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Among such contemporaries as Mike Kelley and Jim Shaw, but also Tony Oursler and Stephen Prina, John Miller embodies a singular position: he articulates the synthesis of an ideologically committed critique of representation with a postconceptual shift toward the “real.” Using completely stereotyped genres (figurative painting, travel photography, landscape painting, and so on), Miller, like Sherrie Levine and Richard Prince, has, since the end of the 1970s, challenged the function of the author and the concomitant loss of aura of the artwork. Yet this critique is for him only a means of revealing the repressed aspect of the ideological aggregates of day-to-day late-capitalist Western culture. Including newly commissioned essays, this book attempts to remap his entire oeuvre by articulating its development through various series, media, and aesthetic strategies.

Mike Kelley is best known as one of the most influential visual artists of his generation. But he was also an insightful theorist who wrote profusely about his work as well as on aesthetics in the 1980s, 1990s, and 2000s, an epoch marked, in his view, by victim culture and the pop psychology phenomenon known as repressed memory syndrome. Mike Kelley: Materialist Aesthetics and Memory Illusions presents the artist in a new light, almost as an empirical philosopher delivering his position through art as well as writing. In a meticulous and transdisciplinary approach, Laura López Paniagua presents Kelley’s oeuvre as a stance in materialist aesthetics and weaves thoughtful relations between the artist’s critique, statements, and comments and the theories of thinkers such as Georges Bataille, Walter Benjamin, Pierre Bourdieu, Sigmund Freud, Jacques Lacan, and Maurice Merleau-Ponty. López Paniagua focuses on Kelley’s artistic production between 1995 and his death in 2012, analyzing these works vis-à-vis the concept of memory, one of the artist’s obsessions and leitmotivs throughout his career.

n the beginning of 2000, Steinbrecher published part of his extensive collection of photos, clippings and reproductions in the magazine COUCH, with which he created an important basis for his work with photographic materials.

For writer, critic and artist John Miller, the issue of the production-reception of a work of art is a genuine dialectic. He argues that the artist has no choice but to address the sociopolitical questions and the ideological apparatuses linked to the production of cultural “artefacts.” Hence, his witty title, drawing attention to art as commodity. From polemical pieces to extensive theoretical essays to studies of Ed Ruscha, Bruce Nauman, Richard Artschwager and John Baldessari, the texts collected here respond to the ongoing collision of aesthetics and exchange value. Throughout, Miller draws upon his seemingly inexhaustible knowledge of art history, theory and popular culture. As critic Bruce Hainley has written in Artforum, “Miller’s essays are a pungent intervention into the ideologies of beauty, representation and looking.”

The photographs by Williams present the viewer with a strange beauty. Williams uses this beauty to provoke curiosity, research and thought. One is struck by the odd, even esoteric subject matter in this new work- dance, camera, box, corn and diagram. Why he chose these, or even the relationships between them, is not immediately clear.

Approaching architectural space and scale with the formal inventiveness and speed common to gestural abstract painting, Stockholder took the art world by storm in the late 80’s. The first half of the catalog chronicles Stockholder’s installations from 1983-1991 in 35 beautiful color plates. Accompanying the reproductions are short descriptions, authored by the artist, addressing the architectural and material choices of each installation. The second half of the catalogue contains John Miller’s essay “Formalism and Its Other”, which keenly places Stockholder’s activity somewhere between the rigorous formalism of Clement Greenberg’s critical writing and the liberating potential of Allan Kaprow’s Happenings.

Extreme Exposure: An Anthology of Solo Performance Texts from the Twentieth Century, edited by director Jo Bonney, features the work of 42 solo artists spanning the century-from Beatrice Herford in 1869 to Dawn Akemi Saito in 1994. Each artists’ work is introduced by a journalist, artist, critic, agent, producer or educator who is intimately familiar with the material and its links to other forms such as vaudeville, theatre, cabaret, music, standup comedy, poetry, the visual arts and dance. In Bonney’s words, “This anthology documents a part of our literary/stage history and offers the possibility of its being appreciated in a new context, for a new generation.”Includes work by Beatrice Herford, Jackie “Moms” Mabley, Ruth Draper, Lord Buckley, Brother Theodore, Lenny Bruce, Lily Tomlin and Jane Wagner, Andy Kaufman, Ethyl Eichelberger, Laurie Anderson, Rachel Rosenthal, Spalding Gray, Eric Bogosian, Jessica Hagedorn, Diamanda Galas, Ann Magnuson, Rhodessa Jones, Tim Miller, John O’Keefe, Anna Deavere Smith, Danitra Vance, David Cale, Whoopi Goldberg, John Fleck, Reno, Heather Woodbury, Robbie McCauley, Lisa Kron, Brenda Wong Aoki, Guillermo Gomez-Pena, Holly Hughes, Luis Alfaro, John Leguizamo, Josh Kornbluth, Deb Margolin, Roger Guenveur Smith, Anne Galjour, Danny Hoch, Marga Gomez, Mike Albo and Virginia Heffernan, Dael Orlandersmith and Dawn Akemi Saito.

Paul Thek occupied a place between high art and low art, between the epic and the everyday. During his brief life (1933-1988), he went against the grain of art world trends, humanizing the institutional spaces of art with the force of his humor, spirituality, and character. Twenty years after Thek’s death from AIDS, we can now recognize his influence on contemporary artists ranging from Vito Acconci and Bruce Nauman to Matthew Barney, Mike Kelley, and Paul McCarthy, as well as Kai Althoff, Jonathan Meese, and Thomas Hirschhorn. This book brings together more than 300 of Thek’s works–many of which are published here for the first time–to offer the most comprehensive display of his work yet seen. The book, which accompanies an exhibition at ZKM ? Museum of Contemporary Art presenting Thek’s work in dialogue with contemporary art by young artists, includes painting, sculpture, drawing, and installation work, as well as photographs documenting the room-size environments into which Thek incorporated elements from art, literature, theater, and religion. These works chart Thek’s journey from legendary outsider to foundational figure in contemporary art. In their antiheroic diversity, Thek’s works embody the art revolution of the 1960s; indeed, Susan Sontag dedicated her classic Against Interpretation to him. Thek’s treatment of the body in such works as “Technological Reliquaries,” with their castings and replicas of human body parts, tissue, and bones, both evoke the aura of Christian relics and anticipate the work of Damien Hirst. The book, with more than 500 images (300 in color) and nineteen essays by art historians, curators, collectors, and artists, investigates Thek’s work on its own terms, and as a starting point for understanding the work of the many younger artists Thek has influenced.Essays byJean-Christophe Ammann, Margrit Brehm, Bazon Brock, Suzanne Delehanty, Harald Falckenberg, Marietta Franke, Stefan Germer, Kim Gordon, Roland Groenenboom, Axel Heil, Gregor Jansen, Mike Kelley, John Miller, Susanne Neubauer, Kenny Schachter, Harald Szeemann, Annette Tietenberg, Peter Weibel, Ann Wilson

The fifth volume in the acclaimed series by performance art historian RoseLee Goldberg, Performa 13 features projects from more than 120 of the leading artists working in performance today, in collaboration with more than 100 curators and arts institutions–works that broke down the boundaries between visual art, music, dance, poetry, fashion, architecture, graphic design and the culinary arts. Participating Performa 13 artists included Pawel Althamer, Malik Gaines, Martha Graham, Rashid Johnson, Joan Jonas, Christopher Knowles, Ryan McNamara, Alexandre Singh, C. Spencer Yeh and many others who premiered major new works.
This catalogue presents documentation of the festival in photographs, scripts and storyboards, along with contributions from curators, writers and the artists themselves, elaborating on the themes of the festival. Performa 13 stands not only as a beautiful document of a remarkable biennial, but also an invaluable reference guide for the performance art of our time.

‘The Joke Book’ is the first printed edition of the complete jokes & messages file that was found on Seth Siegelaub’s computer by his partner Marja Bloem. It contains jokes, quotes, and pieces of advice, that he collected since 1999 and regularly redistributed via email amongst his friends. With contributions by Alex Alberto, John Baldessari, Marja Bloem, Myrna Bloom, Martin Browne, Alan Kennedy, David Kunzle, Joel Miller, Loren Miller, Kay Robertson, Laurent Sauerwein, Seth Siegelaub, Joan Simon, Kira Simon-Kennedy, Peter Sinclair, Steven Wright, and an introduction by Huan Hsu (written after a long conversation with Marja Bloem).

Catalog for a traveling exhibition organized and circulated by Independent Curators, Inc, New York. Guest curators: Andrea Miller-Keller and John B. Ravenal. Essay by Anderea Miller-Keller and John B. Ravenal. Black and white illustrations. 48p. Artists include Richard Artschwager, Mel Bochner, Dan Graham, Nancy Graves, Hans Haacke, Eva Hesee, Richard Long, Dorthea Rockburne, Robert Smithson, William Wiley and others.

Wanderlust highlights artists as voyagers who leave their studios to make art. This book (and the exhibition it accompanies) is the first comprehensive survey of the artist’s need to roam and the work that emerges from this need. Wanderlust presents the work of under-recognized yet pioneering artists alongside their well-known counterparts, and represents works that vary in process, with some artists working as solitary figures implanting themselves physically on the landscape while others perform and create movements in a collaborative manner or in public.

Many of the earlier works use what were at the time nontraditional methods of art making. In Trail Markers (1969), for example, Nancy Holt spent time in the English countryside, where she documented the painted orange trail markers she found dotting the landscape. Vito Acconci explored his body’s “occupancy” of public space through the execution of preconceived actions or activities. In Following Piece (1969), Acconci followed one randomly chosen stranger through the streets of New York. A Line Made by Walking (1967), a black-and-white photograph of Richard Long’s imprint of a straight line in a field, was Long’s first walking art work, made on a journey to St Martin’s from his home in Bristol. Ana Mendieta’s influential Silueta Works in Mexico (1977) documents performances by the artist during her travel between Iowa and Mexico, in which she imprints her body on the landscape while addressing issues of displacement.

Each of these works recognizes the walk and the journey as much more than just a basic human act. Rebecca Solnit observes that walking replicates thinking, adding “the motions of the mind cannot be traced, but those of the feet can.” These works trace the motions of wandering artists’ focused minds.

Artists include Vito Acconci, Bas Jan Ader, Nevin Aladag, Francis Alÿs, Janine Antoni, John Baldessari, Kim Beck, Roberley Bell, Blue Republic, Sophie Calle, Rosemarie Castoro, Cardiff/Miller, Zoe Crosher, Fallen Fruit, Mona Hatoum, Nancy Holt, Kenneth Josephson, William Lamson, Richard Long, Marie Lorenz, Mary Mattingly, Anthony McCall, Ana Mendieta, Teresa Murak, Wangechi Mutu, Efrat Natan, Gabriel Orozco, Carmen Papalia, John Pfahl, Pope.L, Teri Rueb, Michael X. Ryan, Todd Shalom, Mary Ellen Strom, and Guido van der Werve.

Contributors Rachel Adams, Lucy Ainsworth, Andrew Barron, Pamela Campanaro, Andy Campbell, Hannah Cattarin, Ian Cofre, Jamie DiSarno, Katherine Finerty, Joshua Fischer, Natalie Fleming, Melanie Flood, Jason Foumberg, Allison Glenn, Kate Green, Ross Stanton Jordan, Anna Kaplan, Jamilee Lacy, Jennie Lamensdorf, Toby Lawrence, Jane McFadden, Lynnette Miranda, Conor Moynihan, Liz Munsell, Karen Patterson, Ariel Lauren Pittman, Sean Ripple, Eve Schillo, Holly Shen, Rebecca Solnit, Lexi Lee Sullivan, Whitney Tassie, Charlie Tatum, Zoë Taleporos, Lori Waxman

“While the boho scene has never completely disappeared from L.A., Father Yod and the Source Family are enjoying a new era of notoriety, inspiring indie-folk musicians like Devendra Banhart and mega-producers like Rick Rubin. Aquarian’s book has become a style bible of sorts, with its dreamy images of the comely cult.”—T-Style, The New York Times It was 1972, time of the cult-occult-commune explosion. By day, the Source Family dressed in colorful robes and served organic cuisine to John Lennon, Julie Chistie, Frank Zappa, and many other celebrities at the famed Source restaurant. By night, in their mansion in the Hollywood Hills, they explored the cosmos with their spiritual leader, Father Yod.
Yod was an outlandish figure who had 14 wives, drove a Rolls-Royce, and fronted his own psychedelic rock band, Ya Ho Wa 13, now considered one of the most singular psychedelic bands of all time. He surprised many by suddenly morphing from health food restaurateur into mystical leader of what many considered a cult: a group of young people who lived strictly devoted to his esoteric teachings, unusual sexual practices, and philosophies of natural living and dying.
Still, as controversial as he was to outsiders, Father Yod was, by inside accounts, a deeply loving and spiritually powerful magus who taught his Family to recognize their divinity within and their innate connectedness to all of creation.
The Source Family’s astonishing and moving true story—kept secret for over 30 years after Father’s hang-gliding accident and death in 1975—is revealed here for the first time by the Family members themselves, offering readers an insider’s perspective into this vital utopian social experiment.
Illustrated with over 200 color and black and white period photographs, this book contains a bonus CD of never-before-heard Source Family music, interviews and changes, including an extremely rare recording of Ya Ho Wa 13 performing live at Beverly Hills High School in 1973.
"…a mesmerizing look at a time that might as well have been a thousand years in the past…I can't help but marvel that a spiritual movement of such idealism could ever have existed in our uber-materialistic world." — Ann Magnuson, PAPER Magazine
"The Source Family contributed a powerful chapter to our communal history, and having Isis Aquarian's empathetic recording of it enriches us all." — Timothy Miller, Author of America's Alternative Religions

Formed by Harvey S. Shipley Miller and donated to The Museum of Modern Art, New York, in 2005, The Judith Rothschild Foundation Contemporary Drawings Collection was conceived to be the widest possible cross-section of contemporary drawing made primarily within the past 20 years, surveying gestural and geometric abstraction, representation and figuration, systems-based and conceptual work, as well as appropriation and collage. While the collection primarily focuses on the work of artists living and working in what are widely regarded as five major centers of visual art today–New York, Los Angeles, London/Glasgow, Berlin and Cologne/Dusseldorf–it also includes artists from 30 countries throughout Europe, Latin America, Asia and Africa. Established artists such as Jasper Johns are represented through examples of recent work, while others, such as Joseph Beuys and Philip Guston, are highlighted through core historic groupings, and still others are shown in a comprehensive overview of their careers, including Alighiero e Boetti, Lee Bontecou, Ray Johnson, Anish Kapoor, Franz West, Bruce Conner and Hannah Wilke. Minimal and Conceptual drawings from the 1960s and 1970s acquired by the Foundation from New York-based collectors Eileen and Michael Cohen are juxtaposed with major works by self-taught artists including James Castle, Henry Darger, Ele D’Artagnan and Pearl Blauvelt, representing a diverse anthology of works on paper. Additional highlights, both contemporary and historic, include works by Tomma Abts, Kai Althoff, Robert Crumb, Tacita Dean, Peter Doig, Angus Fairhurst, Mark Grotjahn, Richard Hamilton, Eva Hesse, Charline von Heyl, Christian Holstad, Roni Horn, Ellsworth Kelly, Martin Kippenberger, Roy Lichtenstein, Sherrie Levine, Lee Lozano, Agnes Martin, Cady Noland, Jennifer Pastor, Elizabeth Peyton, Adrian Piper, Paul Thek, Richard Wright and Andrea Zittel.
D.A.P. is pleased to offer two extraordinary volumes dedicated to this extraordinary collection–published to accompany a major exhibition–as well as this boxed set that includes both. Reminiscent of the classic 2002 MoMA catalogue Drawing Now the first of these volumes, Compass in Hand, brings together approximately 250 representative works. The second, The Judith Rothschild Collection of Contemporary Drawings, is a complete catalogue raisonne.

Artists: Eric Andersen Ay-0 Jeff Berner Joseph Beuys George Brecht John Chick Henning Christiansen Robert Filliou Albert M. Fine Henry Flynt Ken Friedman Karl Gerstner AI Hansen Bici Hendricks Geoffrey Hendricks Hi Red Center Dick Higgins Davi Det Hompson Alice Hutchins Jack Coke’s Farmer’s Co-op Joe Jones Per Kirkeby Jane Knizak Milan Knizak Alison Knowles Takehisa Kosugi Shigeko Kubota Carla Liss George Maciunas Larry Miller Olivier Mosset Claes Oldenburg Yoko Ono Nam June Paik Benjamin Patterson Jock Reynolds Willem de Ridder James Riddle Dieter Roth Takako Saito Tomas Schmit Carolee Schneemann Mieko (Chieko) Shiomi Gianni-Emilio Simonetti Daniel Spoerri André Thomkins Jan van der Marck Ben Vautier Wolf Vostell Yoshimasa Wada Robert Watts Emmett Williams La Monte Young

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

The chance situation or random eventówhether as a strategy or as a subject of investigationóhas been central to many artists’ practices across a multiplicity of forms, including expressionism, automatism, the readymade, collage, surrealist and conceptual photography, fluxus event scores, film, audio and video, performance, and participatory artworks. But whyóa century after Dada and Surrealism’s first systematic enquiriesódoes chance remain a key strategy in artists’ investigations into the contemporary world?

The writings in this anthology examine the gap between intention and outcome, showing it to be crucial to the meaning of chance in art. The book provides a new critical context for chance procedures in art since 1900 and aims to answer such questions as why artists deliberately set up such a gap in their practice; what new possibilities this suggests; and why the viewer finds the art so engaging.

Artists surveyed include: Vito Acconci, Bas Jan Ader, Francis Alys, William Anastasi, John Baldessari, Walead Beshty, Mark Boyle, George Brecht, Marcel Broodthaers, John Cage, Sophie Calle, Tacita Dean, Stan Douglas, Marcel Duchamp, Brian Eno, Fischli & Weiss, Ceal Floyer, Huang Yong Ping, Douglas Huebler, Allan Kaprow, Alison Knowles, Jiri Kovanda, Jorge Macchi, Christian Marclay, Cildo Meireles, Robert Morris, Bruce Nauman, Yoko Ono, Gabriel Orozco, Cornelia Parker, Robert Rauschenberg, Gerhard Richter, Daniel Spoerri, Wolfgang Tillmans, Keith Tyson, Jennifer West, Ceryth Wyn Evans, La Monte Young

Writers include: Paul Auster, Jacquelynn Baas, Georges Bataille, Daniel Birnbaum, Claire Bishop, Guy Brett, Benjamin H. D. Buchloh, Stanley Cavell, Lynne Cooke, Fei Dawei, Gilles Deleuze, Anna Dezeuze, Russell Ferguson, Branden W. Joseph, Siegfried Kracauer, Jacques Lacan, Susan Laxton, Sarat Maharaj, Midori Matsui, John Miller, Alexandra Munroe, Gabriel Perez Barreiro, Jasia Reichardt, Julia Robinson, Eric L. Santner, Sarah Valdez, Katharina Vossenkuhl

Documents of Contemporary Art series
Copublished with Whitechapel Gallery, London

The multilayered, fragmented, postmodern style of graphic design revolutionized by desk-top computing has run its course. Anything that could be tried has been tried. Graphic design today has entered a new period, one of greater experimentation that often takes place outside the commercial realm and forces us to reconsider what we have taken as a given. What has emerged is a radical body of work that is rapidly redefining the very nature and scope of design. As presented in this dynamic international showcase of the world’s hottest thirty-seven studios, three sensibilities characterize this avant-garde: “Code,” “Generic,” and “Disjunction.” “Code” looks at the innovative ways designers, tired of using the computer as a tool with applications that are analogues to conventional media, are becoming programmers, unleashing the computer’s processing powers to discover new worlds of extreme beauty. Designers in “Generic” confront the ordinary to offer us an offbeat system of signs, symbols, and meanings that are still strangely familiar. Finally, “Disjunction” considers work that appropriates anything to advance its own, often self-interested aims, whether they be political, social, aesthetic, or even personal. All of these approaches respond in their different ways to the problems facing the graphic designer, and while none endeavors to set out a single systematic solution for design, many suggest unexpected and entirely original ways to communicate images and words. In the ever-shifting realm of contemporary culture, Restart offers a new grid. With over 600 illustrations in color and black and white. Contributors: Joshua Berger/Plazm; Paul Farrington/Tonne; Henrik Kubel + Scott Williams; Andreas Lauhoff; John Maeda; Sara Maconkey; Norm; Ralph SteinbrÃ¼chel; Stefanie Barth; Tomato Interactive; Bump; Anthony Burrill; Paul Elliman; Miles Murray Sorrell (Fuel); Graphic Thought Facility; MÃ¼ller + Hess; Paul Plowman; Jake Tilson; 2×4; Alexander Boxill; Peter Anderson; Irma Boom; Darren Hughes; Angus Hyland; Scott King; Mitsuo Katsui; M/M; Bruce Mau; Ellen Lupton and J. Abbott Miller; Mevis + van Deursen; One9ine; Paul Sahre; Peters Saville; Frank Philippin; Cornel Windlin; Ian Wright and Bob Wilkinson; Michael Worthington

The sleeper is pure. Nothing touches this figure. It transports itself across its own space, its own time. The sleeper is always innocent. –John Miller, The Cave of Human Beings~Architect and photographer Erik Steinbrecher takes pictures of people as they lie and sleep on the lawns of big-city parks. From a safe distance he clandestinely takes his shots, creating highly ambivalent atmospheres held in taut suspension. On the one hand, he shows overwhelmingly vulnerable intimacy in public space; on the other, he creates urban landscapes of great calm and harmony, in which the human body seems for once close to nature, and at least for a moment, submerged in it.

In 1987, when A.R.T. Press began to document the current art scene, the publisher decided to avoid academic historians, instead, asking the artists to interview each other. One result of this project is this lively collection of interviews between Mike Kelley and John Miller, Vija Celmins and Chuck Close, and Laurie Simmons and Sarah Charlesworth, among others

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

L’exposition permanente par Patrick Javault , Bestiarium par Caroline Christoph-Bakargien, L’Idée d’image par Frédéric Migayrou, Le Nouveau Théâtre et Louis XIV danse par Rüdiger Schottle, Le Théâtre dans le Jardin : de l’Artifice à l’Artefact par de Naomi Miller, Le jardin comme Théâtre, comme Musée et Théâtre, cinéma, pouvoir par Dan Graham, Res Publica : Places, Jardins, Monuments par Jörg Johnen, Le Théâtre comme Cité virtuelle par Manfredo Tafuri, Le Théâtre de l’Invention par Werner Oeschlin, et Le miroir Rococo par Piera Scuri. Entretien avec Rüdiger Schottle par Patrick Javault et Frédéric Migayrou. Biographies et bibliographies des artistes.

Caught in the Act is an exhilarating look at multimedia performance with front-row-center photographs by Dona Ann McAdamns. Her unique vantage is in part due to the enormous respect she has earned from the performers, and it is her key to documenting this ground-breaking type of theater that continuallly challenges the definitions of all the arts. Caught in the Act seizes the energy of paint-squirting, media-mixing Blue Man Group drumming into oblivion, while it resounds with the passionate rants of Karen Finley, and quivers with Pat Oleszko’s dazzling costumes of ever-moving appendages. Covering performance art since is nasence at the East Village’s Pyramid Club, the WOW Café, 8BC, and other clubs in the early eighties McAdams became the in-house photo archivist at the infamous performance space, P.S. 122, the home of cutting-edge theater that eschews convention as it draws energy and inspiration from all media. At P.S. 122 and other alternative performance spaces such as The Kitchen and Dance Theater Workshop, McAdams developed her long-term relationships with many performers. C. Carr is a Village Voice writer and a long-recognized cultural critic of the New York underground arts movement; in her personal and insightful introduction to Caught in the Act, she writes, “The key to McAdams’s work is the relationship she has with the artists. She empathizes. They trust.” It is this collaborative approach that has allowed McAdams to faithfully represent the rage, courage, integrity, and creative force of such varied artists as Diamand Galás, Holly Hughes, Ishmael Houston-Jones, John Kelly, DANCENOISE, Ethyl Eichelberger, and David Wojnarowicz–and this is only a small sampling of the performers featured here. Caught in the Act celebrates the spirit that links all artists across their different disciplines and aesthetics. The wonderful coexistence of disparate sensibilities in this publication underscores the very nature of this hybrid art. At the same time, it features many artists who, while focusing primarily on a particular medium, have expanded the context for that medium and pioneered the boundlessness, the marvelous sense of possibility that so distinguishes this contemporary manifestation of performance. This sleek book of black-and-white photographs printed in duotone includes contributions of words, drawings, and scores from some of the pictured performers, including many of those listed above, as well as Penny Arcade, John Bernd, Eric Bogosian, Allen Ginsberg, Philip Glass, Meredith Monk, Tim Miller, and many others. A performance poet in the beat tradition who has been reading and performing since the early seventies, Eileen Myles also contributes a moving Afterword with her poem, “the Troubador.” Taken altogether Caught in the Act is as much of the artists as it is about them. This Aperture publication is an entirely original and broad collection of work by some of the most gifted artists of our time.

A lavishly illustrated coffee-table book celebrating thirty years of artwork from the Criterion Collection. The most exciting names in design and illustration today apply their talents to some of the most important and influential films of all time. This volume gathers highlights from designs commissioned by the Criterion Collection, featuring covers, supplemental art, and never-before-seen sketches and concept art plus a gallery of every Criterion cover since the collection’s first laserdisc in 1984. From avant-garde experiments to big-budget blockbusters, cult favorites to the towering classics of world cinema, the depth and breadth of what film can be is on display in these striking images. Whether painstakingly faithful re-creations or bold reimaginings, the diverse designs collected here offer new ways for cinephiles and design aficionados alike to engage with the world’s greatest filmmakers. Complete list of featured artists: Aesthetic Apparatus, Michael Allred, Eric Chase Anderson, Marian Bantjes, Michael Boland, Vera Brosgol, Evan Bryce, Art Chantry, Daniel Clowes, Tavis Coburn, Josh Cochran, Jorge Coelho, Darwyn Cooke, Béatrice Coron, Rodrigo Corral, Jordan Crane, Akiko Crowther, Fred Davis, Jack Davis, Paul Davis, Ian Dingman, David Downton, Ming Doyle, Laurent Durieux, Marcel Dzama, Marc English, Malika Favre, Gary Fernandez, Sean Freeman, John Gall, Robert Goodin, Geoff Grandfield, Turlo Griffin, Polly Guo, Sarah Habibi, Jason Hardy, Jaime Hernandez, Jessica Hische, Samuel Hiti, Human After All, Robert Hunt, Paul Jackson, Meredith Jenks, Rob Jones, Neil Kellerhouse, Victor Kerlow, Matt Kindt, Frank Kozik, Caitlin Kuhwald, Yann Legendre, Patrick Leger, Ron Lesser, Luba Lukova, Ha C. Ly, Andrew MacLean, Gregory Manchess, Benjamin Marra, David Merveille, F. Ron Miller, Scott Morse, Bill Nelson, Yuri Ono, Sean Phillips, David Plunkert, Paul Pope, Jesse Marinoff Reyes, Jim Rugg, Greg Ruth, Seth, Leanne Shapton, Jay Shaw, Yuko Shimizu, Bill Sienkiewicz, Eric Skillman, Sam Smith, Edward Sorel, Jhomar Soriano, Tyler Stout, Jillian Tamaki, Adrian Tomine, Riccardo Vecchio, Maurice Vellekoop, Ricardo Venâncio, Angie Wang, Barnaby Ward, Sam Weber, Kent Williams, Connor Willumsen, Ron Wimberly, George Wu, Lucien S. Y. Yang, Kate Zambrano, Danijel Zezelj, Vania Zouravliov

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

Uncommon Ground proposes a new reading of British art between the mid-1960s and early 1980s, placing landscape and nature at the heart of the emerging avant-garde movements of the period. During a time of seismic cultural and political change, artists on both sides of the Atlantic turned away from the enclosed space of the gallery and went out into the landscape. Encompassing sculpture, performance, photography, film, Minimalism and Conceptual art–particularly the latter–the wide-ranging practices represented in this book engage with the once-derided and seemingly exhausted genre of landscape. Uncommon Ground includes works by Andy Goldsworthy, Anthony McCall, Antony Gormley, Barry Flanagan, Boyle Family, Bruce McLean, David Lamelas, David Nash, David Tremlett, Derek Jarman, Garry Fabian Miller, Hamish Fulton, Ian Hamilton Finlay, Jan Dibbets, John Hilliard, John Latham, Keith Arnatt, Richard Long, Roelof Louw, Roger Ackling, Roger Palmer, Susan Hiller, Thomas Joshua Cooper and Tony Cragg.

This reprint of the now classic and much sought-after 2005 volume celebrates the circle of the quintessential visual artist of the Beat era, Wallace Berman (1926-76), who remains one of the best-kept secrets of the postwar era. A crucial figure in California’s underground culture, Berman was a catalyst who traversed many different worlds, transferring ideas and dreams from one circle to the next. His larger community is the subject of Semina Culture, which includes previously unseen works by 52 artists. Anchoring this publication is Semina, a loose-leaf art and poetry journal that Berman published in nine issues between 1955 and 1964. Although printed in extremely short runs and distributed to only a handful of friends and sympathizers, Semina is a brilliant and beautifully made compendium of the most interesting artists and poets of its time, and is today a very rare collector’s item. Showcasing the individuals that defined a still-potent strand of postwar counterculture, Semina Culture outlines the energies and values of this fascinating circle. Also reproduced here are works by those who appear in Berman’s own photographs, approximately 100 of which were recently developed from vintage negatives, and which are seen here for the first time. These artists, actors, poets, curators, musicians and filmmakers include Robert Alexander, John Altoon, Toni Basil, Wallace Berman, Ray Bremser, Bonnie Bremser, Charles Britten, Joan Brown, Cameron, Bruce Conner, Jean Conner, Jay DeFeo, Diane DiPrima, Kirby Doyle, Bobby Driscoll, Robert Duncan, Joe Dunn, Llyn Foulkes, Ralph Gibson, Allen Ginsberg, George Herms, Jack Hirschman, Walter Hopps, Dennis Hopper, Billy Jahrmarkt, Jess, Lawrence Jordan, Patricia Jordan, Bob Kaufman, Philip Lamantia, William Margolis, Michael McClure, David Meltzer, Taylor Mead, Henry Miller, Stuart Perkoff, Jack Smith, Dean Stockwell, Ben Talbert, Russ Tamblyn, Aya (Tarlow), Alexander Trocchi, Edmund Teske, Zack Walsh, Lew Welch and John Wieners.

No one captured the midcentury modernism of the Mad Men era better than Balthazar Korab. As one of the period’s most prolific and celebrated architecture photographers, Korab captured images as graceful and elegant as his subjects. His iconic photographs for master architects immortalized their finest works, while leaving his own indelible impact on twentieth century visual culture. In this riveting illustrated biography-the first dedicated solely to his life and career-author John Comazzi traces Korab’s circuitous path to a career in photography. He paints a vivid picture of a young man forced to flee his native Hungary, who goes on to study architecture at the famed École des Beaux-Arts in Paris before emigrating to the United States and launching his career as Eero Saarinen’s on-staff photographer. The book includes a portfolio of more than one hundred images from Korab’s professionally commissioned architecture photography as well as close examinations of Saarinen’s TWA Terminal and the Miller House in Columbus, Indiana.

Put About: A Critical Anthology on Independent Publishing presents a timely discussion about independent publishing and publishing by artists, focusing on books where the makers keep control of every aspect of production through to distribution. Combining an interest in what and why publishers and artists feel compelled to deliver such materials, together with the economic models, audience and networks of association that can give independent productions a wider cultural presence, this book features a broad range of written and visual pieces alongside ‘case-studies’ from a selection of contemporary international publishers. Contributors: Wieder, Axel John; Trembley, Nicolas; Tillman, Lynne; Pettibon, Raymond; Osbaldeston, David; Moisdon, Stéphanie; Mir, Aleksandra; Miller, Paul D.; Miller, John; Lippard, Lucy; Kolding, Jakob; Klingberg, Gunilla; King, Emily; Hunt, Ian (ed.); Home, Stewart; Higgs, Matthew; Dibosa, David; Cattelan, Maurizio; Camplin, Bonnie; Cabinet Magazine; Brady, Andrea; Bracewell, Michael; Bedwell, Simon; Baldessari, John

Celebrating the kind of childhood play that signals a search for identity, Who Am I, What Am I, Where Am I?is a series of 70 photographs by New York- and Berlin-based artist Aura Rosenberg. For each picture, a child and an artist were paired up to create an idiosyncratic portrait of the child–each of whom was given access to masks and costumes. Among the collaborating artists are John Baldessari, Coco Fusco, Skuta Helgason, Louise Lawler, Allan McCollum, John Miller, Vik Muniz, Tony Oursler, Jim Shaw, James Siena, Laurie Simmons, Kiki Smith and Haim Steinbach. Rosenberg’s contribution to the collaboration is her technically playful style–the photographs are often digitally manipulated to create an array of surreal and humorous effects. This volume draws a compelling parallel between childhood play and the work of the adult artists. Also included are texts by artists Dan Graham, Mike Kelley and Nicolas Guagnini.

When recession-plagued New York City abandoned its industrial base in the 1970s, performance artists, photographers, and filmmakers found their own mixed uses for the city’s run-down lofts, abandoned piers, vacant lots, and deserted streets. Gordon Matta-Clark turned a sanitation pier into the celebrated work Day’s End and Betsy Sussler filmed its making; the photographic team Shunk-Kender shot a vast series of images of Willoughby Sharp’s Projects: Pier 18 (which included work by Vito Acconci, Mel Bochner, Dan Graham, Matta-Clark, and William Wegman, among others); and Cindy Sherman staged some of her Untitled Film Stills on the streets of Lower Manhattan. Mixed Use, Manhattan documents and illustrates these projects as well as more recent work by artists who continue to engage with the city’s public, underground, and improvised spaces. The book (which accompanies a major exhibition) focuses on several important photographic series: Peter Hujar’s 1976 nighttime photographs of Manhattan’s West Side; Alvin Baltrop’s Hudson River pier photographs from 1975-1985, most of which have never before been shown or published; David Wojnarowicz’s Rimbaud in New York (1978-1979), the first of Wojnarowicz’s works to be published; and several of Zoe Leonard’s photographic projects from the late 1990s on. The book includes 70 color and 130 black-and-white images, a chronology of the policy decisions and developments that altered the face of New York City from 1950 to the present; an autobiographical story by David Wojnarowicz; and essays by Johanna Burton, Lytle Shaw, Juan Suarez, and the exhibition’s curators, Lynne Cooke and Douglas Crimp. Artist included: Alvin Baltrop, Bernd and Hilla Becher, Dara Birnbaum, Jennifer Bolande, Stefan Brecht, Matthew Buckingham, Tom Burr, Roy Colmer, Moyra Davey, Terry Fox, William Gedney, Bernard Guillot, David Hammons, Sharon Hayes, Peter Hujar, Joan Jonas, Louise Lawler, Zoe Leonard, Sol LeWitt, Glenn Ligon, Robert Longo, Vera Lutter, Danny Lyon, Babette Mangolte, Gordon Matta-Clark, Steve McQueen, John Miller, Donald Moffett, James Nares, Max Neuhaus, Catherine Opie, Gabriel Orozco, Barbara Probst, Emily Roysdon, Cindy Sherman, Harry Shunk & Janos Kender, Charles Simonds, Thomas Struth, James Welling, David Wojnarowicz, and Christopher Wool

The Quing Dynasty, which spanned three centuries, from 1644 to 1911, was the last ruling dynasty of China. Before the collapse of the empire ended 2,000 years of Imperialism and ushered in a time of political and economic strife, artists and artisans turned out rich paintings, porcelain plates, vases and photographs–the last having arrived in the country in the 1840s. This publication presents a key selection of photographs of the Southern Chinese coast taken by both Chinese and European photographers. It touches on the cultural exchange between the Chinese and those Western photographers who began to explore the country, like Milton M. Miller, William Saunders and John Thomson. Miller, during a short period in the 1860s, set up a photo studio in Hong Kong and introduced portraiture in the formal Western style of the time to the Chinese upper-middle classes.

This long-overdue volume highlights a selection of writings and artists’ projects from Real Life magazine, a seminal 1980s periodical edited by the artist, writer and curator Thomas Lawson and writer Susan Morgan. Published in 23 intermittent black-and-white issues from 1979-1994, Real Life was devoted to providing an outlet for a circle of artists who did not feel properly represented in the mainstream art world at the time–many of whom are now grouped with the Pictures and Post-Pictures artists. The anthology features both artists and art historians writing on art, media and popular culture–oftentimes infusing a new kind of humor into their cultural critiques–as well as original pictorial contributions. It includes writings by and about Eric Bogosian, Kim Gordon, Dan Graham, Barbara Kruger, Thomas Lawson, Allan McCollum, John Miller, Matt Mullican, Richard Prince, David Robbins, Michael Smith, Ed Ruscha, Jeff Wall and Lawrence Weiner, to name a few, as well as visual projects by Sherrie Levine, James Welling, Felix Gonzalez-Torres and Group Material, among others.

Contents: Europe in Soho – Paula COOPER, , ARMAN, Marcel, DUCHAMP, GILBERT & GEORGE, Pier Paolo CALZOLARI, Mario MERZ, Giulio PAOLINI, Alighiero BOETTI, Piero MANZONI, Hans HAACKE, Jannis KOUNELLIS, Giovanni ANSELMO, Ulrich RUCKRIEM, SALVO, Joseph BEUYS, Jan DIBBETS, Hanne DARBOVEN, Laura GRISI, Gerhard RICHTER, Daniel BUREN, Christian BOLTANSKI, Jean LE GAC, Roman OPALKA, Richard LONG, Arthur KOPCKE, Hanne DARBOVEN, Ben VAUTRIER, Rebecca HORN, Robert FILLIOU Fluxus in New York – LA MONTE YOUNG, Gorge MACIUNAS, Takehisa KOSUGI, Benjamin PATTERSON, George BRECHT, Robert WATTS, Takako SAITO, Al HANSEN, Larry MILLERS, NAM JUNE PAIK Street Works Downtown – Scott BURTON, Stephen VARBLE, Adrian PIPER, Richard HAYMAN, Donna HENES, Rosemarie CASTORO, Daniel BUREN, Joan JONAS, Trisha BROWN, Mary MISS, Gordon MATTA-CLARK, Richard SERRA, Vito ACCONCI, Yayoi KUSAMA SOHO DU MAL. Film, Video, Culture, Politics – Dennis OPPENHEIM, Dan GRAHAM, Roger CUTFORTH, Peter CAMPUS, Michael SNOW, Douglas DAVIS, Shigeko KUBOTA, Joseph BEUYS, NAM JUNE PAIK, John CAGE, Jaime DAVIDOVICH, Mary LUCIER, Liza BEAR Music, Tanz, Performance – Mabou MINES, Richard FOREMAN, Merce CUNNINGHAM, GRAND UNION, David TUDOR, John CAGE, Robert ASHLEY, Gordon MUMMA, Alvin LUCIER, Jim BURTON, David BEHRMAN, Steve REICH, Philip GLASS, Meredith MONK, Viola FARBER, Lucinda CHILDS, Joan LA BARBARA, Robert WATTS, Simone FORTI, Charlemagne PALESTINE, Giuseppe CHIARI, Laurie ANDERSON,

Publication in two volumes accompanying the exhibition 2nd Austrian Triennial on Photography. A cooporation between Neue Galerie and Camera Austria. Volume I: Contributions by Faisal Abdu’Allah & Clive Allen, Art in Ruins, Gilles Barbier, Richard Billingham, Sabine Bitter/Helmut Weber, Anna & Bernhard Blume, Henry Bond, Alain Bublex, Daniele Buetti, Manuela Burkart, Helen Chadwick, Critical Art Ensemble, Petér Csikvári, Thomas Demand, Darko Fritz, Rainer Ganahl, G.R.A.M., Michael Hofstetter, Gerald van der Kaap, Ali Kepenek, Ivana Keser, Jürgen Klauke, Allan McCollum/Laurie Simmons, John Miller, Christoph Nebel, Shirin Neshat, Tony Oursler, Beate Passow, Jack Pierson, Richard Prince, Sophie Ristelhueber, Ugo Rondinone, Klaus Scherübel, Bruno Serralongue, Andres Serrano, Cindy Sherman, Martin Sjoberg, Sven Westerlund, Stephen Willats. Essays by Paolo Bianchi, Reinhard Braun, Andreas Broeckmann, Werner Fenz, Justin Hoffmann, Frits Gierstberg, Andreas Spiegl, Janka Vukmir. Volume II: Projects documentation. Essays by Art in Ruins, Francesco Bonami, Critical Art Ensemble, Christoph Doswald, Thomas Feuerstein, Yve Lomax, Michael Wetzel, Octavio Zaya.

Presenting unique and in-depth collaborations and editions with leading international artists, Parkett #57 features the work of Doug Aitken, Nan Goldin, and Thomas Hirschhorn, three artists who conceive of private and personal landscapes and challenge our notions of the real and the imaginary. Contributing writers include Francesco Bonami, Christina van Assche, and James Roberts on Aitken; Arthur Danto, Deborah Eisenberg, Dana Friis-Hansen, Elisabeth Lebovici, and Lisa Liebmann on Goldin; and Robert Fleck, Alison Gingeras, Markus Steinweg, and Philippe Vergne on Hirschhorn. In addition, this issue contains essays on Donald Baechler, Louise Lawler, and John Miller. Parkett #58, featuring collaboration artists Sylvie Fleury, Jason Rhoades, and James Rosenquist, will be published in early Summer 2000.