Miranda July

Laura Lark

Julia Bryan-Wilson

Jacinda Russell

Harrell Fletcher

Presents a collection of art and personal stories taken from the author's Web site in which participants respond to a variety of artistic assignments, including "Take a flash photo under your bed," "Write your life story in less than a day," and "Make anencouraging banner."

Learning to Love You More

Corey Keller

Jennifer Blessing

"Catalogue produced in conjunction with the exhibition Francesca Woodman, presented at the San Francisco Museum of Modern Art (November 5, 2011-February 20, 2012) and the Guggenheim Museum, New York (March 16-June 15, 2012)"--Provided by publisher.

Francesca Woodman

radical practice in the Vietnam War era

Art workers

Glenn Adamson

The first book to address the significance of the materials and methods used to make contemporary artworks

Artists and Their Materials from the Studio to Crowdsourcing

Art in the Making

Fred Moten

Hito Steyerl

Claire Bishop

Susan Leigh Foster

Kélina Gotman

Bojana Kunst

Mathieu Copeland

André Lepecki

Katherine Dunham

Merce Cunningham

Christine Greiner

Claire Tancons

Thomas J. Lax

Nadeije Laneyrie-Dagen

Germaine Acogny

Analivia Cordeiro

Carmen Luz

Cláudia Müller

Daniel Blanga Gubbay

G.R.E.S. Estação Primeira de Mangueira

Juliana Moraes

Leda Martins

Lucas Pedretti

Manuel Segade

Sophie Jacotot

Will Rawls

Zoila Mendoza-Walker

Esta Antologia reúne 28 textos em torno dos entrelaçamentos entre dança, cultura visual e políticas do corpo. São ensaios, discursos, textos críticos e de referência, bem como um samba-enredo, escritos por historiadores da dança e da arte, artistas, curadores, coreógrafos e dançarinos. O MASP organizou três seminários internacionais sobre as Histórias da dança entre 2018 e 2020, e 7 dos textos vêm dessas apresentações, enquanto os outros 21 são novas edições e traduções inéditas de textos fundamentais para pensar a dança e a coreografia — que corpos dançam, o que os move, como se movem e como são representados. Esta publicação supre uma lacuna no mercado editorial. Ela é essencial para quem tiver interesse nos debates em torno das relações da dança e as artes visuais e de sua presença nas galerias e museus. A Antologia de textos acompanha o volume Histórias da dança: catálogo, com ensaios e reproduções das obras e performances selecionadas para integrar a exposição coletiva articulada em torno do eixo temático do ano de 2020.

Histórias da dança: antologia

Mel Y. Chen

Liv Porte

Lin's richly tactile installation meditates on the upheavals of 2020, drawing on complex material histories and speculative multispecies narratives This book chronicles the creation of a newly commissioned body of work by Los Angeles-based artist Candice Lin (born 1979) during the COVID-19 pandemic. Lin often investigates the legacies of colonialism by tracing the material histories of goods that circulated within global trade routes. For her Walker Art Center and Carpenter Center for the Visual Arts project, the artist brings together hand-dyed indigo textiles, plaster sculptures to be touched by visitors, large-scale ceramics partially inspired by Chinese tomb guardians and a hallucinogenic video featuring dancing cats and spam texts. Taken together, this multipart installation addresses the anxiety, isolation, fear and anger of this tragic year of pandemic and social upheaval, emphasizing touch, intimacy and a collective questioning of our precarious present and future. Texts explore Lin's innovative use of materials and mediums and the theoretical frameworks that animate her art. A fully illustrated plates section documents the artist's process of research, making and installation, and an annotated selection of Lin's major past exhibitions provides important context for works made over the last decade.

Candice Lin: Seeping, Rotting, Resting, Weeping

Omar Kholeif

Lauren Cornell

The first complete monograph on an artist whose work investigates surveillance and government secrecy in the digital age Trevor Paglen's art gives visual geography to hidden forces, relentlessly pursuing what he calls the 'unseeable and undocumentable' in contemporary society. Blending photography, installation, investigative journalism, and science, Paglen explores the clandestine activity of government and intelligence agencies, using high-grade equipment to document their movements and reveal their hidden inner workings. This book presents over three decades of Paglen's groundbreaking work, making visible the structures and technologies that impact our lives.

Trevor Paglen

From artists to art workers -- Carl Andre's work ethic -- Robert Morris's art strike -- Lucy Lippard's feminist labor -- Hans Haacke's paperwork.

Radical Practice in the Vietnam War Era

Art Workers

Helen Anne Molesworth

M. Darsie Alexander

Des Moines Art Center

Baltimore Museum of Art

Wexner Center for the Arts

Examines the proliferation of new ways of making "art" in the 1960s by focusing on the changed organization of work in society at the time. Co-published with The Baltimore Museum of Art in conjunction with an exhibition of the same name.

Work Ethic

Judith Butler

Christopher Bedford

Foreword by Judith O. Richards. Text by Christopher Bedford, Peggy Phelan, Julia Bryan-Wilson.

Artists Consider Masculinity in Sports

Mixed Signals

Adrian Heathfield

Stephanie Rosenthal

Ana Mendieta

During her short career, Ana Mendieta (1948-1985) created a body of work that was provocative and radically inventive. Using her own body, together with elemental materials - blood, fire, earth and water - she created visceral performances and ritual ephemeral 'earth-body' sculptures exploring life, death, rebirth and spiritual transformation.Born in Cuba but sent to America as a child, much of her art expresses the pain and rupture of cultural displacement and exile. Her images are compelling, mysterious and poetic. In some, the outline of her body is consumed by gunpowder, fireworks, or advancing waves; others record ancient goddess-forms moulded from sand, carved into rock, or incised in clay.This book includes an anthology of never seen before material including Mendieta's own writings and press coverage of her shows. Encompassing a wealth of her drawings, photography and filmography, it also provides a compre­hensive and enlightening perspective on this important artist's work.This title accompanies the first monograph exhibition of this artist in the UK at Hayward Gallery, 24 September - 15 December 2013.

Traces

Christophe Cherix

Klaus Biesenbach

Jon Hendricks

Yoko Ono: One Woman Show, 19601971 examines the beginnings of Onos extensive career, demonstrating her pioneering role in visual art, performance and music during the 1960s and early 1970s. The exhibition begins in New York in December 1960, where Ono initiated a performance series with La Monte Young in her Chambers Street loft. Over the course of the decade, Ono earned international recognition, staging Cut Piece in Tokyo and Kyoto in 1964, exhibiting at the Indica Gallery in London in 1966, and launching her global War is Over! campaign in 1969. Ono returned to New York in the early 1970s and organized an unsanctioned one woman show at The Museum of Modern Art. Over forty years after Onos unofficial MoMA debut, the Museum will present its first exhibition dedicated exclusively to the artists work. The publication evaluates the broader cultural context of Onos early work and features five sections reflecting her geographic locations during this period and the corresponding evolution of her artistic practice. Each chapter includes an introduction written by a guest scholar, artwork descriptions, new interviews with key figures from the time, and a selection of primary documents culled from newspapers, magazines and journals.

One Woman Show, 1960-1971

Yoko Ono

Essays, an interview, and a roundtable discussion on the work of one of the most influential American artists of the postwar period. This October Files volume gathers essays, an interview, and a roundtable discussion on the work of Robert Morris, one of the most influential American artists of the postwar period. It includes a little-known text on dance by Morris himself and a never-before-anthologized but influential catalog essay by Annette Michelson. Often associated with minimalism, Morris (b. 1931) also created important works that involved dance, process art, and conceptualism. The texts in this volume focus on Morris's early work and include an examination of a 1971 Tate retrospective by Jon Bird, an interview with the artist by Benjamin Buchloh, a conversation from a 1994 issue of October about resistance to 1960s art, and an essay by this volume's editor, Julia Bryan-Wilson, on the labor involved in installing the massive works in Morris's 1970 solo exhibition at the Whitney. Spanning 1965 to 2009, these writings map the evolution of critical thought on Morris over more than four decades.

Robert Morris

Kelly Baum

Randall Griffey

Meredith A. Brown

Susanna V. Temkin

"For me, people come first," Alice Neel (1900–1984) declared in 1950. "I have tried to assert the dignity and eternal importance of the human being." This ambitious publication surveys Neel's nearly 70-year career through the lens of her radical humanism. Remarkable portraits of victims of the Great Depression, fellow residents of Spanish Harlem, leaders of political organizations, queer artists, visibly pregnant women, and members of New York's global diaspora reveal that Neel viewed humanism as both a political and philosophical ideal. In addition to these paintings of famous and unknown sitters, the more than 100 works highlighted include Neel's emotionally charged cityscapes and still lifes as well as the artist’s erotic pastels and watercolors. Essays tackle Neel's portrayal of LGBTQ subjects; her unique aesthetic language, which merged abstraction and figuration; and her commitment to progressive politics, civil rights, feminism, and racial diversity. The authors also explore Neel's highly personal preoccupations with death, illness, and motherhood while reasserting her place in the broader cultural history of the 20th century.

Alice Neel: People Come First

Lucy R. Lippard's famous book, itself resembling an exhibition, is now brought full circle in an exhibition (and catalog) resembling her book. "Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or 'dematerialized.'" --Lucy R. Lippard, Six Years In 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle in the bibliography of art: The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries: consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones) edited and annotated by Lucy R. Lippard. Six Years, sometimes referred to as a conceptual art object itself, not only described and embodied the new type of art-making that Lippard was intent on identifying and cataloging, it also exemplified a new way of criticizing and curating art. Nearly forty years later, the Brooklyn Museum takes Lippard's celebrated experiment in curated concatenation as a template, turning a book that resembled an exhibition into an exhibition materializing the ideas in her book. The artworks and essays featured in this publication recall the thrill that was tangible in Lippard's original documentation, reminding us that during the late sixties and early seventies all possible social and material parameters of art (making) were played with, worked over, inverted, reduced, expanded, and rejected. By tracing Lippard's own activities in those years, the book also documents the early blurring of boundaries among critical, curatorial, and artistic practices. With more than 200 images of work by dozens of artists (printed in color throughout), this book brings Lippard's curatorial experiment full circle.

Lucy R. Lippard and the Emergence of Conceptual Art

Materializing Six Years

Fray

Wayne Koestenbaum

Mika Rottenberg

"Published in 2014 by Gregory R. Miller & Co. in association with the Rose Art Museum on the occasion of the exhibition Mika Rottenberg: Bowls Balls Souls Holes (February 14-June 8, 2014)."

The Production of Luck

Julia Bryan-Wilson

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