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Sanja Ivekovic - Triangle

by Ruth Noack

92,75€ + 10% CARD

 The first sustained examination of a canonical and widely exhibited work by a leading artist of the former Yugoslavia. In Sanja Ivekovic''s Triangle (Trokut, 1979), four black-and-white photographs and written text capture an eighteen-minute performance from May 10, 1979. On that date, a motorcade carrying Josip Broz Tito, then president of Yugoslavia, drove through the streets of downtown Zagreb. As the President''s limousine passed beneath her apartment, Ivokevic began simulating masturbation on her balcony. Although she could not be seen from the street, she knew that the surveillance teams on the roofs of neighboring buildings would detect her presence. Within minutes, a policeman appeared at her door ordered her inside. Not only did Ivekovic''s action expose government repression and call attention to the rights of women, it also called attention to the relationship of gender to power, and to the particular experience of political dissidence under communist rule in Eastern Europe. Triangle is considered one of Ivekovic''s key works and yet, despite Ivekovic''s stature as one of the leading artists of the former Yugoslavia, it has received little direct attention. With this book, Ruth Noack offers the first sustained examination of Ivekovic''s widely exhibited, now canonical artwork.After a detailed analysis of the work''s formal qualities, Noack considers its position in the context of artistic production and political history in socialist Yugoslavia. She looks closely at the genesis of the performance and its documentation as a work of art, and relates the making of the work and the politics of canon-making to issues pertaining to the former East-West divide. She discusses the artistic language and meaning-making in relation to conceptualism and performance and to the position of women in Tito''s Yugoslavia and in society at large, and investigates the notion that Ivekovic''s work of this period is participating in citizenship, shifting the focus from the artist''s subversive act to her capacity to shape the terms through which we order our world.
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Mark Leckey - Fiorucci Made Me Hardcore

by Mitch Speed

53,00€ + 10% CARD

 An illustrated examination of Mark Leckey's celebrated video montage.
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Sharon Lockhart - Pine Flat

by Howard Singerman

53,00€ + 10% CARD

 A nuanced reading of an artwork that explores a place, transitory and pastoral, where childhood might be lived and imagined differently
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Walker Evans - Kitchen Corner

by Olivier Richon

53,00€ + 10% CARD

 An examination of one of Walker Evans''s iconic photographs of the Great Depression.Kitchen Corner, Tenant Farmhouse, Hale County, Alabama shows a painstakingly clean-swept corner in the house of an Alabama sharecropper. Taken in 1936 by Walker Evans as part of his work for the Farm Security Administration, Kitchen Corner was not published until 1960, when it was included in a new edition of Walker Evans and James Agee''s classic Let Us Now Praise Famous Men. The 1960 reissue of Evans and Agee''s book had an enormous impact on Americans'' perceptions of the Depression, creating a memory-image retrospectively through Walker''s iconic photographs and Agee''s text. In this latest addition to the Afterall One Work series, photographer Olivier Richon examines Kitchen Corner. The photograph is particularly significant, he argues, because it uses a documentary form that privileges detachment, calling attention to overlooked objects and to the architecture of the dispossessed. Given today''s growing economic inequality, the photograph feels pointedly relevant.The FSA, established in 1935, commissioned photographers to document the impact of the Great Depression in America and used the photographs to advertise aid relief. For four weeks in the summer of 1936, Evans collaborated with Agee on an article about cotton farmers in the American South. The result of that project was the landmark publication Let Us Now Praise Famous Men, documenting three sharecropper families and their environment. These photographs were intimate, respectful portraits of the farmers, and of their homes, furniture, clothing, and rented land. Kitchen Corner powerfully evokes Agee''s observations of the significance of "bareness and space" in these homes: "general odds and ends are set very plainly and squarely discrete from one another... [giving] each object a full strength it would not otherwise have."
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Glenn Ligon - Untitled (I Am A Man)

by Gregg Bordowitz

53,00€ + 10% CARD

 An illustrated examination of Glenn Ligon''s iconic Untitled (I Am a Man) (1988)—a quotation, an appropriated text turned into an artifact.The iconic work Untitled (I Am a Man) (1988) by the important contemporary American artist Glenn Ligon is a quotation, an appropriated text turned into an artifact. The National Gallery of Art in Washington presents the work as a "representation—a signifier—of the actual signs carried by 1,300 striking African American sanitation workers in Memphis, made famous by Ernest Withers'' 1968 photographs." In this illustrated study of the work, Gregg Bordowitz takes the National Gallery''s presentation as his starting point, considering the museum''s juxtaposition of Untitled (I Am a Man) and the ca. 1935 sculpture, Schoolteacher, by William Edmondson, and the relation of the two terms, "markers" and "signs."After closely examining the canvas itself, its textures, brushwork, and structure, Bordowitz presents a theoretical framework that draws on the work of American philosopher Charles Sanders Peirce and his theory of Firstness, Secondness, and Thirdness. He makes a case for Thirdness as a function, operation, or law of meaning-making, not limited by the gender, age, ethnicity, race, class, or personal history of the viewer. Bordowitz goes on to examine Ligon''s work in terms of the representation of self, race, and gender, focusing on three series: Profile Series (1990-91), Narratives, and Runaways (both 1993). He cites such historical figures as Sojourner Truth and her famous 1851 speech, "Ain''t I a Woman?" as well as influences ranging from Bo Diddley''s 1955 song, "I''m a Man" to the cultural theories of Stuart Hall.
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David Hammons - Bliz-Aard Ball Sale

by Elena Filipovic

53,00€ + 10% CARD

 Drawing on unpublished documents and oral histories, an illustrated examination of an iconic artwork of an artist who has made a lifework of tactical evasion.One wintry day in 1983, alongside other street sellers in the East Village, David Hammons peddled snowballs of various sizes. He had neatly laid them out in graduated rows and spent the day acting as obliging salesman. He called the evanescent and unannounced street action Bliz-aard Ball Sale, thus inscribing it into a body of work that, from the late 1960s to the present, has used a lexicon of ephemeral actions and self-consciously "black" materials to comment on the nature of the artwork, the art world, and race in America. And although Bliz-aard Ball Sale has been frequently cited and is increasingly influential, it has long been known only through a mix of eyewitness rumors and a handful of photographs. Its details were as elusive as the artist himself; even its exact date was unrecorded. Like so much of the artist''s work, it was conceived, it seems, to slip between our fingers—to trouble the grasp of the market, as much as of history and knowability.In this engaging study, Elena Filipovic collects a vast oral history of the ephemeral action, uncovering rare images and documents, and giving us singular insight into an artist who made an art of making himself difficult to find. And through it, she reveals Bliz-aard Ball Sale to be the backbone of a radical artistic oeuvre that transforms such notions as "art," "commodity," "performance," and even "race" into categories that shift and dissolve, much like slowly melting snowballs.
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Sigmar Polke - Girlfriends

by Stefan Gronert

53,00€ + 10% CARD

 An illustrated exploration of Girlfriends (1965/66), one of Sigmar Polke''s important early paintings.The artist Sigmar Polke (1941-2010) worked across a broad range of media—including photography, painting, printmaking, sculpture, and film—and in styles that varied from abstract expressionism to Pop. This volume in Afterall''s One Work series offers an illustrated exploration of Freundinnen (Girlfriends 1965/66), one of Polke''s important early paintings. Taken from a found image of two young women, and using the raster dots also found in mass media reproductions, Girlfriends offers a statement about the use and social function of images. Stefan Gronert approaches Girlfriends through its deliberate and elusive ambiguity, providing technical detail and historical background that allow some of the work''s motivation and depth to become clearer. Gronert analyzes Polke''s relationship to his tutors and peers, especially Gerhard Richter; describes the art historical context in which Polke worked; and discusses some of the social and political issues to which Girlfriends refers. Considering such topics as the distinction between Polke and Alain Jacquet in their use of photographed material, between Polke''s use of the raster technique and that of Roy Lichtenstein, and the feminist discourse of the time, Gronert draws on a variety of critical interpretations of Polke''s work, including some material that has not yet been translated into English.
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Jeff Wall - Picture For Women

by David Campany

31,80€ + 10% CARD

 Examining a work that marked the emergence of photography as an art made for the gallery wall instead of the printed page.
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Agnes Martin - Night Sea

by Suzanne P. Hudson

53,00€ + 10% CARD

 A close examination of Agnes Martin's grid painting in luminous blue and gold.
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Sturtevant - Warhol Marilyn

by Patricia Lee

53,00€ + 10% CARD

 An illustrated examination of a work-a Warhol that isn't by Warhol-that embodies a shift in attitudes about artistic authorship and originality.
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Mike Kelley - Educational Complex

by John Miller

92,75€ + 10% CARD

 An illustrated examination of a 1995 work by Mike Kelley that marked a significant change in his work.One of the most influential artists of our time, Mike Kelley (1954-2012) produced a body of innovative work mining American popular culture as well as modernist and postmodernist art—relentless examinations of subjectivity and of society that are both sinister and ecstatic. With a wide range of media, Kelley''s work explores themes as varied as post-punk politics, religious systems, social class, and repressed memory. Using architectural models to represent schools he attended, his 1995 work, Educational Complex, presents forgotten spaces as frames for private trauma, real or imagined. The work''s implications are at once miniature and massive. In this book, John Miller offers an illustrated examination of this milestone work that marked a significant change in Kelley''s practice.A "complex" can mean an architectural configuration, a psychological syndrome, or a political apparatus, and Miller approaches Educational Complex through corresponding lines of inquiry, considering the making of the work, examining it in terms of education and trauma (sexual or otherwise), and investigating how it tests the ideological horizon of art as an institution. Miller shows that in Educational Complex, Kelley expands his political and aesthetic focus, including not only such artifacts as generic forms of architecture but (inspired by the infamous McMartin Preschool case) popular fantasies associated with ritual sex abuse and false memory syndrome. Through this archaeology of the contemporary, Miller argues, Kelley examines the mandate for education and the liberal democratic premises underpinning it.
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Thomas Hirschhorn - Deleuze Monument

by Anna Dezeuze

92,75€ + 10% CARD

 An illustrated examination of one of Hirschhorn's "precarious" monuments, now dismantled.
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Philip Guston - The Studio

by Craig Burnett

53,00€ + 10% CARD

 An illustrated examination of Philip Guston''s comic and complex painting The Studio.Throughout his career, Philip Guston''s work metamorphosed from figural to abstract and back to figural. In the 1950s, Guston (1913-1980) produced a body of shimmering abstract paintings that made him—along with Willem de Kooning, Jackson Pollock, and Franz Kline—an influential abstract expressionist of the "gestural" tendency. In the late 1960s, with works like The Studio came his most radical shift. Drawing from the imagery of his early murals and from elements in his later drawings, ignoring the prevailing "coolness" of Minimalism and antiform abstraction, Guston invented for these late works a cast of cartoon-like characters to articulate a vision that was at once comic, crude, and complex. In The Studio, Guston offers a darkly comic portrait of the artist as a hooded Ku Klux Klansman, painting a self-portrait. In this concise and generously illustrated book, Craig Burnett examines The Studio in detail. He describes the historical and personal motivations for Guston''s return to figuration and the (mostly negative) critical reaction to the work from Hilton Kramer and others. He looks closely at the structure of The Studio, and at the influence of Piero della Francesca, Manet, and Krazy Kat, among others; and he considers the importance of the column of smoke in the painting—as a compositional device and as a ghost of abstraction and metaphysics. The Studio signals not only Guston''s own artistic evolution but a broader shift, from the medium-centric and teleological claim of modernism to the discursive, carnivalesque, and mucky world of postmodernism.
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Yayoi Kusama - Infinity Mirror Room - Phalli''S Field

by Jo Applin

53,00€ + 10% CARD

 A study of Kusama''s era-defining work, a "sublime, miraculous field of phalluses," against the background of abstraction, eroticism, sexuality, and softness.Almost a half-century after Yayoi Kusama debuted her landmark installation Infinity Mirror Room—Phalli''s Field (1965) in New York, the work remains challenging and unclassifiable. Shifting between the Pop-like and the Surreal, the Minimal and the metaphorical, the figurative and the abstract, the psychotic and the erotic, with references to "free love" and psychedelia, it seemed to embody all that the 1960s was about, while at the same time denying the prevailing aesthetics of its time. The installation itself was a room lined with mirrored panels and carpeted with several hundred brightly polka-dotted soft fabric protrusions into which the visitor was completely absorbed. Kusama simply called it "a sublime, miraculous field of phalluses." A precursor of performance-based feminist art practice, media pranksterism, and "Occupy" movements, Kusama (born in 1929) was once as well known as her admirers—Andy Warhol, Donald Judd, and Joseph Cornell. In this first monograph on an epoch-defining work, Jo Applin looks at the installation in detail and places it in the context of subsequent art practice and theory as well as Kusama''s own (as she called it) "obsessional art."Applin also discusses Kusama''s relationship to her contemporaries, particularly those working with environments, abstract-erotic sculpture, and mirrors, and those grappling with such issues as abstraction, eroticism, sexuality, and softness. The work of Lee Lozano, Claes Oldenburg, Louise Bourgeois, and Eva Hesse is seen anew when considered in relation to Yayoi Kusama''s.
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Helio Oiticica And Neville D'Almeida - Block-Experiments In Cosmococa—Program In Progress

by Max Jorge Hinderer Cruz e Sabeth Buchmann

53,00€ + 10% CARD

 An illustrated study that casts a new light on Oiticica''s most important work of "quasi-cinema" on its fortieth anniversary.Hélio Oiticica (1937-1980) occupies a central position in the Latin American avant-garde of the postwar era. Associated with the Rio de Janeiro-based neo-concretist movement at the beginning of his career, Oiticica moved from object production to the creation of chromatically opulent and sensually engulfing large-scale installations or wearable garments. Building on the idea for a film by Brazilian underground filmmaker Neville D''Almeida, Oiticica developed the concept for Block-Experiments in Cosmococa—Program in Progress (1973-1974) as an "open program": a series of nine proposals for environments, each consisting of slide projections, soundtracks, leisure facilities, drawings (with cocaine used as pigment), and instructions for visitors. It is the epitome of what the artist called his "quasi-cinema" work—his most controversial production, and perhaps his most direct effort to merge art and life. Presented publicly for the first time in 1992, these works have been included in major international exhibitions in Los Angeles, Chicago, London, and New York.Drawing on unpublished primary sources, letters, and writings by Oiticica himself, this illustrated examination of Oiticica''s work considers the vast catalog of theoretical references the artist''s work relies on, from anticolonial materialism to French phenomenology and postmodern media theory to the work of Jean-Luc Godard, Andy Warhol, and Brazilian avant-garde filmmakers. It discusses Oiticica''s work in relation to the diaspora of Brazilian intellectuals during the military dictatorship, the politics of media circulation, the commercialization of New York''s queer underground, the explicit use of cocaine as means of production, and possible future reappraisals of Oiticica''s work.
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Rodney Graham - Phonokinetoscope

by Shepherd Steiner

92,75€ + 10% CARD

 An examination of the complex and subtle world on display in Rodney Graham''s film of an LSD-inflected bicycle ride.Rodney Graham''s Phonokinetoscope (2001) is a five-minute 16mm film loop in which the artist is seen riding his Fischer Original bicycle through Berlin''s Tiergarten while taking LSD, to the soundtrack of a fifteen-minute song (written and performed by Graham) recorded on a vinyl LP. The turntable drives the projection of the film; the film starts when the needle is placed on the record and stops when the needle is taken off. Graham''s ride evokes the Swiss scientist Albert Hoffman''s famous 1943 bicycle ride home after an experimental dose of LSD as well as Paul Newman''s backward-facing ride in Butch Cassidy and the Sundance Kid; the accompanying music presents a thicket of riffs and borrowings. As the images and visual details repeat in the film''s endless loop, the artist''s Phonokinetoscope refers to a surprising number of works of art and literature, displaying a world rich with subtle meaning.In this illustrated study of Phonokinetoscope, Shep Steiner describes the work as marking Graham''s transition into a new medium. Steiner positions Graham''s practice in relation to postminimalist practice and that of other artists including Dan Graham, but especially, Ian Wallace and Jeff Wall; considers Graham''s rhetoric of playfulness; and finally, beyond the web of references, argues for a notion of allegory and memory theater keyed to the durational work yet satisfying the aesthetic standards of static art. Phonokinetoscope, Steiner argues, looks back to Graham''s earlier works focusing on the notion of protocinema and forward to his later musical preoccupations.
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Martha Rosler - The Bowery In Two Inadequate Descriptive Systems

by Steve Edwards

53,00€ + 10% CARD

 The first sustained critical examination of a work by Martha Rosler that bridged the concerns of conceptual art with those of political documentary.In The Bowery in two inadequate descriptive systems (1974-1975) Martha Rosler bridged the concerns of conceptual art with those of political documentary. The work, a series of twenty-one black-and-white photographs, twenty-four text panels and three blank panels, embraces the codes of the photo-text experiments of the late 1960s and applies them to the social reality of New York''s Lower East Side. The prevailing critical view of The Bowery focuses on its implicit rejection, or critique, of established modes of documentary. In this illustrated, extended essay on the work by Rosler, Steve Edwards argues that although the critical attitude towards documentary is an important dimension of the piece, it does not exhaust the meaning of the project.Edwards situates the work in relation to debates and practices of the period, especially conceptual art and the emergence of the photo-text paradigm exemplified by the work of Robert Smithson, Bernd and Hilla Becher, Hans Haacke, Victor Burgin, and the Women and Work group. In particular, he contextualizes Rosler''s work of this period within the politicized San Diego group (which included, in addition to Rosler, Allan Sekula, Fred Lonidier, and Philip Steinmetz). Comparing The Bowery to Rosler''s later video vital statistics of a citizen, simply obtained (1977) and the films of the Dziga-Vertov Group (formed by Jean-Luc Godard and Jean-Pierre Gorin), Edwards shows how the work engages with conceptual art and the neo-avant-garde of the 1960s and 1970s.
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Philip Guston - The Studio

by Craig (Associate Director, White Cube, London) Burnett

24,32€ + 10% CARD

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 An illustrated examination of Philip Guston's comic and complex painting The Studio.
ENGLISH

Helio Oiticica And Neville D'Almeida - Block-Experiments In Cosmococa-Program In Progress

by Max Jorge Hinderer Cruz e Sabeth (Academy Of Fine Arts, Vienna) Buchmann

24,32€ + 10% CARD

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 An illustrated study that casts a new light on Oiticica's most important work of "quasi-cinema" on its fortieth anniversary.
ENGLISH

Pierre Huyghe - Untitled (Human Mask)

by Mark Lewis

24,32€ + 10% CARD

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David Hammons - Bliz-Aard Ball Sale

by Elena (Director, Kunsthalle Basel) Filipovic

24,32€ + 10% CARD

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Adrian Piper - Funk Lessons

by Elvan Zabunyan

OUT OF STOCK OR NOT AVAILABLE
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Beverly Buchanan

by Amelia Groom

23,16€

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OUT OF STOCK OR NOT AVAILABLE
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Mark Leckey - Fiorucci Made Me Hardcore

by Mitch Speed

OUT OF STOCK OR NOT AVAILABLE

 An illustrated examination of Mark Leckey's celebrated video montage.
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