Carolee Schneemann

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Carolee’s
by Carolee Schneemann

‘Caroleeʼs’ is the second issue of The Magazine of the Artistʼs Institute.
The first was ‘Pierre’s’ by Pierre Huyghe.

Dedicated to Carolee Schneemann, it features a previously unpublished image archive from Schneemannʼs studio that documents half a century of morphological connections between her work and other visual material, including art, advertising, and popular culture.

A new long-form profile of Schneemann by writer Maggie Nelson accompanies this project and considers the artistʼs relationship to the history of her reception and Schneemannʼs significant influence on subsequent generations of feminists.

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Caroleeʼs : The Magazine of The Artistʼs Institute, Issue Two
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Animals
edited by Filipa Ramos


Animals have become the focus of much recent art, informing numerous works and projects featured at major exhibitions including dOCUMENTA (13) (2013), the 10th Shanghai Biennale (2014), and the 56th Venice Biennale (2015). Contemporary art has emerged as a privileged terrain for exploring interspecies relationships, providing the conditions for diverse disciplines and theoretical positions to engage with animal behavior and consciousness.

This interest in animal nature reflects a number of current issues. Observations of empathy among nonhumans prompt reconsiderations of the human. The nonverbal communication of animals has been compared with poetic expansion of the boundaries of language. And the freedom of animal life in the wild from capitalist subordination is seen as a potential model for reconfiguring society and our relationship to the wider environment. Artists’ engagement with animals also opens up new perspectives on the dynamics of dominance, oppression, and exclusion, with parallels in human society. Animal nature is at the heart of debates on the Anthropocene era and the ecological concerns of scientists, thinkers, and artists alike. Centered on contemporary artworks, this anthology attests to the trans-disciplinary nature of this subject, with art as one of the principal points of convergence.

Artists surveyed include
Allora & Calzadilla, Francis Alÿs, Julieta Aranda, Brandon Ballengée, Joseph Beuys, Marcel Broodthaers, Lygia Clark, Marcus Coates, Jimmie Durham, Marcel Dzama, Simone Forti, Pierre Huyghe, Natalie Jeremijenko, Joan Jonas, Eduardo Kac, Mike Kelley, Henri Michaux, Robert Morris, Henrik Olesen, Lea Porsager, Julia Reodica, Carolee Schneemann, Michael Stevenson, Rodel Tapaya, Rosemarie Trockel, Apichatpong Weerasethakul, Haegue Yang, Adam Zaretsky

Writers include
Giorgio Agamben, Steve Baker, Raymond Bellour, Walter Benjamin, John Berger, Jonathan Burt, Ted Chiang, Simon Critchley, Gilles Deleuze, Jacques Derrida, David Elliott, Carla Freccero, Maria Fusco, Tristan García, Félix Guattari, Donna J. Haraway, Seung-Hoon Jeong, Miwon Kwon, Chus Martinez, Brian Massumi, Thomas Nagel, Jean-Luc Nancy, Ingo Niermann, Vincent Normand, Ana Teixeira Pinto, Will Self, Jan Verwoert, Eduardo Viveiros de Castro

About the Editor
Filipa Ramos is editor-in-chief of art-agenda and a Lecturer in Experimental Film at Kingston University and Moving Image at Central Saint Martins, London. She is the author of Lost and Found: Crisis of Memory in Contemporary Art (2009).

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Animals (Documents of Contemporary Art)
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Art-Events and Happenings
Udo Kultermann (Ed.)



First English edition from 1971, Udo Kultermann’s “Art-Events and Happenings”, published by Mathews Miller Dunbar of London, translated by John William Gabriel. A deep reflection on an important part of Art’s development throughout the 1960s – the turn to action through performance and conceptual art – surveying happenings, protests, theatre, ritual, land art and much more, and featuring a vast collection of black and white photographic illustrations of the work of Allan Kaprow, Ann Halprin, Yvonne Rainer, Merce Cunningham, Otto Mühl, Oyvind Fahlstrom, Piero Gilardi, Charlotte Moorman, Franz Erhard Walther, Joseph Beuys, Tetsumi Kudo, Lygia Clark, Carolee Schneemann, Stan Brakhage, John Cage, Hermann Nitsch, Günther Brus, Dennis Oppenheim, Jean-Jacques Lebel, Andy Warhol, Jan Dibbets, Carl Andre, Barry La Va, Rafael Ferrer, Marinus Boezum, Nam June Paik, Wolf Vostell, Milan Knizak, Jackson Pollock, Saburo Murakami, Atsuko Tanaka, Claes Oldenburg, Piero Manzoni, Peter Hutchinson, Christo, Robert Morris, and many more.

* Condition: Very Good (some tanning, previous owners name to first page) – All care is taken to provide accurate condition details of used books, photos available on request.

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Art-Events and Happenings (1971)
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TEXTE ZUR KUNST #101
MARCH 2016 “POLARITIES”

 


ISSUE NO. 101 / MARCH 2016 “POLARITIES”

Issue No. 101 of Texte zur Kunst takes “Polarities” as its theme – a term we associate with what’s unfolding around us right now: ideological polarization, from Pegida to Donald Trump. How do we understand the growing gap between the ideals of tech/smooth space (where the art world tends to reside, swiftly neutralizing any resistance as “content”) and the striated regions of material unrest? How do we understand “polarization” despite our dominant, and inherently continuous, neoliberal system? Given these macro conditions in which art critical and art historical discourses are currently being formed, and within which they will need to position themselves, could the image of polarization be something not to avoid but to engage; perhaps even a potentially generative model for times that are anything but ideology-free?

TABLE OF CONTENTS

PREFACE

ET SOUS LA PLAGE … ? / Philipp Felsch interviews Timothy Brennan on the state of left theory

HELMUT DRAXLER
ALWAYS POLARIZE? / Conditions and limitations of a model of argumentation

LIBERTY, EQUALITY, SECURITY / Four questions for Carolin Emcke

ENTER THE VOID / Roy Scranton and @LILINTERNET on hyperreality and reflexive narrative

DANIEL COLUCCIELLO BARBER AND DAVIS RHODES
THE TERROR WITHIN

ANTEK WALCZAK
GLOBALLY POSITIONED

GABRIELE WERNER
HEIMAT / Notes on the enduring renaissance of an idea
BILDSTRECKE

GERHARD RICHTER
“12 PHOTOGRAPHS OF ULRIKE MEINHOF” / Taken in October 1966 for “Konkret” by Inge-Maria Peters
NEW DEVELOPMENT

NATIONAL CUSTOMS / Sven Lütticken on Germany’s Kulturgutschutzgesetz
ROTATION

IST DER MENSCH DOCH NOCH ZU RETTEN? / Svenja Bromberg über Nina Powers Aufsatzsammlung „Das kollektive politische Subjekt“
HEY MOTHERFUCKERS, HERE IS YOUR ­GENERATIONAL NOVEL / Tobias Madison über Seth Prices Roman „Fuck Seth Price“

SHORT WAVES

Hans-Jürgen Hafner über Daniel Richter in der Schirn Kunsthalle, Frankfurt/M. / Astrid Mania über Verena Pfisterer bei Exile, Berlin / Ana Teixeira Pinto on Július Koller at the Museum of Modern Art, Warsaw / Beate Söntgen über Joan Mitchell im Museum Ludwig, Köln / Daniel Keller on Peter Fend at Barbara Weiss and Oracle, Berlin / Manfred Hermes über Anne Speier bei Silberkuppe, Berlin

REVIEWS

SPERRIGE NAHEVERHÄLTNISSE / Eva Kernbauer über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien
DER GESCHMACK DES PRIVATEN / Barbara Buchmaier und Christine Woditschka über die Sammlung Würth im Martin-Gropius-Bau, Berlin
BENEFITS / Sarah Lookofsky on “Collected by Thea Westreich Wagner and Ethan ­Wagner” at the Whitney Museum of American Art, New York
NOBODY EVER DID WHAT WE DID / David Rimanelli on Dash Snow at the Brant Foundation Art Study Center, Greenwich, Connecticut
MALEREI MALGRÉ TOUT / Maria Muhle über „Painting 2.0“ im Museum Brandhorst, ­München
PUNK’S NOT DEAD, JUST DIFFERENT / Gili Tal on “Rum, sodomy, and the lash” at Eden Eden, Berlin
WITHIN YOU WITHOUT YOU / Jenny Nachtigall on Carolee Schneemann at Museum der Moderne, Salzburg
FREMDE ZUNGEN / Yilmaz Dziewior über „Slip of the Tongue“ in der Punta della Dogana, Venedig
LOCAL UNION / Rhea Anastas on Union Gaucha Productions at Artists Space, New York

EDITION

THEA DJORDJADZE
DANA SCHUTZ

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