World Food Books

Parkett Vol. 30 (1991)
Sigmar Polke Issue

1991, English / German
Softcover, 200 pages, 25.5 x 21 cm
1st Edition, Out of print title / used / good
Published by Parkett / Zürich

$50.00 - Out of stock

(more...)

(...less)

1991 issue of Parkett (Vol. 30), deluxe issue created in collaboration with Sigmar Polke, lavishly illustrated with Polke's works alongside texts by Bice Curiger, Thomas McEvilley, Gary Garrels, Laszlo Glozer, Dave Hickey, Gabriele Wix, G. Roger Denson, Anne Rorimer, Laura Cottingham. And an Insert by Glenn Ligon. Spine by Niele Toroni. Additional texts are by Edward Leffingwell and Lawrence Weiner “When You Offer Stones You Get Stones,” Andrei Kowaljow “François Boucher.” Also feature articles: When You Offer Stones You Get Stones by Edward Leffingwell & Lawrence Weiner; François Boucher by Andrei Kowaljow; On curating exhibitions of site-specific public sculpture by Dan Cameron; Reflections on a space for creation by Gloria Moure; Michael Asher by Anne Rorimer; Overstepping, Les Infos du Paradis by Carin Kuoni; December, 1989: After the Fact by Richard Flood; and more.

Founded in the early 1980s in Zurich, with an office also in New York City, , Parkett was international art magazine that aimed to foster an open dialogue between the artistic communities of Europe and America, with the goal to actively and directly collaborate with important international artists whose oeuvre was explored in several essays by leading writers and critics in both German and English. By 2017, Parkett had published 100 volumes with some 180 monographs and over 1500 in-depth texts making it one of the most comprehensive libraries on contemporary art worldwide. Critics, curators, art historians, and other commentators join in the conversation contained within its pages. Many write on the collaborating artists; some write opinions under a variety of topic headings that recur issue to issue; others write on additional artists and ideas. The result is more of a curated event-between-covers than a typical art magazine with reviews and news items.

Average—Good copy with marking and wear.

File under: Sigmar Polke Glenn Ligon Michael Asher Niele Toroni Lawrence Weiner Bice Curiger Thomas McEvilley Gary Garrels Laszlo Glozer Dave Hickey Gabriele Wix G. Roger Denson Anne Rorimer Laura Cottingham Richard Flood Gloria Moure Parkett / Zürich Periodicals Art Painting Photography Sculpture / Installation Theory / Essay Out-of-print / Rare

Exit Interview: Benjamin Buchloh in conversation with Hal Foster
By Benjamin H. D. Buchloh and Hal Foster

2024, English
Hardcover, 180 pages, 22.9 x 15.2 cm
Published by No Place Press / US

$48.00 - In stock -

(more...)

(...less)

Two of the most important voices in art history discuss their intellectual foundations, the changing role of criticism, and the possibilities for artistic practice today.

In Exit Interview, the prominent art critics and historians Hal Foster and Benjamin Buchloh discuss their intellectual foundations and the projects they've worked on together, from October magazine to Art Since 1900. Through three engaging conversations, Foster engages Buchloh on his early influences and aspirations, his formative years in Berlin, London, and Dusseldorf, and his career in North America, while exploring the impact of other art historians and critics. Buchloh candidly addresses his successes, critical significance, and unexplored avenues in art history, providing a unique window into his motivations and experiences. With a powerful postface by Buchloh, Exit Interview builds from biography and anecdote to important reflection on one's critical life as a whole.

File under: Hans Haacke Andy Warhol Polke Gerhard Richter Louise Lawler Marcel Broodthaers Jack Smith Blinky Palermo Daniel Buren Michael Asher Thomas Hirschhorn Gabriel Orozco Anselm Kiefer Yvonne Rainer Isa Genzken Jenny Holzer Dan Graham Martha Rosler Benjamin H. D. Buchloh Hal Foster No Place Press / US Theory / Essay Art Sociology / Politics Painting Performance / Dance / Theater Sculpture / Installation Film / Video Conceptual Art Pop Art

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

The Artist in the Counterculture : Bruce Conner to Mike Kelley and Other Tales from the Edge
by Thomas Crow

2023, English
Hardcover (w. dust jacket), 288 pages, 25.4 x 19 cm
Published by Princeton University Press / New York

$89.00 - Out of stock

(more...)

(...less)

How California's counterculture of the 1960s to 1980s profoundly shaped—and was shaped by—West Coast artists.

The 1960s exert a special fascination in modern art. But most accounts miss the defining impact of the period's youth culture, largely incubated in California, on artists who came of age in that decade. As their prime exemplar, Bruce Conner, reminisced, "I did everything that everybody did in 1967 in the Haight-Ashbury. . . . I would take peyote and walk out in the streets." And he vividly channeled those experiences into his art, while making his mark on every facet of the psychedelic movement—from the mountains of Mexico with Timothy Leary to the rock ballrooms of San Francisco to the gilded excesses of the New Hollywood. In The Artist in the Counterculture, Thomas Crow tells the story of California art from the 1960s to the 1980s—some of the strongest being made anywhere at the time—and why it cannot be understood apart from the new possibilities of thinking and feeling unleashed by the rebels of the counterculture.

Crow reevaluates Conner and other key figures—from Catholic activist Corita Kent to Black Panther Emory Douglas to ecological witness Bonnie Ora Sherk—as part of a generational cohort galvanized by resistance to war, racial oppression, and environmental degradation. Younger practitioners of performance and installation carried the mindset of rebellion into the 1970s and 1980s, as previously excluded artists of color moved to the forefront in Los Angeles. Mike Kelley, their contemporary, remained unwaveringly true to the late countercultural flowering he had witnessed at the dawn of his career.

The result is a major new account of the counterculture's enduring influence on modern art.

File under: Sister Corita Kent Emory Douglas Mike Kelley Bruce Conner Raymond Pettibon Bas Jan Ader Allen Ruppersberg The Cockettes Sun Ra Sun Ra Arkestra John Baldessari Asco Terry Fox Robert Smithson Michael Asher Lewis Baltz Chris Burden Bonnie Ora Sherk Jenny Lens Gary Grimshaw Vija Clemens Martha Rosler Öyvind Fahlström Senga Nengudi Mowry Baden David Hammons Alexis Smith Helene Winer James Turrell Rupert Garcia Irving Petlin Thomas Crow Princeton University Press / New York Sculpture / Installation Sound / Music Counterculture Sociology / Politics Performance / Dance / Theater Theory / Essay Art Conceptual Art Film / Video Photography Protest / Revolt

Michael Asher
Le Consortium, Dijon Postcard edition

1991, French / English
16 colour postcards, 15 × 10.5 cm
1st Edition, Out of print title / as new
Published by Le Consortium / Dijon

$180.00 - Out of stock

(more...)

(...less)

Out of print sealed postcard set produced on the occasion of Michael Asher’s exhibition at Le Consortium Dijon, 7 June – 27 July 1991.

The work on show in Dijon depicted the heating systems in the basements of sixteen of the well-known architectural landmarks in a city famous for its tourism. On the walls of the exhibition space Asher exactly reproduced the schematic engineering diagrams of interior axial cuts for the heaters belonging to each of the buildings chosen. Painted in black at the same height as the actual heaters, the diagrams, on a purely formal level, presented eccentric shapes and seemingly abstract designs while expressing vigilant precision and regulated linearity.

A set of colour postcards, meant to have been sold in the city at souvenir stores and available for viewing and purchase at the reception desk, completed the exhibition as a whole. The photographs of the heaters-displayed on postcards as if they were historic monuments or scenic views-correlated with the schematic wall drawings, grounding them in the functional reality of furnaces composed of oil burners, water heaters, pressure tanks, gages, pipes, and so on.

Photography by Pascal Pique.

Michael Asher (1943–2012) is an internationally renowned pioneer of institutional critique and conceptual art. Since the mid-1960s he has explored how museums and other institutions frame the art experience for viewers and influence the cultural dialogue. His interventions use elements that exist or existed at the site.

Still sealed, As New copies. Limited edition.

File under: Michael Asher Le Consortium / Dijon Out-of-print / Rare Objects / Ephemera / A/V Conceptual Art Sculpture / Installation

Michael Asher

1992, English / French
Softcover, 190 pages, 27.4 x 22.8 cm
1st Edition, Out of print title / as new
Published by Le Consortium / Dijon

$69.00 - In stock -

(more...)

(...less)

The book presents an exhibition of Michael Asher at The Consortium, Dijon, France, June 7 - July 27, 1991. The book reproduces 16 postcards, installation photography of the exhibit, plus texts (english/french) by Frederik Leen and Abigail Solomon-Godeau.

Michael Asher was born in 1943, the artist lives and works in Los Angeles.

File under: Michael Asher Le Consortium / Dijon

Michael Asher
The Renaissance Society at The University of Chicago January 21-March 4, 1990

1991, English
Softcover, 64 pages, 23 x 23 cm
1st edition / Out of print title / As New,
Published by The Renaissance Society / Chicago

$55.00 - In stock -

(more...)

(...less)

"The dwelling, the walls, the windows, the roof, the furniture, the pictures, the ornaments, the dress, the fence or hedge-all act constantly upon the imagination and determine its contents."—Charles Henderson

In 1990, Asher, armed with his characteristic incisive wit and critical intellect, set out to dig through the historical foundations of the Renaissance Society's Bergman Gallery at the University of Chicago. This exhibition marks Asher's shift from physically altering gallery spaces to using text and documentation as a manifestation of the ideological backgrounds for exhibitions. Revealing the underlying intellectual and social coordinates of the Society by juxtaposing writings from early University of Chicago scholars of the American Arts and Crafts Movement with the U.S. patent numbers for various gallery fixtures, Asher's exhibition was a brilliant contribution to the movement of institutional critique.

With detailed and thorough reproductions of the installation alongside scholarly essays by Birgit Pelzer and Anne Rorimer, this publication offers an intensive analysis of Asher's project for the Renaissance Society. It is an essential addition to the library of anyone with an interest in museum studies or site-specific art practices.

File under: Michael Asher Anne Rorimer Birgit Pelzer The Renaissance Society / Chicago Art Out-of-print / Rare Conceptual Art Minimal Art

The Return of The Real
by Hal Foster

1996, English
Softcover, 328 pages, 18 x 22.2 cm
1st Edition, Out of print title / used / very good
Published by The MIT Press / Massachusetts

$69.00 - Out of stock

(more...)

(...less)

In The Return of the Real Hal Foster discusses the development of art and theory since 1960, and reorders the relation between prewar and postwar avant-gardes. Opposed to the assumption that contemporary art is somehow belated, he argues that the avant-garde returns to us from the future, repositioned by innovative practice in the present. And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is pervasive today. After the models of art-as-text in the 1970s and art-as-simulacrum in the 1980s, Foster suggests that we are now witness to a return to the real -- to art and theory grounded in the materiality of actual bodies and social sites. If The Return of the Real begins with a new narrative of the historical avant-garde, it concludes with an original reading of this contemporary situation -- and what it portends for future practices of art and theory, culture and politics.

Includes the work of David Hammons, Robert Gober, Mike Kelley, Marcel Duchamp, Alexander Rodchenko, Vladimir Tatlin, Dan Flavin, Carl Andre, Jasper Johns, Daniel Buren, Marcel Broodthaers, Michael Asher, Hans Haacke, Fred Wilson, Silvia Kolbowski, Larry Bell, Sol Lewitt, Richard Serra, Eva Hesse, Donald Judd, Tony Smith, Robert Morris, Robert Smithson, Jeff Koons, Haim Steinbach, Peter Halley, Ashley Bickerton, Ross Bleckner, Barbara Kruger, Sherrie Levine, Vito Acconci, Bruce Nauman, Gordon Matta-Clark, Frank Stella, Robert Rauschenberg, Andy Warhol, Allan McCollum, Gerhard Richter, Richard Estes, Richard Prince, Cindy Sherman, Kiki Smith, John Miller, Zoe Leonard, Gran Fury, Renée Green, Dan Graham, Martha Rosler, Allan Sekula, Mary Kelly, Silvia Kolbowski, Lothar Baumgarten, Fred Wilson, Jimmie Durham, and many more.

File under: David Hammons Robert Gober Mike Kelley Marcel Duchamp Alexander Rodchenko Vladimir Tatlin Dan Flavin Carl Andre Jasper Johns Daniel Buren Marcel Broodthaers Michael Asher Hans Haacke Fred Wilson Silvia Kolbowski Larry Bell Sol Lewitt Richard Serra Eva Hesse Donald Judd Tony Smith Robert Morris Robert Smithson Jeff Koons Haim Steinbach Peter Halley Ashley Bickerton Ross Bleckner Barbara Kruger Sherrie Levine Vito Acconci Bruce Nauman Gordon Matta-Clark Frank Stella Robert Rauschenberg Andy Warhol Allan McCollum Gerhard Richter Richard Estes Richard Prince Cindy Sherman Kiki Smith John Miller Zoe Leonard Gran Fury Renée Green Dan Graham Martha Rosler Allan Sekula Mary Kelly Lothar Baumgarten Jimmie Durham Hal Foster The MIT Press / Massachusetts Theory / Essay Out-of-print / Rare Art Painting Sculpture / Installation Film / Video Photography Conceptual Art Minimal Art Pop Art Dada

Michael Asher
Writings 1973–1983 on Works 1969–1979

2021, English
Softcover, 240 pages, 21.5 x 30.5 cm
Published by Primary Information / New York

$84.00 - In stock -

(more...)

(...less)

Writings 1973–1983 on Works 1969–1979 is an essential document of a decade of formative work by Michael Asher. Originally published in 1983, the book presents 33 works through the artist’s writings, photographic documentation, architectural floor plans, exhibition announcements, and other ephemera.

Asher did not create traditional art objects; instead, he chose to alter the existing institutional apparatus through which art is presented, creating work dependent on the architectural, social, or economic systems that undergird how art is produced and experienced. For example, in 1974, he removed the partition wall dividing the office and gallery space of the Claire Copley Gallery in Los Angeles. In another work from 1978, Asher had a bronze replica of a nineteenth-century sculpture of George Washington moved from the exterior of the Art Institute of Chicago to a room in the museum that housed eighteenth-century art, changing its location, but also its function from a public monument to an indoor sculpture, as it was originally intended.

Due to its site specificity and immateriality, Asher’s work ceased to exist after an exhibition, which makes this highly sought-after book the definitive mode through which one can gain insight into the work he made during this period. As the artist states in the introduction: “This book as a finished product will have a material permanence that contradicts the actual impermanence of the art-work, yet paradoxically functions as a testimony to that impermanence of my production.”

Initiated by Kasper König, Writings 1973-1983 on Works 1969-1979 was originally co-published by the Press of the Nova Scotia College of Art and Design and the Museum of Contemporary Art, Los Angeles, and was largely shaped by Asher’s close collaboration with art historian Benjamin H.D. Buchloh, who succeeded König as editor of the press.

Managing Editor: James Hoff
Managing Designer: Rick Myers

File under: Michael Asher Michael Asher Benjamin H. D. Buchloh Primary Information / New York Art Theory / Essay Minimal Art Conceptual Art Sculpture / Installation

Art After Conceptual Art
Edited by Alexander Alberro and Sabeth Buchmann

2006, English
Softcover, 240 pages, 23 x 14 cm
Published by The MIT Press / Massachusetts

$79.00 - Out of stock

(more...)

(...less)

Art After Conceptual Art tracks the various legacies of conceptualist practice over the past three decades. This collection of essays by art historians and artists from Europe and the Americas (including Benjamin H. D. Buchloh, Helen Molesworth, Isabelle Graw, Thomas Crow, Helmut Draxler, Alexander Alberro, Sabeth Buchmann, Henrik Oelsen, Edit András) introduces and develops the idea that conceptual art generated several different, and even contradictory, forms of art practice. Some of these contested commonplace assumptions of what art is; others served to buttress those assumptions. The bulk of the volume features newly written and highly innovative essays challenging standard interpretations of the legacy of conceptualism and discussing the influence of conceptualism's varied practices on art since the 1970s. The essays explore topics as diverse as the interrelationships between conceptualism and institutional critique, neoexpressionist painting and conceptualist paradigms, conceptual art's often-ignored complicity with design and commodity culture, the specific forms of identity politics taken up by the reception of conceptual art, and conceptualism's North/South and East/West dynamics. A few texts that continue to be crucial for critical debates within the fields of conceptual and postconceptual art practice, history, and theory have been reprinted in order to convey the vibrant and ongoing discussion on the status of art after conceptual art. Taken together, the essays will inspire an exploration of the relationship between postconceptualist practices and the beginnings of contemporary art.

File under: Michael Asher Dan Graham Maria Eichhorn Maria Eichhorn Mathias Poledna Martha Rosler Daniel Buren Louise Lawler Christopher Williams Bas Jan Ader Judy Chicago Mary Kelly Mierle Laderman Ukeles Lygia Clark Adrian Piper Piero Manzoni Douglas Huebler Markus Lüpertz Nils Norman Jarosław Kozłowski Christopher D'Arcangelo Fareed Armaly Dorit Margreiter Alexander Alberro Sabeth Buchmann Benjamin H. D. Buchloh Helen Molesworth Isabelle Graw Thomas Crow Helmut Draxler Henrik Oelsen Edit András The MIT Press / Massachusetts Conceptual Art Minimal Art Sculpture / Installation Film / Video Art Theory / Essay Photography

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

Situation Aesthetics: The Work of Michael Asher
by Kirsi Peltomaki

2014, English
Softcover, 240 pages, 17.5 x 22.8 cm
Published by The MIT Press / Massachusetts

$39.00 - Out of stock

(more...)

(...less)

Michael Asher doesn't make typical installations. Instead, he extracts his art from the institutions in which it is shown, culling it from collections, histories, or museums' own walls. Since the late 1960s, Asher has been creating situations that have not only taught us about the conditions and contexts of contemporary art, but have worked to define it. In Situation Aesthetics, Kirsi Peltomaki examines Asher's practice by analyzing the social situations that the artist constructs in his work for viewers, participants, and institutional representatives (including gallery directors, curators, and other museum staff members). Drawing on art criticism, the reports of viewers and participants in Asher's projects, and the artist's own archives, Peltomaki offers a comprehensive account of Asher's work over the past four decades. Because of the intensely site-specific nature of this work, as well as the artist's refusal to reconstruct past works or mount retrospectives, many of the projects Peltomaki discusses are described here for the first time. By emphasizing the social and psychological sites of art rather than the production of autonomous art objects, Peltomaki argues, Asher constructs experientially complex situations that profoundly affect those who encounter them, bringing about both personal and institutional transformation.

File under: Michael Asher Kirsi Peltomäki The MIT Press / Massachusetts Art Theory / Essay Conceptual Art Minimal Art Sculpture / Installation

Public Knowledge : Selected Writings of Michael Asher
Edited by Kirsi Peltomäki

2019, English
Hardcover (w. dust jacket), 264 pages, 17.8 x 22.9 cm
Published by The MIT Press / Massachusetts

$50.00 - Out of stock

(more...)

(...less)

Writings by the conceptual artist Michael Asher—including notes, proposals, exhibition statements, and letters to curators and critics—most published here for the first time.

The California conceptual artist Michael Asher (1943–2012) was known for rigorous site specificity and pioneering institutional critique. His decades of teaching at CalArts influenced generations of artists. Much of Asher's artistic practice was devoted to creating works that had no lasting material presence and often responded to the material, social, or ideological context of a situation. Because most of Asher's artworks have ceased to exist, his writings about them have special significance. Public Knowledge collects writings by Asher about his work—including preliminary notes and ideas, project proposals, exhibition statements, and letters to curators and critics—most of which have never been previously published.

Asher gave few interviews, didn't write art criticism, and rarely published extensive accounts of his own work. Yet writing was central to his artistic practice, serving as a tool for working out ideas, negotiating institutional parameters, and describing thought processes. In these texts, he considers writing and documentation, discusses artistic practice, offers notes for gallery and museum talks, presents artist statements for exhibition-goers, describes individual works and their situational context, and reflects on teaching and art education. Among other things, Asher provides his definition of site specificity, addresses the function of art in public space, and analyzes the intersection of teaching art and institutional models of education. Readers will see an artist at work, formulating ethical and political strategies for making art in a situational world.

File under: Michael Asher Michael Asher Kirsi Peltomäki The MIT Press / Massachusetts Art Theory / Essay Conceptual Art

Neo-Avantgarde and Culture Industry : Essays on European and American Art from 1955 to 1975
By Benjamin H. D. Buchloh

2003, English
Softcover, 632 pages, 17.8 x 22.9 cm
Published by The MIT Press / Massachusetts October Books / New York

$130.00 - In stock -

(more...)

(...less)

Eighteen essays written by Buchloh over the last twenty years, each looking at a single artist within the framework of specific theoretical and historical questions.

Some critics view the postwar avant-garde as the empty recycling of forms and strategies from the first two decades of the twentieth century. Others view it, more positively, as a new articulation of the specific conditions of cultural production in the postwar period. Benjamin Buchloh, one of the most insightful art critics and theoreticians of recent decades, argues for a dialectical approach to these positions.This collection contains eighteen essays written by Buchloh over the last twenty years. Each looks at a single artist within the framework of specific theoretical and historical questions. The art movements covered include Nouveau Realisme in France (Arman, Yves Klein, Jacques de la Villegle) art in postwar Germany (Joseph Beuys, Sigmar Polke, Gerhard Richter), American Fluxus and pop art (Robert Watts and Andy Warhol), minimalism and postminimal art (Michael Asher and Richard Serra), and European and American conceptual art (Daniel Buren, Dan Graham). Buchloh addresses some artists in terms of their oppositional approaches to language and painting, for example, Nancy Spero and Lawrence Weiner. About others, he asks more general questions concerning the development of models of institutional critique (Hans Haacke) and the theorization of the museum (Marcel Broodthaers); or he addresses the formation of historical memory in postconceptual art (James Coleman). One of the book's strengths is its systematic, interconnected account of the key issues of American and European artistic practice during two decades of postwar art. Another is Buchloh's method, which integrates formalist and socio-historical approaches specific to each subject.

File under: Arman Yves Klein Jacques de la Villegle Joseph Beuys Sigmar Polke Gerhard Richter Robert Watts Andy Warhol Michael Asher Richard Serra Daniel Buren Dan Graham Nancy Spero Lawrence Weiner Marcel Broodthaers James Coleman Hans Haacke Benjamin H. D. Buchloh The MIT Press / Massachusetts October Books / New York Theory / Essay Painting Nouveau Réalisme / Zero / Kinetic Art Sculpture / Installation Pop Art Fluxus Minimal Art Conceptual Art

Towards an Aesthetics of Production
by Sebastion Egenhofer

2018, English
Softcover, 208 pages, 14 x 22.5 cm

$57.00 - Out of stock

(more...)

(...less)

Throughout the twentieth century, art history has been too narrowly focused on formalism. As a result, analyses regularly reduced works of art to their materials, texture, and composition. By contrast, art historian Sebastian Egenhofer takes Gilles Deleuze's readings of Spinoza, Nietzsche, and Bergson as the basis for a new resistance to the overly reductive account of art history. After laying out his argument for a new aesthetics of production in introductory chapters that discuss the work of Spinoza, Nietzsche, and Bergson, as well as Heidegger and Kant, Egenhofer applies this theoretical framework to case studies on Michael Asher, Marcel Duchamp, Thomas Hirschhorn, and Piet Mondrian. An aesthetics of production does not, he argues, imply a nostalgia for the artisanal or for a work of art's singularity, but a way to bring together elements of critical materialism with a thorough reevaluation of the modern art and abstraction.

File under: Michael Asher Marcel Duchamp Thomas Hirschhorn Piet Mondrian Art Theory / Essay Conceptual Art Minimal Art Dada

Support Structures
Céline Condorelli (Ed.)

2009, English
Softcover, 438 pages, 14.8 x 21 cm
2nd Edition,
Published by Sternberg Press / Berlin

$60.00 - Out of stock

(more...)

(...less)

2015 re-print of this fantastic and hugely popular book from 2009.

Essays by Bart De Baere, Céline Condorelli, Mark Cousins, Wouter Davidts, Jean-Claude Lebensztejn, Andrea Phillips, Jaime Stapleton, Jan Verwoert, Eyal Weizman & Rony Brauman

With works by Michael Asher, Artist Placement Group, Can Altay, Conrad Atkinson, Adam Broomberg & Oliver Chanarin, Lonnie van Brummelen & Siebren de Haan, Banu Cennetoglu, Christopher D’Arcangelo, Martin Beck, Cevdet Erek, Andrea Fraser, Buckminster Fuller, Ryan Gander, Ella Gibbs, Frederick Kiesler, Lucy Kimbell, James Langdon, El Lissitzky, Peter Nadin, The offices of Peter Fend, Coleen Fitzgibbon, Jenny Holzer, Peter Nadin, Richard Prince & Robin Winters,” Gordon Matta-Clark, Antoni Muntadas, Lilly Reich, Support Structure, Rirkrit Tiravanija, Lawrence Weiner, Christopher Williams, Carey Young, a.o.

Support Structures is a manual for what bears, sustains, and props, for those things that encourage, care for, and assist; for that which advocates, articulates; for what stands behind, frames, and maintains: it is a manual for those things that give support. While the work of supporting might traditionally appear as subsequent, unessential, and lacking value in itself, this manual is an attempt to restore attention to one of the neglected, yet crucial modes through which we apprehend and shape the world.

Support Structures is a critical enquiry into what constitutes “support,” and documents the collaborative project “Support Structure” by Céline Condorelli and Gavin Wade. While registering and collecting reference projects in a new archive of support structures alongside its ten-phase project, different writers, thinkers, and practitioners were invited from various fields to elaborate on frameworks and work on texts , which form the theoretical backbone of the publication. The collection of contributions offers different possibilities for engaging in this unchartered territory, from propositions to projects, existing systems to ones invented for specific creative processes.

Support Structures offers support through potential methodologies, inspirations and activations for practice, and addresses important questions for art and architecture practices on forms of display, organization, articulation, appropriation, autonomy, and temporariness, and the manifestations of blindness towards them.

Produced in co-production with Support Structure:
Celine Condorelli and Gavin Wade with James Langdon
www.supportstructures.org

Design by James Langdon

File under: Adam Broomberg Andrea Fraser Antoni Muntadas Artist Placement Group Buckminster Fuller Can Altay Carey Young Cevdet Erek Christopher D’Arcangelo Christopher Williams Coleen Fitzgibbon Conrad Atkinson El Lissitzky Ella Gibbs Frederick Kiesler Gordon Matta-Clark James Langdon Jenny Holzer Lawrence Weiner Lilly Reich Lonnie van Brummelen Lucy Kimbell Martin Beck Michael Asher Oliver Chanarin Peter Nadin Richard Prince Rirkrit Tiravanija Robin Winters Ryan Gander Siebren de Haan Banu Cennetoğlu Andrea Phillips Bart De Baere Céline Condorelli Eyal Weizman Jaime Stapleton Jan Verwoert Jean-Claude Lebensztejn Mark Cousins Rony Brauman Wouter Davidts Sternberg Press / Berlin Architecture / Interior Art Theory / Essay

Tacet 3
Sound in The Arts : From Sound Space

2014, English / French
Softcover, 448 pages, 16 x 23 cm
Published by Les Presses Du Reel / Paris

$47.00 - Out of stock

(more...)

(...less)

3rd issue of the sound arts and experimental music annual review, devoted to the question of sound space.
Featuring: Alvin Lucier, Kirsi Peltomäki, Michael Asher, Seth Cluett, Jeffrey Mansfield, Michael Gallagher, María Andueza Olmedo, Arthur Stidfolde, Éric La Casa & Jean-Luc Guionnet, Christina Kubisch, Maryanne Amacher, Paul Panhuysen, Douglas Kahn, Emmanuel Holterbach, Christian Wolff, Paul Hegarty, Ivana Miladinović Prica, Tom Mays...
Tacet is a new research publication dedicated to sound arts and experimental music. Published annually and bilingually (French, English), its ambition is to create an interdisciplinary and international space of reflection for this practices, in all its aesthetic diversity.

Tacet, as John Cage showed so well in 4'33'', designates a moment of silence observed by an instrumentalist during the whole period of a movement. By extension, it becomes, as the title of this publication, a moment of introspection, of reflectivity and reflection, where music interrupts itself to give way to research and theoretical questioning.

Tacet aims, in this way, on the side of sound arts and experimental music, to contribute to the renewal of theoretical research by confronting and intersecting artists and musicians' speeches, studies coming from aesthetics and philosophy of art, from the critical renewal of musicology, from cultural studies and gender studies, from political thought, from social sciences and geography.

Tacet is part of the Ohcetecho series, dedicated to sound arts and experimental music, published by Les presses du réel (editorial board: Matthieu Saladin and Yvan Etienne).

File under: Maryanne Amacher Michael Asher Paul Panhuysen Alvin Lucier Seth Cluett María Andueza Olmedo Christina Kubisch Emmanuel Holterbach Christian Wolff Paul Hegarty Douglas Kahn Kirsi Peltomäki Arthur Stidfolde Paul Hegarty Ivana Miladinović Prica Les Presses Du Reel / Paris Art Periodicals Sound / Music Theory / Essay

Institutional Critique : An Anthology of Artists' Writings

2009, English
Hardcover, 512 pages (60 b&w ills), 178 x 229 mm
Published by The MIT Press / Massachusetts

$105.00 $80.00 - Out of stock

(more...)

(...less)

"Institutional critique" is an artistic practice that reflects critically on its own housing in galleries and museums and on the concept and social function of art itself. Such concerns have always been a part of modern art but took on new urgency at the end of the 1960s, when--driven by the social upheaval of the time and enabled by the tools and techniques of conceptual art--institutional critique emerged as a genre. This anthology traces the development of institutional critique as an artistic concern from the 1960s to the present by gathering writings and representative art projects of artists from across Europe and throughout the Americas who developed and extended the genre. The texts and artworks included are notable for the range of perspectives and positions they reflect and for their influence in pushing the boundaries of what is meant by institutional critique. Like Alberro and Stimson's Conceptual Art: A Critical Anthology this volume will shed new light on its subject through its critical and historical framing. Even readers already familiar with institutional critique will come away from this book with a greater and often redirected understanding of its significance.Artists represented include Wieslaw Borowski, Daniel Buren, Marcel Broodthaers, Groupe de Recherche d'Art Visuel, Hans Haacke, Robert Smithson, John Knight, Graciela Carnevale, Osvaldo Mateo Boglione, Guerilla Art Action Group, Art Workers' Coalition, Mierle Laderman Ukeles, Michael Asher, Mel Ramsden, Adrian Piper, The Guerrilla Girls, Laibach, Silvia Kolbowski, Andrea Fraser, Fred Wilson, Mark Dion, Maria Eichhorn, Critical Art Ensemble, Bureau d'Etudes, WochenKlausur, The Yes Men, Hito Steyerl, Andreas Siekmann.

File under: Adrian Piper Andrea Fraser Andreas Siekmann Art Workers' Coalition Bureau d'Etudes Critical Art Ensemble Daniel Buren Fred Wilson Graciela Carnevale Guerilla Art Action Group Hans Haacke Hito Steyerl John Knight Marcel Broodthaers Maria Eichhorn Mark Dion Mel Ramsden Michael Asher Mierle Laderman Ukeles Osvaldo Mateo Boglione Robert Smithson Silvia Kolbowski The Yes Men Wieslaw Borowski WochenKlausur Guerrilla Girls Alexander Alberro Blake Stimson Adrian Piper The MIT Press / Massachusetts Art Theory / Essay Performance / Dance / Theater Conceptual Art Sculpture / Installation Feminism SALE

The Big Nothing

2004, English
Softcover, 87 pages, 18.5 x 12.7 cm
1st Edition, Out of print title / as new
Published by ICA / Pennsylvania

$45.00 - Out of stock

(more...)

(...less)

Conceptions of “nothing” are one of the driving themes of twentieth-century art. One thinks of Piet Mondrian's reductivist approach to abstraction, Marcel Duchamp's contention that art resides in ideas, not objects, Mark Rothko's painterly reach for the sublime, Andy Warhol's affirmations of the vacuity of Pop culture. The Big Nothing will focus on themes of nothing, nothingness and negation in contemporary art and culture, surveying the legacy of these and other manifestations of absence made manifest in contemporary art. Artist include Gareth James, Jutta Koether, Louise Lawler, Richard Prince, Yves Klein, Bernadette Corporation, John Miller and James Welling, among others. Given its broad connotations, “nothing” provides general audiences with immediate access to looking at and thinking about the art of today.

Exhibition catalogue published in conjunction with show held May 1 - August 1, 2004. Curated and with essays by Ingrid Schaffner, Bennett Simpson, and Tanya Leighton. Additional essay by Paula Marincola. Artists include: Bas Jan Ader, Richard Artschwager, Michael Asher, Michel Auder, Jo Baer, Robert Barry, Larry Bell, Bernadette Corporation, James Lee Byars, Maurizio Cattelan, Thomas Chimes, Bruce Conner, Day Without Art, Jessica Diamond, Roe Ethridge, Lili Fleury, Rene Gabri, Jack Goldstein, Dominique Gonzalez-Foerster, Nicolas Guagnini, David Hammons, Heavy Industries, Nancy Holt, Richard Hoeck, Roni Horn, Pierre Huyghe, Gareth James, Ray Johnson, Yves Klein, Joachim Koester, Jutta Koether, Yayoi Kusama, Louise Lawler, Gordon Matta-Clark, Allan McCollum, Patrick McMullen, John Miller, Matt Mullican, Eileen Neff, Gabriel Orozco, Raphael Ortiz, Charlemagne Palestine, Philippe Parreno, William Pope.L, Doris Salcedo, Karin Schneider, Allan Sekula, Arlene Shechet, Santiago Sierra, John Smith, Robert Smithson, Paul Swenbeck, Rirkrit Tiravanija, Andy Warhol, James Welling, John Wesley, and Steve Wolfe. Includes checklist of the exhibition.

File under: Bas Jan Ader Richard Artschwager Michael Asher Michel Auder Jo Baer Robert Barry Larry Bell Bernadette Corporation James Lee Byars Maurizio Cattelan Thomas Chimes Bruce Conner Day Without Art Jessica Diamond Roe Ethridge Lili Fleury Rene Gabri Jack Goldstein Dominique Gonzalez-Foerster David Hammons Heavy Industries Nancy Holt Richard Hoeck Roni Horn Pierre Huyghe Gareth James Ray Johnson Yves Klein Joachim Koester Jutta Koether Yayoi Kusama Louise Lawler Gordon Matta-Clark Allan McCollum Patrick McMullen John Miller Matt Mullican Eileen Neff Gabriel Orozco Charlemagne Palestine Philippe Parreno William Pope.L Doris Salcedo Karin Schneider Allan Sekula Arlene Shechet Santiago Sierra John Smith Robert Smithson Paul Swenbeck Rirkrit Tiravanija Andy Warhol James Welling John Wesley Steve Wolfe Nicolás Gaugnini Raphael Montanez Ortiz Ingrid Schaffner Bennett Simpson Tanya Leighton Paula Marincola ICA / Pennsylvania Art Sculpture / Installation Painting Conceptual Art Minimal Art Pop Art Group Shows / Collections Theory / Essay Photography Performance / Dance / Theater Film / Video Curatorial Out-of-print / Rare

Beyond Objecthood : The Exhibition as a Critical Form since 1968
by James Voorhies

2017, English
Hardcover, 288 pages, 16.5 x 23.8 cm
Published by The MIT Press / Massachusetts

$69.00 - Out of stock

(more...)

(...less)

In 1968, Robert Smithson reacted to Michael Fried's influential essay "Art and Objecthood" with a series of works called non-sites. While Fried described the spectator's connection with a work of art as a momentary visual engagement, Smithson's non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery. In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through the rise of the exhibition as a critical form -- and artistic medium. Artists like Smithson, Group Material, and Michael Asher sought to reconfigure and expand the exhibition and the museum into something more active, open, and democratic, by inviting spectators into new and unexpected encounters with works of art and institutions. This practice was sharply critical of the ingrained characteristics long associated with art institutions and conventional exhibition-making; and yet, Voorhies finds, over time the critique has been diluted by efforts of the very institutions that now gravitate to the "participatory." Beyond Objecthood focuses on innovative figures, artworks, and institutions that pioneered the exhibition as a critical form, tracing its evolution through the activities of curator Harald Szeemann, relational art, and New Institutionalism. Voorhies examines recent artistic and curatorial work by Liam Gillick, Thomas Hirschhorn, Carsten Holler, Maria Lind, Apolonija Sustersic, and others, at such institutions as Documenta, e-flux, Manifesta, and Office for Contemporary Art Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blur.

James Voorhies is a curator and art historian of modern and contemporary art. He is Dean of Fine Arts and Associate Professor at California College of the Arts in San Francisco.

File under: Apolonija Šušteršič Ben Vautier Carsten Höller Daniel Buren Elmgreen & Dragset Group Material Haus-Rucker-Co James Lee Byars Joseph Beuys Josephine Meckseper Liam Gillick Maria Lind Martha Rosler Michael Asher Nils Bech Richard Serra Robert Smithson Simon Fujiwara Thomas Hirschhorn Walter de Maria Wolfgang Tillmans James Voorhies The MIT Press / Massachusetts Art Conceptual Art Curatorial Minimal Art Sculpture / Installation Theory / Essay

F.R. David
Spring 2017 : Inverted Commas

2017, English
Softcover, 240 pages, 12 x 19 cm
Published by KW Institute for Contemporary Art / Berlin Uh Books / Amsterdam

$20.00 - Out of stock

(more...)

(...less)

F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names, naming, bodies, brains, self, author, other, reader, labour.

Includes: Michael Asher, Joan Didion, Harun Farocki, Sven Lütticken, Lucy Lippard, Barbara Guest, A.H. Nijhoff, Will Holder, Pauline Oliveros, and many more.

File under: Harun Farocki Michael Asher Pauline Oliveros Will Holder A.H. Nijhoff Barbara Guest Harun Farocki Joan Didion Sven Lütticken Will Holder Lucy R. Lippard KW Institute for Contemporary Art / Berlin Uh Books / Amsterdam Art Graphic Design / Typography Fiction / Poetry Film / Video Periodicals Poetry Sound / Music Theory / Essay

Michael Asher
October Files book - Jennifer King (Ed.)

2016, English
Softcover, 200 pages, 15.2 x 23 cm
Published by October Books / New York The MIT Press / Massachusetts

$42.00 - Out of stock

(more...)

(...less)

During a career that spanned more than forty years, from the late 1960s until his death in 2012, Michael Asher created site-specific installations and institutional interventions that examined the conditions of art's production, display, and reception. At the Art Institute of Chicago, for example, he famously relocated a bronze replica of an eighteenth-century sculpture of George Washington from the museum's entrance to an interior gallery, thereby highlighting the disjunction between the statue's symbolic function as a public monument and its aesthetic origins as an artwork. Today, Asher is celebrated as one of the forerunners of institutional critique. Yet because of Asher's situation-based method of working, and his resistance to making objects that could circulate in the art market, few of his works survive in physical form. What does survive is writing by scholars and critics about his diverse practice. The essays in this volume document projects that range from Asher's environmental works and museum displacements to his research-based presentations and reflections on urban space.

Contributors: Michael Asher, Sandy Ballatore, Benjamin H. D. Buchloh, Jennifer King, Miwon Kwon, Barbara Munger, Stephan Pascher, Birgit Pelzer, Anne Rorimer, Allan Sekula

File under: Allan Sekula Michael Asher Allan Sekula Anne Rorimer Barbara Munger Benjamin H. D. Buchloh Birgit Pelzer Jennifer King Michael Asher Miwon Kwon Sandy Ballatore Stephan Pascher October Books / New York The MIT Press / Massachusetts Art Sculpture / Installation Theory / Essay

Kunst aus Los Angeles der 60er bis 90er Jahre

2007, English / German
Softcover, 48 pages (57 col. Ills.), 220 x 270 mm
Published by Walther König / Köln

$35.00 - Out of stock

(more...)

(...less)

Exhibition catalogue published in conjunction with show held at the Kunstverein Braunschweig, Germany, December 2, 2006 - February 18, 2007.
Features:Allen Ruppersberg, Bas Jan Ader, Bruce Nauman, Chris Burden, Christopher Williams, Douglas Huebler, Ed Ruscha, John Baldessari, Larry Johnson, Maria Nordman, Michael Asher, Mike Kelley, Paul McCarthy, Raymond Pettibon, Stephen Prina, William Leavitt...

File under: Allen Ruppersberg Bas Jan Ader Bruce Nauman Chris Burden Christopher Williams Douglas Huebler Ed Ruscha John Baldessari Larry Johnson Maria Nordman Michael Asher Mike Kelley Paul McCarthy Raymond Pettibon Stephen Prina William Leavitt Karola Grässlin Walther König / Köln Art Out-of-print / Rare