriptive, large-format color photographs present an eclectic mix of individuals, landscapes, and interiors. Sensuous in detail and raw in subject, Sleeping by the Mississippi elicits a consistent mood of loneliness, longing, and reverie. “In the book’s 46 ruthlessly edited pictures,” writes Anne Wilkes Tucker, “Soth alludes to illness, procreation, race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex.” Like Robert Frank’s classic The Americans, Sleeping by the Mississippi merges a documentary style with a poetic sensibility. The Mississippi is less the subject of the book than its organizing structure. Not bound by a rigid concept or ideology, the series is created out of a quintessentially American spirit of wanderlust.


Official description: “Discographisme Récréatif [Homemade Record Sleeves] is both a documentary and archival work begun in 1996. It’s composed of different iconographic montages made from record sleeves and CD jackets. The distinctive feature: these covers, be they 45s, 33s, or CDs, mostly found at flea markets, have all been redone or modified by anonymous individuals using the original covers as a guideline and as a source of inspiration. The first book issued in 2004 compiled around 100 examples of found altered or homemade record sleeves. The second one contains around 200 sleeves.” The first volume of this book was already an absolute winner and this new volume goes much further, with twice the number of images and larger pages. This book highlights a trove of found creative efforts with many handmade album covers that exceed the design qualities of the originals. A true celebration of the kind of visual playfulness that makes the distinction between official works of art and other creative endeavors so unimportant. We imported a limited number of copies of this book, first and foremost because we wanted our own copies and couldn’t find it over here at all. Act fast vinyl lovers. This wasn’t easy to get and it might be a while before we are able to import more.

In Sticks & Stones, Lee Friedlander offers his view of America as seen through its architecture. In 192 square-format pictures shot over the past 15 years, Friedlander has framed the familiar through his own unique way of seeing the world. Whether he’s representing modest vernacular buildings or monumental skyscrapers, Friedlander liberates them from our preconceived notions and gives us a new way of looking at our surrounding environment. Shot during the course of countless trips to urban and rural areas across the country, many of them made by car (the driver’s window sometimes providing Friedlander with an extra frame), these pictures capture an America as unblemished by romanticized notions of human nature as it is full of quirky human touches. Nevertheless, man’s presence is not at stake here; streets, roads, fa ades, and buildings offer their own visual intrigue, without reference to their makers. And in the end, it is not even the grand buildings themselves that prick our interest, but rather the forgettable architectural elements–the poles, posts, sidewalks, fences, phone booths, alleys, parked cars–that through photographic juxtaposition with all kinds of buildings help us to discover the spirit of an Architectural America.

Lee Friedlander’s surreal sensibility is on full display in this set of photographs, originally published in 1970. Here Friedlander focuses on how his physical presence impacts his photographs. Known for capturing subjects outside of himself–nudes, landscapes–Friedlander writes: “At first, my presence in my photos was fascinating and disturbing. But as time passed and I was more a part of other ideas in my photos, I was able to add a giggle to those feelings.” Readers can witness this progression through the images here as Friedlander appears in shadow, reflected in windows and mirrors, and, only occasionally, fully visible through his own camera. In some photos he visibly struggles with the notion of self-portraiture, desultorily shooting himself in household mirrors and other reflective surfaces. Soon, though, he begins to toy with the pictures, almost teasingly inserting his shadow into them to amusing and provocative effect–elongated and trailing a group of women seen only from the knees down; cast and bent over a chair as if seated in it; mirroring the silhouette of someone walking down the street ahead of him; or falling on the desert ground, a large bush standing in for hair. These uncanny self-portraits evoke a surprisingly full landscape of the artist’s life and mind. There are nearly 50 duotone images in this reprint edition of Lee Friedlander: Self Portrait, which includes a new essay about the work by writer John Szarkowski.

Lee Friedlander is one of the most important of the 1960s generation of photographers for whom the posture of disinterested objectivity served as a vehicle for passionate personal inquiries. His large body of work — he most often produces extended series of pictures on a chosen theme, then publishes them in book form — is broad in subject matter and supple and complex in style, and focuses on what he calls America’s “social landscape.” At the same time, he has pursued a playful dialogue with artistic tradition — as though open-eyed curiosity about the world and a sophisticated taste for the wiles of picture-making were one and the same thing. Lee Friedlander takes a deep critical look at Friedlander’s abundantly productive career. Including over 500 photographs grouped by series, and an incisive essay by Peter Galassi, Chief Curator of Photography at The Museum of Modern Art, this publication is the most comprehensive review of the photographer’s career to date.

The works of influential cult artist James Lee Byars explore themes of death, transformation, and transience and are deceptively simple in form, yet pack an existential punch. Explored here is one of his last pieces The White Mass.

In 1956, James Lee Byars rented a sod farm for a midnight, full moon exhibition of his abstract figure sculptures; guests viewed the work from sleds pulled over snow. In 1959, he abandoned durable materials for paper and fabric. In 1965, a nun performed his A 1,000-Foot Chinese Paper at the Carnegie International. The wondrous story of James Lee Byars begins in 1932 and ends in 1997, and its unique synthesis of Conceptual art, Minimalism, and Fluxus reflects an unending striving for beauty and perfection. The story passes by way of Japan, a place where Byars lived for many years, and where he combined the formal and symbolic aspects of Noh theater and Shinto rituals with elements of Western science, art, and philosophy, developing an appreciation for the transient, ceremonial character of performance as an essential quality of his art. Over his lifetime, he was known for works characterized by an extreme simplicity of form and material that simultaneously appeared astonishingly luxurious.~Life, Love, and Death presents a critical review of Byars’ oeuvre and traces his development as an artist from his formative period in Japan to his later years in New York–ranging from his performances and works on paper and fabric devoted to the theme of life, to his splendid late sculptures in gold, marble, and velvet which deal with death as the embodiment of perfection. Edited by Klaus Ottman.~Essays by Viola Michely and Martina Weinhart.

Nikki S. Lee: Projects, is part street photography, part performance art. In a series of extraordinary transformations, this young, Korean-born conceptual artist unfolds a multiplicity of lives and identities documented through the lens of her point-and-shoot camera as she ibecomesi a young punk in the East Village, a Connecticut-based exotic dancer, or a senior citizen picking through thrift stores in Murray Hill.

With this collection of photographs, interspersed with an anthology of quotations about sleeping and dreaming, Scianna takes us and himself on a journey inside a dimension of life that is natural and mysterious, necessary and distrubing, every-day and universal. Often the camera freezes movement, isolating a single moment in the endless flux of reality. Through the mystery of sleep, life itself, like the photographic image, becomes static, as if in suspense. Ferdinando Scianna has always been fascinated by the sight of figures wrapped in sleep. As he recounts “…I realized just how many of my pictures were of sleeping people, and that I had always been taking such pictures ever since I started photography, wherever the chances of life and of my job had led me.” Fascination became a minor obsession, and over 30 years Scianna has captured thousands of images of people and animals sleeping in the most diverse places on earth – in the countryside, in cities, in deserts, on street corners, in moving trains, and in their own homes.

Schneemann’s remarkable “More Than Meat Joy” documents a large portion of this performance artist’s career: 1958 to 1977. The book is particularly rich because it uses the artist’s own documentation: photos, notes, sketches, commentary, and script-like documents.

A new edition of the only book that documents Schneemann’s complete works up to 1978. As performance art books go, this one is especially unusual for its integration of large numbers of photographs with performance scores as well as descriptive texts. Schneemann — one of the original creators of performance art — began making events and “happenings” in 1960. Over thirty works are documented here (this book was originally published in 1979). The range of her work has been substantial and broadly influential: from solo improvisations to large group ensemble pieces, from starkly bare stagings to multi-media and multi-sensory extravaganzas. Schneemann’s performance works — direct extensions of her equally important work as a painter and filmmaker — have been performed throughout Europe and the United States. This book includes sections of her selected writings gathered from art and literary magazines, diaries, and journals; and it completed by a festschrift of tributes from notable artists, poets, and critics. More Than Meat Joy is vital to an understanding of the origins and intentions of performance art, as well as being the expression of an enormously important artist.

“Gordon Matta-Clark – In the Belly of Anarchitect” is a project by Pierre Huyghe and Rirkrit Tiravanija in co-operation with the art historian Pamela M. Lee. It is the work of two artists around and through the oeuvre of Gordon Matta-Clark, the attempt of a transmission of a Matta-Clark-experience into the present. The project and the exhibition are based on a student workshop held at Frankfurt´s Städelschule under the direction of Hocine Bouhlou and represent a continuation of the art academy´s long tradition of close connections between art, cooking and architecture.

The gallery space of Portikus is blocked through a large wall made of bread. The bread has been baked in situ, and the visitors are invited to eat their way through the wall in order to enter the space. This physical experience is part of the approach to Gordon Matta-Clark. Inside the gallery space numerous actions and presentations will happen throughout the opening weekend. Pamela M. Lee will give a lecture with the title “The Raw and the Baked”. Huyghe and Tiravanija will split a cake-house. There will be baking, eating and Graffiti. Finally, a selection of Gordon Matta-Clark´s films will be screened until the end of the exhibition.

The films, sculptures, photographs and installations of Portugese duo Joao Maria Gusmao (born 1979) and Pedro Paiva (born 1977) capture magical everyday moments. This book includes previously unseen works.

Between 1993 and 2004, Alejandro Cartagena would commute almost daily on a suburban bus from Monterrey to the suburban city of Juarez and back. Working at his family’s restaurant, he watched the gradual changes happening in Juarez. Between 2000 and 2005, the city went from a population of 66,000 to 144,000. He watched Juarez be eaten up, all through the window of the bus. On those trips he read, fell asleep, daydreamed of owning a car, and lamented being stuck in this metal creature in the 40-degree heat of northern Mexico. 12 years later, and now a photographer, he decided to take the bus once again to capture the experience thousands of blue-collar suburbanites have every day. What he saw made him reencounter the unintended mental and physical anxieties produced by the unplanned urban development. This book is a story about people wanting a better life in a city characterised by lack; the lack of proper roads, the lack of enough buses, the lack of security inside the buses. Furthermore, 91.6% percent of women experienced sexual assault at least once while traveling on public transport in the Monterrey Area. “The precarious situation of public transportation, and of mobility in general, remains ultra-underrepresented in public debate, as a matter condemned to languish on many public ‘to do’ lists. This means that the work of Alejandro Cartagena takes on specific political importance in making visible the costs of this inaction on the quality of life of people living in the Metropolitan Area of Monterrey.” –– Ximena Peredo

Making Memeries is a new artist’s book by Lucas Blalock. It is published on the occasion of a travelling installation of the same name, commissioned by Self Publish, Be Happy. Born from an interest in exploring the shifting boundaries of virtual space in the contemporary world, Making Memeries is the first photobook of its kind to engage Augmented Reality. Featuring a new series of photographs by Blalock, each image in the book can be ‘activated’ via an app that is downloaded to readers’ mobile phones or tablets. AR technology expands the experience of each photograph using sound, 3D renderings and animation. Scanning a phone’s screen across the surface of each image brings it alive as pictures transform, push beyond their frame, or disappear. Each new spread becomes an interactive exercise in visual association, imagination and understanding. Making Memeries presents an incongruous experience, and arouses curiosity in viewers to question what is real and what is not in the world around them. Standing at over 30cm in height, with full bleed images and thick board pages that can be laid out completely flat, Making Memeries takes its form from early age children’s books. In the way that such books are designed to familiarise young readers with the world around them through colour, number object and shape, Making Memeries could be said to engage viewers of all ages in a new world somewhere between on and offline; conflating the virtual and the tangible. In today’s digital age, our image environment is constantly changing, flourishing and rapidly adapting to new generations of technological possibility. It is not enough anymore to know how to read images; we need to learn how to live with them too.

« Nul plus haut enseignement artistique ne me paraît pouvoir être reçu que du cristal. » André Breton De la Préhistoire à nos jours, entre utilité, curiosité et fascination, les pierres ont toujours inspiré les artistes. Pierres politiques, pierres poétiques, pierres sacrées : le lecteur découvre, à travers plus de 230 oeuvres, la place de la pierre dans l’histoire de l’art. « Je parle des pierres plus âgées que la vie et qui demeurent après elle sur les planètes refroidies. » Sur ces mots de Roger Caillois, dont le regard irrigue cet ouvrage, les auteurs ont collecté nombre d’histoires célébrant le compagnonnage constant entre l’éloquence muette des pierres, leur beauté et l’imagination sublime des artistes de toutes les époques. Du plus ancien caillou issu de la formation de la croûte terrestre à la première pierre collectionnée il y a 3 millions d’années par « l’homme » de Makapansgat ; de l’impérieuse architecture des cristaux aux pierres sacrées ; des pierres paysages à celles dont s’arment les plus démunis quand ils se révoltent, jusqu’à l’impossible mesure du temps, ce sont autant de récits de notre humanité qui se déroulent dans ces pages. L’ouvrage, qui fait la part belle à l’image, est construit en sept grands chapitres, émaillés de textes littéraires, scientifiques ou poétiques, et nous fait découvrir ou redécouvrir une grande variété d’oeuvres de toutes époques et tous médiums : I – Des pierres qui ont toujours couché dehors : Jean Dubuffet, Auguste Rodin, Evariste Richer, Dove Allouche, Constantin Brancusi, Louis Daguerre, Charlotte Perriand, Fernand Léger, Giuseppe Penone, John Ruskin, Vija Celmins, Alexandre Isidore Leroy de Barde, Ugo Rondinone, Alicja Kwade, Stéphane Thidet, Julian Charrière, Tatiana Trouvé, Gabriel Orozco. II – L’avare architecture des cristaux : André Breton, Pablo Picasso, Brassaï, Damien Hirst, Frédéric Bruly Bouabré, Wenzel Hablik, Juliette Agnel, Albert Renger-Patszch, Lyonel Feininger, Edouard Riou, Jean-Baptiste Louis Romé de L’Isle, Étienne Chambaud, Joseph Sima III – L’invincible attrait de l’analogie : le Facteur Cheval, Aurélien Froment, George Sand, John Cage, Erik Dietman, Antoine Bourdelle, Pieter Hugo, Edward Weston, Jean-Claude Ruggirello, Jean-Michel Sanejouand, Pierre-Luc-Charles Ciceri, Juva, Il Beccafumi, Abdelkader Benchamma, Antonio Tempesta, Sigismondo Laire. IV – Certaines pierres sont divines : statuaire antique indienne, étrusque, gauloise, Giorgio Vasari, Victor Brauner, Henry Moore, Albrecht Dürer, Jean-Michel Alberola, Francesco Francia, Luca Signorelli, Carl Gustav Carus, Victor Brauner, Nicolas Dipre, Gioacchino Assereto, Hans Baldung Grien, Rose Salane. V – Pierres révoltées : Gilles Caron, Guido Reni, Meret Oppenheim, Robert Filliou, Esther Ferrer, Éric Feferberg, Wolfgang Mattheuer. VI – Des pierres plus âgées que la vie : Ana Mendieta, Paul Klee, Sim Chi Yin, Kapwani Kiwanga, Robert Smithson, Laura Grisi, Jacques Grison, Jimmie Durham, Hercules Pietersz Seghers, Jean-Pierre Houël. VII – Elles seules existent sur les étoiles : Richard Long, Andrea Branzi, Sabine Mirlesse, Agnieszka Kurant, Parviz Kimiavi, Lucien Pelen, Gino De Dominicis, Théo Mercier.

Odyssey of an Italian Ritual, dédié au tarentisme, rituel centenaire musical et dansé du Mezzogiorno (Sud de l’Italie), utilisé pour guérir les femmes victimes d’un mal mystérieux causé par la morsure d’une araignée à travers des exorcismes faits de rythmes frénétiques et de danses maniaques. Trans-disciplinaire, ce travail de documentation et de ré-interpretation artistique d’un des phénomènes transcendantaux les plus mystérieux d’Europe se compose d’une compilation vinyle ainsi que d’un livre édité en langues italienne et anglaise. Avec neuf essais abordant les différentes dimensions et facettes du rituel, cette publication bilingue donne la voix aux artistes, photographes, sociologues, anthropologues, religieux et scientifiques. Ces témoins, experts et acteurs de l’histoire passée et contemporaine de cet exorcisme musical apportent leur contributions et photographies exclusives avec les apports de : Chiara Samugheo (photographe de Pier Paolo Pasolini), Edoardo Winspeare, Claudia Attimonelli, Pamela Diamante, Luigi Chiriatti, Salvatore Bevilacqua, Gino Di Mitri et Mattia Zappellaro.

“Kitchens and bedrooms, couples and children, the expectations and anxieties of American domestic life are laid before us in this lively book of pictures by contemporary American photographers. By turns hilarious and unsettling, this unconventional family album offers rich if conflicting information about the current state of the old relationship between the American Dream and the American Nightmare.”– The work of more than 50 photographers is represented including Tina Barney, Ellen Brooks, William Eggleston, Mary Frey, Lee Friedlander, Nan Goldin, Nic Nicosia, Nicholas Nixon, Lorie Novak, Cindy Sherman, Sage Sohier, Joel Sternfeld, Larry Sultan, Carrie Mae Weems, and Neil Winokur.

Editorials. Gillo Dorfles. Obscure Aspects of the New Figuration in Italy; Raffaello Mazzoletti. Fellini 81/2. Leading Articles and Current Events. Jasia reichardt. Some aspects of the Human Image; Karl Ringstrom. Alberto Magnelli; The most recent Sculpture of Alberto Viani. METROLEXIKON (II) Metro Young Review. Dore Ashton, lee Bontecou: Illusion and fantasy; Gillo Dorfles. Castellani, incarnation of a New Structure, Rhytmical, Spacious and Luminous; Robert Rosenblum. Roy Lichtenstein; Jacques Kermoal. Psychanalyse d´Enrico Baj. J.-J. Leveque. Le Théâtre d´Enrico Baj. Daniel Pommereulle. Fragments d’entretien avec Spoerri. Bruno Alfieri. Eielson: the “New Vulgarism” of a Poet. Maurizio Bonicatti. Gianfranco Baruchello: Prospects and Limits of Some Aspects of Contemporary Art. Jasia Reichadt. Paolozzi, and what led up to a certain event in 2000 A.D. Metrorama. Alain Jouffroy.Why Collage? Why the Object?. A.J. Jaques Gabriel, or the Will to Surpass the Norm. Nivola at Yale. A.J. The Spiritual Revolution of Jean-Jacques Lebel. Four Sculptor Today. Jules Langsmer. The Visual Poetry of William Waldren. Parzini, quadri recenti. Rosenquist, “The White Cigarette”. Picasso (A Letter do the Editor). B. A. Remo Remotti. Oreste Ferrari. Renato Barisani. R. Kuchenmeister. Oeuvres récentes. C. B. Una mostra di Seuphor.

“Aerodream – Architecture, art, design et structures gonflables”. Des premières exploitations industrielles et militaires aux œuvres et happenings réalisés par de nombreux artistes, designers et architectes, l’ouvrage retrace une histoire du gonflable et du pneumatique des années 1950 à nos jours. Publié à l’occasion des expositions au Centre Pompidou-Metz et à la Cité de l’architecture & du patrimoine (jusqu’au 14 février 2022), “Aeorodream”, propose une archéologie critique du gonflable illustrée par une iconographie importante – avec plus de 200 artistes et architectes présentés – articulée en six parties autour de deux essais et complétée par une chronologie et une bibliographie raisonnée. Sous la direction de Frédéric Migayrou et de Valentina Moimas. Coédition Centre Pompidou-Metz, Cité de l’architecture & du patrimoine, Éditions HYX

Book produced by the Amsterdam-based advertising and graphics agency, Co-Op 2. The author s name MarCO-OPpers was a stylised pseudonym used by the agency, in this case referring to the stylish artistic work of Magda Versteeg and Wim van Overbeek. Co-Op 2 was founded by the photographer and WW2 resistance fighter, Paul Germonprez, who employed many Bauhaus graduates. The agency ran from 1934 and closed in 1942, rather than be compromised by the strictures of the Nazi-established Nederlandsche Kultuurkamer. The book tells the story of a young boy called Okki Hoessah who is found sleeping in a train upon its arrival at a station. Okki disembarks the train and is befriended by many station workers and patrons, during which time he learns all about the inner workings of a train station. The illustrations are stylishly rendered and beautifully vibrant in colour.

Revenge publishing? A new genre? Or has it been around since writers first put pen to paper? Isn’t all writing to some degree a means to avenge an oversight or a rejection, intending to set the record straight? A number of pieces in this collection which were commissioned, accepted, and paid for, never appeared for one reason or another, whether devious or common: books don’t always cross the finish line. Years go by. Patience evaporates. Corrected Proofs aims to seek remedy. In addition to previously unpublished pieces, a number of essays and interviews were written specially for this collection: on Lutz Bacher and Charles Ray, with Arnold J. Kemp. There are heroes and villains, from the assassins John Wilkes Booth and Lee Harvey Oswald, to Felix Gonzalez-Torres, Cady Noland and Steven Parrino. Here the reader encounters usual suspects in unexpected context—Marcel Duchamp, Ed Ruscha and Andy Warhol—and artists recently rediscovered—Bob Smith and Stephen Varble—alongside Lee Lozano, the January 6 insurrection, and The Fall. Foreword by Randy Kennedy. The book is published with four different dust jackets with images by Arnold J. Kemp, John Waters, Olivier Mosset and Rachel Harrison.

On le sent, on l’entend. Il façonne le paysage, l’anime, se joue des objets et des personnes tout en se dérobant au regard. « Le vent par lui-même n’est pas visible » disait Léonard de Vinci qui ajoutait : « On voit dans l’air, non le mouvement du vent, mais celui des choses qu’il emporte et qui seules y sont visibles. » Donner forme à l’invisible, voilà le défi immémorial auquel le vent a confronté les hommes. Pline l’Ancien rapporte que le peintre grec Apelle (ive av. JC), le premier, en imitant le tonnerre, la foudre et les éclairs, peignit « cela qui ne peut être peint », posant d’emblée la question de la figurabilité des éléments instables par nature et donc des « limites du peindre ». Comment représenter le vent ? Comment le signifier, l’écrire, le décrire ? C’est aux solutions que les artistes ont apportées à ce paradoxe d’un vent invisible mais néanmoins bien réel, vécu et éprouvé, que ce catalogue est consacré. L’histoire racontée ici chemine entre des artistes aux prises depuis des siècles avec ce désir de vent et l’aspiration à en exprimer les puissances expressives, au fur et à mesure que la compréhension scientifique de ce phénomène météorologique s’affine, et que les pratiques et les mediums évoluent.

Refugees and displaced populations are a highly relevant, controversial topic of the modern socio-political landscape, with images of people fleeing conflicts and natural disasters a regular occurrence in the media. They flee to perceived safe havens, but are often accompanied by sickness, starvation, poor sanitation, close contact and reduced healthcare. Infection frequently spreads among camps, and sometimes, onwards into the local population. Epidemics develop. What are these diseases, and can they be controlled? What are the health consequences for the migrating and resident populations? What might the demographic impact be? The Atlas of refugees, displaced populations, and epidemic diseases examines the globally changing geographical patterns of communicable diseases among refugees and other displaced persons – in flight, in camps, and resettled in local communities – since the beginning of the twentieth century. The book explores historical and contemporary case studies, including the First World War and its aftermath, the impact of genocides across the twentieth and early twenty-first centuries, Mozambican refugees traversing Central Africa in the late 1980’s, the 2010 Haiti earthquake, and the 2014 Ebola virus crisis. The book integrates theory, qualitative and quantitative data, and spatial analysis, locating examples in the context of global demographics and summarising information in an approachable way. Illustrated with over 400 maps and diagrams, case studies are presented in regional and thematic contexts to guide the reader through the displaced populations and communicable diseases over the last 116 years. The discussion covers epidemiological determinants of outbreaks, including overviews of social and political factors that motivate displacement of populations. Important information on epidemic control and the results of these actions is also provided. The Atlas of refugees, displaced populations, and epidemic diseases is an essential resource for all those interested in public health, epidemiology, demography, ecology, economic history, and the history of medicine. This rich and detailed text is ideal for both specialists and students to deepen their understanding of the topic.

Luciano Fabro was a founding member, and later leading critic, of Arte Povera, the materials- and experience-based art movement that began in Italy in the late 1960s. He went on to be exhibited internationally, becoming the first artist from the group to receive a major US retrospective, at the San Francisco Museum of Modern Art in 1992. Fabro was a controversial artist, yet still a critical favorite: in 2018 the leading art publication The Brooklyn Rail dedicated an entire issue to Fabro; and New York Times critic Roberta Smith wrote that Fabro treated ‘artmaking less as a profession and more as a continuing experiment intended to keep himself entertained and the viewer slightly off-balance’. This comprehensive, heavily illustrated monograph is the first complete overview of Fabro’s life and career, written by esteemed critic and curator Margit Rowell, who interacted with Fabro repeatedly in his later years, and is published with the full support and participation of the artist’s estate and international galleries, Paula Cooper (New York), Christian Stein (Milan) and Simon Lee (London and Hong Kong).

Five Young Designers: Ewald Breuer, Kenneth Hine, Clarence Lee, Bruno Brugnatelli and Richard Hess Minale, Tattersfield – the wind of change in British Design Illustrator Merle Shore by Yusuke Nakahara Illustrotor Ronald Searle by Ippei Ito Hal Davis, a man of fine feeling Summer campaign of Shiseido

Zach Blas: Unknown Ideals offers an inquiry into Zach Blas’s singular practice, exemplary among his generation of digital artists, through a series of newly commissioned essays by Alexander R. Galloway, Pamela M. Lee, Mahan Moalemi, Kris Paulsen, and Marc Siegel; an interview with Ovül Durmuşoğlu; and writings by the artist himself. These insightful contributions expand on the technological, queer, filmic, and cultural inquiries that comprise the rich world of Blas’s practice. Across his works, Blas closely engages the materiality of digital technologies while also drawing out the philosophies and imaginaries lurking in artificial intelligence, the internet, predictive policing, airport security, biometric recognition, and biological warfare. Blas embraces the media of computation, video, sculpture, and music in his installations that sharply confront biometric surveillance, the cult of optimization, and the reification of data bodies. Blas uses research-based practices to scrutinize the relationship between digital technologies and the cultures and politics that animate them. Critical of today’s corporate internet giants and their ideological fascination with Ayn Rand, Blas extensively considers the beliefs, desires, fantasies, histories, and symbols latent in technical systems, but he also dwells on the horizons and edges, or what he calls the “outside,” of dominant power structures. Reclaiming Ayn Rand’s phrase the “unknown ideal,” Blas points to both liberatory potentialities and political challenges of the present: he imagines a proliferation of “unknown ideals” in order to dispute Rand’s vision of the future. Refusing technological determinism, Blas’s work makes space for escape through its celebration of queer ideality.

“Al Qasimi’s photographs are filled with flowers but they are rarely real. Instead, they are represented metonymically as object, ornament, pattern, and image. In a series of flower studies, their natural forms are translated materially into a glinting crystal trinket, a perishable garnish carved from a tomato or carrot, and a sugary decoration piped in pink frosting. By capturing this material metamorphosis Al Qasimi amplifies the ways in which flowers are commonly consumed as ornamental commodities intended to embellish and entice.”—Murtaza Vali Titled after Farah Al Qasimi’s photograph Star Machine (2021)—a self-portrait in which the artist uses the star machine to transcend the monotony of her surroundings after two weeks of quarantine—this publication accompanies the homonymous exhibition at the Art Gallery of Western Australia, curated by Rachel Cieśla. Presenting a selection of photographs from across new and existing bodies of work, which are wrapped in found images sourced from Alibaba merchants, this book speaks to our shared aspirations for transcendence beyond our daily lives. Understanding the camera as a relational tool, Al Qasimi’s hyper-colourised and richly textured photographs focus our attention upon how we see, feel and initiate contact with people, places, or ways of being within today’s world. Published in collaboration with the Art Gallery of Western Australia and the Simon Lee Foundation Institute of Contemporary Asian Art.

The metaphor “theatre of the street” was conceived by theoretician Karel Teige to describe the vivant and dynamic audio-visual hustle and bustle typical for city centres in 1920’s. He did not mean only the omnipresent traffic, but also the urban iconography, composed of shop signs and portals, illuminated window displays, façade advertisements, and flashing neon signs. The fleeting “theatre of the street” is a key theme for understanding the Modernist style of the Interwar period, yet it has rarely been explored in expert studies. This book searches for common aspects of commerce and art; the “low” and the “high”; the pop-culture, commercial advertisement, and independent artistic creation. The publication contains five expert studies, which present advertisement practices in the context of fine art, architecture, photography, film, and new technologies appearing with the electrification of towns and cities.

F LETTER assembles the feminist poets who have palpably changed the Russian language over the last decade. Against the backdrop of state violence and oppression, this is electric dissent in pursuit of a democratic, egalitarian future. A lexicon for revolution worldwide. But this anthology’s brilliance lies in its rhythm, energy, and depth of emotion – in its universal relevance rather than applied politics. As Eileen Myles writes of its verse in a foreword to the work, “there are lines like a curse that yodel radiantly out of the toothy mouth of the curser…lines that are just so fucking metonymic in their grace…I’ve been invited to witness. To smell the crowd and be charged by history.”