Since 1990, French-born artist Orlan has done seven plastic surgery “performances” which have radically reconstructed her face. She last added futuristic-looking pads of skin to each temple–utilizing the process which ordinarily constructs heightened cheekbones. In a 1998 digital photography series called Self Hybridization, she montaged pictures of herself with images of Pre-Columbian, American Indian, African and “mutant” figures. Notorious for the kind of stunts that make good sound bites–on French television in 1993, she gave Madonna a reliquary containing a few grams of flesh that had been removed during surgery, to which Madonna replied, “It looks like caviar”–Orlan has been the subject of a host of critical writings in the fields of Feminism, Body art and Performance art. Orlan’s most definitive monograph to date, this volume contextualizes past works–which include not only performance, but painting, sculpture, photography and poetry–with the plastic surgery pieces for which she is best known. It is published following the artist’s first museum retrospective, which took place at the Museum of Modern Art in Sainte-Etienne, France, on the occasion of her sixtieth birthday, in 2007. Organized by Lorand Hegyi, co-curator of the 2003 Venice Biennale, the retrospective brought Orlan’s entire oeuvre together for the first time; Hegyi also contributes an incisive essay to this monograph.

While it can certainly be argued that Orlan exploits her body and body-images through her choice of medium, the multi-media artist Orlan has some very introspective and poigniant things to say about the state of body imagery in this exhibition book. Because her choice of medium is plastic surgery, there is a certain amount of “gross factor” that the weak of stomach may not be able to get past.

Réédition de l’intégralité de l’Humidité, la plus importante revue française de poésie expérimentale des années soixante-dix. Lorsqu’on demande à Jean-François Bory pourquoi il a appelé sa revue L’Humidité, voici ce qu’il répond : ” Parce que j’ai passé toute mon enfance en Asie. Il y a une saison particulière en Asie avec la mousson. Tout est humide! L’humidité de l’air est parfois à 75%. C’est une chose singulière qu’on ne ressent nulle part ailleurs, la mousson. Respirer devient alors tout différent, par exemple fumer une seule cigarette dans ce bain de vapeur vous saoule complètement. Voir aussi est différent car tout est flou avec tant d’eau dans l’air. On est myope ! On est dans une cinquième saison avec L’Humidité. C’est la cinquième saison du monde. ” Lorsqu’on dépasse la légèreté et l’a priori désinvolture, toute picabienne, de cette réponse, on s’aperçoit qu’il y a pas mal d’indices dans ces quelques mots : Il vient d’ailleurs, sa revue sera le terreau de tous les ailleurs, là où on voit différemment, là où l’expérience s’allie à la réflexion, là où on prend des risques, donc (jusqu’à l’ivresse), pour ouvrir de nouveaux territoires. Difficile également de ne pas voir la référence à la revue 5e saison d’Henri Chopin, à la fois hommage et dépassement. Car il s’agit bien de cela avec Jean-François Bory et les auteurs, poètes, artistes, etc. dont il s’entoure pour que vive L’Humidité : derrière un joyeux et remuant désordre, parfois potache, parfois frontalement rebelle ; derrière cet esprit à la fois frondeur mais radicalement dilettante ; il y a la construction d’un espace de pensée et de recherche, un vrai laboratoire où se croisent les pratiques artistiques les plus novatrices du moment. Et ce qui se joue dans cette revue au fils des livraisons, c’est ce qu’a toujours défendu Jean-François Bory (et avec lui Julien Blaine, Bernard Heidsieck, Pierre et Ilse Garnier et tous les acteurs des poésies expérimentales) : que la poésie-action défendue ici a autant à voir avec l’histoire de la poésie via la littérature, qu’avec l’histoire des avant-gardes, des premiers futuristes à nos jours. Et effectivement, on comprend bien mieux les enjeux des poésies visuelles, performatives, sonores, etc. lorsqu’on les voit confrontées avec les pratiques d’artistes du nouveau réalisme ou de la nouvelle figuration, de l’art sociologique (Fischer, Journiac, Maccheroni, Agullo), du body art ou de l’art charnel (Orlan, Gina Pane, Journiac), de l’art comportemental (Agullo) etc., mais également d’écrivains comme José Pierre, Pascal Quignard, Pierre Bourgeade, Roland Barthe et tant d’autre. A l’heure où s’écrit enfin l’histoire des poésies expérimentales, cette réédition de L’Humidité est un outil indispensable pour mieux comprendre cette aventure.

La pubblicazione della monografia Oscar Niemeyer, insieme autobiografia e manifesto della poetica di Niemeyer, giunge a coronamento di un progetto lungamente perseguito: l’inaugurazione della nuova sede di Segrate. Responsabile della lavorazione del volume è Enzo Orlandi, allora direttore delle Opere illustrate, che propone di eleggerlo a strenna per l’anno 1975. 3800 copie sono destinate a questo scopo, altre 2000 restano a disposizione della Presidenza e una parte residua della tiratura è inviata alle librerie con un prezzo di copertina di 20.000 lire. La tiratura di rappresentanza differisce dalle altre nella copertina e sovraccoperta e nell’appendice iconografica dove figura un ottavo a colori dedicato al palazzo Mondadori. Niemeyer accetta senza riserve le proposte che gli giungono direttamente da Giorgio Mondadori rispondendo a quest’ultimo, in francese, alla fine di luglio 1975.

A new generation of artists challenge accepted notions of the photographic portrait in this provocative exploration of the face. Amongst those included are Aziz + Cucher, Valérie Belin, Nancy Burson, Rineke Dijkstra, Lee Friedlander, Inez van Lamsweerde/Vinoodh Matadin, Orlan, Martin Parr, Thomas Ruff, and Gillian Wearing.

Catalog of the exhibition at the Real Albergo delle Povere, Palermo, March 27 – April 24, 1993.
Many interviews and texts : From the catalog of the exhibition “Kounellis” at the La Tartaruga Gallery, Rome 1966. / From the catalog of the exhibition at the L’Attico Gallery, Rome 1967. / From the periodical Marcatrè, July-September 1968. / From the periodical Marcatrè, nos. 37-40, May 1968. / From the periodical Qui Arte Contemporanea, no. 5, March 1969. / From the periodical Sipario, no. 276, April 1969. / From the periodical La Città di Riga, no. 1, Pollenza 1976. / From the periodical Ink, Zurich 1978. / From the Fifth Pino Pascali Prize: Jannis Kounellis, Bari 1979. / From the periodical View, no. 1, Oakland, March 10, 1979. / From the catalog of the exhibition at ARC, Musée d’Art Moderne de la Ville, Paris 1980. / From the periodical AIUO, no. 1, Rome, September 1980. / From the catalog of the retrospective at the Stedelijk van Abbemuseum, Eindhoven 1981. / From the periodical Vardar, no. 2, February 1982. / From Zeitgeist, Martin Gropius-Bau Gallery, Berlin 1982. / From the periodical Domus, no. 628, May 1982. / From the catalog of the exhibition “Documenta 7”, Kassel 1982. / From J. Kounellis, Odyssée lagunaire, p. 133, Paris 1990. / From the periodical Domus, no. 650, May 1984. / From the periodical Flash-Art, no. 122, Milan, January 1985. / From the periodical AEIUO, nos. 12-13, Rome, January 1985. / From J. Kounellis, op. cit., p. 171. / From the periodical Lo Spazio Umano, no. 2, April-June 1985. / From the periodical Neue Kunst in Europa, no. 11, December 1985. / Presentation text of the exhibition at the Sprovieri Gallery, Rome 1987. / From the catalog of the exhibition “From the Europe of old” at the Stedelijk van Abbemuseum, Amsterdam 1987. / From the periodical Sotto Traccia, no. 3, April-June 1987. / From the newspaper Il Manifesto, January 13, 1988. / From the periodical Art Forum, March 1988. / From the periodical Il Giornale dell’Arte, January 24, 1989. / From the catalog of the exhibition “La Via del Mare” at the Stedelijk Museum, Amsterdam 1991. / From the catalog of the exhibition at the Synagogue of Stommeln, November 1991.

La storia dei quarantacinque anni di attività della galleria d’arte Studio Trisorio raccontata da Lucia e Laura Trisorio, con le testimonianze di Michele Bonuomo, Bruno Corà, Nicola Del Roscio, Bruno Fiorentino, Angela Tecce, Angelo Trimarco, Andrea Viliani. Un viaggio appassionante nel mondo dell’arte contemporanea che ripercorre gli esordi della galleria nei primi anni Settanta a Napoli, attraverso le mostre d’avanguardia dedicate alla performance, alla fotografia e alla videoarte, gli album dei ricordi della Villa Orlandi di Anacapri dove amavano soggiornare artisti come Cy Twombly, Joseph Beuys e Jannis Kounellis, gli anni dello spazio romano, la nascita e il successo del Festival Artecinema, fino all’apertura della nuova sede nelle scuderie di Palazzo Ulloa dove oggi la storia continua…

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.

Recueil d’images magnifiant les sources d’une France redécouverte, les Voyages pittoresques et romantiques dans l’Ancienne France ont constitué une source d’inspiration majeure pour la génération de peintres et d’écrivains nés «avec le siècle». Portée notamment par Charles Nodier (1780-1844), cette entreprise d’exploration d’un territoire aux paysages grandioses et aux monuments oubliés témoigne autant du goût d’une époque que du talent visionnaire de ses concepteurs. Homme de lettres, Nodier a pendant dix ans animé dans son salon de la bibliothèque de l’Arsenal ce que Musset appelait la «grande boutique romantique», point de rencontre d’une communauté intellectuelle où se sont croisés Hugo, Dumas ou Lamartine. C’est à la découverte de ce berceau du romantisme et de ce projet éditorial fondateur que nous invite aujourd’hui La Fabrique du romantisme. Au fil des oeuvres, chacun pourra cheminer, depuis les salons feutrés du quai Morland jusqu’aux sentiers parcourus par des artistes qui eurent à coeur d’immortaliser un patrimoine qu’ils craignaient de voir disparaître.

An examination of the social and cultural significance of body art by a major new voice.

The past few years have seen an explosion of interest in body art, in which the artist’s body is integral to the work of art. With the revoking of NEA funding for such artists as Karen Finley, Tim Miller, and others, public awareness and media coverage of body-oriented performances have increased. Yet the roots of body art extend to the 1960s and before. In this definitive book, Amelia Jones explores body art projects from the 1960s and 1970s and relates their impact to the work of body artists active today, providing a new conceptual framework for defining postmodernism in the visual arts.

Jones begins with a discussion of the shifting intellectual terrain of the 1950s and 1960s, focusing on the work of Ana Mendieta. Moving to an examination of the reception of Jackson Pollock’s “performative” acts of painting, she argues that Pollock is a pivotal figure between modernism and postmodernism. The book continues with explorations of Vito Acconci and Hannah Wilke, whose practices exemplify a new kind of performance that arose in the late 1960s, one that represents a dramatic shift in the conception of the artistic subject. Jones then surveys the work of a younger generation of artists — including Laurie Anderson, Orlan, Maureen Connor, Lyle Ashton Harris, Laura Aguilar, and Bob Flanagan — whose recent work integrates technology and issues of identity to continue to expand the critique begun in earlier body art projects.

Embracing an exhilarating mix of methodologies and perspectives (including feminism, queer theory, philosophy, psychoanalysis, and literary theory), this rigorous and elegantexamination of body art provides rich historical insight and essential context that rethinks the parameters of postmodern culture.

Josef Capek (1887-1945) was one of Czech modernism’s most formative protagonists. The artist first studied weaving before finding his métier as both a painter and designer. During a short stint in Paris, he befriended the poet Guillaume Apollinaire, who was then the leading theorist of and driving force behind Cubism. Capek adopted the Cubist style, fusing it with moodier elements of Expressionism and Symbolism to create a uniquely Czech take on the style. Alongside his work as a painter, Capek designed several hundred book covers from 1918 until his death in 1945 for Czech publications of early twentieth-century authors such as Apollinaire, Karel Capek, Jan Bartos, Josef Hora, Josef Kopta, Pierre Mac Orlan, Giovanni Papini, Pirandello, Miroslav Rutte and Georg Trakl and nineteenth-century authors such as Flaubert, Goethe, Kropotkin, Sheridan Le Fanu and Arthur Machen. Capek’s designs were much celebrated in Czechoslavakia for their simplicity and their virtuoso use of linocut. Itself a beautiful publication, The Book Design of Josef Capek: Seeing The Book presents a fully-illustrated and complete survey of this rarely seen work.

Non di rado il volto della povertà viene raccontato attraverso la povertà dei volti che dovrebbero comporlo; volti anonimi, stereotipati, vuoti come gli approcci generalizzati al fenomeno. Non di rado la voce della povertà si manifesta mediante il timbro sordo di chi la vita di strada l’osserva da lontano, certamente con onestà professionale, ma infine con distacco. Essere testimoni di un accadimento significa invece operare dalla giusta distanza, come un equilibrista in bilico tra l’eccesso di empatia (da cui scaturisce la retorica) e quello di alterità (da cui derivano gli stereotipi): ed è proprio da questa cautela che si sviluppa “Il volto (e la voce) della strada”. Le precisazioni, storiche o statistiche, operate dai professionisti, accompagnano un viaggio intimo e personale all’interno delle nuove povertà, dove la macchina fotografica e un orecchio attento ci restituiscono i meccanismi di autorappresentazione di chi vive per strada. Un percorso che parte dal basso, rigoroso ma interessato, affinché un tema pericolosamente attuale non continui a nutrirsi del disinteresse sociale e politico. Immagini e parole strappate alla miseria senza morbosità, ma con una rispettosa complicità senza cui non potrebbe costruirsi alcuna riflessione sul disagio abitativo ed economico; un’occasione, infine, per vedere da vicino un profilo d’umanità con cui dovremmo confrontarci con maggiore diligenza.

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

This finely illustrated book offers a simple yet comprehensive ‘grammar’ of a new discipline. Performance Art first became popular in the fifties when artists began creating ‘happenings’. Since then the artist as a performer has challenged many of the accepted rules of the theatre and radically altered our notion of what constitutes visual art. This is the first publication to outline the essential characteristics of the field and to put forward a method for teaching the subject as a discipline distinct from dance, drama, painting or sculpture. Taking the theory of primary and secondary colours as his model, Anthony Howell posits three primaries of action and shows how these may be mixed to obtain a secondary range of actions. Based on a taught course, the system is designed for practical use in the studio and is also entertaining to explore. Examples are cited from leading performance groups and practitioners such as Bobbie Baker, Orlan, Stelarc, Annie Sprinkle, Robert Wilson, Goat Island, and Station House Opera. This volume, however, is not just an illustrated grammar of action – it also shows how the syntax of that grammar has psychoanalytic repercussions. This enables the performer to relate the system to lived experience, ensuring a realisation that meaning is being dealt with through these actions and that the stystem set forth is more than a dry structuring of the characteristics of movement. Freud’s notion of ‘transference’ and Lacan’s understanding of ‘repetition’ are compared to a performer’s usage of the same terms. Thus the book provides a psychoanalytic critique of performance at the same time as it outlines an efficient method for creating live work on both fine art and theatre courses.

Des autobiographies dessinées relatant l’aventure d’une maison ou d’une revue du 9e Art (Futuropolis, Métal Hurlant) aux ouvrages étudiant les visages encore hypothétiques de la chaîne du livre à l’heure des éditeurs et libraires en ligne, on ne compte plus les titres consacrés au monde de l’édition. Par delà tout effet de mode, on y verra le signe que la pratique est suffisamment riche et adulte pour être élevée au rang de patrimoine. Mais le signe d’une angoisse également, de perdre ce qui a fait date, contemplé dès lors avec une certaine nostalgie. L’ouvrage-catalogue édité par le Musée royal de Mariemont ne déroge pas à la règle et vient se greffer par la même occasion sur une autre «promotion» de l’édition : son entrée au musée. Tandis que l’on célèbre les éditions du Seuil au Centre Pompidou, ce sont, pris aux quatre coins de la Belgique, quatre éditeurs que Mariemont vient de mettre à l’honneur dans une exposition : Imschoot, uitgevers (Gent), mfc-michèle didier (Bruxelles), Yellow Now (Liège) et Yves Gevaert (Bruxelles). «Livres d’artistes», la production de ces maisons se prête assurément mieux que d’autres à la contemplation. Mais en soulignant également des livres dédiés à l’art contemporain, ce sont bien avant tout des trajectoires éditoriales que le Musée consacre ici. Prolongement papier de l’événement, qui parlera aussi bien à ses visiteurs qu’à ceux qui n’auraient pas eu le temps de s’y rendre, 4 éditeurs fait à la fois office de carte d’identité à entrées multiples et de petit panorama de l’édition artiste en Belgique. Au total, quatre catalogues descriptifs bien documentés et illustrés, trois entretiens menés par Pierre-Jean Foulon et François Mairesse, une présentation d’Yves Gevaert par Yves Gevaert, un avant-propos d’A. A. Bronson, directeur éclairé de la librairie Printed Malter, Inc., à Manhattan («Ceci n’est pas un livre d’artiste») et une rétrospective fort éclairante des initiatives du Musée de Mariemont, depuis ses débuts, dans le domaine du livre — et plus spécifiquement depuis les années 1980. Surface située aux extrêmes lisières du marché éditorial, le secteur du livre d’artiste se déploie ici dans toute sa complexité. On découvre avec intérêt les réflexions de Dirk Imschoot sur l’internationalisme de l’édition artiste, ou sur les rapports entre tirage ultralimité et accès démocratique à l’art. On suit pas à pas le «challenge» de Michèle Didier d’éditer l’oeuvre d’On Kawara. On approfondit avec Guy Jungblut, par delà le cinéma, les multiples facettes de Yellow Now en mettant notamment l’accent sur la diffusion. On considère un peu mieux, quoique brièvement, le passage d’Yves Gevaert de l’édition à tirage limité aux essais. Jamais redondant, 4 éditeurs apporte une vision nuancée de l’édition de livres d’artistes, fidèle à la variété de ses représentants. Un monde prototypique où chaque livre, peut-être plus que partout ailleurs, pourrait bien être le dernier.

There had never been art like the art produced by women artists in the 1970s ;and there has never been a book with the ambition and scope of this one about that groundbreaking era. WACK! documents and illustrates the impact of the feminist revolution on art made between 1965 and 1980, featuring pioneering and influential works by artists who came of age during that period ;Chantal Akerman, Lynda Benglis, Theresa Hak Kyung Cha, Valie Export, Mary Heilmann, Sanja Ivekovič, Ana Mendieta, Annette Messager, and others ;as well as important works made in those years by artists whose whose careers were already well established, including Louise Bourgeois, Judy Chicago, Sheila Levrant de Bretteville, Lucy Lippard, Alice Neel, and Yoko Ono.The art surveyed in WACK! includes work by more than 120 artists, in all media ;from painting and sculpture to photography, film, installation, and video ;arranged not by chronology but by theme: Abstraction, “Autophotography,” Body as Medium, Family Stories, Gender Performance, Knowledge as Power, Making Art History, and others. WACK!, which accompanies the first international museum exhibition to showcase feminist art from this revolutionary era, contains more than 400 color images. Highlights include the figurative paintings of Joan Semmel; the performance and film collaborations of Sally Potter and Rose English; the untitled film stills of Cindy Sherman; and the large-scale, craft-based sculptures of Magdalena Abakanowicz. Written entries on each artist offer key biographical and descriptive information and accompanying essays by leading critics, art historians, and scholars offer new perspectives on feminist art practice. The topics ;including the relationship between American and European feminism, feminism and New York abstraction, and mapping a global feminism ;provide a broad social context for the artworks themselves. WACK! is both a definitive visual record and a long-awaited history of one of the most important artistic movements of the twentieth century.Essays by:Cornelia Butler, Judith Russi Kirshner, Catherine Lord, Marsha Meskimmon, Richard Meyer, Helen Molesworth, Peggy Phelan, Nelly Richard, Valerie Smith, Abigail Solomon-Godeau, Jenni SorkinArtists include:Marina Abramovič, Chantal Akerman, Lynda Benglis, Dara Birnbaum, Louise Bourgeois, Judy Chicago, Lygia Clark, Jay DeFeo, Mary Beth Edelson, Valie Export, Barbara Hammer, Susan Hiller, Joan Jonas, Mary Kelly, Maria Lassnig, Linda Montano, Alice Neel, Senga Nengudi, Lorraine O’Grady, Pauline Oliveros, Yoko Ono, Orlan, Howardena Pindell, Yvonne Rainer, Faith Ringgold, Ketty La Rocca, Ulrike Rosenbach, Martha Rosler, Betye Saar, Miriam Schapiro, Carolee Schneemann, Cindy Sherman, and Hannah Wilke.

Exhibition catalogue published in conjunction with show held February 15 – 18, 1979. Text by Jorge Glusberg. Critics and theoreticians featured in the exhibition are Juan Acha, Gregory Battcock, Rene Berger, Florent Bex, Dany Bloch, Germano Celant, Alejandro Cirici Pellicer, Urszula Czartoryska, Gillo Dorfles, Jorge Glusberg, Otto Hahn, Christos Joachimides, Julie Lawson, Abraham Moles, Jacques Monnier, Alain Sayag, Jean Pierre Van Tieghem, Lea Vergine, Francesc Vicens. Artists included are Vito Acconci, José Roberto Aguilar, Ian Breakwell, Pierpaolo Calzolari, Giuseppe Chiari, Michael Druks, Benni Efrat, Hervé Fischer, Fred Forest, Jochen Gerz, Dan Graham, Gretta-Alegre Sarfaty, Richard Kriesche, Jacques Lennep, Les Levine, Lea Lublin, Leopoldo Maler, Bruce McLean, Mario Merz, Gerald Minkoff, Marta Minujin, Antonio Muntadas, Hermann Nitsch, Dennis Oppenheim, Orlan, Jean Otth, Nam June Paik, Gina Pane, Valie Export, and Katsuhiro Yamaguchi. Profusely illustrated in black-and-white. In French.

Ghost in the Shell takes as its premise the idea that the outer person is a reflection of the inner. Tracing the modern photographic portrait over the past 150 years, the book reveals the many ways the photographic arts have investigated, represented, interpreted, and subverted the human face and, consequently, the human spirit. Artists have used the genre not only to convey familiar emotions such as fear, love, sadness, and anger, but also to explore complex subjective states such as passionate individuality and psychological withdrawal. Different avant-garde movements have enlisted farce, masks, and masquerade in their charting of the human character, and many postmodern works employ irony and ambiguity to deal with issues of identity, gender, and dissociation.The book, which accompanies an exhibition opening at the Los Angeles County Museum of Art in October 1999, is organized roughly chronologically around the traditional, modernist, and postmodernist views of the face, although the primary approach of one period often appears in the others. The artists discussed include, among others, Diane Arbus, Julia Margaret Cameron, Edward Curtis, Salvador Dali, Duchenne de Boulogne, Dorothea Lange, Annie Leibowitz, Bruce Nauman, Orlan, William Parker, Irving Penn, Lucas Samaras, Cindy Sherman, Andy Warhol, and Edward Weston.Published in cooperation with the Los Angeles County Museum of Art.

The eighth edition of “C International Photo Magazine” explores the role of photography within counter- and popular cultures. From Rock and Roll and Elvis in the 1950s to the Punk revolution of the 1970s, to today where most counter-cultural heroes seem to be weak or unrecognisable due to the constant fragmentation of information and the economic pressure faced by young people, “C Photo Issue 8” examines the constant and unpredictable evolution of movements, which, to a great extent, drew their inspiration from the struggles of minorities. Going beyond the normal reach of the publication and in order to more accurately reflect the visual landscape of popular – and counter cultures, “C Photo” presents a mixture of photography and graphic design in Issue 8. This issue includes: Peter Saville, the collection of English artist Damien Hirst, a selection of album covers and sleeves from poet John Giorno’s project “Dial-a-Poem Poets”, Scope/Portfolio – Adelman, Bob/Borland, Polly/Boullet, Victor/Clark, Larry/Cross, Brian/Cyr, Merri/Davidson, Bruce/Epstein, Mitch/Fuchs, Daniel and Geo/Horgan, Susie J./ Insect, Paul/Oliver, Vaughan/Peterson, Charles/Ruge, Katja/Saccenti, Timothy/Spencer, Ewen, a retrospective to Andy Warhol, Oscar Marine.

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