Frances Stark

UnderTheClouds-coverUnderTheCloudsspread

Under the Clouds: from Paranoia to the Digital Sublime
João Ribas (ed.)


Since the second half of the 20th century, we have lived under the shadow of two clouds: the mushroom cloud of the atomic bomb, and the ‘cloud’ of distributed information networks. How did the central metaphor of cold war paranoia become the utopian metaphor of today? ‘Under the Clouds’ explores the contemporary sublime that has replaced the natural one, and the interrelated effects and affects of these two clouds on life and work, leisure and love, and on images, bodies, and minds.
The post-war technologies of the emergent third industrial revolution have now evolved to fit in the palm of our hand; we no longer merely look at images, we now touch, scroll, pinch, and drag them. Where is the border between the self and its data shadow, between information, matter, and affect? The biological, economic, aesthetic, and political effects of living under the clouds has taken the form of new relations between data and material, as well as increasing debt and abstract financialization; the changing nature of work and sex; and new relationships between screens, images, and things. As earlier forms of technologically inflected art sought to mitigate the effects of change — both on perception and society — many of today’s artistic practices confront the myriad interfaces and decentralized networks that continue to shape and transform daily life, forming new evolving connections between bits and atoms.

Texts by
Enrico Baj & Sergio Dangelo, Thomas Hirschhorn, Sean Landers, Metahaven, Seth Price, João Ribas, Frances Stark, Hito Steyerl, Stan VanDerBeek

Artists
Adel Abdessemed, Horst Ademeit, Cory Arcangel, Arte Nucleare, Darren Bader, Enrico Baj, Robert Barry, Eduardo Batarda, Thomas Bayrle, Neïl Beloufa, René Bertholo, Joseph Beuys, K.P. Brehmer, Bruce Conner, Kate Cooper, Gregory Corso, Guy Debord, Harun Farocki, Hans-Peter Feldmann, Carla Filipe, General Idea, Melanie Gilligan, Jean-Luc Godard & Anne-Marie Miéville, Peter Halley, Rachel Harrison, Mona Hatoum, Pedro Henriques, Thomas Hirschhorn, Yves Klein, Sean Landers, Elad Lassry, Mark Lombardi, Julie Mehretu, Katja Novitskova, Ken Okiishi, Trevor Paglen, Nam June Paik, Silvestre Pestana, Pratchaya Phinthong, Seth Price, Martha Rosler, Thomas Ruff, Jacolby Satterwhite, Ângelo de Sousa, Frances Stark, Haim Steinbach, Hito Steyerl, Jean Tinguely, Adelhyd van Bender, Stan VanDerBeek, Andy Warhol, Christopher Williams, Christopher Wool, Anicka Yi

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Under the Clouds: from Paranoia to the Digital Sublime
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The Artist’s House: From Workplace to Artwork
by Kirsty Bell

The artist’s house is a prism through which to view not only the artistic practice of its inhabitant, but also to apprehend broader developments in sculpture and contemporary art in relation to domestic architecture and interior space. Based on a series of interviews and site visits with living artists about the role of their home in relation to their work, Kirsty Bell looks at the house as receptacle, vehicle, model, theater, or dream space. In-depth analyses of these contemporary examples—including Jorge Pardo, Mirosław Bałka, Danh Vo, Gregor Schneider, Frances Stark, Marc Camille Chaimowicz, Dominique Gonzalez-Foerster, Paweł Althamer, Mark Leckey, Monika Sosnowska, Gabriel Orozco, Rirkrit Tiravanija, and Andrea Zittel—are contextualized by key artists of the twentieth century such as Kurt Schwitters, Alice Neel, Edward Krasiński, Carlo Mollino, and Louise Bourgeois. A two-way flow from the domestic arena to the exhibition space becomes apparent, in which the everyday has a significant role to play in the merging of such developments as installation art, relational aesthetics, expanded collage, and performance art.

Design by Joseph Logan

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Frances Stark Secession coverFrances Stark Secession spread

Frances Stark
A Torment of Follies

This exhibition catalogue disguised as an artist’s book presents recent work by the Los Angeles artist, writer and all-around favorite, Frances Stark. Taking as her starting point the novel “Ferdydurke” by the esteemed Polish author Witold Gombrowicz, Stark explores two key aspects of the novel, according to Andras Palffy, President of the esteemed Viennese exhibition space, Secession–“the individual’s right to uncertainty or immaturity and all possible forms of masquerade” and “deception towards one’s environment.” Whereas Gombrowicz took on the sinister political developments of 1930s Poland, Stark aptly and humorously attacks the hierarchies, systems and pigeon holes of the contemporary commercial art world. Of special note are the very effective optical illusions embedded in the images reproduced here. Frances Stark was born in 1967 in Newport Beach, California. She has had recent one-person exhibitions at Marc Foxx gallery, Los Angeles, The Museum of Fine Arts, Houston and CRG Gallery, New York.

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Dot Dot Dot 19

 

is assembled from PDFs of THE FIRST/LAST NEWSPAPER (TF/LN)
which was issued from Port Authority in New York CIty
every Wednesday & Saturday during the first 3 weeks
of November 2009

– Editorial, Sinister to establish “First/Last” newspaper
– Rob Giampietro, Newspaper tax levied: few can afford daily 6 pence
– Richard Rodriguez, Review: museum piece
– Steve Rushton, How media masters reality #1: Picture an image of a photograph
– Anon., Publick occurrences both forreign and domestick
– Dan Fox, Circulation +2.7%/-0.2%
– Bruno Munari, Culture today becoming mass affair
– Francis McKee, Headless body, topless bar pt. 1
– Angie Keefer, Large Hadron collider expected to fail due to backwards causation
– Editorial, Two men describe “bloody good elephant”
– Rob Giampietro, Time captcha’d for global good?
– Anthony Huberman, Blind man in dark room looking for black cat that’s not there
– Steve Rushton, How media masters reality #2: They came to see who came
– Angie Keefer, Icons govern action
– Francis McKee, Headless body, topless bar pt. 2: More news from nowhere
– Jan Verwoert, Gonzo pragmatism
– Nick Paumgarten, The pits
– Editorial, Fifth wall of fifth estate collapses
– Rob Giampietro, New legislation combats chicken-egg problem
– Angie Keefer, Exception that proves rule, wrong
– Graham Meyer, Classic pyramid inverted
– Steve Rushton, How media masters reality #3: How television stopped delivering people
– Francis McKee, Headless body, topless bar pt. 3: Wild time in Florida
– Frances Stark, No values
– E.C. Large, The semantic discipline
– Ryan Holmberg, Imperial typepicter
– Editorial, Engineer & tinkerer caught in bricolage
– Rob Giampietro, “Puissant god” reviewed: “man, after all”
– Joe Scanlan, Where does your money come from?
– Albert Sukoff, Record bites dust
– Steve Rushton, How media masters reality #4: “You are not a very nice girl …”
– Dan Fox, May need rewrite
– Francis McKee, Headless body, topless bar pt. 4: Some die, some get hurt, some go on
– Jan Verwoert, Socrates: guard up, pants down
– Seth Price, First/Last taken from commons
– Angie Keefer, Non-existence neither proved nor disproved
– Paul Elliman, Rider four seven communicate
– Editorial, Mass innoculation against bacteria of doubt
– Rob Giampietro, Cap’n Sellers’s pen name stolen
– Tom McCarthy, How Marinetti taught me how to write
– Steve Rushton, How media masters reality #5: Spiderman in world wide web
– Francis McKee, Headless body, topless bar pt. 5: The bastards are making it up!
– Paul Elliman, Looking for male blue jeans black jacket
– Angie Keefer, Two temporal logics tried, tested
– Walead Beshty, Itself feels like end of something
– Editorial, Prior temporal logic, tired
– Rob Giampietro, Remington launches ghostwriter
– Paul Elliman, Hey Manhattan
– Snowden Snowden, Much fussed over pussy
– Steve Rushton, How media masters reality #6: Correct me if i’m wrong
– Graham Meyer, 0 ÷ 0 → 0
– Dan Fox, Patience, fortitude remain lions
– Angie Keefer, Twenty questions inverted
– Frances Stark, Corduroy pillows make headlines
– Francis McKee, Headless body, topless bar pt. 6: Whose throat can i eat?
– Jan Verwoert, Unicorn: “I exist”
–  and throughout: Will Holder, The Middle of Nowhere Chapter 9 cont’d

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Dot Dot Dot 19
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