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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The Anti-Museum : An Anthology
Mathieu Copeland, Balthazar Lovay (Eds.)
The museum is constantly a target for criticism, whether it comes from artists, thinkers, curators, or even the public. From the avant-gardes of the twentieth century up until our contemporary era, the museum’s suspect position has generated countless gestures, iconoclastic actions, scathing attacks, utopias, and alternative exhibition spaces. For the first time, this anthology is devoted to the anti-museum, through anti-art, the anti-artist, anti-exhibition, as well as anti-architecture, anti-philosophy, anti-religion, anti-cinema and anti-music. This notion – unpatented but regularly reappropriated – traces the erratic, fractured, and sometimes paradoxical counter-history of the contestation of artistic institutions. From the first anti-exhibition to the first catalog retracing the history of “Closed Exhibitions,” from Dada to Noise music, from “Everything is Art” to NO!art, the Japanese avant-gardes to Lettrist cinema, and not forgetting such major protest figures as Gustav Metzger, Henry Flynt, Graciela Carnevale, and Lydia Lunch, The Anti-Museum sketches a polyphonic panorama where negation is accompanied by a powerful breath of life.
Edited by Mathieu Copeland and Balthazar Lovay.
Introduction by: Mathieu Copeland.
Texts by: Zach Blas, Johannes Cladders, Beatriz Colomina, Henry Flynt, Kenneth Goldsmith, Krist Gruijthuijsen, Robert Morris, Bob Nickas, Sören Schmeling, Reiko Tomii, Jon Hendricks, Jean Toche, Andrea Branzi, Ettore Sottsass, Allan Wallach, Guerilla Art Action Group, Robert Morris, Gareth James and many more
Features interviews/conversations with John Armleder, Robert Barry, Ben, Genesis P-Orridge, Andrea Branzi, Piero Gilardi, Mierle Laderman Ukeles and many more
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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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Beyond Conceptual Art
Seth Siegelaub (1941–2013) is best known for his decisive role in the emergence and establishment of Conceptual Art in the late 1960s.
This extensively researched publication documents the first exhibition about his life and work, which reassess his role as one of the distinctive characters in twentieth-century exhibition-making, while recognizing his atypical, inquisitive, and free-spirited genius.
Siegelaub was also a gallerist, independent curator, publisher, researcher, archivist, collector, and bibliographer. Often credited as the ‘Father of Conceptual Art’, he was (and remains) a seminal influence on curators, artists, and cultural thinkers, internationally and in Amsterdam, where he settled in the 1990s.
With revolutionary projects such as the Xerox Book, he set the blueprint for the presentation and dissemination of conceptual practices. In the process, he redefined the exhibition space, which could now be a book, a poster, an announcement, or reality at large.
Siegelaub’s radical reassessment of the conditions of art resonated deeply with the iconoclastic views of his contemporaries Carl Andre, Robert Barry, Daniel Buren, Jan Dibbets, Douglas Huebler, Joseph Kosuth, Lawrence Weiner, among others, with whom he developed close working relationships.
Texts by Beatrix Ruf, Leontine Coelewij , Sara Martinetti and more.
Published on the occasion of the exhibition Seth Siegelaub: Beyond Conceptual Art at Stedelijk Museum, Amsterdam, 12 December 2015 – 17 April 2016.
- Seth Siegelaub - Beyond Conceptual Art
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