These days, the term “reenactment” usually refers to live reconstructions of historic events, often of a military nature, performed by hobbyists. Civil War reenactments are the most popular in the United States, while European enthusiasts most often engage in recreations from the Napoleonic era. Visual art has its own versions. Recent years have brought many reenactments of historic performances from the 1960s and 1970s, works which otherwise would exist only in photos, videos, and text descriptions. But what exactly is being reenacted, and what is the effect of the representation? What meaning is resurrected out of this “doubling”? In the exhibition Life, Once More, contemporary works and texts by Mike Bidlo, Bik Van der Pol, Rod Dickinson, Omer Fast, Andrea Fraser, Robert Longo, Eran Schaerf, Catherine Sullivan, and Barbara Visser reflect on these timely (and timeless) questions. Edited by Sven Lütticken. Essays by Sven Lütticken, Jennifer Allen and Peggy Phelan.

Catálogo de la exposición Haunted: Fotografía/ vídeo/ performance contemporáneos que recorre las diferentes formas en las que la fotografía se ha incorporado al arte reciente e indaga en temas como el transcurso del tiempo y la imagen, el efecto fotográfico, o la memoria y el recuerdo, a través de textos a cargo de los comisarios de la muestra, Jennifer Blessing y Nat Trotman, y ensayos de Peggy Phelan, Lisa Saltzman y Nancy Spector.

ANDY WARHOL “GIANT” SIZE is a spectacular visual biography of the life and career of Andy Warhol.Weighing in at 15 pounds, this enormous book is packed with 2,000 images and documents, many rare or previously unpublished.Taking its inspiration from Warhol’s over-the-top nature, ANDY WARHOL “GIANT” SIZE depicts the major events, people, works and moments in the artist’s life told in chronological order by subject.As Warhol almost never threw anything away (from restaurant receipts to postcards), the featured material in the book has been painstakingly compiled.As the publisher of The Andy Warhol Catalogue Raisonn+, Phaidon was granted unprecedented access to an array of public and private image and memorabilia archives and collections, including the Andy Warhol Foundation in New York and the Andy Warhol Museum in Pittsburgh as well as the holdings of many Warhol collaborators, friends, and photographers of the period.The large-format of ANDY WARHOL “GIANT” SIZE enables the reader to explore in detail hundreds of fascinating photographs, letters, personal correspondence, art works, film stills, tickets, receipts, celebrity head shots, notes, press clippings and ephemera all featured in this one of a kind publication. The book also features illuminating texts by insiders Bruno Bischofberger, Ronnie Cutrone, David Dalton, Kenneth Goldsmith, Ivan Karp and Peggy Phelan.What is unique about ANDY WARHOL “GIANT” SIZE is that it provides fascinating insight into the public and private life of Warhol and in many cases also reveals the stories behind his art works.The book provides amazing comparisons between his work and his life that have never been demonstrated visually in such a way before.For example, it not only features Warhol’s famous “Mao” series, but also includes ephemera from a 1982 trip to China (his passport, boarding pass, a souvenir from his hotel, etc.) alongside a photo of Warhol standing in front of the Forbidden City in Beijing with an official Mao portrait in the background. This important new publication includes a staggering quantity and array of colorful material including: Warhol’s birth certificate, citing Andrew Warhola’ was born on 8/6/28 in Pittsburgh; childhood photographs of his family; the magazine tear sheet showing the first article he illustrated for Glamour when he arrived in New York in 1949;numerous photos of Warhol with his mother; artworks for gold shoes he created in the 1950s; a letter from the MOMA dated 1959 in which the Director of the Museum’s Collections rejects a work of art Warhol offered them as a gift; photographs of Warhol posing with Edie Sedgwick in a New York fashion shoot; personal letters from Mick Jagger and Liz Taylor; pictures of Warhol in the office working on Interview; pictures of Warhol private views; a series of shots of Warhol in drag; the program from his Memorial Mass on 4/1/87 and his gravestone.ANDY WARHOL “GIANT” SIZE is the only publication available that features Warhol’s entire life, work and words in one book.The visual biography offers a behind-the-scenes look at the New York art scene of the 1950s to the 1980s, and provides a new perspective on an artist who continues to be endlessly fascinating to those inside and outside of the art world.

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.

More than any of their contemporaries, Swiss architects Jacques Herzog and Pierre de Meuron are challenging the boundaries between architecture and art. Natural History explores that challenge, examining how the work of this formidable pair has drawn upon the art of both past and present, and brought architecture into dialogue with the art of our time. Echoing an encyclopedia, this publication reflects the natural history museum structure of the exhibition which it accompanies, organized by the Canadian Centre for Architecture. Models and projects by Herzog & de Meuron, as well as by other artists, are structured around six thematic portfolios that suggest an evolutionary history of the architects’ work: Appropriation & Reconstruction, Transformation & Alienation, Stacking & Compression, Imprints & Moulds, Interlocking Spaces, and Beauty & Atmosphere. Each section is introduced with a statement from Herzog, and more than 20 artists, scholars, and architects have contributed essays, including Carrie Asman, Georges Didi-Huberman, Kurt W. Forster, Boris Groys, Ulrike Meyer Stump, Peggy Phelan, Thomas Ruff, Rebecca Schneider, Adolf Max Vogt, and Jeff Wall.