A.R.T. Press, New York

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Leigh Ledare, Rhea Anastas
Double Bind

The book Double Bind pivots around an extensive conversation between artist Leigh Ledare and art historian Rhea Anastas concerning Ledare’s project of the same name. As an installation, Double Bind puts in play a series of overlaying comparative structures: over one thousand photographs of the artist’s ex-wife (half taken by Ledare, the other half by her current husband, according to a script conceived by Ledare) and an ample collection of printed mass media. Through a critical and wide-ranging dialog, Ledare and Anastas probe the complexities of the viewing experience of the work and the consequences of its provocations. Ordered according to six sections, the conversation addresses key concepts and methodologies that structure the work: viewing, systemic conditions, enactment, installation and mass media, genealogy, and affect. Taken by Ledare exclusively for this book, installation views of the New York exhibition (Mitchell-Innes & Nash, 2014) foreground the subjective experience of the work and anchor the coauthors’ testing of models of aesthetic and social critique within an ethics of actually looking. The dialogue also appears with an introduction by Anastas, a preface by Ledare, and a chronology of Double Bind exhibitions and publications to date.

“Ledare’s Double Bind project examines social process of habitual enactment, such as what it means “to be a wife,” emotional and material terms of exchange, thresholds of public and private imagination, gender normativity and symbolic boundaries of relationships—all through the lens of a camera. Ledare suggests a kind of unraveling of these habituations and carries this logic over to his discussion of the work with Rhea Anastas. Here, Double Bind functions not simply as an object of analysis but instead as a rubric through which the two extend the work itself through a dialectic of articulation and dis-articulation. In line with the radical (and often suppressed) premises of conceptual art, here Ledare and Anastas challenge and override conventional distinctions between artwork, viewer, artist, critic and art historian. In this way this book serves as a vital part of Double Bind’s progressive unfolding.” – John Miller, artist and critic

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Leigh Ledare, Rhea Anastas - Double Bind
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Felix Gonzales-Torres
A Selection of Snapshots Taken by Felix Gonzales-Torres


This book presents a selection of snapshots and accompanying inscriptions sent by Felix Gonzalez-Torres to Doug Ashford, Julie Ault, Bill Bartman, Susan Cahan, Amada Cruz, David Deitcher, Suzanne Ghez, Ann Goldstein, Claudio González, Jim Hodges, Susan Morgan, Robert Nickas, Mario Nuñez, and Christopher Williams between 1990–1995.

The snapshots are quick poetic communiqués, a visual report on Felix’s outlook at particular moments in time, small gestures of hope, pleasure, and desire. They give evidence to some of his multiple fascinations: pets, furniture, collectible dolls, politics, art, friendship, beauty, love and optimism.

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A Selection of Snapshots Taken by Felix Gonzales-Torres
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Felix Gonzalez-Torres


Published in 1993, this was the first monograph on Felix Gonzalez-Torres. Known for his installations and public artworks that invite the viewer’s direct participation, the artist died in 1996 at the young age of thirty-six having created one of the most innovative and impressive oeuvres in contemporary art all in the short span of ten years.

It includes essays by Susan Cahan and Jan Avgikos, copious photographic documentation of projects, and a lengthy transcribed interview with fellow activist artist Tim Rollins. In this interview Gonzales-Torres talks about his commitment to social change and his understanding of his role as an artist in effecting that change.

These are As New copies of the 1993 paperbound first edition with the original folded poster insert, from Art Resources Transfer (A.R.T. Press).

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Felix Gonzalez-Torres
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Mike Kelley

Mike Kelley interviewed by John Miller

Mike Kelley’s iconoclastic artwork assails the sunshine fantasy of the “normal” family. In an extended and intelligent interview profusely illustrated with performance stills, reproductions, and installation shots, Kelley discusses the development of his work, his interest in pop culture, and the influence of crafts on his work.

Kelley: “I really hate when an artwork is open to all interpretations. I like interpretations to be limited so that the process is problematized. Not just any interpretation is good; there’s a certain range of interpretations that are allowed. Then the interpretation becomes a problem – I like that”.

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Mike Kelley
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