World Food Books

Quentin Meillassoux
The Number and the Siren

2012, English
Softcover, 306 pages, 115 x 175mm
Published by Sequence Press / New York Urbanomic / Cornwall

$40.00 - Out of stock

“Thus, modernity triumphed and we did not know it.”
Quentin Meillassoux

A meticulous literary study, a detective story à la Edgar Allan Poe, a treasure hunt worthy of an adventure novel – such are the registers in which will be deciphered the hidden secrets of a poem like no other. Quentin Meillassoux continues his innovative philosophical interrogation of the concepts of chance, contingency, infinity and eternity through a concentrated study of Stéphane Mallarmé’s poem Un Coup de Dés jamais n’abolira le Hasard, patiently deciphering its enigmatic meaning on the basis of a dazzlingly simple and lucid insight with regard to ‘the unique Number that cannot be another’.

The Coup de dés constitutes perhaps the most radical break in the history of modern poetry: the fractured lines spanning the double page; the typographical play borrowed from the poster form; the multiple interpolations disrupting reading. But the intrigue of this poem is still stranger and has always resisted full elucidation. We encounter a shipwreck, and a Master, himself almost submerged, who clasps in his hand the dice that, confronted by the furious waves, he hesitates to throw. The hero expects this throw, if it takes place, to be extraordinarily important: a Number said to be ‘unique’ and which ‘cannot be any other’.

The decisive point of the investigation proposed by Meillassoux comes with a discovery, unsettling and yet as simple as a child’s game: All the dimensions of the Number, understood progressively, articulate between them but a sole condition – that this Number should ultimately be delivered to us by a secret code, hidden in the Coup de dés, like a key that finally unlocks every one of its poetic devices. Thus is also unveiled the meaning of the siren that emerges for a lightning flash among the debris of the shipwreck: as the living heart of a drama that is still unfolding.

With this bold new interpretation of Mallarmé’s work, The Number and the Siren offers provocative insights into modernity, poetics, secularism and religion, and opens a new chapter in Meillassoux’s philosophy of radical contingency.

Translated by Robin Mackay

Quentin Meillassoux teaches philosophy at the École Normale Supérieur in Paris. He is the author of After Finitude: An Essay on the Necessity of Contingency.

What to say about this book? But then, what was there or is there still to say about Mallarmé’s Coup de dés? Such a famously “undecipherable book” is here deciphered by a philosopher who writes on finitude, contingency, and chance – and the throw of the dice is surely also about chance, so the fit is fine. You may or may not be convinced of the secret code Quentin Meillassoux claims to have discovered in the poem, but be assured that this is a brave new interpretation of that throw and that chance. - Mary Ann Caws, Distinguished Professor of English, French, and Comparative Literature
Graduate Center, City University of New York

Contents
Introduction

Part One: Encrypting the Number
The Poem; The Unique Number; The Aporia of Igitur; The Incomparable
Meter; The Vortex of the Code; 707; In Sum; Cosmopolis; Provisional
Conclusion

Part Two: Fixing the Infinite
An Idle Chance?; Presentation, Representation, Diffusion; Message in a
Bottle; To Be Chance; A Quavering Number?; Clues; The Veiled Letter;
The Siren; At a Stroke; Final Remarks

Conclusion

Appendix 1: The Poems
A Throw of Dice; Toast/Salvation; ‘Beneath the Oppressive Cloud Stilled...’;
Sonnet in -x

Appendix 2: The Count

Translator's Note

File under: Quentin Meillassoux Robin Mackay Stéphane Mallarmé Sequence Press / New York Urbanomic / Cornwall Fiction / Poetry Theory / Essay

Machines And Robots - Edition Digital Culture 5
Edited by Dominik Landwehr

2018, English / German
288 pages, 11 x 18 cm
Published by Christoph Merian / Basel

$42.00 - Out of stock

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Machines, automats, and robots have always exerted a special fascination on artists. Yet computers, digitisation, and the Internet have given this attraction entirely new impulses. Moreover, developments in artificial intelligence and robotics are of critical importance today. The fifth volume of this series provides insights into current research topics and investigates their artistic potential and possible issues. It contains illustrations and a detailed glossary of significant terms, in addition to contributions by Raffaello D’Andrea, Andreas Broeckmann, Roland Fischer, Martina Kammermann, Bruno Spoerri, Philipp Theisohn, Mads Pankow, and Roland Wetzel.

File under: Raffaello D’Andrea Andreas Broeckmann Roland Fischer Martina Kammermann Bruno Spoerri Philipp Theisohn Mads Pankow Roland Wetzel Dominik Landwehr Christoph Merian / Basel Art Theory / Essay Film / Video Architecture / Interior Sculpture / Installation Performance / Dance / Theater

On Writing a Literary History of the Contemporary, or What is, or was, “the Contemporary,” and should we keep calling it that?
by Margaret-Anne Hutton (THE CONTEMPORARY CONDITION SERIES VOL. 08)

2018, English
Softcover, 48 pages, 12 x 19 cm
Published by Sternberg Press / Berlin

$28.00 $15.00 - In stock -

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“The contemporary” is an established term in a range of scholarly and disciplinary discourses, but what does it mean? Interweaving sections drawn from an (apparently) hypothetical and oxymoronic project—the writing of a literary history of “the contemporary”—with a critical analysis of the term(s) “the contemporary” and “contemporary” in the work of a range of theorists, Margaret-Anne Hutton sets out to expose the inconsistencies and ambiguities in its terminological usage, and to unpick some of the knots which bind the substantive and adjective. How can “(the) contemporary” function as a critical term, and how might we map its history?

The Contemporary Condition series edited by Geoff Cox and Jacob Lund, Volume 08
Copublished with Aarhus University and ARoS Art Museum

Design by Dexter Sinister

File under: Dexter Sinister Geoff Cox Jacob Lund Margaret-Anne Hutton Sternberg Press / Berlin Theory / Essay Art SALE

Torture Concrete: Jean-Luc Moulène and the Protocol of Abstraction
Reza Negarestani

2014, English
Softcover, 30 pages, 15.2 x 20.3 cm
Published by Sequence Press / New York

$18.00 - Out of stock

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Reza Negarestani’s essay is published in conjunction with Jean-Luc Moulène’s exhibition, Torture Concrete, September 7 – October 26, 2014 at Miguel Abreu Gallery, New York. The text emerged out of a number of conversations between the writer and artist around the theme of abstraction both as a multi-faceted project in the general domain of thought and as a specific process of artistic experimentation. Negarestani sharply asserts abstraction’s origins as the dialectic between form (mathematics) and sensible matter (physics) and its otherwise flat interpretation in art history, and presents us with the redemptive possibilities for its enrichment and diversification through the lens of artistic practice.

Negarestani calls into question the “self-reflexive history of art” as having embezzled this singular definition of abstraction, so that one can no longer link it to its constitutive gesture or procedural coherence, and locates Moulène’s work safely at the outer-edges of this “impoverished” history. He asserts that for Moulène, “the task of art is rediscovered not in its ostensible autonomy but in its singular power to rearrange and destabilize the configurational relations between parameters of thought, parameters of imagination and material constraints which parameterize the cognitive edifice.”

Moulène seeks to define new objectives for art and to further revise its task using his own working paradigm of topology and dynamic systems. Within the artist's work—the work of systematization of experimentation and producing tools for thinking—Negarestani finds a reassuring pursuit in practice, that of the unearthing of a buried dialectic, and a worthy response to his problematic: “We’ve all heard of abstraction, but no one has ever seen one.”

Both men work in search of a means of emancipation from a tortured position (as writer, artist, human). For Moulène, making a change to the body, a change from within, works alongside the notion of thought making a difference in the world. But in order for thought to do this, as Negarestani suggests, “first it must make a difference in itself—this is where abstraction finds its true vocation.”

Reza Negarestani is a philosopher. He has contributed extensively to journals and anthologies and lectured at numerous international universities and institutes. His current philosophical project is focused on rationalist universalism beginning with the evolution of the modern system of knowledge and advancing toward contemporary philosophies of rationalism, their procedures as well as their demands for special forms of human conduct.

File under: Jean-Luc Moulène Sequence Press / New York Art Sculpture / Installation Theory / Essay

Synthetic Philosophy of Contemporary Mathematics
by Fernando Zalamea

2012, English
Softcover, 376 pages, 11.5 x 17.5 cm
Published by Sequence Press / New York Urbanomic / Cornwall

$42.00 - Out of stock

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Synthetic Philosophy of Contemporary Mathematics is a unique and unprecedented book, and a much needed one. Fernando Zalamea (Professor of Mathematics at the Universidad Nacional de Colombia) offers a synthetic perspective on the vast spectrum of contemporary mathematics, together with an analysis of the new philosophical problems originating therein. The book makes available to the inquisitive non-specialist the conceptual transformations and intellectual orientations of modern and contemporary mathematics, and their significance for speculative philosophical thought.

The first part of the text discusses the specificity of modern (1830-1950) and contemporary (1950 to the present) mathematics, and offers an extensive review of how philosophy of mathematics addressed it (or failed to). In the second part, thirteen detailed case studies examine the greatest creators in the field, compiling a map of the central advances accomplished in mathematics over the last half-century. Drawing on these concrete examples, the third part proposes some generic outlines for synthesis.

Zalamea's book serves as a conceptual introduction to mathematical themes rarely discussed outside specialist circles, and as a critical lens by means of which today's mathematics may aid us in the configuration of new cultural perspectives.

If analytic philosophy was forged in the fires of set theory and classical logic at the beginning of the twentieth century, then today, at the dawn of the twenty-first, and around the scaffolding of category theory and the logic of sheaves, it is time for a complementary, synthetic philosophy to be built.

Translated by Zachary Luke Fraser

This is a weighty and daring book. It proposes a new philosophy of mathematics, based on a detailed knowledge of the most recent work in advanced mathematics, and constructed in explicit contrast with the traditional analytical approach…this new synthetic and open-minded approach is no doubt worthy of attention, and philosophers who dare to make an effort will surely reap the reward. - Paloma Pérez-Ilzarbe. American Mathematical Society’s MathSciNet

Zalamea is clearly on the cutting edge of theorizing potential intersections between networks, math, and philosophy. Few thinkers are able to bring together insights from as diverse fields in such as exciting manner as Zalamea. - Christopher Vitale. Assistant Professor, Media Studies, Pratt Institute, NY

With high professional competence in mathematics and philosophy and written in masterful prose, Zalamea opens up a breathtaking insight into advanced contemporary mathematics by enlightening its magical power with the powerful paradigm of gestural dynamics as developed by Valéry, Merleau-Ponty and Châtelet. - Guerino Mazzola, Professor of Mathematical Music Theory and Creativity, School of Music, University of Minnesota

Contents
Introduction: Traditional Options for the Philosophy of Mathematics and Prospectus for this Essay

Part One: The General Environment of Contemporary Mathematics
Specificity of Modern and Contemporary Mathematics
Advanced Mathematics in Treatises on Mathematical Philosophy: A Bibliographical Report
Towards a Synthetic Philosophy of Contemporary Mathematics

Part Two: Case Studies
Grothendieck: Forms of High Mathematical Creativity
Eidal Mathematics: Serres, Langlands, Lawvere, Shelah
Quiddital Mathematics: Atiyah, Lax, Connes, Kontsevich
Archeal Mathematics: Freyd, Simpson, Zilber, Gromov

Part Three: Sketches of Synthesis
Fragments of a Transitory Ontology
Comparative Epistemology and Sheaving
Phenomenology of Mathematical Creativity
Mathematics and Cultural Circulation

File under: Fernando Zalamea Sequence Press / New York Urbanomic / Cornwall Theory / Essay

School: A Recent History of Self-Organized Art Education
by Sam Thorne

2017, English
Softcover, 384 pages, 12.5 x 20 cm
Published by Sternberg Press / Berlin

$40.00 - Out of stock

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Contributions by Bik Van der Pol, Bruce High Quality Foundation University, Tania Bruguera, Chto Delat?, Sean Dockray, Olafur Eliasson, Ryan Gander, Piero Golia, Fritz Haeg, Pablo Helguera, Jakob Jakobsen, Ahmet Öğüt, Yoshua Okón, Open School East, Rupert, Wael Shawky, Tina Sherwell, Bisi Silva, Christine Tohme, Anton Vidokle

Sam Thorne’s School: A Recent History of Self-Organized Art Education is a chronicle of self-organized art schools and artist-run education platforms that have emerged since 2000. Comprising a series of twenty conversations conducted by Thorne with the artists, curators, and educators behind these schools, the book maps a territory at once fertile and contested. Spanning projects in London, Lagos, Los Angeles, Mexico City, Ramallah, Berlin, and Saint Petersburg, among other locations, these critical dialogues respond to spiraling student debt, the MFA system, and the “pedagogical turn,” while offering proposals for the future of art education.

Design by John Morgan studio

File under: Olafur Eliasson Ryan Gander Piero Golia Fritz Haeg Ahmet Öğüt Bik Van der Pol Wael Shawky Bik Van der Pol Bruce High Quality Foundation University Tania Bruguera Chto Delat? Sean Dockray Olafur Eliasson Ryan Gander Piero Golia Fritz Haeg Pablo Helguera Jakob Jakobsen Ahmet Öğüt Yoshua Okón Open School East Rupert Wael Shawky Tina Sherwell Bisi Silva Christine Tohme Anton Vidokle Sam Thorne Sternberg Press / Berlin Art Theory / Essay

The Name of Philippe Thomas / Philippe Thomas’ Name
by Elisabeth Lebovici

2018, English / German
Softcover, 112 pages, 11.5 x 18 cm
Published by Kunsthalle Bern / Bern Sternberg Press / Berlin

$18.00 - Out of stock

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With an introduction by Hanna Magauer

In the artistic activities of Philippe Thomas (1951–1995), there was a determination to disappear: it was his procedure to transfer his title of author onto his collectors. This was the case when selling an artwork, or whenever the author’s credit was needed for a commissioned text, and in the institutional co-operations that Thomas was a participant of. With this strategy Thomas worked against his own historicization, erasing his name from the reigning European and North American art fields and with prescience Thomas “put up obstacles to block his future ‘googleability’” (Hanna Magauer). In recent years, the works and writings of the artist, who also acted on behalf of the semi-fictional agency readymades belong to everyone®, again gained greater visibility and as of current are being assigned a place in art history.

With this book, Elisabeth Lebovici elaborates on Thomas’s strategy to cede and fictionalize authorship and suggests a reading of his work that incorporates questions of gender and reproduction, the multiplicity of the subjects involved, and the unbearable disappearance of Thomas (who died of AIDS-related complications), into the process of enunciation. It is Lebovici’s suggestion that the performativity of Thomas’s work requires two versions at once: “the one where one enters into the fiction and the one where one observes the beauty of the arrangement and the plot at work. The one where one is inside and the one where one contemplates it.”

Schriftenreihe by Kunsthalle Bern, ed. by Valérie Knoll and Hannes Loichinger

Design by HIT

File under: Philippe Thomas Elisabeth Lebovici Hanna Magauer Valérie Knoll Kunsthalle Bern / Bern Sternberg Press / Berlin Art Theory / Essay Conceptual Art

Sonic Agency : Sound and Emergent Forms of Resistance
by Brandon LaBelle

2018, English
Hardcover (w. dust jacket), 224 pages, 22.9 x 15.2 cm
Published by Goldsmiths Press / London

$58.00 - Out of stock

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A timely exploration of whether sound and listening can be the basis of political change.

In a world dominated by the visual, could contemporary resistances be auditory? This timely and important book from Goldsmiths Press highlights sound's invisible, disruptive, and affective qualities and asks whether the unseen nature of sound can support a political transformation. In Sonic Agency, Brandon LaBelle sets out to engage contemporary social and political crises by way of sonic thought and imagination. He divides sound's functions into four figures of resistance—the invisible, the overheard, the itinerant, and the weak—and argues for their role in creating alternative “unlikely publics” in which to foster mutuality and dissent. He highlights existing sonic cultures and social initiatives that utilize or deploy sound and listening to address conflict, and points to their work as models for a wider movement. He considers issues of disappearance and hidden culture, nonviolence and noise, creole poetics, and networked life, aiming to unsettle traditional notions of the “space of appearance” as the condition for political action and survival.

By examining the experience of listening and being heard, LaBelle illuminates a path from the fringes toward hope, citizenship, and vibrancy. In a current climate that has left many feeling they have lost their voices, it may be sound itself that restores it to them.

Brandon LaBelle is Professor in New Media in the Faculty of Fine Art, Music and Design at the University of Bergen. He is the author of Lexicon of the Mouth: Poetics and Politics of Voice and the Oral Imaginary, Diary of an Imaginary Egyptian, Acoustic Territories: Sound Culture and Everyday Life, and Background Noise: Perspectives on Sound Art.

File under: Brandon LaBelle Goldsmiths Press / London Art Theory / Essay Sound / Music

2000+ The Urgencies of Architectural Theory
James Graham (Ed.)

2015, English
Softcover, 224 Pages, 15 x 25 cm
Published by GSAPP Transcripts / New York

$54.00 - Out of stock

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Has architectural theory become a historical phenomenon to be anthologized and studied as another passing phase in the history of the discipline? Do the current commonplace watchwords of "practice" and "research" mark the end of theory's place in architectural discourse? This edited volume posits the contrary--that theory remains urgent and even unavoidable, so ingrained in architectural practice and pedagogy that it remains a vital if sometimes latent influence.

Architectural theory is not confined to its supposed heyday in the decades leading up to the year 2000; it has persisted and expanded as the stakes of theoretical discussions have transformed. 2000+: The Urgencies of Architectural Theory collects new essays from a range of the most compelling architectural historians and theorists of the moment, including Lucia Allais, Beatriz Colomina, Mark Cousins, Arindam Dutta, John Harwood, Catherine Ingraham, Mark Jarzombek, Mari Lending, Spyros Papapetros, Felicity Scott, Pelin Tan, Bernard Tschumi, Eyal Weizman, Mark Wigley, and Mabel Wilson. Brought together for a conference marking the end of Wigley's tenure as dean of Columbia University's Graduate School of Architecture, Planning and Preservation, these thinkers chart new directions and points of critical importance for theory in architecture.

ABOUT THE AUTHOR

James Graham is the director of Print Publications at the Columbia University Graduate School of Architecture, Planning and Preservation, where he also teaches and pursues his Ph.D.

File under: Arindam Dutta Beatriz Colomina Bernard Tschumi Catherine Ingraham Eyal Weizman James Graham John Harwood Lucia Allais Mabel Wilson Mari Lending Mark Cousins Mark Jarzombek Mark Wigley Pelin Tan Spyros Papapetros Felicity D. Scott GSAPP Transcripts / New York Architecture / Interior Theory / Essay

The Missing Pieces
by Henri Lefebvre

2014, English
Softcover, 88 pages, 13.7 x 20.3 cm
Published by Semiotext(e) / Los Angeles The MIT Press / Massachusetts

$28.00 - Out of stock

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An incantatory catalog of cultural artifacts either lost to time or never realized.

• A boarder for two years following a national funeral, Mirabeau is removed from the Pantheon and transferred to the cemetery of Clamart when his pornographic novels are discovered • A photograph taken by Hessling on Christmas night, 1943, of a young woman nailed alive to the village gate of Novimgorod; Hessling asks his friend Wolfgang Borchert to develop the film, look at the photograph, and destroy it • The Beautiful Gardener, a picture by Max Ernst, burned by the Nazis—from The Missing Pieces

The Missing Pieces is an incantatory text, a catalog of what has been lost over time and what in some cases never existed. Through a lengthy chain of brief, laconic citations, Henri Lefebvre evokes the history of what is no more and what never was: the artworks, films, screenplays, negatives, poems, symphonies, buildings, letters, concepts, and lives that cannot be seen, heard, read, inhabited, or known about. It is a literary vanitas of sorts, but one that confers an almost mythical quality on the enigmatic creations it recounts—rather than reminding us of the death that inhabits everything humans create.

Lefebvre's list includes Marcel Duchamp's (accdidentally destroyed) film of Man Ray shaving off the Baroness Elsa von Freytag-Loringhoven's pubic hair; the page written by Balzac on his deathbed (lost); Spinoza's Treatise on the Rainbow (thrown into a fire); the final seven meters of Kerouac's original typescript for On the Road (eaten by a dog); the chalk drawings of Francis Picabia (erased before an audience); and the one moment in André Malraux's life in which he exclaimed “I believe, for a minute, I was thinking nothing.” The Missing Pieces offers a treasure trove of cultural and artistic detail and will entertain even those readers not enamored of the void.

Translated by David L. Sweet

File under: Henri Lefebvre Semiotext(e) / Los Angeles The MIT Press / Massachusetts Art Theory / Essay

Fiction As Method
Edited by Jon K Shaw, Theo Reeves-Evison

2017, English
Softcover, 368 pages, 13 x 20 cm
Published by Sternberg Press / Berlin

$42.00 - Out of stock

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Texts by Justin Barton, Delphi Carstens & Mer Roberts, Tim Etchells, Matthew Fuller, David Garcia, Dora García, M. John Harrison, Simon O’Sullivan, Erica Scourti, Jon K Shaw and Theo Reeves-Evison

See the world through the eyes of a search engine, if only for a millisecond; throw the workings of power into sharper relief by any media necessary; reveal access points to other worlds within our own. In the anthology Fiction as Method, a mixture of new and established names in the fields of contemporary art, media theory, philosophy, and speculative fiction explore the diverse ways fiction manifests, and provide insights into subjects ranging from the hive mind of the art collective 0rphan Drift to the protocols of online self-presentation. With an extended introduction by the editors, the book invites reflection on how fictions proliferate, take on flesh, and are carried by a wide variety of mediums—including, but not limited to, the written word. In each case, fiction is bound up with the production and modulation of desire, the enfolding of matter and meaning, and the blending of practices that cast the existing world in a new light with those that participate in the creation of new openings of the possible.

“Fiction—it’s not just for storytelling anymore. This book takes readers on a whirlwind tour through a range of perspectives from the arts and the humanities in order to reveal fiction’s prevalence and functionality in the objects and processes that we are convinced are completely real. More significantly, however, it describes the myriad ways in which the elements that comprise this greater universe of fiction have been discovered, produced, harnessed, and/or used for purposes that stretch from the malevolent to the compassionate. This volume is a thought-provoking and enjoyable read—even at its most disconcerting moments.”
—Steve Kurtz, Professor Emeritus, University of Buffalo, cofounder of Critical Art Ensemble

“Fictions, by definition, are works that present us with unreal stories and situations. And yet, these fictions—novels, songs, pictures, theories, and so on—are themselves actual things in the world. They are processes, performances, and objects. They portray unrealities, but they themselves are real. The essays in this volume, from a wide variety of points of view, all consider the reality of avowed fictions: their powers and effects, both for good and ill.”
—Steven Shaviro, DeRoy Professor of English, Wayne State University

Design by Keith Dodds

File under: Justin Barton Delphi Carstens Mer Roberts Tim Etchells Matthew Fuller David Garcia Dora García M. John Harrison Simon O’Sullivan Erica Scourti Jon K Shaw Theo Reeves-Evison Sternberg Press / Berlin Art Theory / Essay Fiction / Poetry

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

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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

Charas: Improbable Dome Builders
Buckminster Fuller

2018, English
Softcover, 240 pages, 17 x 24 cm
Published by Pioneer Works Press / New York

$59.00 - Out of stock

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Introduction by Buckminster Fuller. Text by Syeus Mottel. Interview by Ben Estes.

In 1970 a meeting took place in an empty loft on the Lower East Side of Manhattan between R. Buckminster Fuller, the revolutionary architect and inventor of the geodesic dome, and six ex-gang members who called themselves “CHARAS.” After a few hours, they found themselves having an earnest and important conversation, and the young men of CHARAS decided to begin implementing Bucky’s ideas. They wanted to create a program that would develop a sense of community autonomy, reclaim public space and give their lives a newfound sense of purpose. Following a period of intensive study of solid geometry, spherical trigonometry and principles of dome building, all led by Michael Ben-Eli, CHARAS constructed a geodesic dome on a vacant lot in the shadow of the Manhattan Bridge.

Originally published in 1973 and now published in an expanded edition, Charas: The Improbable Dome Builders is an intimate portrait in pictures and words of these dynamic young men and their community. The first half chronicles the trials and tribulations of building the dome, their intensive training, search for funding, accidental fires, holiday potlucks and Bucky visiting to see their incredible work. The second half contains interviews with the members of CHARAS and their friends, sharing personal stories of their time on the streets, as gang leaders, drug addicts, serving time in prison and finding a new sense of self and community through the applied philosophies of Buckminster Fuller. This richly-illustrated edition also includes a new interview with Michael Ben-Eli looking back on the project four decades later.

File under: Buckminster Fuller Pioneer Works Press / New York Architecture / Interior Theory / Essay

ARTFORUM
LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE

1984, English
Softcover, 342 pages, 270 x 280 cm
1st Edition, Out of print title / used / average
Published by U.M.I. Research Press / Michigan

$50.00 - Out of stock

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Softcover 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.

A Good copy throughout, with cover rubbing and corner bumping. Tightly bound and clean copy internally.

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 Lynda Benglis 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 Feminism Fiction / Poetry Film / Video Fluxus Group Shows / Collections Minimal Art Out-of-print / Rare Painting Performance / Dance / Theater Periodicals Photography Poetry Pop Art Sculpture / Installation Sound / Music Theory / Essay

Ettore Sottsass
Drawings over 4 decades / Zeichnungen aus 4 Jahrzehnten

1990, English / German / Italian
Softcover, 88 pages, 24 x 29 cm
Signed copy,
1st Edition, Out of print title / used / very good
Published by Ikon Galerie / Frankfurt am Main

$600.00 - In stock -

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Ettore Sottsass signed copy of this scarce publication from 1990. "Ettore Sottsass : Drawings over 4 decades / Zeichnungen aus 4 Jahrzehnten" was published by Ikon Galerie fur Design-Zeichnungen (Frankfurt am Main), reproducing sketches for furniture, glass, ceramic, jewellery, lighting, interior and architectural projects by influential Italian architect and designer Ettore Sottsass (1917– 2007), which are interspersed throughout the text design of this catalogue, which includes a lively interview by Rainer Krause with the artist (a founder of the Memphis group and Sottsass Associati, as well as designer with Alchimia, Alessi, Olivetti, Arredoluce, Poltronova, Fiorucci, Esprit, Knoll, and many others), text by fellow collaborator and architect/designer/artist Andrea Branzi, and Sottsass's lengthy informal essay presenting his personal view of the sociological significance of the chair.

All texts are in both English and German, with interview also in Italian.

This special copy has been signed by the designer with a large "Sottsass" across the title page in black pen. Not a personalised dedication. A super collectable copy of this already scarce and special book on one of the world's most influential designers and visionaries, who rarely signed a book!

Very Good copy.

File under: Andrea Branzi Ettore Sottsass Matteo Thun Andrea Branzi Rainer Krause Ikon Galerie / Frankfurt am Main Architecture / Interior Ceramics / Glass Drawing Furniture Italian Radical Design / Postmodernism Out-of-print / Rare Signed Books Theory / Essay

Adolf Loos
Creating Your Home With Style

2013, English
Hardcover (w. dust jacket), 128 pages, 12 x 19 cm
Published by Metroverlag / Vienna

$33.00 - Out of stock

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Adolf Loos was an eloquent voice against the squandering of fine materials, ornamentation and unnecessary embellishments. The rational underpinnings of his later assertion that “ornament is crime” first appear in these polemical thrusts at the stylized work of the Viennese secessionists. Few are acquainted with his amusing, incisive, critical and philosophical literary works on applied design and the essence of style in fin de siecle Vienna. Loos often had a radical, yet innovative outlook on life that made him such a nuisance for many of his contemporaries. His provocative musings on an assortment of subjects portray him as a man of many interests, and possessing a keen feel for elegant design still valued today. This publication is now available in English for the first time.

File under: Adolf Loos Adolf Loos Metroverlag / Vienna Architecture / Interior Furniture Theory / Essay

Adolf Loos
Why A Man Should Be Well-dressed

2011, English
Hardcover (w. dust jacket), 128 pages, 12 x 19 cm
Published by Metroverlag / Vienna

$33.00 - Out of stock

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Throughout his life Adolf Loos raised his eloquent voice against the squandering of fine materials, frivolous ornamentation and unnecessary embellishments. His admirers consider him to be the inspiration for all modern architecture. Yet, few are acquainted with his amusing, incisive, critical and philosophical literary work reflecting on applied design and the essence of clothing in fin de siècle Vienna. Adolf Loos often had a radical, yet innovative outlook on life that made him such a nuisance for many of his contemporaries. His provocative musings on many subjects portray him as a man of varied interests and intellectual refinement as well as possessing a keen sense of style, which still has value today. For the first time the ‘Loos Dress Code’ is available in English. Included is a short social/historical look as the birth of Modernism in Adolf Loos’ Vienna.

File under: Adolf Loos Metroverlag / Vienna Furniture Architecture / Interior Theory / Essay Fashion

ALLEGORY OF THE CAVE PAINTING
Mihnea Mircan & Vincent W.J. van Gerven Oei (Eds.)

2015, English
Softcover, 456 pages, 13 x 21 cm
Published by Mousse Publishing / Milan

$62.00 - Out of stock

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With contributions by Haseeb Ahmed, Ignacio Chapela, Justin Clemens, Georges Didi-Huberman, Jonathan Dronsfield, Christopher Fynsk, Vincent W.J. van Gerven Oei, Natasha Ginwala & Vivian Ziherl, Adam Staley Groves, Sean Gurd, Adam Jasper, Susanne Kriemann, Brenda Machosky, Mihnea Mircan, Alexander Nagel, Rosalind Nashashibi, Tom Nicholson, Jack Pettigrew, Raphaël Pirenne, Susan Schuppli, Lucy Steeds, Jonas Leonard Tinius, Marina Vishmidt, Christopher Witmore, and Khadija von Zinnenburg Carroll

A 2010 archeological study found that the prehistoric Gwion Gwion paintings in Australia, whose chromatic vividness contrasts with their age and their exposure to sun and rain, are inhabited by “living pigments.” A symbiotic biofilm of red cyanobacteria and black fungi sustains a process of permanent self-painting, while also etching the pictures deeper into the quartz wall. The texts commissioned for the reader respond, from a variety of disciplinary perspectives, to an idiosyncratic temporality and economy—or ecology—of signification. Descending from an inscrutable past to the same extent that they are made now, in a radical contemporaneity, the Gwion Gwion are examined as an allegorical metabolism that generates new articulations of “art” and “life,” contamination and purity, prehistory and modernity, bacterial and human colonies, lost knowledge and scientific advancement—collaborative relations between antonyms, altered schemas of “origin” and “identity.”

Now out-of-print - last copies.

File under: Haseeb Ahmed Rosalind Nashashibi Susan Schuppli Susanne Kriemann Tom Nicholson Adam Jasper Adam Staley Groves Alexander Nagel Khadija von Zinnenburg Carroll Brenda Machosky Christopher Fynsk Christopher Witmore Georges Didi-Huberman Haseeb Ahmed Ignacio Chapela Jack Pettigrew Jonas Leonard Tinius Jonathan Dronsfield Justin Clemens Lucy Steeds Marina Vishmidt Mihnea Mircan Natasha Ginwala Raphaël Pirenne Rosalind Nashashibi Sean Gurd Susan Schuppli Susanne Kriemann Tom Nicholson Vincent W.J. van Gerven Oei Vivian Ziherl Mousse Publishing / Milan Art Theory / Essay

The LIP Anthology
An Australian Feminist Arts Journal 1976-1984

2013, English
Softcover, 192 pages, 21 x 15 cm
Published by Kunstverein / Amsterdam Macmillan / Melbourne

$45.00 - Out of stock

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By reviewing the adventurous projects and artworks of a significant group of women involved with the LIP Collective based in Melbourne in the 1970s and 80s, this exciting anthology co-published by Kunstverein Publishing Amsterdam and Macmillan Art Publishing: Melbourne discloses for the first time the scope of the movement. It published Lip: A Feminist Arts Journal; the Earthworks Poster Collective; The Women’s Theatre Group; The Women’s Film Group and a host of exhibitions and critical writings connecting Australian women artists with the activities of their counterparts overseas.

Among the many contributors are Janine Burke, Annette Blonski, Suzanne Davies, Helen Grace, Ponch Hawkes, Sue Johnston, Laleen Jayamanne, Suzanne Spunner and Ann Stephen.

As editor Vivian Ziherl writes:
“Lip magazine was self-published by women in Melbourne from 1976 to 1984 and stood as a lightning rod for Australian feminist artistic practice over the ‘Women Liberation’ era. The art and ideas expressed over Lip’s lifetime track, with ground-breaking moves into performance, ecology, social-engagement and labor politics, stood at an intersection with local realities. The Lip Anthology seeks a figuration of Lip as a composite feminist entity produced with relation to the situational conditions of its production.

The anthology selection is not proposed as a ‘best of’, but rather as cumulative array of materials indicating the range and dynamism of the Lip project. The diversity of the periodical is privileged across multiple disciplinary vantages, as well as among the varied feminist positions brought together through the discursive space afforded by Lip. Collecting and presenting the materials of Lip for the first time since their original appearance, the anthology seeks (re/de)construction and routes of (re)circulation towards points of (re)commencement.

Vivian Ziherl is a curator at If I Can’t Dance, I Don’t Want to Be Part Of Your Revolution, Amsterdam, as well as undertaking independent projects, research and writing. Recent projects include Landings (2013-14) – a research project co-curated with Natasha Ginwala that seeks cross-over readings of land history, geomorphology, rurality and corporeality; and StageIt! (2012-13), a performance series co-curated with Hendrik Folkerts at the Stedelijk Museum Amsterdam. Ziherl will be the seventh guest curator invited to the David Roberts Art Foundation ‘Curator Series’ for 2014.

‘The Lip Anthology’ is published by Kunstverein Publishing and Macmillan Art Publishing, co-produced with Grazer Kunstverein and with the support of the Australia Council for the Arts and the TEWRR.

File under: Ann Newmarch Elizabeth Gower Jenny Watson Joan Grounds Jude Adams Lip Collective Lyndal Jones Nancy Spero Vivienne Binns Isabel Davies Ann Stephen Annette Blonski Helen Grace Janine Burke Jude Adams Laleen Jayamanne Ponch Hawkes Sue Johnston Suzanne Davies Suzanne Spunner Vivian Ziherl Kunstverein / Amsterdam Macmillan / Melbourne Art Australian Art Feminism Photography Theory / Essay

Harald Szeemann
Museum of Obsessions

2018, English
Hardcover, 432 pages, 25x 31 cm
Published by Getty Publications / Los Angeles

$126.00 - Out of stock

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Texts by Glenn Phillips, Doris Chon, Pietro Rigolo, Philipp Kaiser

Harald Szeemann is associated with some of the most important artistic developments of the postwar era. A passionate advocate of avant-garde movements like conceptualism and post minimalism, he collaborated with artists such as Joseph Beuys, Bruce Nauman, Richard Serra, and Cy Twombly, developing new ways of presenting art that reflected his sweeping vision of contemporary culture.

Szeemann once stated that his goal as an exhibition maker was to create a "Museum of Obsessions." This richly illustrated volume is a virtual collection catalogue for that imaginary institution, tracing the evolution of his curatorial method through the materials he collected and produced while researching and organising his exhibitions, including letters, drawings, personal datebooks, installation plans, artists' books, posters, photographs, and handwritten notes.

This book documents all phases of Szeemann's career, from his early stint as director of the Kunsthalle Bern, where he organized the seminal Live in Your Head: When Attitudes Become Form (1969); to documenta 5 (1972) and the intensely personal exhibition he staged in his own apartment using the belongings of his hairdresser grandfather (1974); to his reinvention as a freelance curator who realised projects on wide-ranging themes until his death in 2005.

The book contains essays exploring Szeemann's curatorial approach as well as interviews with collaborators. Its more than 350 illustrations include previously unpublished installation photographs and exhibition documents as well as many other materials from the curator's archive.

File under: Meret Oppenheim Markus Raetz Walter De Maria Klaus Rinke Christo Andy Warhol Marcel Broodthaers Marcel Duchamp Joseph Beuys Bruce Nauman Richard Serra Cy Twombly Ernst Fricke Charlotte Bara Karl Gräser Emma Kunz Ferdinand Cheval Ben Vautier Ed Ruscha Oskar Schlemmer Kurt Schwitters Thomas Hirschhorn Eva Hesse Dick Higgins Mario Merz Marisa Merz Sol LeWitt Nancy Graves Robert Filliou Donald Judd László Moholy-Nagy Man Ray Francis Picabia Elisar von Kupffer Charles Ives Paul Thek Panamarenko Edward Kienholz Guerilla Art Action Group John Cage Allan Kaprow Charlotte Moorman George Maciunas Haus-Rucker-Co Olga Fröbe-Kapteyn Nam June Paik Harald Szeemann Glenn Phillips Doris Chon Pietro Rigolo Philipp Kaiser Raymond Roussel Alfred Jarry Lucy R. Lippard Getty Publications / Los Angeles Curatorial Art Group Shows / Collections Conceptual Art Minimal Art Theory / Essay Fluxus Film / Video Sculpture / Installation Dada Arte Povera Architecture / Interior Performance / Dance / Theater Sound / Music Bauhaus

Craft
Edited by Tanya Harrod

2018, English
Softcover, 240 pages, 210 x 145 mm
Published by Whitechapel / London The MIT Press / Massachusetts

$50.00 - Out of stock

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Part of the acclaimed Documents of Contemporary Art series of anthologies which collect writing on major themes and ideas in contemporary art.

"Tanya Harrod is our leading scholarly voice on craft. [This] invaluable anthology...is an ideal introduction to the intellectual landscape of craft, and an essential tool for those already invested in the topic." - Glenn Adamson, Senior Scholar at the Yale Center for British Art

Craft is a contested concept in art history and a vital category through which to understand contemporary art. Through ‘craft’, materials, techniques and tools are investigated and their histories explored in order to reflect on the politics of labour and on the extraordinary complexity of the made world around us. This anthology offers an ethnography of craft, surveying its shape-shifting identities in the context of progressive art and design through writings by artists and makers, and drawing on poetry, fiction, anthropology and sociology. Reflections on new technologies and materials, lost and found worlds of handwork and the politics of work all throw light on ‘craft’ as process, product and ideology.

Artists surveyed include Anni Albers, El Anatsui, Aaron Angell, Ruth Asawa, Phyllida Barlow, Louise Bourgeois, Annie Cattrell, Edmund de Waal, Harun Farocki, Lucio Fontana, Theaster Gates, Gee’s Bend Quiltmakers, Sabrina Gschwandtner, Sheila Hicks, Ana Lupas, Lu Shengzhong, Enzo Mari, Martin Puryear, Jessi Reaves, Bridget Riley, Ettore Sottsass, Studio Formafantasma, Peter Voulkos.

Writers include Glenn Adamson, Elissa Auther, Reyner Banham, Jean Baudrillard, John Berger, Walter Benjamin, Julia Bryan-Wilson, Joan Key, Ulrich Lehmann, Sarat Maharaj, Karl Marx, Sadie Plant, Rainer Maria Rilke, John Roberts, Jenni Sorkin.

Tanya Harrod is an independent design historian who lives in London and who writes widely on craft, art and design. She is co-editor of The Journal of Modern Craft and is author of The Crafts in Britain in the Twentieth Century (1999), The Last Sane Man: Michael Cardew (2012) which won the 2013 James Tait Black Memorial Prize for biography, and The Real Thing: Essays on Making in the Modern World (2015).

File under: Anni Albers El Anatsui Aaron Angell Ruth Asawa Phyllida Barlow Louise Bourgeois Annie Cattrell Edmund de Waal Harun Farocki Lucio Fontana Theaster Gates Gee's Bend Quiltmakers Sabrina Gschwandtner Sheila Hicks Ana Lupas Lu Shengzhong Enzo Mari Martin Puryear Jessi Reaves Bridget Riley Ettore Sottsass Studio Formafantasma Peter Voulkos Glenn Adamson Elissa Auther Reyner Banham Jean Baudrillard John Berger Walter Benjamin Julia Bryan-Wilson Joan Key Ulrich Lehmann Sarat Maharaj Karl Marx Sadie Plant Rainer Maria Rilke John Roberts Jenni Sorkin Tanya Harrod Whitechapel / London The MIT Press / Massachusetts Art Theory / Essay Textiles Conceptual Art Minimal Art Ceramics / Glass Arte Povera Painting Sculpture / Installation

Chris Kraus
Social Practices

2018, English
Softcover, 296 pages, 22.9 x 15.2 cm
Published by Semiotext(e) / Los Angeles The MIT Press / Massachusetts

$40.00 - Out of stock

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Essays on and around art and art practices by the author of I Love Dick.

A border isn't a metaphor. Knowing each other for over a decade makes us witnesses to each other's lives. My escape is his prison. We meet in a bar and smoke Marlboros.—from Social Practices

Mixing biography, autobiography, fiction, criticism, and conversations among friends, with Social Practices Chris Kraus continues the anthropological exploration of artistic lives and the art world begun in 2004 with Video Green: Los Angeles Art and the Triumph of Nothingness. Social Practices includes writings from and around the legendary “Chance Event—Three Days in the Desert with Jean Baudrillard” (1996), and “Radical Localism,” an exhibition of art and media from Puerto Nuevo's Mexicali Rose that Kraus co-organized with Marco Vera and Richard Birkett in 2012. Attuned to the odd and the anomalous, Kraus profiles Elias Fontes, an Imperial Valley hay merchant who has become an important collector of contemporary Mexican art, and chronicles the demise of a rural convenience store in northern Minnesota. She considers the work of such major contemporary artists as Jason Rhoades, Channa Horowitz, Simon Denny, Yayoi Kusama, Henry Taylor, Julie Becker, Ryan McGinley, and Leigh Ledare. Although Kraus casts a skeptical eye at the genre that's come to be known as “social practice,” her book is less a critique than a proposition as to how art might be read through desire and circumstance, delirium, gossip, coincidence, and revenge. All art, she implies, is a social practice.

File under: Jason Rhoades Channa Horowitz Simon Denny Yayoi Kusama Henry Taylor Julie Becker Ryan McGinley Leigh Ledare Kate Newby Chris Kraus Semiotext(e) / Los Angeles The MIT Press / Massachusetts Art Theory / Essay

A New Fascism?

2018, English
Softcover, 56 pages, 19.8 x 13 cm
Published by Koenig Books / London

$28.00 - Out of stock

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Contributions: Franco “Bifo” Berardi, Wilhelm Heitmeyer, Chantal Mouffe, G. M. Tamás
Edited by Susanne Pfeffer

The contributions in this book are based on, A New Fascism – a symposium held at Fridericianum, Kassel (2016), in conjunction with the exhibition, Two A.M. by Loretta Fahrenholz. The texts follow the questions: Is there a new fascism emerging? And how can we form a counter-acting power?

In her novel entitled Nach Mitternacht (After Midnight, 1937), Irmgard Keun describes everyday life in Nazi Germany in the late 1930s under the dominant influences of fear, government control and despotism. In her exhibition at the Fridericianum, artist Loretta Fahrenholz called attention to similar contemporary phenomena. Based loosely on Keun’s exile novel, her Two A.M. was a socio-fiction film in which she presents frightening analogies to present-day surveillance, capitalism and re-emerging fascism.

One of the essential characteristics of representatives of the new Right, from the Hungarian Prime Minister to Marine Le Pen, is that they all regard themselves as democrats. And when we listen to them, they seem to become more democratic every day. Without blushing, the AfD compares itself to the Third Reich resistance group known as the Weiße Rose. And the French Front National proudly points out that it was the only party in France whose members voted in a democratic referendum on the European constitution.

Thus the obscurity of European institutions can surely be cited as one of the reasons for the emergence of new right-wing movements in all European countries. And the increasing popularity of the new right-wing and nationalist parties can also be attributed at least in part to the movements of migrants and refugees, which are certain to continue unabated in the foreseeable future.

Fascism has reinvented itself, as Alain Badiou pointed out 10 years ago. It has assumed new forms which must be analyzed. And the old theories regarding fascism are no longer adequate for that purpose.

File under: Wilhelm Heitmeyer Chantal Mouffe G. M. Tamás Susanne Pfeffer Franco “Bifo” Berardi Franco Berardi Koenig Books / London Theory / Essay

Texte Zur Kunst
Issue No. 111 / SEPTEMBER 2018 "AMERIKA"

2018, English / German
Softcover, 240 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin

$32.00 - Out of stock

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The September issue of Texte zur Kunst focuses on Amerika (U.S. America principally): the land, the idea, and all that seems to come with it. What is Amerika today other than a contradiction between brute political reality and a largely fictional self-image, where fiction says as much about fact as “alternative facts” say about the truth? Within this contradiction, this issue tries to imagine modes of engaging with the current political machinery without opting for the one-dimensional dive into micropolitics that has plagued much recent activist discourse. The Trump regime has introduced a new form of politics whose tactics are closer to artistic practice—inventing parallel truths and questioning facts—than anything like traditional governance. As such, those familiar with art are in a unique position to offer an analysis of the specific forms that define contemporary politics in Amerika. We have thus commissioned artists and critics to come up with new strategies for analyzing the rampant barbarism, resisting the urge to sink into paralysis and defeat in the face of the endless onslaught.

Issue No. 111 / September 2018 "America"

Table Of Contents :
Foreword
 Prefaces
 Colin Lang  - The Horror, Vacui
 Ken Okiishi -  Liberty and Justice For All, Not Us
Aria Dean -  Trauma And Virtuality
 Letter To A Friend In New York / By Isabelle Graw
The Golden Hoard / Conversation With Andrea Fraser
 Sina Najaf - i The American Dream State
 Robert F. Reid-Pharr -  What We Dare Not Remember

New Development
 Is Space The Place? / Eva Díaz On Feminist Futures In The Anthropocene
Love Work Cinema
 Between Bildersturm And Artistic Research / Rainer Bellenbaum About Films From The Years Around 1968 In The Historical Program Of The Kurzfilmtage Oberhausen

Reviews
Decolonialized Narrative In The National Art Temple / Susanne Von Falkenhausen On "Hello World" At Hamburger Bahnhof, Berlin
 That Fluctuating Moment / Jesi Khadivi At The 10Th Berlin Biennale
 The Silent Ship / Övül Ö. Durmusoglu On Manifesta 12 In Palermo
 Love And Salt / Adrienne Rooney On Adrian Piper At The Museum Of Modern Art, New York
Tracks Of Disappearance / Tobi Maier About Bruce Nauman In The Schaulager, Basel
 Man In The Mirror / Dan Kidner On "Picasso 1932 - Love, Fame, Tragedy" At Tate Modern, London
 In The Bure Of The Circle / Marietta Kesting About Raster-Noton In The Kunstbau Lenbachhaus, Munich
 Looking But Not Seeing? / Darla Migan On Faith Ring Gold At Weiss Berlin
 Mad / Ame / Jenny Nachtigall About Jutta Koether At The Museum Brandhorst, Munich
 If You Are Once Big / Nadja Abt About Philip Wiegard At Between Bridges, Berlin
 Marked By Trade / Sven Lütticken On "Trade Markings" At The Van Abbemuseum, Eindhoven
 Amazone Retired / Tina Schulz On Astrid Klein In The Falckenberg Collection, Hamburg
 Born To Die / Colin Lang On Jeanette Mundt At Société, Berlin
 Limitations Of Utopia / Christina Irrgang On Cyril Lachauer In The Berlinische Galerie, Berlin
 Hereditary Peers / Saim Demircan On Luke Willis Thompson At Kunsthalle Basel
Zoology Of The Falls / Niklas Lichti On Peter Wächtler With Lars Friedrich, Berlin
 Below The Surf / Steven Warwick On Georgie Nettell At The Kunstbunker Forum For Contemporary Art, Nuremberg
 The Hour Of The Historics / Ariane Müller About Valie Export At The Neuer Berliner Kunstverein
 Foreign Powers / Johanna Burton On Zoe Leonard At The Whitney Museum Of American Art
Committee Criteria / Kerstin Stakemeier On Henrike Naumann At The Museum Abteiberg, Mönchengladbach
 Related Practices / Sandra Neugärtner On Anni Albers In The Kunstsammlung Nordrhein-Westfalen, Düsseldorf
 Term (s) Of Endearment / Kathi Hofer On "Milieu" At After The Butcher, Berlin

Obituary
 Claude Lanzmann (1925-2018) 
 
Edition
Cecily Brown 
Mark Leckey

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