World Food Books

Mladen Stilinović
Artist at Work 1973-1983

2005, English / Croatian
Softcover, 120 pages, 16.5 x 23.5 cm

$35.00 - Out of stock

Edited by Branka Stipančić and Alenka Gregorič, Mladen Stilinović - Artist at Work 1973-1983, published in 2005 looks in depth this period of works exhibited in the artists work rooms, including texts about the exhibits, all the works reproduced in colour throughout the bulk of the book (paintings, collages, text works, sculptures, photographs), a worklist, interview and biography.

Mladen Stilinović (April 10, 1947 - July 18, 2016) was one of the leading figures of the so-called "New Art Practice" in Croatia and a founding member of the informal neo-avantgarde, Group of Six Artists (1975-1979), together with Vladimir Martek, Boris Demur, Željko Jerman, Sven Stilinović and Fedomir Vučemilović. He lived and worked in Zagreb, Croatia.

File under: Mladen Stilinovic Alenka Gregorič Branka Stipančić Art Conceptual Art Performance / Dance / Theater Sculpture / Installation

Mladen Stilinović
Tekstovi / Texts

2011, English / Croatian
Softcover, 72 pages, 16.2 x 23.5 cm

$16.00 - Out of stock

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Compiled in 2011 in Zegreb by Croatian conceptual artist Mladen Stilinović, Tekstovi / Texts, this collection contains texts written between 1978-2008, "which explain some of my works and standpoints regarding art, laziness, power, etc." - M.S. Some previously published, some never before, all texts are here in Croatian and also translated to English, alongside reproductions of text works, drawings, etc.

Mladen Stilinović (April 10, 1947 - July 18, 2016) was one of the leading figures of the so-called "New Art Practice" in Croatia and a founding member of the informal neo-avantgarde, Group of Six Artists (1975-1979), together with Vladimir Martek, Boris Demur, Željko Jerman, Sven Stilinović and Fedomir Vučemilović. He lived and worked in Zagreb, Croatia.

File under: Mladen Stilinovic Art Conceptual Art

Mladen Stilinović
Cinizam siromašnih / The Cynicism of The Poor

2001, English / Croatian
Softcover, 96 pages, 16.5 x 23.5 cm
Published by Museum of Contemporary Art / Zagreb

$28.00 - Out of stock

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Published to accompany the exhibition Mladen Stilinović "Cinizam siromašnih / The Cynicism of The Poor" at Museum of Contemporary Art, Zagreb, in 2001, this catalogue features texts by Nada Beroš, Tihomir Milovac, Danijel Dragojević, alongside newspaper clippings and photographs from the works Ljudi s vrećicama (Bag-People) (2001), and Pokapanje boli (Buried Pain) (2000), that present pain connected with themes from economy.

Mladen Stilinović (April 10, 1947 - July 18, 2016) was one of the leading figures of the so-called "New Art Practice" in Croatia and a founding member of the informal neo-avantgarde, Group of Six Artists (1975-1979), together with Vladimir Martek, Boris Demur, Željko Jerman, Sven Stilinović and Fedomir Vučemilović. He lived and worked in Zagreb, Croatia.

File under: Mladen Stilinovic Danijel Dragojević Nada Beroš Tihomir Milovac Museum of Contemporary Art / Zagreb Art Conceptual Art

ARTFORUM
LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE

1984, English
Hardcover (w. dust jacket), 342 pages, 270 x 280 cm
1st Edition, Out of print title / Used*,
Published by U.M.I. Research Press / Michigan

$150.00 - Out of stock

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First, hardcover edition of "LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE", the heavy 342 page volume anthology of the first 21 years of the world's most important modern and art journal. An incredibly valuable collection of art theory.

Edited by Amy Baker Sandback, designed by Roger Gorman and Mary Beath and published in 1984 by U.M.I. Research Press, this dense volume, bound in hardcover to the dimensions of a copy of ARTFORUM, begins with an Ed Kienholz review at the Ferus Gallery from ARTFORUM's June 1962 inaugural issue, and ends with Barbara Kruger reviewing the film "TRON" for the November 1982 issue. An amazing compendium of articles and reviews from the magazine's important first 21 years, featuring contributions by the likes of John Cage, Robert Morris, Kate Steinitz, Henry T. Hopkins, Don Factor, Robert Pincus-Witten, Dennis Adrian, John Coplans, Hilton Kramer, Harold Rosenberg, Henry Geldzahler, John Cage, Walter Hopps, Ed Ruscha, Allan Kaprow, Robert Rosenblum, Dan Flavin, Boris Groys, Sam Wagstaff, Billy Kluver, Lucy R. Lippard, Robert Rosenblum, Roger Shattuck, Ad Reinhardt, Mel Bochner, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Barbara Rose, Manny Farber, Michael Fried, Robert Morris, Philip Leider, Hollis Frampton, Carl Andre, Richard Serra, Lawrence Alloway, Barbara Kruger, Jane Livingston, Lizzie Borden, Kenneth Baker, Laurie Anderson, Agnes Martin, Cindy Nemser, Sidney Tillim, Annette Michelson, Rosalind Krauss, Jeremy Gilbert-Rolfe, Roberta Smith, Peter Plagens, Peter Schjeldahl, J. Hoberman, Hal Foster, Richard Flood, Carter Ratcliff, Stuart Morgan, Max Kozloff, Donald Kuspit, Dan Graham, Walter De Maria, Komar & Melamid, Edit De Ak, Lawrence Weiner, Kathy Acker, Robert Mapplethorpe, Anselm Kiefer, Thomas McEvilley, Louise Bourgeois, Ingrid Sischy, and too many more to list. Artists featured include: Josef Albers, Richard Tuttle, Jo Baer, Carl Andre, Ant Farm, Hans Arp, Max Bill, Mel Bochner, Alighiero Boetti, Lee Bontecou, Constantin Brancusi, Bertholt Brecht, Richard Avedon, Francis Bacon, Diane Arbus, Michaelangelo Antonioni, Lynda Beglis, Larry Bell, Terry Fox, James Byers, Rober Barry, Marcel Breuer, AA Bronson, Luis Buñel, Daniel Buren, Chris Burden, Joseph Beuys, Anthony Caro, Marcel Broodthaers, John Chamberlain, Paul Cézanne, Marc Chagall, Jean Cocteau, Merce Cunningham, Sonia Delauney, Walter de Maria, Bruce Connor, Jean Dubuffet, Max Ernst, Walker Evans, Dan Flavin, Marcel Duchamp, Albrecht Dürer, Lucio Fontana, Hollis Frampton, Alberto Giacometti, Eva Hesse, Gilbert & George, Philip Glass, John Cage, Nancy Graves, Dan Graham, Robert Grosvenor, Nancy Grossman, Walter Gropius, Hans Haacke, Hairy Who, David Hockney, Douglas Huebler, Jorg Immendorff, Donald Judd, Jasper Johns, Joan Jonas, Allan Kaprow, On Kawara, Ellsworth Kelly, Edward Keinholz, Paul Klee, Alison Knowles, Joseph Kosuth, Brice Marden, Agnes Martin, André Masson, Henri Matisse, Roberto Matta, Sol Lewitt, Roy Lichtenstein, Barbara Kruger, Jannis Kounellis, Markus Lüpertz, El Lissitzky, Rene Magritte, Robert Mapplethorpe, John McCracken, Mario Merz, Robert Morris, Robert Motherwell, Ree Morton, Louise Nevelson, Barnett Newman, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzio, A. R. Penck, Irving Penn, Francis Picabia, Pablo Picasso, Larry Poons, Ken Price, Yvonne Rainer, Robert Rauschenberg, Martial Raysse, Roman Polanski, Jackson Pollock, Steve Reich, Gerrit Rietveld, Alain Robbe-Grillet, Dorothae Rockburne, James Rosenquist, Mark Rothko, Robert Ryman, Lucas Samaras, Kurt Schwitters, Oscar Schlemmer, Richard Serra, Cindy Sherman, David Smith, Robert Smithson, Michael Snow, Robert Venturi, Wolf Vostell, Andy Warhol, Frank Stella, Saul Steinberg, Karlheinz Stockhausen, Bruno Taut, Jean Tinguely, Anne Truitt, Paul Wunderlich, Lawrence Weiner, Louise Bourgeois, Alfred Hitchcock, and so many more.

Very uncommon hardcover edition, with dust jacket.

Condition: Very Good (light wear to very good book and dust jacket, protected under acid-free plastic wrap. Small ex-library markings, stickers) – All care is taken to provide accurate condition details of used books, photos available on request.

File under: A.R. Penck AA Bronson Agnes Martin Alain Robbe-Grillet Alberto Giacometti Albrecht Dürer Alfred Hitchcock Alighiero Boetti Alison Knowles Allan Kaprow André Masson Andy Warhol Anne Truitt Ant Farm Anthony Caro Barbara Kruger Barnett Newman Brice Marden Bruce Conner Bruno Taut Carl Andre Chris Burden Cindy Sherman Claes Oldenburg Constantin Brâncuși Dan Flavin Dan Graham Daniel Buren David Hockney David Smith Diane Arbus Donald Judd Dorothea Rockburne Douglas Huebler Edward Kienholz El Lissitzky Ellsworth Kelly Eva Hesse Francis Bacon Francis Picabia Frank Stella Gerrit Rietveld Hairy Who Hans Haacke Henri Matisse Hollis Frampton Irving Penn Jackson Pollock James Rosenquist Jannis Kounellis Jasper Johns Jean Cocteau Jean Dubuffet Jean Tinguely Jo Baer Joan Jonas John Cage John Chamberlain John McCracken Jörg Immendorff Josef Albers Joseph Beuys Joseph Kosuth Karlheinz Stockhausen Ken Price Kenneth Noland Kurt Schwitters Larry Bell Larry Poons Lawrence Weiner Lee Bontecou Louise Bourgeois Louise Nevelson Lucas Samaras Lucio Fontana Luis Buñuel Lynda Benglis Marc Chagall Marcel Breuer Marcel Broodthaers Marcel Duchamp Mario Merz Mark Rothko Markus Lupertz Martial Raysse Max Bill Max Ernst Mel Bochner Michael Snow Nancy Graves Nancy Grossman On Kawara Pablo Picasso Paul Cézanne Paul Klee Paul Wunderlich Philip Glass Ree Morton René Magritte Richard Avedon Richard Serra Richard Tuttle Robert Grosvenor Robert Mapplethorpe Robert Morris Robert Motherwell Robert Rauschenberg Robert Ryman Robert Smithson Robert Venturi Roberto Matta Roman Polanski Roy Lichtenstein Saul Steinberg Sol Lewitt Sonia Delaunay Steve Reich Terry Fox Walker Evans Walter de Maria Walter Gropius Wolf Vostell Yvonne Rainer Michelangelo Antonioni Jean Arp (Hans Arp) James Lee Byars Merce Cunningham Oskar Schlemmer Gilbert & George Robert Barry Eduardo Paolozzi Ad Reinhardt Agnes Martin Allan Kaprow Andy Warhol Annette Michelson Anselm Kiefer Barbara Kruger Barbara Rose Billy Kluver Boris Groys Carl Andre Carter Ratcliff Cindy Nemser Claes Oldenburg Dan Flavin Dan Graham Dennis Adrian Don Factor Donald Kuspit Ed Ruscha Edit De Ak Hal Foster Harold Rosenberg Henry Geldzahler Henry T. Hopkins Hilton Kramer Hollis Frampton Ingrid Sischy J. Hoberman Jane Livingston Jeremy Gilbert-Rolfe John Cage John Coplans Kate Steinitz Kathy Acker Kenneth Baker Laurie Anderson Lawrence Alloway Lawrence Weiner Lizzie Borden Louise Bourgeois Lucy R. Lippard Manny Farber Max Kozloff Mel Bochner Michael Fried Peter Plagens Peter Schjeldahl Philip Leider Richard Flood Richard Serra Robert Mapplethorpe Robert Morris Robert Pincus-Witten Robert Rosenblum Roberta Smith Roger Shattuck Roy Lichtenstein Sam Wagstaff Sidney Tillim Stuart Morgan Thomas McEvilley Walter De Maria Walter Hopps Rosalind E. Krauss Bertolt Brecht U.M.I. Research Press / Michigan Art Arte Povera Conceptual Art Counterculture Curatorial Dada Drawing Fashion Feminism Fiction / Poetry Film / Video Fluxus Group Shows / Collections Minimal Art Out-of-print / Rare Painting Performance / Dance / Theater Periodicals Photography Pop Art Sculpture / Installation Sound / Music Theory / Essay

Camiel van Winkel
During the Exhibition the Gallery Will Be Closed: Contemporary Art and the Paradoxes of Conceptualism

2012, English
Softcover, 304 pages, 15 x 23 cm
Published by Valiz / Amsterdam

$50.00 - Out of stock

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In this compilation of essays Camiel van Winkel uncovers the conceptual roots of contemporary art. He shows that the art of today as a whole is essentially ‘post-conceptual’. The production and reception of art are determined by circumstances and factors that conceptual artists in the years 1965-75 were the first to announce: the cultural dominance of information, the professionalisation of artistic practices, and the applicability of the criteria of ‘good design’.This post-conceptual perspective offers a new and revealing insight into the systematics of contemporary art and artisthood, in particular with regard to the relation between conceptual and visual aspects, the meaning of theoretical discourse, and the role of institutions and mediators.

Camiel van Winkel writes on contemporary art and occasionally curates exhibitions. Based in Amsterdam, he teaches art theory and art philosophy at Sint-Lukas University College of Art and Design in Brussels. He is advisor at the Rijksakademie, Amsterdam. He is the author of Moderne leegte. Over kunst en openbaarheid (1999), The Regime of Visibility (2005) and De mythe van het kunstenaarschap (2007). His latest book, based on his PhD dissertation, is titled During the Exhibition the Gallery Will Be Closed. Contemporary Art and the Paradoxes of Conceptualism (Valiz, 2012).Graphic Design: Sam de Groot

File under: Frank Stella Jeff Koons Jeff Wall John Baldessari Joseph Kosuth Martin Creed Gilbert & George Camiel van Winkel Valiz / Amsterdam Art Conceptual Art Graphic Design / Typography Theory / Essay

PERMAFO 1970-1981

2013, English
Hardcover, 456 pages, 30.5 x 22.5 cm
Ed. of 500,
Published by Motto / Berlin Wroclaw Contemporary Museum / Poland

$48.00 - Out of stock

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First published in Polish in 2012 on the occasion of the exhibition Where is PERMAFO? at Wroclaw Contemporary Museum (30 November 2012- 4 February 2013). Shortly after this 2013 English edition was published in an edition of only 500 copies.

Young, vivid and unpretentious art of Wrocław of the 70s has resisted both musealization and academic discourses of art history. The artists of PERMAFO – as other Wrocław galleries of the 70s – didn’t think about making history, but about changing their lives and enjoying life. The PERMAFO gallery was founded after the famous symposium Wrocław ’70 considered to be a founding demonstration of conceptual art. After years a famous Poznań based critic has meanly said, that it is the inertia of Wrocław infrastructure what become a quantum leap of popularising conceptualism. Because almost none of the symposium projects has been realized.

That’s why the history of modern art in Wrocław is yet to be written.

An exhibition Where is PERMAFO? is the Wrocław Contemporary Museum’s attempt to tell the founders’ myth of the young, open city, through the figures of two artists Natalia LL and Andrzej Lachowicz. A beautiful and deeply in love couple makes a space and atmosphere and creates art anew – a surprising, even impossible combination of conceptual art with pop-art. In the splice of art and joie de vivre, tiny revelations appear that change the confines imposed by The People’s Republic of Poland into absurd usurpation. Soon, people appear in PERMAFO, without divisions into artists, scientists, dilettantes and devotees, discussions till dawn and certainty that all “begun in Wrocław” – modernity, art and life in a fresh context and mutual relation. The PERMAFO artists chose democratic means like photo cameras. One of the main ideas of PERMAFO – permanent registration – was completely transparent towards life. It’s life attitude that was becoming a form. Participation in art, with the preference of participating, not the work itself, caused the work become a trace of real experience and that (an not the aesthetic form) protected against ideology.

This generous monograph serves as the first and only major book to document PERMAFO.

File under: Andrzej Lachowicz Natalia LL Motto / Berlin Wroclaw Contemporary Museum / Poland Art Performance / Dance / Theater Photography Group Shows / Collections Feminism Conceptual Art

Art In The Seventies

1980, English
Softcover, 128 pages, 28 x 21.5 cm
Out of print title / used*,
Published by Cornell Paperbacks / London Phaidon / London

$38.00 $15.00 - Out of stock

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"Edward Lucie-Smith, a critic and historian of art who is deeply immersed in the works and trends of the seventies here provides the first general survey of the decade. In a volume alive with visual images that are often surprising and sometimes disturbing, he analyzes the development both of old forms and of new ones, and provides a coherent framework for the general reader."

Contents: The Popular Arts; Post Pop and Mandarin Taste; Abstract Painting; Illusionary Art; Figurative Painting; Fetish Art and Happenings; Political Art; Art as Environment and Architecture; High-Tech and the Third World, plus a biographical list of the artists featured and a "further reading" list.

Includes the work of: Stephen Willats, Lawrence Weiner, Brice Marden, Robert Mapplethorpe, Vito Acconci, Jo Baer, Joseph Beuys, Lynda Benglis, Bob Law, Philip King, Alan Kessler, On Kawara, Douglas Huebler, John Kacere, Richard Long, Robert Mangold, Philip Guston, Hans Haacke, Nancy Grossman, Robert Grosvenor, Nancy Graves, Walter de Maria, U-Fan, Claude Viallet, Nancy Spero, Peter Saul, Robert Ryman, James Rosenquist, Joel Shapiro, Sylvia Sleigh, Robert Stackhouse, Paul Thek, Giulio Paolini, Nam June Paik, Bruce Nauman, Roman Opalka, Dennis Oppenheim, Tony Cragg, Judy Chicago, Larry Bell, Daniel Buren, Chuck Close, and many more.

Condition: Very Good (general wear) – All care is taken to provide accurate condition details of used books, photos available on request.

File under: Alan Kessler Bob Law Brice Marden Bruce Nauman Chuck Close Claude Viallat Daniel Buren Dennis Oppenheim Douglas Huebler Giulio Paolini Hans Haacke James Rosenquist Jo Baer Joel Shapiro John Kacere Joseph Beuys Judy Chicago Larry Bell Lawrence Weiner Lynda Benglis Nam June Paik Nancy Graves Nancy Grossman Nancy Spero On Kawara Paul Thek Peter Saul Philip Guston Richard Long Robert Grosvenor Robert Mangold Robert Mapplethorpe Robert Ryman Robert Stackhouse Roman Opalka Stephen Willats Sylvia Sleigh Tony Cragg U-Fan Vito Acconci Walter de Maria Phillip King Edward Lucie-Smith Cornell Paperbacks / London Phaidon / London Art Arte Povera Conceptual Art Feminism Minimal Art Out-of-print / Rare Painting Photography Pop Art Sculpture / Installation Theory / Essay Group Shows / Collections SALE

Sturtevant
Warhol Marilyn (Afterall Books: One Work)

2016, English
Softcover, 104 pages, 15 x 21.6 cm
Published by Afterall / London The MIT Press / Massachusetts

$34.00 - Out of stock

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Warhol Marilyn (1965) is not a work by Andy Warhol but by the artist Elaine Sturtevant (1930--2014). Throughout her career, Sturtevant (as she preferred to be called) remade and exhibited works by other contemporary artists, among them Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg. For Warhol Marilyn, Sturtevant used one of Warhol's own silkscreens from his series of Marilyn printed multiples. (When asked how he made his silkscreened work, Warhol famously answered, "I don't know. Ask Elaine.")

In this book, Patricia Lee examines Warhol Marilyn as representing a shift in thinking about artistic authorship and originality, highlighting a decisive moment in the rethinking of the contemporary artwork. Lee describes the cognitive dissonance a viewer might feel on learning the identity of Warhol Marilyn's author, and explains that mistaken identity is part of Sturtevant's intention for the operation of the work. She discusses the ways that Sturtevant's methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber's shooting a bullet through a stack of Warhol's Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant's decision to remake the work. Lee writes that Sturtevant's critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges's "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes's masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant's work as illuminating her broader artistic aims and principles.

File under: Sturtevant Patricia Lee Afterall / London The MIT Press / Massachusetts Art Theory / Essay Conceptual Art

Sturtevant
The Brutal Truth

2005, English / German
Softcover, 376 pages, 21 x 27 cm
1st Edition, Out of print title / Used*,
Published by Hatje Cantz / Berlin

$180.00 - Out of stock

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Volume one of the two-part major publication on the artist Sturtevant, both long out of print.

Sturtevant's investigations into the duality of original and copy, object and image, similarity and difference are contributions of outstanding importance to contemporary art.

Elaine Sturtevant (1930--2014), has been concerned since the mid-1960s with one of the most important themes in Western art - the aspect of originality. Her works are reproductions of existing works by such artists as Marcel Duchamp, Roy Lichtenstein, Andy Warhol, Jasper Johns, and Frank Stella, to name only a few. Often indistinguishable from the originals, they call attention to the crucial issues of origin and difference. Designed and produced in close collaboration with the artist, this opulently illustrated publication (produced and published consecutively with another catalogue rainsonné volume) offers an unprecedented overview of the unique and unparalleled work of this American artist. This special book functions somewhat like an artist's scrapbook, reproducing rarely seen photographs of Sturtevant in her studio producing the above-mentioned works, alongside promotional imagery, exhibitions views, and sketches, drawings, plans, notes, and photos from her work production throughout her entire career. An incredible insight into her working. Edited by Udo Kittelmann, Mario Kramer and Lena Maculan, this particular book also features a great interview between Sturtevant and the great artist/film director John Waters!
Published on the largest exhibition of the artists work at the Museum für Moderne Kunst, Frankfurt/Main, September 25, 2004-January 30, 2005

Condition: Very Good – All care is taken to provide accurate condition details of used books, photos available on request.

File under: John Waters Sturtevant John Waters Lena Maculan Mario Kramer Udo Kittelmann Hatje Cantz / Berlin Art Out-of-print / Rare Conceptual Art Painting Sculpture / Installation Performance / Dance / Theater

From Conceptualism to Feminism
Lucy Lippard's Numbers Shows 1969–74

2012, English
Softcover, 304 pages (140 b&w ill.), 215 x 156mm
Published by Afterall / London Van Abbemuseum / Eindhoven Walther König / Köln

$28.00 - Out of stock

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Four exhibitions of contemporary art curated by Lucy Lippard have become renowned as her 'numbers shows'. Each took the population of the city in which it was shown as its title: 557,087 in Seattle, 955,000 in Vancouver, 2,972,453 in Buenos Aires and c.7,500 opening in Valencia, California, before touring the US and to London.

This book follows Lippard's curatorial trajectory, analysing her transition from a writer about art to a maker of exhibitions, and tracing her growing political engagement and involvement with feminism.

Extensive photographic material is complemented by a major new essay by Cornelia Butler and interviews with Seth Siegelaub and artists Agnes Denes, Alice Aycock, Eleanor Antin and Mierle Laderman Ukeles.

The volume also includes critical responses written at the time by Peter Plagens and Griselda Pollock, and an analysis of artists initiatives in Argentina that give a context for Lippard's emerging political consciousness by Pip Day.

This is the third publication in the Exhibitions Histories series, co-published with Afterall Books, London.

File under: Agnes Denes Alice Aycock Eleanor Antin Mierle Laderman Ukeles Agnes Denes Alice Aycock Cornelia Butler Eleanor Antin Griselda Pollock Mierle Laderman Ukeles Peter Plagens Pip Day Seth Siegelaub Lucy R. Lippard Afterall / London Van Abbemuseum / Eindhoven Walther König / Köln Art Theory / Essay Feminism Conceptual Art Curatorial Group Shows / Collections

When Attitudes Become the Norm
Beti Žerovc (Ed.)

2015, English
Softcover, 280 pages 14.8 x 21 cm
Published by Archive Books / Berlin

$46.00 - Out of stock

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In this book devoted to the field of curating and “institutional art”, Žerovc raises questions about the character and limitations of the “exhibition-maker as artist” and the “exhibition as a work of art”, asking whether the socio-political objectives for the latter actually manifest contradictory or even opposite effects given the inescapable conditions of capitalism. The book culminates with Žerovc’s queries about the ritualistic function of contemporary art exhibitions, and this is evocatively expressed in her introduction: “There was once great discussion about how removing artworks from their original context and installing them in the museum meant their certain death. Today, it seems, we need to be thinking about different questions. Does the institution of visual art bring something to life … what, in fact, are we summoning to life?” (Mary Anne Staniszewski)

Pierre Restany, Zoran Kržišnik, Harald Szeemann, Daniel Buren, Charles Esche, Beautiful Freedom, Walter Benjamin, Mary Anne Staniszewski

File under: Beautiful Freedom Beti Žerovc Charles Esche Daniel Buren Harald Szeemann Mary Anne Staniszewski Pierre Restany Walter Benjamin Zoran Kržišnik Archive Books / Berlin Art Conceptual Art Curatorial Theory / Essay

Simon Starling
A-Z

2016, English
Softcover (w. printed plastic jacket), 124 pages, 10.5 x 16 cm
Published by Mousse Publishing / Milan

$50.00 $10.00 - Out of stock

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Stefano Cernuschi and Abaseh Mirvali, eds.
Texts by Simon Starling and Maja McLaughlin

Simon Starling: A–Z is a pocket, non illustrated mid-career catalogue raisonné of a practice now spanning over two decades. Every work ever realized by Starling (Epsom, UK, 1967) is listed in alphabetical order and referenced in this compact guide, which also provides a bibliography and connections to other related projects. Halfway through the text flow, three photo inserts and texts by the artist and Maja McLaughlin document the exhibition projects El Eco and Bowl, Plates realized in Mexico City, at the Museo Experimental El Eco and the Luis Barragán House and Studio, in 2015.

File under: Simon Starling Maja McLaughlin Mousse Publishing / Milan Art Sculpture / Installation SALE Conceptual Art

Hans Haacke
October Files book - Rachel Churner (Ed.)

2015, English
Softcover, 264 pages, 15.2 x 23 cm
Published by October Books / New York The MIT Press / Massachusetts

$42.00 - Out of stock

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For five decades, the artist Hans Haacke (b. 1936) has created works that explore the social, political, and economic underpinnings of the production of art. His works make plain the hidden and not-so-hidden agendas of those -- from Cartier to David Koch -- who support art in the service of industry; they expose such inconvenient social and economic truths as the real estate holdings of Manhattan slumlords, and the attempts to whitewash support for the Nazi regime, apartheid, or the war on terror through museum donations. This book gathers interviews, difficult-to-find essays, cornerstones of institutional critique, and new critical approaches by writers that include Benjamin H. D. Buchloh, Jack Burnham, Rosalyn Deutsche, and Leo Steinberg. Haacke's 1971 Guggenheim exhibition was famously canceled when the artist refused to withdraw several proposed works, including one exposing the business dealings of a Manhattan real estate company. This volume includes Edward Fry's catalog text for that show, as well as Walter Grasskamp's "An Unpublished Text for an Unpainted Picture," redacted from an exhibition catalog in 1984 because of statements about the German collector Peter Ludwig. Other essays consider such topics as Haacke's controversial commission for the Reichstag; the activation of the spectator, from Condensation Cube to the Polls; the conceptual continuity of his practice with regard to General Systems Theory; and his delayed and problematic reception in both the United States and Europe. With contemporary essays and scholarly reassessments, this collection serves as an essential guide to critical thinking on Haacke's artistic practice, from the works of the 1960s that engage with physical and biological systems to his later interrogations of the social and economic underpinnings of art.

Contributors: Yve-Alain Bois, Benjamin H. D. Buchloh, Jack Burnham, Douglas Crimp, Rosalyn Deutsche, Sam Durant, Edward F. Fry, Walter Grasskamp, Rosalind Krauss, Jack McGrath, Luke Skrebowski, Leo Steinberg

File under: Hans Haacke Benjamin H. D. Buchloh Douglas Crimp Edward F. Fry Jack Burnham Jack McGrath Leo Steinberg Luke Skrebowski Rachel Churner Rosalyn Deutsche Sam Durant Walter Grasskamp Yve-Alain Bois Rosalind E. Krauss October Books / New York The MIT Press / Massachusetts Art Theory / Essay Conceptual Art

Larry Johnson
Commie Pinko Guy

2015, English
Softcover, 208 pages, 22.5 x 15 cm
Published by Koenig Books / London Raven Row / London

$49.00 - Out of stock

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As part of a generation of artists that emerged in the US in the early 1980s, Johnson is the 'artist's artist' par excellence, highly respected by fellow practitioners and students but little known outside of these circles. Edited by Bruce Hainley, this volume addresses the glaring bibliographic gap by offering an accessible overview of Johnson's work through analyses of some of his main preoccupations: queer politics and the urban landscape of LA and Hollywood mythologies. Featuring newly commissioned essays by Morgan Fisher, Bruce Hainley, Antony Hudek, Wayne Koestenbaum and Lisa Lapinski alongside other writings, this volume spans the artist's career from the early 80s to the present, heavily illustrated with text-based imagery and later cartoon-esque pieces. The glossy surfaces of Johnson's works are often combined with penetrating references to celebrity or gay culture, their look echoing the worlds of advertising and graphic design while evoking a variety of artistic traditions.

Published on the occasion of the exhibition Larry Johnson: On Location at Raven Row, London, 11 June – 9 August.

File under: Larry Johnson Morgan Fisher Pleasant Gehman Bruce Hainley Antony Hudek Larry Johnson Wayne Koestenbaum Lisa Lapinski James McCourt Boyd McDonald Duncan Smith Koenig Books / London Raven Row / London Art Photography LGBTQ+ Conceptual Art Film / Video

Supports / Surfaces
dans les collections du Centre Georges Pompidou

2000, Japanese
Softcover, 200 pages, 29.8 x 23.5 cm
1st edition, Out of print title / Used*,
Published by Museum of Contemporary Art / Tokyo

$90.00 - Out of stock

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Supports/Surfaces developed away from Paris, in the south of France, with the first major exhibition held in 1969 at the Musée d'Art Moderne de la Ville de Paris. In June 1969, during an exhibition at the Havre Museum entitled "La peinture en question", Vincent Bioulès, Louis Cane, Marc Devade, Daniel Dezeuze, Noël Dolla, Jean-Pierre Pincemin, Patrick Saytour, André Valensi, Bernard Pagès and Claude Viallat write in the catalog: "The subject of the painting is the painting itself and paintings on display refer only to themselves. They make no appeal to an "elsewhere" (the personality of the artist, his biography, history of art, for example). Early exhibtions took place in towns like Coaraze, Montpellier, Nimes and Nice in the mid-1960s. After the student revolts of 1968, the movement ratcheted up its activities, exploding in such exhibitions as "Supports/Surfaces," which took place at ARC in Paris in September 1970. These shows occurred at or around the same time as those of other French artist groups like GRAV and BMPT (Daniel Buren, Olivier Mosset, Michel Parmentier and Niele Toroni). Like them, Supports/Surfaces questioned the role of painting as both an art object and a social one.
As its name suggests, Supports/Surfaces was interested in articulating what its artists felt were all too readily ignored aspects of painting: basic concepts like 'support' and 'surface,' for example, and the presence of painting as a product of individual labor. At the same time, these artists were very much interested in painting and its own peculiar history. Daniel Dezeuze points out that he was looking for a means of “revolting against the art world and the world in general without having to make anti-art.” (Raphael Rubinstein, Polychrome Profusion: Selected Art Criticism: 1990 – 2002.) In fact, those involved with Supports/Surfaces, as Rubinstein also notes, were some of the few French artists of the period to engage directly with American Painting from Abstract Expressionism to Color Field, albeit doing so within the context of their Maoist discourse.

This scarce, Museum of Contemporary Art Tokyo catalogue gives a generous overview of the many works of the artists of Supports/Surfaces, through colour and black and white photographs across 200 pages. It also provides texts (in Japanese), interviews, historical photos of the group and their installations, work list, a chronology and a biography. This catalogue was produced to accompany a major travelling exhibition of Supports/Surfaces in Tokyo in 2000, which presented the vast collection of work from the Centre Georges Pompidou, Paris. The exhibition was also staged in Paris in 1998, for which a French edition of this book exists.

*Condition: Very Good/Fine – All care is taken to provide accurate condition details of used books, photos available on request.

File under: André Valensi Bernard Pagès Claude Viallat Daniel Dezeuze Jean-Pierre Pincemin Louis Cane Marc Devade Noël Dolla Patrick Saytour Supports/Surfaces Vincent Bioulès Museum of Contemporary Art / Tokyo Art Out-of-print / Rare Painting Conceptual Art Sculpture / Installation Minimal Art

THE LULENNIAL: A SLIGHT GESTUARY

2015, English / Spanish
Softcover w. dustjacket, 144 pages (colour & b/w ill.), 16 x 23 cm
Published by Mousse Publishing / Milan

$23.00 - Out of stock

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Fabiola Iza, Chris Sharp, eds.
Economy, “in the sense of doing a lot with a little or sometimes nothing at all,” is one of the founding principles of the Lulennial, a biennial organized by Fabiola Iza and Chris Sharp at Lulu, a 9-square meter independent space in Mexico City. The diminutive space is not necessarily a constraint if the works exhibited (and featured in this accompanying publication) are the startling outcome of slight gestures, like those created by Jirí Kovanda, Roman Ondák, Kirsten Pieroth, Wilfredo Prieto, and Martín Soto Climent, just to name some of the more than 25 participants in the exhibition. Other instigators of this peculiar attitude, the purpose of which is to achieve the maximum effect through the smallest of means, range from Billy Apple to Graciela Carnevale to Mierle Laderman Ukeles and La Monte Young, among others.

File under: Ana Roldán Ana Santos B. Wurtz Chantal Peñalosa Darren Bader Fernanda Gomes Francis Alÿs Gabriel Orozco Goran Petercol Goran Trbuljak Isaac Contreras Jenine Marsh Jiri Kovanda Karin Sander Kirsten Pieroth Lin Yilin Marie Cool Fabio Balducci Martin Soto Climent Matt Hinkley Paola de Anda Pierre Bal-Blanc Robert Barry Roman Ondák Simon Gabriel Greenberg Tania Pérez Córdova Wilfredo Prieto Yoko Ono Zarouhie Abdalian Chris Sharp Fabiola Iza Mousse Publishing / Milan Art Sculpture / Installation Fluxus Conceptual Art Group Shows / Collections

Christopher Williams
(GREEN)

2014, English
Softcover, 372 pages (colour & b/w ill.), 27 x 21 cm
Published by Walther König / Köln

$100.00 - Out of stock

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In the 1970s, Christopher Williams emerged as a key figure in the first wave of American West Coast conceptual artists, which included John Baldessari and Douglas Huebler.

Williams' work is a critical investigation of the medium of photography and more broadly the vicissitudes of industrial culture, in particular its structures of representation and classification. Using the process of reproduction as a point of entry, he manipulates the conventions of advertising, the superficiality of surface, and ultimately the history of Modernism.

This unique artist’s book is available in three editions, each with different ISBNs and different colour covers: red, yellow and green. It reproduces a carefully curated selection of the artist’s painstakingly constructed photographs and features striking graphic design in the near-complete absence of language, with no essay, captions, or even a title page. With the exception of differing cover photographs, the content of each edition is identical.

Published to coincide with Williams’ first major survey exhibition, The Production Line of Happiness at The Art Institute of Chicago, and then at The Museum of Modern Art, New York – both in 2014. The exhibition travels to Whitechapel Gallery, London in 2015.

GREEN edition.
Due to the weight of this volume, your order will likely incur additional postage costs. We will contact you with the best shipping advice upon your order, or alternatively, please email us in advance. Thank you for understanding.

File under: Christopher Williams Walther König / Köln Art Photography Conceptual Art Out-of-print / Rare

Jason Dodge
A Permanently Open Window

2014, English / Italian
Hardcover (cloth bound), 96 pages, 16 x 23 cm
Published by Mousse Publishing / Milan

$35.00 - Out of stock

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Jason Dodge's practice attempts to give new life to objects, exploring their potential and provoking the viewer's cognitive ability to imagine a corresponding narrative. Focusing on specific aspects of two works, A permanently open window and Changing the lights – From rose light to white light, from white light to rose light, by hand, over and over, Jason Dodge's artist book is not merely a documentation of his works but, in the artist's words, “a record of light changing over a day, in one case naturally and in one case manually”.

The publication was conceived and designed to accompany Jason Dodge's permanent installation realized for the Maramotti Collection, in Reggio Emilia – a permanently open window located in what was once the tower of a factory's electrical power plant, an abandoned industrial space, now transformed into a commercial outlet – and contains selected images from both projects, as well as a text.

File under: Jason Dodge Mousse Publishing / Milan Art Sculpture / Installation Conceptual Art

The &-Files: Art & Text 1981-2002
Rob McKenzie with Ross Chambers, Rex Butler, and Simon Rees

2009, English
Softcover, 116 pages, 21.5 x 17 cm
Published by IMA / Brisbane Whale & Star Press / Florida

$15.00 - Out of stock

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Modeled after the famed TV sci-fi series The X-Files, The &-Files gathers together a covert body of documents following the long and often controversial career of Art & Text, one of the landmark contemporary art magazines of the 1980s and 1990s. Founded in Melbourne, Australia, in 1981 by Paul Taylor (1957–92), who soon moved to New York City to make his mark as an art critic, the magazine went on to become one of a handful of international art magazines that succeeded in capturing the turmoil and passing brilliance of that period of postmodernism.

Perceived through the eyes and ears of its longtime publisher and editor Paul Foss, The &-Files is comprised of an open letter, a lengthy interview, two questionnaires, and other commentaries and bibliographies, offering a unique insider account of the extraordinary advantages and pitfalls of publishing an art magazine.

Paul Foss is the publishing editor of the art magazines Art & Text (Melbourne, Sydney, Los Angeles, 1981–2002) and artUS (Los Angeles, 2003-ongoing). He is a renowned translator, anthologist, and author, whose publications include Island in the Stream: Myths of Place in Australian Culture.

Robert McKenzie is an Australian artist currently based in New York.

Rex Butler teaches art history at the University of Queensland, Brisbane. His published work includes Jean Baudrillard: The Defense of the Real.

Ross Chambers is Distinguished University Professor Emeritus of French and Comparative Literature at the University of Michigan. His many books include Facing It: AIDS Diaries and the Death of the Author.

Simon Rees is a former curator at the Govett-Brewster Art Gallery, New Plymouth, New Zealand, and is currently curator at the Contemporary Art Center in Vilnius, Lithuania.

File under: Paul Foss Paul Taylor Rex Butler Robert McKenzie Ross Chambers Simon Rees IMA / Brisbane Whale & Star Press / Florida Art Theory / Essay Australian Art Group Shows / Collections Conceptual Art Pop Art Art Brut / Folk / Visionary / Fantastic

4,492,040
Lucy Lippard (1969-1974)

2013, English
460 individual cards in wrapper, 15.25 × 10.15 cm
Published by New Documents / New York

$38.00 - Out of stock

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Between 1969 and 1974, the influential curator Lucy Lippard (born 1937) curated four decisive Conceptual art exhibitions, and in doing so reinvented the exhibition catalogue. 4,492,040 is a facsimile reprint of the extremely scarce and hugely important catalogues produced for these hugely important “numbers shows” - 557,087 (the Seattle Art Museum), 955,000 (the Vancouver Art Gallery), 7,500 (the California Institute of Art) and 2,972,453 (the Centro de Arte y Comunicación). Titled after the populations of the cities in which the shows were held, each catalogue was an envelope of loose note cards containing statements, documentation and conceptual works by each artist, to be rearranged, filed or discarded at will. If Lippard described Conceptual art as the dematerialization of the art object, these catalogues effectively announced the dematerialization of the art exhibition. (One reviewer claimed Lippard had been the artist, and that her medium had been other artists.) 4,492,040 includes such iconic figures as Vito Acconci, Carl Andre, Siah Armajani, Terry Atkinson, John Baldessari, Michael Baldwin, Robert Barry, Rick Barthelme, Daniel Buren, Rosemarie Castoro, Hanne Darboven, Walter de Maria, Jan Dibbets, Christos Dikeakos, Eleanor Antin, Dan Graham, Hans Haacke, Eva Hesse, Douglas Huebler, On Kawara, Edward Kienholz Sol LeWitt, Roelof Louw, Duane Lundon, Bruce McLean, Robert Morris, N.E. Thing Co., Bruce Nauman, Adrian Piper, Allen Ruppersberg, Ed Ruscha, Richard Serra, Robert Smithson, Jeff Wall and Lawrence Weiner.

File under: Adrian Piper Allen Ruppersberg Bruce McLean Bruce Nauman Carl Andre Christos Dikeakos Dan Graham Daniel Buren Douglas Huebler Duane Lundon Ed Ruscha Edward Kienholz Eleanor Antin Eva Hesse Hanne Darboven Hans Haacke Jan Dibbets Jeff Wall John Baldessari Lawrence Weiner Michael Baldwin On Kawara Richard Serra Rick Barthelme Robert Barry Robert Morris Robert Smithson Roelof Louw Rosemarie Castoro Siah Armajani Sol Lewitt Terry Atkinson Vito Acconci Walter de Maria Jeff Khonsary Lucy R. Lippard New Documents / New York Art Objects / Ephemera / A/V Photography Theory / Essay Curatorial Conceptual Art Group Shows / Collections

Reinventing The Wheel: The Readymade Century

2013, English
Softcover, 128 pages, 17 x 21 cm
Published by MUMA / Victoria

$20.00 - Out of stock

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Publication to accompany the exhibition "Reinventing The Wheel: The Readymade Century", 3 October – 14 December 2013, Monash University Museum of Art, Victoria, Australia.

Arguably the most influential development in art of the twentieth century, the use of the readymade was set in motion 100 years ago with Marcel Duchamp’s Bicycle Wheel. Giving birth to an entire artistic language, Duchamp’s conversion of an unadorned, everyday object into a figure of high art completely inverted how people considered artistic practice. Suddenly, art was capable of being everywhere and in everything. It was a revolutionary moment in modern art, and the ripples from this epochal shift still resonate today.

Reinventing the Wheel: the Readymade Century pays tribute to this seminal work and traces the subsequent elaboration of neo-dada practices, with a particular focus upon everyday and vernacular contexts; the mysterious and libidinous potential of sculptural objects; institutional critique and nominal modes of artistic value; pop, minimalism and industrial manufacture. These discursive contexts will also provide a foundation to explore more recent tendencies related to unmonumental and social sculpture, post-fordism and other concerns, particularly among contemporary Australian artists.

Bringing together works by over 50 artists – from Duchamp and Man Ray to Andy Warhol and Martin Creed, along with some of Australia’s leading practitioners – this is a one-of-a-kind salute to an idea that continues to define the very nature of contemporary art.
Artists:

Carl Andre, Hany Armanious, Nairy Baghramian, Ian Burn, John Cage, Christo & Jeanne-Claude, Tony Cragg, Michael Craig-Martin, Martin Creed, Aleks Danko, Julian Dashper, Simon Denny, Marcel Duchamp, Sylvie Fleury, Ceal Floyer, Claire Fontaine, Gilbert & George, Félix González-Torres, Agatha Gothe-Snape, Greatest Hits, Matthew Griffin, Richard Hamilton, David Hammons, Matt Hinkley, Lou Hubbard, Barry Humphries, Jeff Koons, Joseph Kosuth, Louise Lawler, Klara Lidén, Andrew Liversidge, James Lynch, Robert MacPherson, Rob McKenzie, Callum Morton, John Nixon, Meret Oppenheim, Joshua Petherick, Kain Picken, Rosslynd Piggott, Man Ray, Scott Redford, Stuart Ringholt, Peter Saville, Charlie Sofo, Haim Steinbach, Ricky Swallow, Masato Takasaka, Peter Tyndall, Alex Vivian, Danh Vo, Andy Warhol, and Heimo Zobernig.

Curatorial team:
Max Delany (former MUMA director), Charlotte Day, Francis E. Parker, and Patrice Sharkey.With texts by Rex Butler, Charlotte Day, Francis Parker, Patrice Sharkey, and a never before published text by Thierry de Duve.

File under: Agatha Gothe-Snape Aleks Danko Andrew Liversidge Andy Warhol Barry Humphries Callum Morton Carl Andre Ceal Floyer Charlie Sofo Christo & Jeanne-Claude Claire Fontaine Danh Vo David Hammons Felix Gonzalez-Torres Greatest Hits Haim Steinbach Hany Armanious Heimo Zobernig Ian Burn James Lynch Jeff Koons John Cage John Nixon Joseph Kosuth Joshua Petherick Julian Dashper Kain Picken Lou Hubbard Louise Lawler Man Ray Marcel Duchamp Martin Creed Masato Takasaka Matt Hinkley Matthew Griffin Meret Oppenheim Michael Craig-Martin Nairy Baghramian Peter Saville Peter Tyndall Richard Hamilton Ricky Swallow Rob McKenzie Robert Macpherson Rosslynd Piggott Scott Redford Simon Denny Stuart Ringholt Sylvie Fleury Tony Cragg Gilbert & George Klara Lidén Charlotte Day Francis Parker Patrice Sharkey Rex Butler Thierry de Duve MUMA / Victoria Art Out-of-print / Rare Painting Sculpture / Installation Theory / Essay Dada Surrealism Arte Povera Conceptual Art Fluxus Group Shows / Collections

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

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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

G.M.V. – Is there any Ghislain Mollet-Viéville ? Information ou fiction ?
by P. Nicolas Ledoux

2011, French
Softcover, 160 pages, 15 x 21 cm
Published by Les Presses Du Reel / Paris

$30.00 - In stock -

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A unique project, between the artist's book and the book on art history, juxtaposing, through a succession of personal documents, the history of different art movements (minimal, conceptual, relational...) and Ghislain Mollet-Viéville's own history.

Features the work of André Cadere, Carl Andre, Daniel Buren, Donald Judd, Joseph Kosuth, Lawrence Weiner, On Kawara, Robert Barry, Sol Lewitt, Olivier Mosset, and many more.

File under: André Cadere Carl Andre Daniel Buren Donald Judd Joseph Kosuth Lawrence Weiner Olivier Mosset On Kawara Robert Barry Sol Lewitt Alain Pacadis Ghislain Mollet-Viéville Jacques Serrano P. Nicolas Ledoux Sabrina Grassi Les Presses Du Reel / Paris Art Conceptual Art Curatorial Fashion Minimal Art Painting Sculpture / Installation Group Shows / Collections

André Cadere
Documenting Cadere, 1972–1978

2013, English
Softcover, 172 pages (colour and b&w ill. throughout), 297 x 210mm
Published by Walther König / Köln

$43.00 - Out of stock

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Compiled and edited by curator and art historian Lynda Morris, this title offers an original and highly personal perspective on Cadere’s place in the Conceptual Art world of the 1970s, and the continuing relevance of his ideas around ‘space and politics’.

At the centre of the publication is Morris’ chronology of Cadere’s exhibitions, appearances, walks and lectures during the last six years of his life.

This major piece of research shifts the focus away from the ‘round bars of wood’ as objects, and instead focuses on the meaning contained in the printed documents (gallery invitations, notices of lectures, debates and mailings) that record Cadere’s actions, movements and social relationships.

These archival documents come predominantly from two sources – the archive of Lynda Morris and the Herbert Collection, Ghent.

The publication contains new translations of lectures given by Cadere (Leuven, 1974), as well as reproducing an interview with the artist.

Published on the occasion of the exhibition Documenting Cadere, 1972–1978 at Modern Art Oxford; Mu.ZEE, Ostend, and Artists Space, New York, in 2012–13.

File under: André Cadere André Cadere Barry Barker Lynda Morris Massimo Minini Paul Luckraft Phillip Van den Bossche Stefan Kalmár Walther König / Köln Art Conceptual Art Sculpture / Installation Painting Performance / Dance / Theater Out-of-print / Rare Minimal Art