World Food Books

F.R. David Spring 2023 (Zeros and Ones)
Edited with Kathrin Bentele, Anna Gritz, and Ghislaine Leung

2023, English
Softcover, 180 pages, 12 x 19 cm
Published by Uh Books / Amsterdam KW Institute for Contemporary Art / Berlin

$25.00 - In stock -

(more...)

(...less)

Riffing off the title, this volume includes Catherine Damman interviewing Carolyn Lazard – an artist whose conceptual and often spare videos, sculptures, installations, and performances explore the full amplitude of relation, in addition a feature on contemporary artist Tishan Hsu, whose practice examines the “embodiment of technology”, plus contributions by time-based media artist Silvia Kolbowski, for whom political resistance, the unconscious, and structures of spectatorship are a central concern of all her projects; choreographer and dancer Yvonne Rainer; and science fiction author Octavia Butler. [...] Lee Lozano, Sturtevant, Margarethe Raspé, Jef Geys, Martin Wong, Bernadette Mayer, Louise Lawler, Sarah Rapson, Ketty La Rocca, Stanley Brouwn, Lutz Bacher, Hanne Darboven, Pope L., Silvia Kolbowski, Ilmari Kalkkinen, Henrik Olesen, Otto Wagner...

File under: Ghislaine Leung Will Holder Tishan Hsu Yvonne Rainer Lutz Bacher Carolyn Lazard Silvia Kolbowski Bernadette Mayer Stanley Brouwn Pope.L William Pope L. William Pope.L Lee Lozano Sturtevant Margarethe Raspé Jef Geys Martin Wong Louise Lawler Sarah Rapson Ketty La Rocca Hanne Darboven Pope L. Ilmari Kalkkinen Henrik Olesen Otto Wagner Octavia Butler Will Holder Kathrin Bentele Anna Gritz Ghislaine Leung Catherine Damman Bernadette Mayer Uh Books / Amsterdam KW Institute for Contemporary Art / Berlin Periodicals Conceptual Art Fiction / Poetry Literary Theory / Semiotics / Language Theory / Essay Art

Lee Lozano
Drawings 1958–64

2021, English
Hardcover (clothbound), 640 pages, 23 x 18.5 cm
Published by Karma / New York

$145.00 - In stock -

(more...)

(...less)

A handsome and hefty clothbound compendium of Lozano’s explorations of gender through drawing,
this 640-page volume comprises drawings from a critical six-year period in the development of American painter and conceptual artist Lee Lozano’s (1930-99) practice. Her daring, facetious sketches investigate issues of gender and the body through the erogenous anthropomorphization of tools.

Lee Lozano: Drawings 1958-64 includes two newly commissioned essays by Helen Molesworth and Tamar Garb. “What I love about Lozano—besides the crazy, ham-fisted quality of her drawn line, pictures made with pencils that appear to have been held with a fist—is how her demonstration of the word 'connection' is not bound to any of the anodyne ways we currently use it,” writes Molesworth. “There’s nothing about 'listening' or 'building community' or 'empathy' in any of these drawings. For Lozano, connection is fraught and hairy. Connection is dangerous.”

File under: Lee Lozano Tamar Garb Helen Molesworth Karma / New York Drawing Feminism Art Painting

Lee Lozano - Not Working
By Jo Applin

2018, English
Hardcover, 192 pages, 17.8 x 25.4 cm
Published by Yale University Press / New Haven

$89.00 - Out of stock

(more...)

(...less)

This is the first in-depth study of the idiosyncratic ten-year career of Lee Lozano (1930-1999), assuring this important artist a key place in histories of post-war art. The book charts the entirety of Lozano's production in 1960s New York, from her raucous drawings and paintings depicting broken tools, genitalia, and other body parts to the final exhibition of her spectacular series of abstract "Wave Paintings" at the Whitney Museum of American Art in 1970. Highly regarded at the time, Lozano is now perhaps best known for Dropout Piece (1970), a conceptual artwork and dramatic gesture with which she quit the art world. Shortly afterwards she announced she would have no further contact with other women. Her "dropout" and "boycott of women" lasted until her death, by which time she was all but forgotten. This book tackles head-on the challenges that Lozano poses to art history-and especially to feminist art history-attending to her failures as well as her successes, and arguing that through dead ends and impasses she struggled to forge an alternative mode of living. Lee Lozano: Not Working looks for the means to think about complex figures like Lozano whose radical, politically ambiguous gestures test our assumptions about feminism and the "right way" to live and work.

File under: Lee Lozano Jo Applin Yale University Press / New Haven Theory / Essay Painting Conceptual Art Drawing

Six Years : The Dematerialization of the Art Object from 1966 to 1972
by Lucy Lippard

1973 / 1997, English
Softcover, 280 pages, 173 x 213 cm
Out of print title / used / good
Published by University of Chicago Press / Chicago

$70.00 - Out of stock

(more...)

(...less)

“Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or 'dematerialized.'”—Lucy R. Lippard, Six Years

In 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle in the bibliography of art: The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries: consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones) edited and annotated by Lucy R. Lippard. Six Years, sometimes referred to as a conceptual art object itself, not only described and embodied the new type of art-making that Lippard was intent on identifying and cataloging, it also exemplified a new way of criticizing and curating art. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists—a historical survey and essential reference book for the period. Lippard provides a new preface to this 1997 reprint edition.

Includes: Vito Acconci, Bas Jan Ader, Dennis Adrian, Carl Andre, Eleanor Antin, Keith Arnatt, Art-Language, Richard Artschwager, Michael Asher, David Askevold, John Baldessari, Robert Barry, Frederick Barthelme, N.E. Thing Co., Joseph Beuys, Mel Bochner, Alighiero Boetti, Stanley Brouwn, Daniel Buren, Victor Burgin, Donald Burgy, Ian Burn, Jack Burnham, James Lee Byars, Hanne Darboven, Agnes Denes, Jan Dibbets, Peter Downsbrough, Gerald Ferguson, Rafael Ferrer, Barry Flanagan, Gilbert & George, Dan Graham, Guerrilla Art Action Group, Hans Haacke, Charles Harrison, Michael Heizer, Douglas Huebler, Peter Hutchinson, Stephen Kaltenbach, Allan Kaprow, On Kawara, Joseph Kosuth, Christine Kozlov, John Latham, Barry Le Va, Sol LeWitt, Richard Long, Lee Lozano, Bruce McLean, Walter de Maria, Robert Morris, Bruce Nauman, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Adrian Piper, Michelangelo Pistoletto, Sigmar Polke, Mel Ramsden, Allen Ruppersberg, Edward Ruscha, Robert Ryman, Gerry Schum, Richard Serra, Willoughby Sharp, Seth Siegelaub, Tony Smith, Robert Smithson, Michael Snow, Keith Sonnier, Athena Tacha Spear, Bernar Venet, Wolf Vostell, Franz Erhard Walther, William Wegman, Lawrence Weiner, William Wiley, Ian Wilson, La Monte Young

"Essential source book of documentation of the Conceptual Art, Land Art, Earth Art, Arte Povera, Minimal Art, Performance Art, Video Art movements. Documents the activities, day by day, month by month, year by year of artists including Vito Acconci, Bas Jan Ader, Dennis Adrian, Carl Andre, Eleanor Antin, Keith Arnatt, Art-Language, Richard Artschwager, Michael Asher, David Askevold, John Baldessari, Robert Barry, Frederick Barthelme, N.E. Thing Co., Josef Beuys, Mel Bochner, Alighiero Boetti, Stanley Brouwn, Daniel Buren, Victor Burgin, Donald Burgy, Ian Burn, Jack Burnham, James Lee Byars, Hanne Darboven, Agnes Denes, Jan Dibbets, Peter Downsbrough, Gerald Ferguson, Rafael Ferrer, Barry Flanagan, Gilbert & George, Dan Graham, Guerrilla Art Action Group, Hans Haacke, Charles Harrison, Michael Heizer, Douglas Huebler, Peter Hutchinson, Stephen Kaltenbach, Allan Kaprow, On Kawara, Joseph Kosuth, Christine Kozlov, John Latham, Barry Le Va, Sol LeWitt, Richard Long, Lee Lozano, Bruce McLean, Walter de Maria, Robert Morris, Bruce Nauman, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Adrian Piper, Michelangelo Pistoletto, Sigmar Polke, Mel Ramsden, Allen Ruppersberg, Edward Ruscha, Robert Ryman, Gerry Schum, Richard Serra, Willoughby Sharp, Seth Siegelaub, Tony Smith, Robert Smithson, Michael Snow, Keith Sonnier, Athena Tacha Spear, Bernar Venet, Wolf Vostell, Franz Erhard Walther, William Wegman, Lawrence Weiner, William Wiley, Ian Wilson, La Monte Young and others. "The unusual form of this provocative book intentionally reflects the chaotic network of ideas connected with so-called conceptual art or information art or idea art, in America and abroad, from 1966 to 1972. Arranged as a continuous bibliographical chronology, into which is woven a rich collection of original documents - including texts by, and taped discussions with and among, the artists involved - and annotations by Lucy R. Lippard, the book has the informal quality of a lively contemporary forum. Only a minimum of order is imposed; for the most part the reader is left to confront the curious compendium of information on his or her own, to follow changing ideas and artistic developments over the six-year period, to witness the gradual (and controversial) "dematerialization" of the art object." -- publisher's statement."

Good—Very Good copy with general light shelf wear and tanning to spine.

File under: Vito Acconci Bas Jan Ader Dennis Adrian Carl Andre Eleanor Antin Keith Arnatt Art-Language Richard Artschwager Michael Asher David Askevold John Baldessari Robert Barry Frederick Barthelme N.E. Thing Co. Joseph Beuys Mel Bochner Alighiero Boetti Stanley Brouwn Daniel Buren Victor Burgin Donald Burgy Ian Burn Jack Burnham James Lee Byars Hanne Darboven Agnes Denes Jan Dibbets Peter Downsbrough Gerald Ferguson Rafael Ferrer Barry Flanagan Gilbert & George Dan Graham Guerrilla Art Action Group Hans Haacke Charles Harrison Michael Heizer Douglas Huebler Peter Hutchinson Stephen Kaltenbach Allan Kaprow On Kawara Joseph Kosuth Christine Kozlov John Latham Barry Le Va Sol LeWitt Richard Long Lee Lozano Bruce McLean Walter de Maria Robert Morris Bruce Nauman Claes Oldenburg Yoko Ono Dennis Oppenheim Adrian Piper Michelangelo Pistoletto Sigmar Polke Mel Ramsden Allen Ruppersberg Edward Ruscha Robert Ryman Gerry Schum Richard Serra Willoughby Sharp Seth Siegelaub Tony Smith Robert Smithson Michael Snow Keith Sonnier Athena Tacha Spear Bernar Venet Wolf Vostell Franz Erhard Walther William Wegman Lawrence Weiner William Wiley Ian Wilson La Monte Young Lucy R. Lippard University of Chicago Press / Chicago Conceptual Art Arte Povera Minimal Art Performance / Dance / Theater Feminism Curatorial Out-of-print / Rare Theory / Essay Art Photography Film / Video Ecology / Earth Fluxus Group Shows / Collections Sculpture / Installation

DRUM LISTENS TO HEART

2023, English
Softcover, 304 pages, 20 x 23 cm
Published by CCA Wattis Institute for Contemporary Arts / San Francisco Inventory Press / New York

$80.00 - In stock -

(more...)

(...less)

Artists from Francis Alys to the Otolith Group meditate on the aesthetic and political possibilities of “the percussive”

Accompanying the 2022 exhibition at Wattis Institute for Contemporary Arts in San Francisco, 'Drum Listens to Heart' reflects on the many ways that percussion exists beyond the framework of music and imagines 'the percussive' as an aesthetic, expressive and political form more broadly. The publication includes a new essay by the curator, images of the works in the exhibition by the 25 artists and artist collectives, and short texts by 10 scholars, writers, artists and curators.

Artists include: Francis Alÿs, Luke Anguhadluq, Marcos Ávila Forero, Raven Chacon, Em’kal Eyongakpa, Theaster Gates, Milford Graves, David Hammons, Consuelo Tupper Hernández, Susan Howe & David Grubbs, NIC Kay, Barry Le Va, Rose Lowder, Lee Lozano, Guadalupe Maravilla, Harold Mendez, Rie Nakajima, the Otolith Group, Lucy Raven, Davina Semo, Michael E. Smith, Haegue Yang and David Zink Yi. Live performances by Elysia Crampton Chuquimia, Moor Mother, Nkisi, Nomon, Karen Stackpole, Marshall Trammell and William Winant.

Edited with text by Anthony Huberman. Text by Diego Villalobos, Geeta Dayal, Natasha Ginwala, Lê Quan Ninh, Hannah Black, Anthony Elms, Hamza Walker, Hypatia Vourloumis, JJJJJerome Ellis, Will Holder, Sofia Lemos.

File under: Francis Alÿs Marcos Ávila Forero Em'kal Eyongakpa Luke Anguhadluq Raven Chacon Theaster Gates Milford Graves David Hammons Consuelo Tupper Hernández Susan Howe & David Grubbs NIC Kay Barry Le Va Rose Lowder Lee Lozano Guadalupe Maravilla Harold Mendez Rie Nakajima the Otolith Group Lucy Raven Davina Semo Michael E. Smith Haegue Yang David Zink Yi Anthony Huberman Diego Villalobos Geeta Dayal Natasha Ginwala Lê Quan Ninh Hannah Black Anthony Elms Hamza Walker Hypatia Vourloumis JJJJJerome Ellis Will Holder Sofia Lemos CCA Wattis Institute for Contemporary Arts / San Francisco Inventory Press / New York Sculpture / Installation Art Group Shows / Collections Curatorial Sound / Music Film / Video

Afterimage : Draw Through Process
Edited by Cornelia H. Butler

1999, English
Softcover (w. dust jacket), 152 pages, 30.5 x 24.4 cm
1st Edition, Out of print title / used / very good
Published by The MIT Press / Massachusetts MOCA / Los Angeles

$100.00 - Out of stock

(more...)

(...less)

First edition of long out-of-print important catalogue published to accompany Afterimage : Draw Through Process, a major survey of conceptual / post-minimalist drawing at The Museum of Contemporary Art, Los Angeles, before travelling to Texas and Washington. Co-published by the MIT Press and MOCA.

The term "process art" describes a moment of radical, a formal experimentation in postwar American sculpture. Through the medium of drawing, Afterimage revisits process art in terms of the artists who defined the movement and suggests a transitional moment when many of its practitioners anticipated the feminist and post minimalist art of the 1970s.

The term "process art" describes a moment of radical, a formal experimentation in postwar American sculpture. Through the medium of drawing, Afterimage revisits process art in terms of the artists who defined the movement and suggests a transitional moment when many of its practitioners anticipated the feminist and postminimalist art of the 1970s. Nancy Grossman's use of language, for example, suggests a kind of material abstraction, and Nancy Holt's earth works and related drawings introduced content into a minimalist vocabulary. The book also explores the drawing as a residual object in works in which the process of making dictates the form of the drawing. Examples include Gordon Matta-Clark's stacked cuttings, Robert Morris' "blind time" drawings, and Sol Lewitt's folded construction drawings. Other works, such as those by Bruce Nauman and Robert Smithson, record a particular approach to body-based and process-oriented sculpture. The book, which accompanies an exhibition, contains an essay by Cornelia H. Butler on the historical ambiguity surrounding process art and one by Pamela M. Lee on temporality in work of the late 1960s.

The artists included in the book are William Anastasi, Richard Artschwager, Mel Bochner, Agnes Denes, Nancy Grossman, Robert Grosvenor, Marcia Hafif, Eva Hesse, Nancy Holt, Barry LeVa, Sol Lewitt, Lee Lozano, Sylvia Plimack Mangold, Gordon Matta-Clark, Robert Morris, Bruce Nauman, Yvonne Rainer, Dorothea Rockburne, Alan Saret, Joel Shapiro, Robert Smithson, Michelle Stuart, Richard Tuttle, and Jack Whitten.

Very Good copy. Only very light wear to soft dust jacket, light tanning to edges.

File under: William Anastasi Richard Artschwager Mel Bochner Agnes Denes Nancy Grossman Robert Grosvenor Marcia Hafif Eva Hesse Nancy Holt Barry LeVa Sol Lewitt Lee Lozano Sylvia Plimack Mangold Gordon Matta-Clark Robert Morris Bruce Nauman Yvonne Rainer Dorothea Rockburne Alan Saret Joel Shapiro Robert Smithson Michelle Stuart Richard Tuttle Jack Whitten Pamela M. Lee Cornelia H. Butler The MIT Press / Massachusetts MOCA / Los Angeles Conceptual Art Minimal Art Drawing Out-of-print / Rare Theory / Essay Group Shows / Collections

PS: Jahresring 61: Jahrbuch für moderne Kunst
Dominic Eichler, Brigitte Oetker (Eds.)

2014, English / German
Softcover, 248 pages, 82 color ill., 17 x 24 cm
Published by Sternberg Press / Berlin

$85.00 $20.00 - In stock -

(more...)

(...less)

Contributions by Manuela Ammer, Julie Ault, Monika Baer, Nairy Baghramian, Gerry Bibby, Jennifer Bornstein, Pauline Boudry & Renate Lorenz, Dragana Bulut, Katarina Burin, Françoise Cactus, Leidy Churchman, Ann Cotten, Juan Davila, Dominic Eichler, Elmgreen & Dragset, Yusuf Etiman, Isa Genzken, Susanne Ghez, Margaret Harrison, Daniel Herleth, Annette Kelm, Janette Laverrière, Adam Linder, Lee Lozano, Charlie Le Mindu, Shahryar Nashat, Gina D’Orio, Stephen Prina, Dean Spade, Ming Wong

The Jahresring series is one of the longest continually published annual journals for contemporary art in Germany. The 61st edition is a reader and visual sampler with contributions from visual artists, writers, poets, musicians, choreographers, and designers. Bringing together a discursive array of forms and timbres, it takes an intertextual and interdisciplinary approach to exploring some contemporary cultural resonances with respect to gender and sexuality. In this sense, a “PS” or postscript might be understood as a place where relations or realities not explicitly stated in the main body of any given text, but nevertheless underpinning them, are revealed. A “PS” is a place of interpersonal agency; a compelling textual gesture that might add a “by the way” and an “also” and a “you know what we’re really talking about.” By its nature, a “PS” is contextualized and contextualizing. Though it may parade as the last word, it never is.

The Jahresring is published annually on behalf of Kulturkreis der deutschen Wirtschaft im BDI e.V.

Design by Lambl/Homburger

File under: Adam Linder Annette Kelm Elmgreen & Dragset Gerry Bibby Isa Genzken Janette Laverrière Juan Davila Lee Lozano Margaret Harrison Monika Baer Nairy Baghramian Shahryar Nashat Stephen Prina Susanne Ghez Dominic Eichler Julie Ault Sternberg Press / Berlin Art Fiction / Poetry Periodicals Sculpture / Installation Theory / Essay SALE

Lee Lozano
Lozano C. 1962

2016, English
Hardcover (clothbound), 91 pages, 20 x 26 cm
1st Edition, Out of print title / as new
Published by Karma / New York

$190.00 - Out of stock

(more...)

(...less)

“Lee Lozano’s brief art career in New York, from 1961 to 1971, sometimes seems like a relay race: She moved deftly from gestural and hard-edge figuration to abstraction to task-based Conceptual pieces. By 1972, she had dropped out of the art world entirely. She then moved to Dallas and continued her 1971 conceptual work, in which she decided to ‘boycott women,’—i.e., not interact with them—for the rest of her life. Given her dizzying speed, it can be valuable to focus on a single year of her production. That’s just what LOZANO C. 1962 does, spotlighting thirty-one paintings, some as small as 31⁄4 × 23⁄4”. This handsome ninety-six-page clothbound book accompanied an electrifying exhibition last year at the Manhattan bookshop and gallery space Karma, where the brushy comic-tragic canvases, many depicting faces, penises, and airplanes, lined the walls. In the early ’60s Lozano was merging Surrealism with AbEx and art brut (she had moved to New York after attending the Art Institute of Chicago, which birthed the funny-freaky Monster Roster and Hairy Who). A recurring motif in these works are dick-like Pinocchio noses (‘man as pathological liar?’ asks Bob Nickas in his essay). In one piece, the long penis-nose of a grinning mask cleaves the mouth of another mask. It’s a subtle reminder that Lozano’s wry humor always had a razor-sharp edge. And this shrewdness was one way of surviving times as crazy as our own. As a page from one of her private notebooks here explains: ‘key to how to cope with the nixon danger: either kill it, which my intelligence absolutely refuses, or make a fool of it.’”—LAUREN O’NEILL-BUTLER, Bookforum, APR/MAY 2017

This lovely, quickly out-of-print hardcover volume collects these works together for the first time, alongside texts by Helen Molesworth and Bob Nickas.

Out-of-print. As New copy.

File under: Lee Lozano Karma / New York Art Drawing Painting Out-of-print / Rare

Lee Lozano
Notebooks 1967-70

2018, English
Softcover, 224 pages, 23 x 28 cm
Edition of 1500,
Published by Primary Information / New York

$68.00 - Out of stock

(more...)

(...less)

This publication is a compilation of Lee Lozano’s notebooks from 1967 to 1970. The three notebooks included here contain her seminal “Language Pieces” and drawings for her paintings, including 12 studies for her 11-panel masterpiece, “Wave Series.”

Lee Lozano (1930-1999) was an enigmatic artist making a diverse body of drawings, paintings, and conceptual works. While prolific, her production was limited to her time in New York from the early 1960s to the early 1970s. She was very actively engaged with other artists in New York until she decided to leave the art world in 1972. Until recently, much of her work has been difficult for the public to access. From the time of her boycott of the art world until her death, Lozano was an artist working conceptually even though she did not participate actively in the commercial art world for the last three decades of her life.

The pages of the notebooks contain notes and sketches related to her abstract paintings and also contain her texts, which were known as “Language Pieces.” The artist’s work in the books reveal her desire to live and create art within a structured system. Lozano considered the individual pages of her notebooks to be drawings, and they were sometimes separated and exhibited. Twenty-five years ago, the notebooks were photocopied and it is that record which serves as the basis for this book.

Notebooks 1967-70 was first published by Primary Information in 2010. This is the second printing.

File under: Lee Lozano Primary Information / New York Art Conceptual Art Feminism Painting

Materializing Six Years
Lucy R. Lippard and the Emergence of Conceptual Art

2012, English
Hardcover, 304 pages, 216 x 254 mm
Published by The MIT Press / Massachusetts

$79.00 - Out of stock

(more...)

(...less)

Lucy R. Lippard's famous book, itself resembling an exhibition, is now brought full circle in an exhibition (and catalog) resembling her book.

“Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or ‘dematerialized.’” — Lucy R. Lippard, Six Years

In 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle in the bibliography of art: The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries: consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones) edited and annotated by Lucy R. Lippard. Six Years, sometimes referred to as a conceptual art object itself, not only described and embodied the new type of art-making that Lippard was intent on identifying and cataloging, it also exemplified a new way of criticizing and curating art. Nearly forty years later, the Brooklyn Museum takes Lippard’s celebrated experiment in curated concatenation as a template, turning a book that resembled an exhibition into an exhibition materializing the ideas in her book.

The artworks and essays featured in this publication recall the thrill that was tangible in Lippard's original documentation, reminding us that during the late sixties and early seventies all possible social and material parameters of art (making) were played with, worked over, inverted, reduced, expanded, and rejected. By tracing Lippard’s own activities in those years, the book also documents the early blurring of boundaries among critical, curatorial, and artistic practices.

With more than 200 images of work by dozens of artists (printed in color throughout), this book brings Lippard’s curatorial experiment full circle.

Edited by Catherine Morris and Vincent Bonin

Published on the occasion of the exhibition The Six Years' Project: Lucy R. Lippard and the Emergence of Conceptual Art, September 14, 2012-February 3, 2013, organized by Catherine Morris, Curator of the Elizabeth A. Sackler Center at the Brooklyn Museum, and the independent scholar Vincent Bonin.

File under: Vito Acconci Bas Jan Ader Dennis Adrian Carl Andre Eleanor Antin Keith Arnatt Art-Language Richard Artschwager Michael Asher David Askevold John Baldessari Robert Barry Frederick Barthelme N.E. Thing Co. Mel Bochner Alighiero Boetti Stanley Brouwn Daniel Buren Victor Burgin Donald Burgy Ian Burn Jack Burnham James Lee Byars Hanne Darboven Agnes Denes Jan Dibbets Peter Downsbrough Gerald Ferguson Rafael Ferrer Barry Flanagan Dan Graham Guerrilla Art Action Group Hans Haacke Charles Harrison Michael Heizer Douglas Huebler Peter Hutchinson Stephen Kaltenbach Allan Kaprow On Kawara Joseph Kosuth Christine Kozlov John Latham Barry Le Va Sol LeWitt Richard Long Lee Lozano Bruce McLean Walter de Maria Robert Morris Bruce Nauman Claes Oldenburg Yoko Ono Dennis Oppenheim Adrian Piper Michelangelo Pistoletto Sigmar Polke Mel Ramsden Allen Ruppersberg Edward Ruscha Robert Ryman Gerry Schum Richard Serra Willoughby Sharp Seth Siegelaub Tony Smith Robert Smithson Michael Snow Keith Sonnier Athena Tacha Spear Bernar Venet Wolf Vostell Franz Erhard Walther William Wegman Lawrence Weiner William Wiley Ian Wilson La Monte Young Lucy Lippard Joseph Beuys Gilbert & George Lucy R. Lippard The MIT Press / Massachusetts Art Curatorial Theory / Essay Feminism Conceptual Art Minimal Art

The Inner Mirror: Conversations with Ursula Hauser, Art Collector

2019, English
Hardcover, 200 pages, 15.2 x 21.6 cm
Published by Hauser & Wirth / Zurich

$82.00 $35.00 - Out of stock

(more...)

(...less)

In the 1980s, Ursula Hauser began quietly building what’s become one of the world’s most impressive private collections of modern and contemporary art—acquiring works from visionary artists such as Louise Bourgeois, Carol Rama, Alina Szapocznikow, Franz West, Eva Hesse, Francis Picabia, Lee Lozano, and many others—and in 1992, she co-founded one of today’s most important galleries, Hauser & Wirth. This book presents the first-ever extensive and intimate account of her life and art collection.

To define the works found in Ursula’s collection is a matter of identity, one that is fused to her personal trajectory—from her early years in eastern Switzerland, where she was born in 1939, to becoming a mother, helming her father’s intrepid electronics business, and starting an art gallery with her daughter and son-in-law. Family has always been the steady axis around which Ursula’s life orbits; for her, the artists she collects belong to that same magnetic locus. To understand Ursula Hauser’s collection is to know the collector and chart the course of late twentieth-century and early twenty-first-century art.

Edited by Laura Bechter and Michaela Unterdörfer

File under: Louise Bourgeois Carol Rama Alina Szapocznikow Franz West Lee Lozano Paul McCarthy Eva Hesse Meret Oppenheim Francis Picabia Ida Applebroog Maria Lassnig Hauser & Wirth / Zurich Art Painting Sculpture / Installation Group Shows / Collections SALE

F.R.DAVID Spring 2019: Black Sun

2019, English
Softcover, 264 pages, 12 x 19 cm
Published by Uh Books / Amsterdam KW Institute for Contemporary Art / Berlin

$23.00 - Out of stock

(more...)

(...less)

‘Black Sun’ is edited in conversation with Krist Gruijthuijsen, currently the director of KW Institute for Contemporary Art in Berlin, to accompany the exhibitions ‘David Wojnarowicz Photography & Film 1978–1992’, ‘Reza Abdoh’, and ‘TIES, TALES AND TRACES: Dedicated to Frank Wagner, Independent Curator (1958–2016)’. The issue departs from Wojnarowicz’s grief at the loss of loved ones during the 1980s AIDS crisis and anger at the US government for its wilful neglect. It assembles a selection of various gendered and sexual positions, all seeking support, love, and intimacy in linguistic, architectural, and bodily structures while under threat of collapse.

Includes Cynthia Carr, Julia Kristeva, Ira & George Gershwin, James Agee, Michael Cisco, Noor Al Samarrai, Alvin Baltrop, Sarah Schulman, David Wojnarowicz, Renee Gladman, Lylah Clare, Shary Boyle & John Kurok, Herbert Read, Lee Lozano, Dennis Cooper, Talking Heads, Claire Fontaine, Marnie Slater, Audre Lorde, Falke Pisano, Alex Turgeon, Gregg Bordowitz, Wayne Kostenbaum, 3 Teens Kill 4, Pointer Sisters, Joseph Kusendila, RP Boo, Experimental Jetset, Rob Halpern, Mark Turner, Reza Abdoh, and more.

File under: David Wojnarowicz Lee Lozano Talking Heads Claire Fontaine Falke Pisano Gregg Bordowitz RP Boo Experimental Jetset Alvin Baltrop Cynthia Carr Herbert Read Dennis Cooper Marnie Slater Audre Lorde Gregg Bordowitz Wayne Kostenbaum Rob Halpern Uh Books / Amsterdam KW Institute for Contemporary Art / Berlin Art Periodicals Fiction / Poetry Theory / Essay

Painting 2.0
Expression in the Information Age

2016, English
Hardcover, 280 pages, 31.6 x 3.1 x 26 cm
Published by Prestel / Munich

$120.00 - Out of stock

(more...)

(...less)

The resurgent interest in contemporary painting in recent years has coincided with an explosion of new digital media and technologies. Contrary to canonical accounts premised on medium-specificity, painting’s most advanced positions since the 1960s have developed in productive friction with contemporaneous forms of mass media and culture. From the rise of television and computers to the Internet revolution, painting has assimilated precisely those cultural and technological developments that were held responsible for its presumed “death.” Moving far beyond its technical definition as “oil on canvas,” painting during the information age has consistently offered a site for negotiating the challenges of a mediated life-world.

Featuring over 230 works by 107 artists, Painting 2.0 is one of the largest and most comprehensive exhibitions of contemporary painting in recent years.

Artists include:
Kai Althoff, Ei Arakawa/Shimon Minamikawa, Monika Baer, Nairy Baghramian, Georg Baselitz, Jean-Michel Basquiat, Lynda Benglis, Sadie Benning, Judith Bernstein, Joseph Beuys, Ashley Bickerton, Cosima von Bonin, KAYA (Debo Eilers & Kerstin Brätsch), Günter Brus, Daniel Buren, Merlin Carpenter, Leidy Churchman, William Copley, René Daniëls, Guy Debord/Asger Jorn, Carroll Dunham, Mary Beth Edelson, Thomas Eggerer, Michaela Eichwald, Nicole Eisenman, Jana Euler, Louise Fishman, Andrea Fraser, Isa Genzken, Mary Grigoriadis, Philip Guston, Wade Guyton, Guyton/Walker, Raymond Hains, Harmony Hammond, David Hammons, Keith Haring, Rachel Harrison, Mary Heilmann, Eva Hesse, Charline von Heyl, Ull Hohn, Jacqueline Humphries, Jörg Immendorff, Jasper Johns, Joan Jonas, Mike Kelley, Martin Kippenberger, Yves Klein, Jutta Koether, Michael Krebber, Manfred Kuttner, Maria Lassnig, Sherrie Levine, Glenn Ligon, Lee Lozano, Konrad Lueg, Michel Majerus, Piero Manzoni, Kerry James Marshall, Hans-Jörg Mayer, John Miller, Joan Mitchell, Ree Morton, Ulrike Müller, Matt Mullican, Elisabeth Murray, Cady Noland, Hilka Nordhausen, Albert Oehlen, Laura Owens, Steven Parrino, Ed Paschke, Howardena Pindell, Sigmar Polke, Seth Price, Stephen Prina, R.H. Quaytman, Robert Rauschenberg, David Reed, Gerhard Richter, Mimmo Rotella, Niki de Saint Phalle, Mario Schifano, Amy Sillman, Sylvia Sleigh, Josh Smith, Joan Snyder, Reena Spaulings, Nancy Spero, Gruppe SPUR, Frank Stella, Walter Swennen, Paul Thek, Rosemarie Trockel, Cy Twombly, Jacques de la Villeglé, Kelley Walker, Andy Warhol, Sue Williams, Karl Wirsum, Martin Wong, Christopher Wool, Heimo Zobernig, u.a.

File under: Albert Oehlen Amy Sillman Andrea Fraser Andy Warhol Asger Jorn Ashley Bickerton Cady Noland Carroll Dunham Charline von Heyl Christopher Wool Cosima von Bonin Cy Twombly Daniel Buren David Hammons David Reed Ed Paschke Ei Arakawa Eva Hesse Frank Stella Georg Baselitz Gerhard Richter Glenn Ligon Gruppe SPUR Günter Brus Harmony Hammond Heimo Zobernig Hilka Nordhausen Howardena Pindell Isa Genzken Jacqueline Humphries Jacques de la Villeglé Jana Euler Jasper Johns Jean-Michel Basquiat Joan Jonas Joan Mitchell Joan Snyder John Miller Jörg Immendorff Joseph Beuys Josh Smith Judith Bernstein Jutta Koether Kai Althoff Karl Wirsum Keith Haring Kelley Walker Kerry James Marshall Konrad Lueg Laura Owens Lee Lozano Leidy Churchman Louise Fishman Lynda Benglis Manfred Kuttner Maria Lassnig Mario Schifano Martin Kippenberger Martin Wong Mary Beth Edelson Mary Grigoriadis Mary Heilmann Matt Mullican Merlin Carpenter Michael Krebber Michaela Eichwald Michel Majerus Mike Kelley Mimmo Rotella Monika Baer Nairy Baghramian Nancy Spero Nicole Eisenman Niki de Saint-Phalle Paul Thek Philip Guston Piero Manzoni R.H. Quaytman Rachel Harrison Raymond Hains Ree Morton Reena Spaulings René Daniëls Robert Rauschenberg Rosemarie Trockel Sadie Benning Seth Price Sherrie Levine Shimon Minamikawa Sigmar Polke Stephen Prina Steven Parrino Sue Williams Sylvia Sleigh Thomas Eggerer Ull Hohn Ulrike Müller Wade Guyton Walter Swennen William Copley Yves Klein Hansjörg Mayer Elizabeth Murray Achim Hochdörfer David Joselit Guy Debord Isabelle Graw John Kelsey Kerstin Stakemrich Lynne Coeier Manuela Ammer Wolfram Pichler Prestel / Munich Art Group Shows / Collections Painting Theory / Essay

Lee Lozano
Private Book 4

2018, English
Softcover (spiral-bound), 198 pages, 7.6 x 12.7 cm
Published by Karma / New York

$48.00 - Out of stock

(more...)

(...less)

This is the fourth volume in Karma's 11-volume facsimile printing of Lee Lozano's Private Book project. It is primarily a calendar of Lozano's personal, artistic and chemical interactions in 1969-70. A prolific writer and documenter of both her art and her relationships, the public and private, the painter Lee Lozano kept a series of personal journals from 1968 to 1970 while living in New York's SoHo neighbourhood. In 1972 she rigourously edited these books, thus completing the project. Eleven of these private books survive, containing notes on Lozano's work, detailed interactions with artist friends and commentary on the alienations of gender politics, as well as philosophical queries into art's role in society and humorous asides from daily life.

Printed as facsimiles with spiral binding, the notebooks contain notes on her work, detailed interactions with artist friends and commentary on the alienations of gender politics, as well as philosophical queries into art's role in society and humourous asides from daily life. In the decade before her infamous "dropout piece" -- culminating in a move to Dallas where she would remain until her death -- Lozano returned to these notebooks, editing the entries, sometimes blacking out entire pages.

File under: Lee Lozano Karma / New York Art Painting Feminism Conceptual Art Theory / Essay

Lee Lozano
Private Book 5

2018, English
Softcover (spiral-bound), 198 pages, 7.6 x 12.7 cm
Published by Karma / New York

$48.00 - Out of stock

(more...)

(...less)

This is the fifth volume in Karma's 11-volume facsimile printing of Lee Lozano's Private Book project. A prolific writer and documenter of both her art and her relationships, the public and private, the painter Lee Lozano kept a series of personal journals from 1968 to 1970 while living in New York's SoHo neighbourhood. In 1972 she rigourously edited these books, thus completing the project. Eleven of these private books survive, containing notes on Lozano's work, detailed interactions with artist friends and commentary on the alienations of gender politics, as well as philosophical queries into art's role in society and humorous asides from daily life.

File under: Lee Lozano Karma / New York Art Painting Conceptual Art Theory / Essay

The Magazine
edited by Gwen Allen

2016, English
Softcover, 240 pages, 145 x 210 mm
Published by The MIT Press / Massachusetts Whitechapel / London

$55.00 $15.00 - Out of stock

(more...)

(...less)

The multiple platforms of the digital era have not diminished the role of the magazine for artists as an alternative medium and experimental space. Whether printed on paper or electronically generated, the artist’s magazine continues to be a place where new ideas and forms can be imagined as well as a significant site of artistic production. Intrinsically collaborative, including readers’ active engagement, the magazine is an inherently open form that generates constantly evolving relationships. It was integral to the emergence of art criticism in the Enlightenment period and to the development of artistic dialogues around notions of culture, politics, and the public from the modern era avant-gardes to the present.

This collection contextualizes the current condition and potential of the artist’s magazine, surveying the art worlds it has created and then superseded; the commercial media forms it has critically appropriated, intervened in, or subverted; the alternative DIY cultures it has brought into being; and the expanded fields of cultural production, exchange, and distribution it continues to engender. In addition to surveying case studies of transformational magazines from the early 1960s onwards, The Magazineincludes a wide-ranging archive of key editorial statements, from eighteenth-century Weimar to twenty-first century Bangkok, Cape Town, and Delhi.

Artists surveyed include
Can Altay, Ei Arakawa, Julieta Aranda, Tania Bruguera, Maurizio Cattelan, Eduardo Costa, Dexter Sinister, Rimma Gerlovina, Valeriy Gerlovin, Robert Heinecken, John Holmstrom, John Knight, Silvia Kolbowski, Lee Lozano, Josephine Meckseper, Clemente Padin, Raymond Pettibon, Adrian Piper, Seth Price, Raqs Media Collective, Riot Grrrl, Martha Rosler, Sanaa Seif, Rirkrit Tiravanija, Scott Treleaven, Triple Canopy, Anton Vidokle

Writers include
Saul Anton, Stewart Brand, Jack Burnham, Johanna Burton, Thomas Crow, Edit DeAk, Kenneth Goldsmith, Jürgen Habermas, Martina Köppel-Yang, Antje Krause-Wahl, Lucy Lippard, Caolan Madden, Valentina Parisi, Howardena Pindell, Georg Schöllhammer, Nancy Spector, Sally Stein, Reiko Tomii, Jud Yalkut, Vivian Ziherl

File under: Adrian Piper Anton Vidokle Can Altay Clemente Padin Dexter Sinister Eduardo Costa Ei Arakawa John Holmstrom John Knight Josephine Meckseper Julieta Aranda Lee Lozano Martha Rosler Maurizio Cattelan Raqs Media Collective Raymond Pettibon Rimma Gerlovina Rirkrit Tiravanija Robert Heinecken Sanaa Seif Scott Treleaven Seth Price Silvia Kolbowski Tania Bruguera Triple Canopy Valeriy Gerlovin Antje Krause-Wahl Caolan Madden Edit DeAk Georg Schöllhammer Gwen Allen Howardena Pindell Jack Burnham Johanna Burton Jud Yalkut Jürgen Habermas Kenneth Goldsmith Martina Köppel-Yang Nancy Spector Reiko Tomii Sally Stein Saul Anton Stewart Brand Thomas Crow Valentina Parisi Vivian Ziherl Lucy R. Lippard The MIT Press / Massachusetts Whitechapel / London Art Theory / Essay SALE

Work
Edited by Friederike Sigler

2017, English
Softcover, 240 pages, 145 x 210 mm
Published by Whitechapel / London The MIT Press / Massachusetts

$49.00 - Out of stock

(more...)

(...less)

Warhol’s Factory of the 1960s, Minimalism’s assembly-line aesthetics, conceptual and feminist concern with workers’ conditions in the 1970s—these are among the antecedents of a renewed focus on the work of art: labor as artistic activity, as artistic method and as object of artistic engagement. In 2002, the “Work Ethic” exhibition curated by Helen Molesworth at the Baltimore Museum of Art took its cue from recent art to spotlight this earlier era of artistic practice in which activity became as valid as, and often dispensed with, object-production. Revealed through this prism was “dematerialized” art’s close and critical relation to the emergent information age’s criteria of management, production and skill.

By 2015, the Venice Biennale reflected artists’ wider concern with global economic and social crises, centered on exploitative and precarious worlds of employment. Yet while art increasingly engages with human travail, work’s significance in itself is seldom addressed by critics. This anthology explicitly investigates work in relation to contemporary art, surveying artistic strategies that grapple with the complexities of being an art worker in the new economy, a postproducer, a collaborator, a fabricator, a striker, an ethical campaigner, or would-be transformer of labor from oppression to liberation.

Artists surveyed include
Pawel Althamer, Francis Alÿs, Marwa Arsanios, Chto Delat, Alice Creischer, Ana de la Cueva, Anne Teresa De Keersmaeker, Jeremy Deller, Maria Eichhorn, Harun Farocki, Claire Fontaine, Andrea Fraser, Liam Gillick, Melanie Gilligan, Gulf Labour Coalition, Tehching Hsieh, Lamia Joreige, Lee Lozano, Goshka Macuga, Teresa Margolles, Adrian Melis, Annette Messager, Gustav Metzger, Jean-Luc Moulène, Ahmet Ögüt, Philip Rizk, Martha Rosler, Tino Sehgal, Santiago Sierra, Tamas St. Auby, Mladen Stilinovic, W.A.G.E., Artur Zmijewski

Writers include
Claire Bishop, Luc Boltanski, Julia Bryan-Wilson, Sabeth Buchmann, Ève Chiapello, Kodwo Eshun, Silvia Federici, Isabelle Graw, Maurizio Lazzarato, Achille Mbembe, Antonio Negri, Jacques Rancière, Gerald Raunig, Dietmar Rübel, Paolo Virno, Joseph Vogl

About the Editor
Friederike Sigler is a researcher and lecturer at the Hochschule für Bildende Künste, Dresden. She is the author of Work/Strike.

File under: Francis Alÿs Marwa Arsanios Chto Delat Alice Creischer Ana de la Cueva Anne Teresa De Keersmaeker Jeremy Deller Maria Eichhorn Harun Farocki Claire Fontaine Andrea Fraser Liam Gillick Melanie Gilligan Gulf Labour Coalition Tehching Hsieh Lamia Joreige Lee Lozano Goshka Macuga Teresa Margolles Adrian Melis Annette Messager Gustav Metzger Jean-Luc Moulène Ahmet Ögüt Philip Rizk Martha Rosler Tino Sehgal Santiago Sierra Tamas St. Auby Mladen Stilinovic W.A.G.E. Artur Zmijewski Paweł Althamer Claire Bishop Luc Boltanski Julia Bryan-Wilson Sabeth Buchmann Ève Chiapello Kodwo Eshun Silvia Federici Isabelle Graw Maurizio Lazzarato Achille Mbembe Antonio Negri Jacques Rancière Gerald Raunig Dietmar Rübel Paolo Virno Joseph Vogl Friederike Sigler Whitechapel / London The MIT Press / Massachusetts Art Performance / Dance / Theater Conceptual Art Film / Video Theory / Essay

Lee Lozano
Private Book 2

2017, English
Softcover (spiral-bound), 196 pages, 7.6 x 12.7 cm
Published by Karma / New York

$48.00 - In stock -

(more...)

(...less)

A prolific writer and documenter of both her art and her relationships, the public and private, Lee Lozano (1930-99) kept a series of personal journals from 1968 to 1972 while living in New York's SoHo neighbourhood. Eleven of these private books survive. Private Book 2 is the second in a series of 11 pocket-sized books, which are printed as facsimiles with spiral binding.The notebooks contain notes on her work, detailed interactions with artist friends and commentary on the alienations of gender politics, as well as philosophical queries into art's role in society and humourous asides from daily life. In the decade before her infamous "dropout piece" -- culminating in a move to Dallas where she would remain until her death -- Lozano returned to these notebooks, editing the entries, sometimes blacking out entire pages. Private Book 2 is the second in a series of 11 pocket-sized books, which are printed as facsimiles with spiral binding.

File under: Lee Lozano Lee Lozano Karma / New York Art Painting Fiction / Poetry Drawing

Texte Zur Kunst
ISSUE NO. 108 / DECEMBER 2017 "IDIOM - LANGUAGES OF ART“

2017, English / German
Softcover, 248 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin

$30.00 - In stock -

(more...)

(...less)

In art historical and art critical texts, the concept of “idiom” – an expression or mode of speaking that cannot be translated – is frequently used, even if it is rarely spoken of as such. TZK issue 108 explores how the idea of “idiom” might allow us to coherently engage with art's disparate materialist and iconographic connections at a time when the vitality of historical Western-centric cannons are fading (see: Documenta 14) and the traditional relations within and among artistic systems are ever less self-evident. The "Idiom" issue of TZK asks: What languages does art speak?

ISSUE NO. 108 / DECEMBER 2017 "IDIOM - LANGUAGES OF ART“
Table Of Contents
Preface
Susanne Leeb - Idioms: The Minor "A"s Of Art

Artist's Choice
Mirjam Thomann - Chapter 3: Women And Space
Anja Kirschner - In A Manner Of Speaking
Michael Dean
Linda Stupart - Didacticore: An Artist's Statement
Bouchra Khalili - Mother Tongue
Lawrence Abu Hamdan - Hear, Hear
Giovanna Zapperi - Body Of Evidence, Gestures Of Dysfunction / Technology As Practice In The Work Of Natascha Sadr Haghighian
Yvonne Volkart - From Trash To Waste / On Art's Media Geology
Monica Juneja - To Enter The Image / The Performative Self As Idiom*
Dieter Lesage - Research And Form / On "Artistic Research" And Its Aesthetic
Sven Lütticken - Modernist Memories / On The Conteporaneity of Günther Frg

Bildstrecke
Philipp Gufler

Maybe Devotion Is The Only Thing I Can Offer You
New Development
Once More With Feeling / Philipp Wüschner Über Das Symposium „Image Testimonies – Witnessing In Times Of Social Media“
Cloudism / Library Stack On Blockchain Archives And Library Futures
Liebe Arbeit Kino
Lauf, Genosse! / Madeleine Bernstorff Über „Cours, Cours, Camarade, Le Vieux Monde Est Derrière Toi. Das Kino Von Med Hondo“ Im Kino Arsenal, Berlin
Glück Auf! / Esther Buss Über Ben Russells „Good Luck“, 70. Locarno Festival

Reviews
Handlungsräume / Sophie Goltz Über „Radical Women“ Im Hammer Museum, Los Angeles
The Downward Spiral / Steven Warwick On “Trigger: Gender As A Tool And A Weapon” At The New Museum, New York
„Überlast“ Und Emanzipation – „Ich Weiss Nicht, Ob Mein Stand Es Erlaubt.“ / Isabel Mehl Über „Klassensprachen“ Im District Berlin
Katie Serva On “The Overworked Body: An Anthology Of 2000s Dress” At Ludlow 38 And Mathew Gallery, New York
Beiläufig Grundsätzlich / Bert Rebhandl Über Harun Farocki Im Neuen Berliner Kunstverein
Rien Ne Va Plus / Nuit Banai On Ericka Beckman At Secession, Vienna
Familienausstellung / Inka Meißner Über Verena Dengler In Der Kunsthalle Bern
Do You Like To Read? / Christian Berger Über „Hanne Darboven. Korrespondenzen“ Im Hamburger Bahnhof – Museum Für Gegenwart, Berlin
After Hours / Andrew Durbin On Thomas Eggerer At Petzel Gallery, New York
Remembering The Future / Bennett Simpson On William Leavitt At Honor Fraser, Los Angeles
Garten, Werkstatt, Oper – Alexander Kluge In Ausstellungen / Rainer Bellenbaum Über Alexander Kluge In Der Fondazione Prada, Venedig, Und Im Württembergischen Kunstverein Stuttgart
Getting Real / Helena Vilalta On Lee Lozano At Museo Reina Sofía, Madrid
Queere Subjektivität Und (Anti-)Koloniale Begehren / Jenny Nachtigall Über „Odarodle – Sittengeschichte Eines Naturmysteriums, 1535–2017“ Im Schwulen Museum, Berlin
Herrschaftszeichen Noch Mal! / Clemens Krümmel Über Michael Dreyer Im Badischen Kunstverein, Karlsruhe

Nachruf
Karl Otto Götz (1914–2017)

Edition
Candida Höfer
Ed Ruscha

File under: Nicholas Mangan Centre for Style Matthew Linde Ben Rivers Ed Ruscha Lee Lozano Thomas Eggerer William Leavitt Hanne Darboven Lawrence Abu Hamdan Harun Farocki Andrew Durbin Karl Otto Götz Mirjam Thomann Anja Kirschner Bouchra Khalili Natascha Sadr Haghighian Ericka Beckman Candida Höfer Steven Warwick Katie Serva Susanne Leeb Giovanna Zapperi Sven Lütticken Dieter Lesage Texte Zur Kunst / Berlin Theory / Essay Art Periodicals Film / Video Curatorial Sculpture / Installation Fashion

The Slip of the Tongue
Danh Vo, Caroline Bourgeois, Julie Ault, Heinz Peter Knez, Stefan A. Peterson (Eds.)

2016, English / Italian
Softcover (w. French-folds and inserted booklets), 200 pages, 19.5 x 25.4 cm
Published by Marsilio / Venice

$85.00 - Out of stock

(more...)

(...less)

Edited by Danh Vo, Caroline Bourgeois, Julie Ault, Heinz Peter Knez, Stefan A. Peterson.
Exhibition curated by Danh Vo and Caroline Bourgeois
Texts by Patricia Falguieres, Elisabeth Lebovici, and Amy Zion
Photography by Heinz Peter Knes

Danh Vo’s conceptual artworks and installations often draw upon elements of personal lived experience (his own, the lives of his parents and other family members) to explore broader historical, social or political themes, particularly those relating to the history of Vietnam at the close of the twentieth century. The works shown in this book—closely related to an exhibition at the Pinault Foundation in Venice—in addition to Vo’s site-specific installations, include some curious old works of art from Venetian museums and collections, provocatively chosen by Vo to establish an unprecedented dialogue between past and present.

Beautifully designed, comprehensive exhibition catalogue with two inserted booklets (text book with words by Patricia Falguieres, Elisabeth Lebovici, and Amy Zion; and exhibition guide/artist profile book and work list), with the main book entirely made up of elegant colour photographic imagery by Heinz Peter Knez of the exhibition itself and the wonderful collection of works assembled. Profusely illustrated with installation views, works and details, featuring the work of Leonor Antunes, Nairy Baghramian, Giovanni Bellini, Constantin Brancusi, Marcel Broodthaers, Giovanni Buonconsigliodetto Il Marescalco, Hubert Duprat, Michael Elmgreen & Ingar Dragset, Luciano Fabro, Peter Fischli and David Weiss, Felix Gonzalez-Torres, Petrit Halilaj, David Hammons, Roni Horn, Peter Hujar, Tetsumi Kudo, Bertrand Lavier, Zoe Leonard, Francesco Lo Savio, Lee Lozano, Robert Manson, Piero Manzoni, Sadamasa Motonaga, Jean-Luc Moulène, Henrik Olesen, Pablo Picasso, Sigmar Polke, Carol Rama, Charles Ray, Auguste Rodin, Cameron Rowland, Andres Serrano, Nancy Spero, Sturtevant, Alina Szapocznikow, Paul Thek, Harald Thys & Jos Degruyter, Danh Vo, David Wojnarowicz, Martin Wong.

File under: Alina Szapocznikow Andres Serrano Auguste Rodin Bertrand Lavier Cameron Rowland Carol Rama Charles Ray Constantin Brâncuși Danh Vo David Hammons David Wojnarowicz Elmgreen & Dragset Felix Gonzalez-Torres Francesco Lo Savio Giovanni Bellini Heinz Peter Knes Henrik Olesen Hubert Duprat Jean-Luc Moulène Jos de Gruyter & Harald Thys Julie Ault Lee Lozano Leonor Antunes Luciano Fabro Marcel Broodthaers Martin Wong Nairy Baghramian Nancy Spero Pablo Picasso Paul Thek Peter Fischli & David Weiss Peter Hujar Petrit Halilaj Piero Manzoni Robert Manson Roni Horn Sadamasa Motonaga Sigmar Polke Sturtevant Tetsumi Kudo Zoe Leonard Amy Zion Caroline Bourgeois Danh Vo Elisabeth Lebovici Julie Ault Patricia Falguières Stefan A. Peterson Marsilio / Venice Art Photography Sculpture / Installation Painting Arte Povera Curatorial Conceptual Art

Lee Lozano

2010, English
Softcover, 280 pages, 28.7 x 22 x 2.5 cm
1st edition, Out of print title / As New,
Published by Hatje Cantz / Berlin Moderna Museet / Stockholm

$90.00 - Out of stock

(more...)

(...less)

ext by Iris Müller-Westermann, Jo Applin, Lucy R. Lippard, Benjamin Meyer-Krahmer.

Mystery shrouds the American avant-garde artist Lee Lozano (1930–1999), and yet at the same time she is one of the least-known great artists of theNew York art scene of the sixties and early seventies. Working during the transition from Pop Art to Minimalism and Conceptual Art, Lozano created a radical, frequently obscene, and extremely provocative body of work in a world dominated by her male counterparts. Her brief career ended in the early seventies when she withdrew from the New York art scene, a move she presented in her Dropout Piece.

Only recently has there been more interest in Lozano’s art, as the presence of her work at the documenta 12 and elsewhere demonstrates. The publication of this volume coincides with a retrospective of her works and undertakes a new presentation of Lozano’s multifaceted oeuvre, ranging as it does from surreal pictorial worlds and large-format minimalist paintings to conceptual works from the late sixties.

File under: Lee Lozano Benjamin Meyer-Krahmer Iris Müller-Westermann Jo Applin Lucy R. Lippard Hatje Cantz / Berlin Moderna Museet / Stockholm Art Drawing Out-of-print / Rare Painting

Lee Lozano
Dropout Piece (Afterall One Work Series)

2014, English
Softcover, 120 pages, 15.2 x 22 cm
Published by Afterall / London The MIT Press / Massachusetts

$34.00 - Out of stock

(more...)

(...less)

The artist Lee Lozano (1930–1999) began her career as a painter; her work rapidly evolved from figuration to abstraction. In the late 1960s, she created a major series of eleven monochromatic Wave paintings, her last in the medium. Despite her achievements as a painter, Lozano is best known for two acts of refusal, both of which she undertook as artworks: Untitled (General Strike Piece), begun in 1969, in which she cut herself off from the commercial art world for a time; and the so-called Boycott Piece, which began in 1971 as a month-long experiment intended to improve communication but became a permanent hiatus from speaking to or directly interacting with women. In this book, Sarah Lehrer-Graiwer examines Lozano’s Dropout Piece, the culmination of her practice, her greatest experiment in art and endurance, encompassing all her withdrawals, and ending only with her burial in an unmarked grave.

And yet, although Dropout Piece is among Lozano’s most important works, it might not exist at all. There is no conventional artwork to be exhibited, no performance event to be documented. Lehrer-Graiwer views Dropout Piece as leveraging the artist’s entire practice and embodying her creative intelligence, her radicality, and her intensity. Combining art history, analytical inquiry, and journalistic investigation, Lehrer-Graiwer examines not only Lozano’s act of dropping out but also the evolution over time of Dropout Piece in the context of the artist’s practice in New York and her subsequent life in Dallas.

About the Author
Sarah Lehrer-Graiwer is an art writer and curator based in Los Angeles, where she teaches at Otis College of Art and Design, publishes Pep Talk, and runs the experimental art venue The Finley Gallery. Her writing has appeared in such publications as Artforum, ArtReview, Art in America, Artonpaper, ArtSlant, Mousse, and exhibition catalogs.

File under: Lee Lozano Lee Lozano Sarah Lehrer-Graiwer Afterall / London The MIT Press / Massachusetts Art Theory / Essay

Joint Dialogue
Lozano/Graham/Kaltenbach

2010, English
Softcover, 132 pp. (b&w ill.), 21.7 x 16.5 cm.
Published by Overduin and Kite / Los Angeles

$20.00 - Out of stock

(more...)

(...less)

Catalogue produced on the occasion of "Joint Dialogue - Lozano/Graham/Kaltenbach" curated by Sarah Lehrer-Graiwer at Overduin and Kite, Los Angeles, January 31st-March 13th, 2010.

“Joint Dialogue” investigates the intersecting material histories of Lozano, Graham and Kaltenbach at the end of the 1960s in New York. It’s about close personal relationships between artists and the way ideas are traded down forking paths of influence to become variously manifest, suppressed, and rerouted in art. It’s about three related but divergent models of how being an artist dictates an extreme experience of consciousness, one in which the self is constantly lost and refound, or, as Lozano put it, a total revolution simultaneously personal and public. It’s about a transformative time in these artists’ overlapping practices that is reflective of the explosive historical period of rapid experimentation in conceptual art. It’s about real stakes- and the profundity of humor. It’s about trying to process the still astounding after-effects of Lozano’s absent body through the presence of Graham’s and Kaltenbach’s.

Motivated by Lozano’s Dialogue Piece (1969), in which stoned socializing and conversations about ideas were prioritized over art making, the structure of “Joint Dialogue” is split into two dialogues linked by Lozano, the joint. In one room, the juxtaposition of eight related and contemporaneous works establishes a conversation about drugs, sex, and money between Graham and Lozano, who were intimate friends during the time these works were made. A dialogue between Lozano and Kaltenbach, another close friend, takes place in a second room where several related works from the late 60s are joined by two never before seen time capsules by Kaltenbach and two previously unknown pieces by Lozano, remembered here by Kaltenbach.

“Joint Dialogue” is an ongoing project of personal investigation and investment for the curator who privately documents the many discoveries made throughout. The project continues to feed back great quantities of info.

Lee Lozano, Dan Graham and Stephen Kaltenbach lived and worked near each other in New York City during the late 1960s. Kaltenbach left for California in 1970. Lozano dropped out of the scene around 1972. Graham continues to live and work in New York.

Sarah Lehrer-Graiwer is a writer and curator who lives and works in Los Angeles. She is the publisher of the journal Pep-Talk.

Catalogue features texts by Sarah Lehrer-Graiwer, Dan Graham, and Stephen Kaltenbach.

File under: Dan Graham Lee Lozano Stephen Kaltenbach Sarah Lehrer-Graiwer Stephen Kaltenbach Overduin and Kite / Los Angeles Art Theory / Essay Sculpture / Installation Conceptual Art

Lee Lozano
Notebooks 1967-1970

2010, English
Softcover, 23 x 28 cm, 224 pgs (108 b/w reproductions)
Edition of 1,000. Now out of print.,
Published by Primary Information / New York

$60.00 - Out of stock

(more...)

(...less)

This publication is a compilation of Lee Lozano's notebooks from 1967-1970, and the three included here contain her seminal "Language Pieces" and drawings for her paintings, including 12 studies for her 11-panel masterpiece, "Wave Series."

Lee Lozano (1930-1999) was an enigmatic artist making a diverse body of drawings, paintings and conceptual works. While prolific, her production was limited to her time in New York from the early 1960s to the early 1970s. She was very actively engaged with other artists in New York until she decided to leave the artworld in 1972. Therefore much of her work has been difficult for the public to access until recently, when a few international museums staged surveys of her work. From the time of her boycott until her death, Lozano was an artist working conceptually but no longer participated actively in the commercial art world.

The pages of the notebooks contain notes and sketches related to her abstract paintings and also contain her texts, which were known as Language Pieces. The notes for the paintings and the Language Pieces in the notebooks reveal her desire to live and create art within a structured system. The individual pages of her notebooks were considered drawings, sometimes exhibited, and separated. Twenty years ago, Lozano's notebooks were photocopied and it is that record which serves as the basis for this book making Lozano's process and small graphic works, and their context, widely available for the first time.

This title is now out of print.

File under: Lee Lozano Lee Lozano Primary Information / New York Art Out-of-print / Rare