Abe's Penny Micro-Magazine
Limited Edition Art Journal of new photography and literature featuring photography by Sanford Biggers and text by Anike Robinson.
Ariella Azoulay: The Civil Contract of Photography
In this compelling work, Ariella Azoulay reconsiders the political and ethical status of photography. Describing the power relations that sustain and make possible photographic meanings, Azoulay argues that anyone—even a stateless person—who addresses others through photographs or is addressed by photographs can become a member of the citizenry of photography. The civil contract of photography enables anyone to pursue political agency and resistance through photography.
Photography, Azoulay insists, cannot be understood separately from the many catastrophes of recent history. The crucial arguments of her book concern two groups with flawed or nonexistent citizenship: the Palestinian noncitizens of Israel and women in Western societies. Azoulay analyzes Israeli press photographs of violent episodes in the Occupied Territories, and interprets various photographs of women—from famous images by stop-motion photographer Eadweard Muybridge to photographs from Abu Ghraib prison. Azoulay asks this question: under what legal, political, or cultural conditions does it become possible to see and to show disaster that befalls those who can claim only incomplete or nonexistent citizenship?
Drawing on such key texts in the history of modern citizenship as the Declaration of the Rights of Man together with relevant work by Giorgio Agamben, Jean-Francoise Lyotard, Susan Sontag, and Roland Barthes, Azoulay explores the visual field of catastrophe, injustice, and suffering in our time. Her book is essential reading for anyone seeking to understand the disasters of recent history—and the consequences of how these events and their victims have been represented.
Cercle d'art des travailleurs de plantation congolaise
Cercle d'art des travailleurs de plantation congolaise (FR/ENG), edited by Eva Barois De Caevel and Els Roelandt, offers a first report on the activities of the CATPC in Lusanga. A unique gathering of individuals, an atelier, and an experimental test garden, the CATPC is an exceptional contemporary practice for rethinking postcolonial power relations within the global art world.
David Joselit: After Art
Princeton University Press
Art as we know it is dramatically changing, but popular and critical responses lag behind. In this trenchant illustrated essay, David Joselit describes how art and architecture are being transformed in the age of Google. Under the dual pressures of digital technology, which allows images to be reformatted and disseminated effortlessly, and the exponential acceleration of cultural exchange enabled by globalization, artists and architects are emphasizing networks as never before. Some of the most interesting contemporary work in both fields is now based on visualizing patterns of dissemination after objects and structures are produced, and after they enter into, and even establish, diverse networks. Behaving like human search engines, artists and architects sort, capture, and reformat existing content. Works of art crystallize out of populations of images, and buildings emerge out of the dynamics of the circulation patterns they will house.
Examining the work of architectural firms such as OMA, Reiser + Umemoto, and Foreign Office, as well as the art of Matthew Barney, Ai Weiwei, Sherrie Levine, and many others, After Art provides a compelling and original theory of art and architecture in the age of global networks.
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Sommer Contemporary Art
Magali Reus: Spring for a Ground / Particle Of Inch / Halted Paves / Quarters
Mousse Publishing, Milan
In the spring of 2015, Magali Reus (born 1981 in the Hague, the Netherlands; based in London) opened the first in a series of four exhibitions of new work co-commissioned and presented by SculptureCenter, New York; Hepworth Wakefield, England; Westfälischer Kunstverein, Münster, Germany; and Fondazione Sandretto Re Rebaudengo, Turin, Italy. The culmination of these collaborative projects is documented in this publication, marking an important chapter in the evolution of Reus' work.
Michael Taussig: Mimesis and Alterity
In Mimesis and Alterity Taussig undertakes and eccentric history of the mimetic faculty. He moves easily from the nineteenth-century invention of mimetically capacious machines, such as the camera, backwards to the fable of colonial "first contact" alleged mimetic prowess of "primitives," and then forward to contemporary time, when the idea of alterity is increasingly unstable. Utilizing anthropological theory, Taussig blends Latin American ethnography and colonial history with the insights of Walter Benjamin, Adorno and Horkheimer. Vigorous and unorthodox, Taussig's understanding of mimesis in different cultures deepens our meaning of ethnography, racism and society.
Sanford Biggers: Sweet Funk - An Introspective
New York-based artist Sanford Biggers challenges and reinterprets symbols and legacies that inform contemporary America. This exhibition, a focused selection of thirteen pieces, is Biggers' first museum presentation in New York. It also marks the Brooklyn debut of Blossom (2007), a large-scale multimedia installation that incorporates references ranging from lynchings to Buddha's enlightenment under the bodhi tree. The book features illuminating essays by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art at the Brooklyn Museum, and the noted critic Gregory Volk.
Simon Gikandi: Slavery and the Culture of Taste
Princeton University Press
It would be easy to assume that, in the eighteenth century, slavery and the culture of taste—the world of politeness, manners, and aesthetics—existed as separate and unequal domains, unrelated in the spheres of social life. But to the contrary, Slavery and the Culture of Taste demonstrates that these two areas of modernity were surprisingly entwined. Ranging across Britain, the antebellum South, and the West Indies, and examining vast archives, including portraits, period paintings, personal narratives, and diaries, Simon Gikandi illustrates how the violence and ugliness of enslavement actually shaped theories of taste, notions of beauty, and practices of high culture, and how slavery's impurity informed and haunted the rarified customs of the time.
Gikandi focuses on the ways that the enslavement of Africans and the profits derived from this exploitation enabled the moment of taste in European—mainly British—life, leading to a transformation of bourgeois ideas regarding freedom and selfhood. He explores how these connections played out in the immense fortunes made in the West Indies sugar colonies, supporting the lavish lives of English barons and altering the ideals that defined middle-class subjects. Discussing how the ownership of slaves turned the American planter class into a new aristocracy, Gikandi engages with the slaves' own response to the strange interplay of modern notions of freedom and the realities of bondage, and he emphasizes the aesthetic and cultural processes developed by slaves to create spaces of freedom outside the regimen of enforced labor and truncated leisure.
Through a close look at the eighteenth century's many remarkable documents and artworks, Slavery and the Culture of Taste sets forth the tensions and contradictions entangling a brutal practice and the distinctions of civility.
Thirty-Three Stories about Reasonable Characters in Familiar Places
Written by the artist, the book Thirty Three Stories About Reasonable Characters in Familiar Places (2011) comprises a series of vignettes that examine events occurring in highly specific sites. The book was presented in the space for Short Srories, Part One: Iman Issa and Ben Schumacher.
Novel ~ Issue Two
Issue Two contributors include:
Karolin Meunier, Cyprien Gaillard, Mark Leckey, Barry MacGregor, Johnston and Stephen G. Rhodes, Emily Wardill, Paul Chan, Anna Barham, Melanie Gilligan, Nathan Hylden, Karl Holmqvist, Nicholas Byrne, Ryan Gander, Simon Denny, Michaela Eichwald, Oscar Tuazon, Henri Chopin, Ed Atkins, Christoph Buchel
Novel draws together artists writing, texts and poetry that oscillate between modes of fiction and criticism. A cacophony of voices, that is the primary condition of writing, seek to break the habitual methods of representation and productions of subjectivity. Disconnected from any unitary theme these texts coalesce around writing as a core material of a number of artists exploring language and fiction. This fiction acts as a speculative force, no longer defined by what is said, even less by what makes it a signifying thing, but perhaps as a mode that exists parallel to the visual. Here, art writing is an apparatus for knowledge capture, informed by theory, film, politics and storytelling; writing as parallel practice, different, tangential; writing as political fiction; writing as another adventure on the 'skin drive', renegotiating unfulfilled beginnings or incomplete projects - that might offer points of departure. Amidst the insinuated narratives and materialised visions there is a concern for writing and the impossibility of fiction which is at stake. Novel asks us to think of writing as something distinct from information, as at least one realm of cultural production that is exempt from the encompassing obligation to communicate.
Lara Schnitger: It Ain't Gonna Lick Itself
Anton Kern Gallery (2005)
This publication accompanies the Lara Schnitger exhibition held at Anton Kern Gallery, New York, Sep 8-Oct 9, 2005. In conjunction with the installation Blacks on Blondes held at Triple Candie, New York, Sep 11-Oct 9, 2005. Foreward by Lisa Mark.
For the past 10 years, John Lovett and Alessandro Codagnone have been working collaboratively as Lovett/Codagnone. Their performance work and video installations explore power relations, both as manifested in explicit cultural signifiers like S/M and in clandestine or unconscious practices. Previous photography-based collaborations displaced gay subcultural signifiers into suburban environments or urban public spaces. In more recent works, the audience is confronted with an appropriation of theatrical fallout, scripted communication that makes up patterns of interaction and dysfunction within family structures. The complexity of human dynamics is explored and re-delivered, often through the distilling of a pose that demands intensity and endurance. Lovett/Codagnone™strenuous performances convey uncomfortable and complex relationships in which the only constant is ever-shifting power roles.
Blanton Museum of Art (2007)
Mike's World takes a tightly focused view of a single Michael Smith performance persona, "Mike," as it has developed over the course of many years and through innumerable presentation formats. The character Mike functions metaphorically as a kind of ever-hopeful Candide, adrift in a world of rapid technological advances that he seems incapable of fully comprehending, and stymied by the depersonalization and isolation that have accompanied late twentieth-century life. Ironic in its sharp personification of failure, but also hilarious and poignant, Smith's work mirrors our most human concerns about competency and comfort. Underscoring the hybrid nature of Smith's art, the works reproduced in this colorful paperback book also highlight his last decade of video and installation collaborations with artist-director Joshua White. With contributions by Michael Smith, Jay Sanders, Mike Kelley, Ingrid Schaffner and Regine Basha.
Alice Aycock, Sculpture and Projects
The MIT Press (2005)
"In Alice Aycock: Sculpture and Projects, Robert Hobbs examines the development of Aycock's work over twenty years and her negotiation-along with other artists who came of age in the early 1970s-of the transition from modernism to postmodernism."
Tom Burr: Extrospective, Works 1994-2006
JRP | Ringier (2006)
Edited by Florence Derieux. Texts by Stuart Comer, George Baker, Cerith Wyn Evans.
"Tom Burr (born in 1963, in New Haven, Connecticut) is an American artist whose work--photographs, drawings, sculptures and installations--revisits the formal vocabulary of the avant-gardes of the 1960s, in particular Minimalism and post-Minimalism, and mixes together pop iconography, homosexual culture, underground aesthetics, musical, cinematographic and literary influences and contemporary architecture and design."
On Chapels, Caves and Erotic Misery
Kerber Verlag (2007)
"Christian Tomaszewski creates imaginary rooms in which mysterious events might happen. These rooms speak of unfulfilled dreams, wishes and longings. The project On Chapels Caves and Erotic Misery began in 2004 in the Luxe Gallery in Łódź and the Kunstsammlungen Chemnitz and there are to be new versions for the Kunstforum Ostdeutsche Galerie Regensburg and finally for SculptureCenter in New York City 2007."