Adrian Piper

FROM THE CENTER : Feminist Essays on Women’s Art
by Lucy R. Lippard

Scarce first 1976 printing of this fantastic and now rarely seen book collection of essays by internationally acclaimed writer, art critic, activist and curator, Lucy R. Lippard.
“FROM THE CENTER : Feminist Essays on Women’s Art” is broken into three sections: GENERAL ESSAYS, MONOGRAPHS, and FICTION. GENERAL ESSAYS include 12 major essays such as “”Sexual Politics : Art Style”, “Household Images in Art”, “Fragments”, “What is Female Imagery”, “Making Up: Role-Playing and Transformation in Women’s Art”, “The Pains and Pleasures of Rebirth: European and American Women’s Body Art”, “The Womens’ Art Movement – What Next?” and more. MONOGRAPHS is made up of writings dedicated to single artists, including essays on the work of Eva Hesse, Adrian Piper, Jo Baer, Joan Mitchell, Hanne Darboven, Ree Morton, Louise Bourgeois, Faith Ringgold, Yvonne Rainer, Nancy Graves and many more. A suburb collection, illustrated throughout with examples of the work written about, including a colour plate section.

* Condition: Good (some text highlighting , light wear/creasing from age, otherwise tightly bound and clean, good copy)  – All care is taken to provide accurate condition details of used books, photos available on request.

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FROM THE CENTER by Lucy R. Lippard (1976)
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Books and Ideas after Seth Siegelaub
Michalis Pichler (Ed.)

 

Contributions by Regine Ehleiter, Michalis Pichler, Seth Siegelaub

Books and Ideas after Seth Siegelaub spans an arc of tension between the works of Seth Siegelaub and contemporary cultural production. It features an interview with Seth Siegelaub, two essays by Regine Ehleiter and Michalis Pichler, and an extensively illustrated catalogue with bibliographic details.

In preparation for the project, Siegelaub and Pichler met twice in Amsterdam, where they had a long recorded conversation about books, living with books, being intimately connected with books, and producing books, and about the recent emergence of contemporary publications that show clear reference to books Siegelaub had produced, both piracies and homages, and not always to his delight.

Books by Siegelaub that are often paraphrased include the Xerox Book (1968), which was printed in offset and has since been xeroxed by various artists and publishers in many different ways, the catalogue exhibitions from 1969, as well as Lawrence Weiner’s Statements (1968). These publications are often taken as starting points for new projects, which are derivative and yet substantial artworks in their own right. Also, Siegelaub’s engagement with the Art Workers’ Coalition and subsequent draft of The Artist’s Reserved Rights Transfer and Sale Agreement has had wide reception and reaction in contemporary art and activism.

“The works presented in Michalis Pichler’s catalogue Books and Ideas after Seth Siegelaub reinvent Siegelaub’s renowned distinction between primary and secondary information.”
—Annette Gilbert, editor of Reprint: Appropriation (&) Literature and Publishing as Artistic Practice

“This anthology provides a welcome overview of the highly innovative exhibition and distribution practices developed by Seth Siegelaub in the late 1960s and the 1970s.”
—Alexander Alberro, author of Conceptual Art and the Politics of Publicity

“Seth Siegelaub was largely responsible for publicizing and promoting Conceptual art in the 1960s, but as Books and Ideas documents, he has continued to be a provocation and inspiration almost half a century after his abrupt exit from the art world he helped to create. Moreover, this book provides a context for Pichler’s own brand of conceptual practices. If part of Siegelaub’s genius was to reconceive exhibition as publication, Pichler gives us a catalogue of catalogues exhibiting the proliferation of mirrors which line the hall of Conceptual art’s legacy. In the pages of Books and Ideas, secondary information, accordingly, becomes primary.”
—Craig Dworkin, author of No Medium and Reading the Illegible

Copublished with the Center for Book Arts, New York
Design by Burak Yilmaz Kececiler

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Books and Ideas after Seth Siegelaub
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9th Berlin Biennale for Contemporary Art
The Present in Drag

 


The Present in Drag is published as a companion volume to the 9th Berlin Biennale for Contemporary Art, which was curated by New York collective DIS. Providing information on the works shown in the exhibition, it also includes contributions by Roe Ethridge, Simon und Daniel Fujiwara, Boris Groys, Katja Novitskova, Chus Martinez, Bjarne Melgaard, Sean Patrick Monahan, Sabine Reitmaier, McKenzie Wark, and others.
The 9th Berlin Biennale for Contemporary Art features the work and contributions of: 69, Antoni Abad, Halil Altindere, Ei Arakawa (in collaboration with Dan Poston, Stefan Tcherepnin), Korakrit Arunanondchai/Alex Gvojic, atelier le balto, Armen Avanessian/Alexander Martos (in collaboration with Christopher Roth), åyr, Will Benedict, Julien Ceccaldi, Centre for Style
(in collaboration with Anna-Sophie Berger; Burkhard Beschow & Anne Fellner; Max Brand; Rare Candy with Alden Epp, Spencer Lai, Natasha Madden, Misty Pollen, Ander Rennick & Amber Wright; Susan Cianciolo; Marlie Mul; Liam Osborne; H.B. Peace & Kate Meakin; Joshua Petherick; Lin May Saeed; Eirik Sæther), Brody Condon, CUSS Group (in collaboration with ANGEL-HO, FAKA, Megan Mace, NTU), Kathleen Daniel, Debora Delmar Corp., Simon Denny with Linda Kantchev, Cécile B. Evans, Nicolás Fernández, Lizzie Fitch/Ryan Trecartin, Simon Fujiwara, GCC, GUAN Xiao, Calla Henkel/Max Pitegoff, Camille Henrot, Yngve Holen, Alexa Karolinski/Ingo Niermann, Kartenrecht, Josh Kline, Korpys/Löffler, Nik Kosmas, M/L Artspace, Shawn Maximo, Ashland Mines, Katja Novitskova, Trevor Paglen/Jacob Appelbaum, Juan Sebastián Peláez, Adrian Piper, Alexandra Pirici, Josephine Pryde, Puppies Puppies, Babak Radboy, Jon Rafman, Timur Si-Qin, Lucie Stahl, Hito Steyerl, TELFAR, Christopher Kulendran Thomas, Wu Tsang, Anna Uddenberg, Amalia Ulman, Anne de Vries, Abu Hajar, Halil Altindere, Math Bass, Lizzi Bougatsos & Brian DeGraw, Elysia Crampton, Lizzie Fitch/Ryan Trecartin, Isa Genzken, Juliana Huxtable, Kelela, Nguzunguzu, PATRICIA (Patricia Satterwhite, Jacolby Satterwhite, Nick Weiss), Adrian Piper, Fatima Al Qadiri, Carles Santos, Hito Steyerl, Total Freedom, Amalia Ulman, Antoni Abad, åyr/Rem Koolhaas/Hans Ulrich Obrist, Kathleen Daniel, Cécile B. Evans and Andrew Snyder-Beattie, Oleg Fonaryov and Oleksiy Radynski, Simon & Daniel Fujiwara, GCC, Boris Groys, Rob Horning, Izabella Kaminska and Simon Denny, Chus Martínez, Meredith Meredith, Sean Monahan, New Scenario, Ingo Niermann, Alexandra Pirici, Puppies Puppies, Sean Raspet, Natasha Stagg, Amalia Ulman, Sencer Vardarman, Eduardo Viveiros de Castro and Déborah Danowski in conversation with Michelle Sommer and Daniel Steegmann Mangrané, McKenzie Wark, Will Benedict, Dora Budor, Cao Fei, Roe Ethridge, Hood by Air, Bjarne Melgaard, Simon Dybbroe Møller, Zanele Muholi, Johannes Paul Raether, Torbjørn Rødland, Akeem Smith, Martine Syms, Stewart Uoo, Nina Cristante, Sabine Gottfried, Nik Kosmas, Lesley Moon, Helga Wretman, Frank Benson, Asger Carlsen, DIS, Casey Jane Ellison, Roe Ethridge, Avena Gallagher, Saemundur Thor Helgason, Tilman Hornig, Benjamin Alexander Huseby, Chris Kraus, Bjarne Melgaard, Jason Nocito, Babak Radboy, Sean Raspet, Sabine Reitmaier, Aaron David Ross, Andrew Norman Wilson, Anonymous, Anonymous, Anonymous and others.

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9th Berlin Biennale for Contemporary Art
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The Magazine
edited by Gwen Allen

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

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

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

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

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The Magazine (Documents of Contemporary Art)
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