John Baldessari

Mousse 56
2006-2016 A Small Anthology

 

10-year anniversary special issue: a selection of essays, interviews, conversations, and projects appeared in the first ten years of Mousse.

Featuring: Chantal Akerman, Cecilia Alemani, Jennifer Allen, Kai Althoff, Bruce Altshuler, Ed Atkins, Lutz Bacher, Darren Bader, Alex Bag, John Baldessari, Phyllida Barlow, Kirsty Bell, Andrew Berardini, Jonathan Berger, Michael Bracewell, Tom Burr, Maurizio Cattelan, Marc Camille Chaimowicz, Sofía Hernández Chong Cuy, Carolyn Christov-Bakargiev, Stuart Comer, Lauren Cornell, Nicholas Cullinan, Roberto Cuoghi, Nick Currie, Massimo De Carlo, Gino De Dominicis, Gigiotto Del Vecchio, Simon Denny, Brian Dillon, Jimmie Durham, Dominic Eichler, Peter Eleey, Matias Faldbakken, Luigi Fassi, Elena Filipovic, Morgan Fisher, Isa Genzken, Yervant Gianikian & Angela Ricci Lucchi, Liam Gillick, Massimiliano Gioni, Isabelle Graw, Ed Halter, Jens Hoffmann, Judith Hopf, William E. Jones, Omar Kholeif, Alexander Kluge, Jiří Kovanda, William Leavitt, Elisabeth Lebovici, Andrea Lissoni, Helen Marten, Chus Martínez, Nick Mauss, Lucy McKenzie, Fionn Meade, Simone Menegoi, John Menick, Ute Meta Bauer, Massimo Minini, Hans Ulrich Obrist, Trevor Paglen, Stefania Palumbo, Francesco Pedraglio, Otto Piene, Laura Poitras, Elizabeth Price, Seth Price, Laure Prouvost, Alessandro Rabottini, Carol Rama, Filipa Ramos, Jason Rhoades, Dieter Roelstraete, Esperanza Rosales, Nicolaus Schafhausen, Fender Schrade, Stuart Sherman, Frances Stark, Jamie Stevens, Hito Steyerl, Sturtevant, Sabrina Tarasoff, Ana Teixeira Pinto, Oscar Tuazon, Giorgio Verzotti, Jan Verwoert, Francesco Vezzoli, Adrián Villar Rojas, Peter Wächtler, Ian Wallace, Klaus Weber, Cathy Wilkes, Christopher Williams, Jordan Wolfson.

Mousse is a bimonthly magazine published in Italian and English. Established in 2006, Mousse contains interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating today, alternated with a series of distinctive articles in a unique tabloid format. Mousse keeps tabs on international trends in contemporary culture thanks to its city editors in major art capitals such as Berlin, New York, London, Paris, and Los Angeles.
Mousse (Mousse Publishing) is also publisher of catalogues, essays and curatorial projects, artist books and editions.

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Mousse 56 2006-2016 A Small Anthology
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Boredom
Edited by Tom McDonough

Without boredom, arguably there is no modernity. The current sense of the word emerged simultaneously with industrialization, mass politics, and consumerism. From Manet onwards, when art represents the everyday within modern life, encounters with tedium are inevitable. And starting with modernism’s retreat into abstraction through subsequent demands placed on audiences, from the late 1960s to the present, the viewer’s endurance of repetition, slowness or other forms of monotony has become an anticipated feature of gallery-going.

In contemporary art, boredom is no longer viewed as a singular experience; rather, it is contingent on diverse social identifications and cultural positions, and exists along a spectrum stretching from a malign condition to be struggled against to an something to be embraced or explored as a site of resistance. This anthology contextualizes the range of boredoms associated with our neoliberal moment, taking a long view that encompasses the political critique of boredom in 1960s France; the simultaneous aesthetic embrace in the United States of silence, repetition, or indifference in Fluxus, Pop, Minimalism and conceptual art; the development of feminist diagnoses of malaise in art, performance, and film; punk’s social critique and its influence on theories of the postmodern; and the recognition, beginning at the end of the 1980s, of a specific form of ennui experienced in former communist states. Today, with the emergence of new forms of labor alienation and personal intrusion, deadening forces extend even further into subjective experience, making the divide between a critical and an aesthetic use of boredom ever more tenuous.

Artists surveyed include:
Chantal Akerman, Francis Alÿs, John Baldessari, Vanessa Beecroft, Bernadette Corporation, John Cage, Critical Art Ensemble, Merce Cunningham, Marcel Duchamp, Fischli & Weiss, Claire Fontaine, Dick Higgins, Jasper Johns, Donald Judd, Ilya Kabakov, Boris Mikhailov, Robert Morris, John Pilson, Sigmar Polke, Yvonne Rainer, Robert Rauschenberg, Ad Reinhardt, Gerhard Richter, Situationist International, Mierle Laderman Ukeles, Andy Warhol, Faith Wilding, Janet Zweig

Writers include:
Ina Blom, Nicolas Bourriaud, Jennifer Doyle, Alla Efimova, Jonathan Flatley, Julian Jason Haladyn, The Invisible Committee, Jonathan D. Katz, Chris Kraus, Tan Lin, Sven Lütticken, John Miller, Agné Narušyté, Sianne Ngai, Peter Osborne, Patrice Petro, Christine Ross, Moira Roth, David Foster Wallace, Aleksandr Zinovyev

About the Author
Tom McDonough is Associate Professor of Art History at Binghamton University, State University of New York. He is the author of “The Beautiful Language of My Century”: Reinventing the Language of Contestation in Postwar France, 1945–1968 (MIT Press)

From the “Documents of Contemporary Art” series.

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Boredom (Documents of Contemporary Art)
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Lynda Benglis

The huge reference retrospective monograph: a complete overview of Lynda Benglis’ work and life from the late 1960s to the present day, with more than 350 illustrations, about 20 historical or commissioned essays, an interview, famous and unseen archival material (magazine articles, photographs, letters, installation shots), and a complete chronology.

“Seeing Lynda Benglis’s ad in Artforum in 1974 was one of the most pivotal moments of my career. I was in college in Buffalo & even the Albright-Knox Art Gallery which was one of the few local places to buy the magazine (and right across from where I went to school), had ripped out that page in the issues they were selling (I must have bought mine in NYC). She kicked ass!” – Cindy Sherman

Since more than 30 years, Lynda Benglis (born in 1941 in Lake Charles, Louisiana, lives and works in New York), one of America’s most important artists, a leader of Post Minimalism along with Richard Serra, Eva Hesse and Bruce Nauman, explores in her work a wide range of techniques and mediums, from wax abstract painting, to latex, polyurethane or metal sculpture, through video and performance footage.
This formal diversity expresses a complex and radical thinking about body, gender identity, representation of women and male dominance, beyond her feminist icon status since a series of sulphurous advertisements published with Robert Morris in the 1970s, including the famous and controversial ad in Artforum featuring her aggressively posed with a giant dildo and wearing only a pair of sunglasses.

Texts by Dave Hickey, Cindy Sherman, Robert Pincus-Witten, Richard Meyer, Annette Messager, Elisabeth Lebovici, Judith Tannenbaum, Caroline Hancock, Franck Gautherot, Laura Hoptman, Ron Gorchov, Keith Sonnier, John Baldessari, Diana Franssen.

An incredible book on an artist unlike any other!

* Condition: Good-Very Good (light shelf wear to covers and corners, tight and clean throughout) – All care is taken to provide accurate condition details of used books, photos available on request.

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Lynda Benglis
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In the Holocene
João Ribas (Ed.)

Contributions by Berenice Abbott, Leonor Antunes, Marcel Broodthaers, Roger Callois, Hanne Darboven and Lucy R. Lippard, Eric Duyckaerts, Max Frisch, Frederich Froebel, Joao Maria Gusmao and Pedro Paiva, Florian Hecker and Quintin Meillasoux, Alfred Jarry, On Kawara, John Latham, Sol LeWitt, F. T. Marinetti, Daria Martin, Mario Merz, Helen Mirra, Man Ray, Ben Rivers and Mark von Schlegell, Pamela Rosenkranz and Erik Wysocan, Robert Smithson, Paul Valéry, Iannis Xenakis

In the Holocene is based on a 2012 group exhibition of the same name at the MIT List Visual Arts Center that explored art as a speculative science, investigating principles more commonly associated with scientific or mathematical thought. Through the work of an intergenerational group of artists, the exhibition and book propose that art acts as an investigative and experimental form of inquiry, addressing or amending what is explained through traditional scientific or mathematical means: entropy, matter, time (cosmic, geological), energy, topology, mimicry, perception, consciousness, et cetera. Sometimes employing scientific methodologies or the epistemology of science, other times investigating phenomena not restricted to any scientific discipline, art can be seen as a form of inquiry into the physical and natural world. In this sense, both art and science share an interest in knowledge, realism, and observable phenomena, yet are subject to different logics, principles of reasoning, and conclusions.

Works by Berenice Abbott, John Baldessari, Rosa Barba, Robert Barry, Uta Barth, Joseph Beuys, Alighiero Boetti, Carol Bove, Marcel Broodthaers, Matthew Buckingham, Hanne Darboven, Thea Djordjadze, Aurélien Froment, Terry Fox, Laurent Grasso, João Maria Gusmão and Pedro Paiva, Rashid Johnson, Kitty Kraus, Germaine Kruip, Daria Martin, John McCracken, Trevor Paglen, Man Ray, Ben Rivers, Pamela Rosenkranz, Robert Smithson, Hiroshi Sugimoto, Georges Vantongerloo, Lawrence Weiner

Copublished with MIT List Visual Arts Center
Design by Kloepfer-Ramsey-Kwon

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