This book presents a selection of snapshots, and accompanying inscriptions, sent by Felix Gonzalez-Torres to Doug Ashford, Julie Ault, Bill Bartman, Susan Cahan, Amada Cruz, David Deitcher, Suzanne Ghez, Ann Goldstein, Claudio González, Jim Hodges, Susan Morgan, Robert Nickas, Mario Nuñez, and Christopher Williams between the years 1991-1995. The snapshots are quick poetic communiqués, a visual report on Felix’s outlook at particular moments in time, small gestures of hope, pleasure, and desire. They give evidence to some of his multiple fascinations: pets, furniture, collectible dolls, politics, art, friendship, beauty, love and optimism.

À la croisée des chemins entre littérature et histoire des idées, cet ouvrage met en lumière le rôle de la revue transition dans une redéfinition du modernisme historique à la fin des années 1920 et dans les années 1930. Face à l’effondrement de l’avant-garde anglo-américaine dans les années 1920, transition organise la relève. Sans rejeter les avancées du modernisme historique, elle donne naissance à un nouveau courant, tardif et minoritaire, caractérisé par la dilution de l’esprit avant-gardiste, par des difficultés à former des groupes artistiques et par une exacerbation formaliste. Dans les pages de la revue émerge en outre une avant-garde anglo-américaine surréaliste riche et cohérente, liée non plus à la lumière – comme l’étaient le vorticisme et l’imagisme – mais à la nuit. Cependant, dès les années 1930, le “modernisme nocturne” défini par transition est à son tour balayé par une nouvelle avant-garde diurne politiquement engagée, que la revue contribue à constituer. En perte de légitimité après la Deuxième guerre mondiale et oublié depuis, le “modernisme nocturne” de transition a cependant participé à la formation de nombreux écrivains, parmi lesquels William Carlos Williams, Nathanael West, Hart Crane ou James Joyce. Entre le modernisme historique de ses aînés et l’avant-gardisme poli-tique d’une partie de ses successeurs, transition définit ainsi un courant moderniste aussi riche que méconnu.

Hello, I Love You attempts to put sex in its proper perspective, it is fun, joyful and serious in its message. Its basis is Reichian ; like Reich the contributors believe that if we were not sexually oppressed from birth by our social structure, there would automatically emerge a freer more egalitarian society. The 50 writers that have contributed to the book are aware of their sexual oppression/repression and are actively exploring new ways of relating sexually. Most of the writers agree that we should be able to relate freely sexually as soon as we are physically able and should be encouraged to do so by those around us. There s a Child’s Sexual Bill of Rights included, which would seem to be fundamental to any kind of sexual freedom for adults. /…/ It is a provocative book. I found it challenging in that I would like to have these people’s capacity for sexual and emotional exploration. They are exceptionally courageous to put their theories into practice – most of us have enough problems relating to just one other person. The concept of sexual liberation is tempting to contemplate. Would there really be a need for Women’s Liberation, Black Liberation or any liberation movement if we had sexual liberation ? Lynne Hutton-Williams Time Out in London Hello, I Love You! Voices from within the Sexual Revolution First published in 1974 by Jim Haynes under various imprints, Jean Lafitte Editions, Almonde Editions, Handshake Editions, edited by Jeanne Pasle Green and Jim Haynes. Translated and published in French, German and Italian. A semi-pirate edition published by Times Change Press in California in 1974.

Anthologies played a major part in defining the various attitudes of downtown work. Barbara Ess’s magazine, Just Another Asshole #6 is often cited as one of these seminal compilations. Edited with Glenn Branca, the sixth issue of this downtown magazine outlines the variety of styles and aesthetics that were developing in the early 1980s. Included in the issue are works by Kathy Acker, Eric Bogosian, Mitch Corber, Brian Buczak, Jenny Holzer, Cookie Mueller, Richard Prince, Joseph Nechvatal, David Rattray, Kiki Smith, Lynne Tillman, Anne Turyn, Ann Rower, Reese Williams, David Wojnarowicz, and many others.

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

As the millennium draws to a close, a Gothic spirit once again penetrates much of today’s art and culture. Over the past decade, American and European artists have grown increasingly fascinated with the dark and uncanny side of the human psyche—the theatrical and grotesque, the violent and destructive. Taking its starting point and title from the Gothic novel, this book investigates the full-blown revival of a Gothic sensibility in contemporary art; in American and British fiction labeled the “New Gothic”; in film with its long tradition of horror; and in video, music, fashion, design, and underground culture. Gothic accompanies an exhibition at The Institute of Contemporary Art, Boston, of twenty-three artists who produce horror as well as amazement through often ugly, fragmented, and contorted forms. Some employ a detached and reductive formal language to transmute images of excessive and gruesome violence, nevertheless achieving an equally disconcerting impact. The old Gothic themes of the fantastic and pathological are infused with new potency as they address concerns about the body, disease, voyeurism, and power. Essays by John Gianvito, Christoph Grunenberg, James Hannaham, Patrick McGrath, Joyce Carol Oates, Shawn Rosenheim, Csaba Toth, and Anne Williams, and a short story by Dennis Cooper, explore the Gothic in history and in contemporary art and culture. Artists: Julie Becker, Monica Carocci, Dinos and Jake Chapman, Gregory Crewdson, Keith Edmier, James Elaine, Robert Gober, Douglas Gordon, Wolfgang Amadeus Hansbauer, Jim Hodges, Cameron Jamie, Mike Kelley, Abigail Lane, Zoe Leonard, Tony Oursler, Sheila Pepe, Alexis Rockman, Aura Rosenberg, Pieter Schoolwerth, Cindy Sherman, Jeanne Silverthorne, Gary Simmons.

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

Jim Haynes (leggendario fondatore di “Internation Times” e “Suck”) e Jeanne Pasle-Green curano Le Barricate dell’Amore, una raccolta di contributi – principalmente interviste ma anche un paio di brani da “Suck” – su repressione sessuale e sessualità liberata. Uomini e donne di diversi paesi ed estrazione sociale raccontano le proprie esperienze sessuali; tra questi: Germaine Greer, Jean-Jacques Lebel, Heathcote Williams, Xaviera Hollander. L’edizione italiana di questo libro fu annunciata sulla 4a di copertina di “Oltre la Gelosia l’Amore (i libelli di Fallo! 1, Savelli) col titolo provvisorio “Più faccio l’amore…”. “Le barricate dell’amore: un tentativo di trasmettere agli altri la pratica quotidiana dei pionieri dell’evoluzione sessuale”.

Since its inauguration in 1932, the Whitney Biennial has showcased contemporary artistic innovation, becoming a highly anticipated event in the art world. The 2010 Biennial is curated by Francesco Bonami and Gary Carrion-Murayari and features works by approximately 55 artists working in a variety of media and practices. Uniquely, this catalogue serves as both a handsome accompaniment to the 2010 exhibition and an insightful exploration of the significance of this acclaimed and often controversial event throughout its history. In addition to presenting full-color reproductions of the selected artists’ recent work, the curators have prepared a joint essay on the 2010 exhibition, and a group of writers contributed brief entries on the represented artists’ techniques, influences, and recent work. A detailed appendix features a short text on the significance of the museum’s annual and biennial exhibitions in the context of the museum’s history and broader collection, as well as photographs of previous installations, facsimiles of historical reviews, and a chronological list of artists included in past annuals and biennials. Thumbnails of all previous catalogue covers are also included, positioning each Biennial as a snapshot of artistic practice at a particular moment. Participating artists: David Adamo Richard Aldrich Michael Asher Tauba Auerbach Nina Berman Huma Bhabha Josh Brand The Bruce High Quality Foundation James Casebere Edgar Cleijne and Ellen Gallagher Dawn Clements George Condo Sarah Crowner Verne Dawson Julia Fish Roland Flexner Suzan Frecon Maureen Gallace Theaster Gates Kate Gilmore Hannah Greely Jesse Aron Green Robert Grosvenor Sharon Hayes Thomas Houseago Alex Hubbard Jessica Jackson Hutchins Jeffrey Inaba Martin Kersels Jim Lutes Babette Mangolte Curtis Mann Ari Marcopoulos Daniel McDonald Josephine Meckseper Rashaad Newsome Kelly Nipper Lorraine O’Grady R.H. Quaytman Charles Ray Emily Roysdon Aki Sasamoto Aurel Schmidt Scott Short Stephanie Sinclair Ania Soliman Storm Tharp Tam Tran Kerry Tribe Piotr Uklanski Lesley Vance Marianne Vitale Erika Vogt Pae White Robert Williams

Essays by Deborah Rothschild, Tony Oursler, Mike Kelley, Constance DeJong, Ian Berry, and Laura Heon. Interview by Elizabeth Janus. Foreword by Linda Shearer. <P>Introjection marks the first mid-career survey of the internationally recognized video artist Tony Oursler. Plumbing popular and punk culture for the twisted icons that structure our collective unconscious, Oursler creates fragmentary images and scenes that might belong to the hallucinations of a delinquent adolescent on a bad trip. The viewer is left to imagine what ungodly narrative was frozen in time to create such surreal, but somehow uncomfortably familiar, mayhem. Though darkly humorous, his work, known to most for his use of sculptural rag dolls onto which he projects the video image of a human face, delves deeply into the question of how the twinned forces of sex and violence, gender and power function in our culture. This catalogue traces the evolution of Oursler’s career from early single channel videos through his current mixed-media installations and experiments in digital media. Combining sculpture, video, performance, and text, Oursler’s work addresses complex contemporary issues with empathy, insight, and wit. Also included are four critical essays, two interviews, an essay by the artist as well as a comprehensive exhibition history and bibliography. <P>”Oursler’s spectral characters exhibit the unidimensional persona of the crazed or possessed. Narcissistically fixated by the glare that animates them, they take on hallucinatory appearances reminiscent of phantoms, poltergeists, grotesques and ghouls, the archetypal protagonists not only of nightmares but of the modern genres of horror and their timeless predecessors, folk tales: all sanctioned collective repositories for the repressed and suppressed.” Lynne Cooke, Parkett

Catalogue for an exhibition exploring how photographers deal with ideas of mortality and the taboos which surround picturing the dead. Includes work by Nobuyoshi Araki, Sue Fox, Kasimir Zgorecki, Franco Zecchin, Thomas Werde, Belinda Whiting, Rudolph Schafer, Leslie Hakim-Dowek, Krass Clement, Donigan Cumming, Hans Danuser, Louis Jammes, Max Jourdan, Pete Max Kandhola, Ann Mandelbaum, Bastienne Schmidt, Andres Serrano, John Benjamin Stone, Clare Strand, Annet van der Voort, Nick Waplington, Elizabeth Williams, Neil Winokur, and Xavier Zimbardo. Curated with essays by Val Williams and Greg Hobson; essays by Elizabeth Edwards and Thomas Lynch

In questo libro vengono presentati documenti e immagini di artiste quali Cindy Sherman, Francesca Woodman, Ana Mendieta, Marina Abramovic, Annette Messager, Sherrie Levine, Jenny Holzer, Barbara Kruger, Guerrilla Girls, Rebecca Horn, Yayoi Kusama, Kiki Smith, Sophie Calle, Nan Goldin, Marlene Dumas, Rosemarie Trockel, Mona Hatoum, Doris Salcedo, Zoe Leonard, Sue Williams, Karen Kilimnik, Andrea Zittel, Eva Marisaldi, Sam Taylor-Wood, Pipilotti Rist, Grazia Toderi, Tacita Dean, Shirin Neshat, Gillian Wearing, Vanessa Beecroft, Rineke Dijkstra, Elke Krystufek, Margherita Manzelli, Tracey Moffatt, Luisa Lambri, Eija-Liisa Ahtila, Kara Walker, Ghada Amer, Lucy Orta, Soo-Ja Kim.

“Tenniste. Una galleria sentimentale”, è un viaggio all’interno di un mondo che ha sedotto intere generazioni: dalle prime tenniste pioniere alla “Divina” Suzanne Lenglen, da Lea Pericoli a Steffi Graf, passando per Gabriela Sabatini, Anna Kournikova e Maria Sharapova, fino alle bellezze di casa nostra, Silvia Farina e Flavia Pennetta. E ancora: Martina Navratilova, Monica Seles, Martina Hingis, le sorelle Williams. Un volume con le immagini delle tenniste più importanti e fascinose, arricchito da una prefazione di Gianni Clerici.

Nancy Clara Cunard (10 March 1896 – 17 March 1965) was a writer, heiress and political activist. She was born into the British upper class but strongly rejected her family’s values, devoting much of her life to fighting racism and fascism. She became a muse to some of the 20th century’s most distinguished writers and artists, including Wyndham Lewis, Aldous Huxley, Tristan Tzara, Ezra Pound and Louis Aragon, who were among her lovers, Ernest Hemingway, James Joyce, Constantin Br‚ncuşi, Langston Hughes, Man Ray, and William Carlos Williams. MI5 documents reveal that she was involved with Indian socialist leader VK Krishna Menon. In later years, she suffered from mental illness, and her physical health deteriorated. She died at age 69, in Paris.

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