World Food Books

Fourth Biennale of Sydney 1982
Vision in Disbelief

1982, English
Softcover, 224 pages, 21 x 30 cm
1st Edition, Out of print title / Used*,
Published by Biennale of Sydney / Sydney

$70.00 - Out of stock

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Catalogue published on the occasion of the Fourth Biennale of Sydney 1982, 7 April – 23 May 1982. Under the artistic direction of William Wright the 1982 Biennale was titled "Vision in Disbelief" and featured the work of Jörg Immendorff, Dan Graham, Brian Eno, Sue Ford, Joan Jonas, Lyndal Jones, John Baldessari, Robert Ashley, Billy Apple, Gary Hill, Fiona Hall, Philip Guston, General Idea, Bill Henson, Slave Guitars, Michael Snow, Severed Heads, Martha Rosler, Nam June Paik, Mike Parr, Tony Oursler, Davida Allen, Dale Frank, Rebecca Horn, Gareth Sansom, Lucas Samaras, Pe Kirkeby, Maria Kozik, Laughing Hands, Bertrand Lavier, Liz Magor, Anne Marsh, Markus Lupertz, William Wegman, Bill viola, Niele Toroni, Ken Unsworth, Marina Abramovic, John Ahearn, Vivienne Binns, Ian Breakwell, Georg Baselitz, Frank Auerbach, Claus Bohmler, Sydney Ball, Anti-Music, Laurie Anderson, Terry Allen, →↑→ and many more.
This catalogue includes colour and black and white examples of the work of all participating artists alongside texts and biographies.

Condition: Good – light general use/shelf wear and small marking to cover, good copy otherwise) – All care is taken to provide accurate condition details of used books, photos available on request.

File under: Jörg Immendorff Dan Graham Brian Eno Sue Ford Joan Jonas Lyndal Jones John Baldessari Robert Ashley Billy Apple Gary Hill Fiona Hall Philip Guston General Idea Bill Henson Slave Guitars Michael Snow Severed Heads Martha Rosler Nam June Paik Mike Parr Tony Oursler Davida Allen Dale Frank Rebecca Horn Gareth Sansom Lucas Samaras Laughing Hands Bertrand Lavier Liz Magor Anne Marsh Markus Lupertz William Wegman Bill viola Niele Toroni Ken Unsworth John Ahearn Vivienne Binns Ian Breakwell Georg Baselitz Frank Auerbach Claus Bohmler Sydney Ball Anti-Music Laurie Anderson Terry Allen →↑→ Marina Abramovič Per Kirkeby Maria Kozic Biennale of Sydney / Sydney Art Film / Video Out-of-print / Rare Performance / Dance / Theater Sculpture / Installation Sound / Music Group Shows / Collections Painting

Andy Warhol - Films and Paintings
By Peter Gidal

1971, English
Softcover, 160 pages, 18.5 x 12.5 cm
1st Edition, Out of print title / used / good
Published by Studio Vista / London E P Dutton / New York

$48.00 - Out of stock

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"In 1961 a fashionable commercial artist named Andy Warhol created an artistic furor in New York with his deadpan versions of the Campbell’s Soup can. Since then he has become the most talked about but least understood artist of the late 20th century. Warhol made acceptable the use of industrial techniques in the creation of paintings obsessed with modern clichés—car crashes, Coke bottles, sex symbols such as Marilyn Monroe and Liz Taylor. At the same time, his films—Blowjob, Sleep, Chelsea Girls, Lonesome Cowboys—forced us to look at the object/subject, transformed the bizarre into the banal, and remade the form and content of cinematic experiment and production."

First edition, published in 1971 by the mighty Studio Vista (and out of print since 1980), Peter Gidal’s Andy Warhol was the first book written on Warhol’s films and paintings, a concise and astute analysis of an artistic revolution. "Idol of the jet set," "trend-maker," superstar, Warhol was taken at more than face value in Gidal’s unconventional and insightful exploration. Decades later, Andy Warhol remains a seminal text, essential for a serious understanding of the artist and the work. Still the best thing written on Andy Warhol, according to art historian Benjamin Buchloh. Illustrated with over 100 b/w photographs, many of which caused great censorship problems at the time of distribution.

File under: Andy Warhol Peter Gidal Studio Vista / London E P Dutton / New York Art Painting Pop Art Film / Video Theory / Essay Out-of-print / Rare Eros

Daniel von Sturmer
Set Piece

2011, English
Hardcover, 56 pages, 210 x 210mm
Published by Self-Published

$15.00 $5.00 - Out of stock

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Published on the occasion of Daniel von Sturmer's exhibition, Set Piece at Site Gallery, Sheffield, September 2009

Design by Yanni Florence

File under: Daniel von Sturmer Charlotte Day Self-Published Art Australian Art Sculpture / Installation Film / Video SALE

The Camera: Essence and Apparatus
by Victor Burgin

2018, English
Softcover (w. french flaps), 260 pages, 22.8 x 14 cm
Published by MACK / London

$49.00 - Out of stock

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Victor Burgin is one of the most influential artists and writers working today. He came to prominence as a key ﬁgure in the Conceptual Art movement of the late 1960s. After turning to photography in his artistic practice he produced a series of groundbreaking theoretical essays that drew on semiotics, psychoanalysis and feminism in order to think through the ideological role of photographs in the production of beliefs and values, and in the understanding of memory, history, subjectivity and space. This collection brings together for the ﬁrst time Victor Burgin’s writings related speciﬁcally to the camera, following the shifts and nuances in his thinking over nearly ﬁve decades. Moreover, it allows us to chart the evolution of what the camera was and is, and how its affects are to be understood.

File under: Victor Burgin Victor Burgin MACK / London Photography Film / Video Theory / Essay Art Conceptual Art

THE AVANT-GARDE FILM : A Reader of Theory and Criticism
Edited by P. Adams Sitney

1978, English
Softcover, 296 pages, 22.6 x 15.2
1st Edition, Out of print title / used / very good
Published by New York University Press / New York

$50.00 - Out of stock

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Incredible collection of film texts compiled in 1978 and published by the Anthology Film Archives Series. First edition.

Features the writings of Dziga Vertov, Sergei Eisenstein, Hans Richter, Jean Epstein, Germaine Dulac, Antonin Artaud, Joseph Cornell, Maya Deren, Sidney Peterson, James Broughton, John and James Whitney, P. Adams Sitney, Harry Smith, Carel Rowe, Stan Brakhage, Peter Kubelka, Stephen Koch, Andy Warhol, Annette Michelson, Michael Snow, Jonas Mekas, Ernie Gehr, Anthony McCall, Paul Sharits, Tony Conrad, Hollis Frampton.

"This anthology offers for the first time an extensive survey of the theoretical contributions of avant- garde ﬁlm-makers and essays about their cinematic achievements. Several texts appear in print, or in English, for the first time here. Because of the diversity of the materials—manifestoes, letters, a scenario, program notes, lectures, interviews—and because of the stylistic peculiarities of some of the authors, no attempt has been made to standardize spellings, punctuation, or footnoting throughout the book. Each contribution conforms to its original manuscript or printed form..." - P. Adams Sitney

About the editor:
P. Adams Sitney is Co-Director of the Anthology Film Archives in New York City and teaches cinema at New York University. He has also lectured extensively on film at museums of modern art, universities, and cinematheques in Europe and in South America. An editor of Film Culture magazine, he is the editor of the Film Culture Reader.

File under: Dziga Vertov Sergei Eisenstein Hans Richter Jean Epstein Germaine Dulac Antonin Artaud Joseph Cornell Maya Deren Sidney Peterson James Broughton John and James Whitney P. Adams Sitney Harry Smith Carel Rowe Stan Brakhage Peter Kubelka Stephen Koch Andy Warhol Annette Michelson Michael Snow Jonas Mekas Ernie Gehr Anthony McCall Paul Sharits Tony Conrad Hollis Frampton New York University Press / New York Art Film / Video Out-of-print / Rare Theory / Essay

Underground Film : A Critical History
By Parker Tyler

1971, English
Hardcover (w. dust jacket), 250 pages, 23.5 x 16 cm
1st Edition, Out of print title / used / very good
Published by Martin Secker & Warburg Ltd / London

$45.00 - Out of stock

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First hardcover edition of Underground Film: A Critical History by Parker Tyler and published in London in 1971.

Parker Tyler (1904-1974), one of the few great American film critics, was intimate with and enormously respected by many of the underground and experimental filmmakers of his time. In this book, Tyler evaluated the Underground in general (from "Le Folie de Docteur Tube" by Abel Gance (1915) to "I Am Curious (Yellow)" by Vilgot Sjoman (1969)) and the seminal films in particular, covering the history and scope of the genre with insight and verve. Like Tyler's Screening of the Sexes: Homosexuality in the Movies, Underground Film is one of the masterpieces of cinema literature.

From the book jacket:
Parker Tyler was the first critic to write seriously about the early Underground cinema, especially about Stan Brakhage, Sidney Peterson, Gregory Markopoulos, Willard Maas and Maya Deren. Here he assesses their work, together with that of Kenneth Anger, Stan Vanderbeek, Andy Warhol, Bruce Connor, Paul Sharis, Charles Boultenhouse and other new film-makers. He discusses specific films, showing the variety of aims and techniques, and tracing their origins in Dada and Surrealism and in the classics of Bunuel, Cocteau, Clair, Eisenstein and Wiene. Parker Tyler's early criticism (e.g. Magic and Myth of the Movies) was concerned with the hidden dreams within the Hollywood commercial "establishment". The dreams have now come to the surface in the Underground cinema, which is concerned with new ways of perceiving, new inventions in unusual form the sound, new experiences of a clandestine or libertine nature, new theories of aesthetics. With taste and judgement Mr Tyler picks his way through the achievements and failures of a desperate, fertile, explosive period in the history of the cinema.

Chapters:

The Underground versus the Taboo on Reality 2. The Exploding Peephole of the Underground /3. Toward Exhibition and Exhibitionism 4. Popularizing Peepshows: the Infantile Gimmick 5. No Establishment at all? 6. Underground Climb: from Exhibitionism to Art 7. Underground Infantilism: Surfacing Superstars 8. Superstar Space: the Playroom 9. Can the Technician Escape the Pad? 10. The Pad Can Be Commercialized 11. Performing Children, Performing Madmen 12. The Paranoiac-Critical Kick 13. The Pad's Predecessor: an Archetype 14. Underground Film Is Primitive Film 15. Where the Rub is 16. The Abstractness of Avant-Gardes 16. Extensive filmography from avant-garde to underground film, from "Le Folie de Docteur Tube" by Abel Gance (1915) to "I Am Curious (Yellow)" by Vilgot Sjoman (1969).

File under: Jean Cocteau Sergei Eisenstein Luis Buñuel Stan Brakhage Sidney Peterson Gregory Markopoulos Willard Maas Maya Deren Kenneth Anger Stan Vanderbeek Andy Warhol Paul Sharis Charles Boultenhouse Bruce Conner Parker Tyler Martin Secker & Warburg Ltd / London Film / Video Art Theory / Essay Dada Surrealism Eros Out-of-print / Rare

Experimental Cinema
A Fifty-Year Evolution

1971, English
Hardcover (w. dust jacket), 168 pages, 25.5 x 14.5 cm
1st Edition, Out of print title / used / very good
Published by Studio Vista / London

$45.00 - Out of stock

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First hardcover edition of this classic book by David Curtis, published by the great Studio Vista in 1971.

"In this wide-ranging survey, David Curtis traces the development of film experimentation from the pioneer narrative efforts of Edwin S. Porter and the fantasmagoric and special effects of Emile Cohl and Norman Dawn early in the twentieth century to the New American Cinema films of Stan Brakhage, Gregory Markopoulos, Ron Rice, and Andy Warhol in the 1960s and now in the 1970s. Mr Curtis regards the experimental film as a dynamic contribution to modern art, and he describes the excitement and struggle of film-makers discovering and expanding their medium. Among the many forms, styles, and ways of working that he illustrates and analyses are Abel Gance's rapid-cutting technique, Walter Ruttmann's 'city symphonies', Oskar Fischinger's abstract approaches, Len Lye's hand-painted images and kinetic use of colour separations, Curtis Harrington's introspective cinema, Francis Thompson's artistry of distortion, the collage animations of Stan Vanderbeek, Mike Durford, and Victor and Silvio Loffredo, Bruce Conner's adaptation of montage, Scott Bartlett's and Pat O'Neill's use of the optical printer, the computer films of Vanderbeck, Ken Knowlton, Marc Adrian, and Denys Irving, and the structural films of Kurt Kren, George Landow, and Mike Snow. Also examined are the accomplishments of such significant figures as Viking Eggeling, Hans Richter, Man Ray, Fernand Léger, and Dimitri Kirsanov in the 1920s; Jean Cocteau, Watson and Webber, and Mary Ellen Bute in the 1930s, and the key American experimentalists Maya Deren, Kenneth Anger, and the Whitney Brothers among them, and the Canadian Norman McLaren in the 1940s, as well as the shifting cinematic approaches of Luis Buñuel. Represented are film-makers from Japan, England, Russia, Canada, and the United States, in addition to many previously uncharted independent film-makers of Austria, France, Germany, Italy, and other countries of Europe."

File under: Norman McLaren Viking Eggeling Hans Richter Man Ray Fernand Léger Dimitri Kirsanov Stan Vanderbeek Mike Durford Victor and Silvio Loffredo Kurt Kren George Landow Michael Snow Jean Cocteau James Sibley Watson Melville Webber Mary Ellen Bute Luis Buñuel Abel Gance Ken Knowlton Marc Adrian Denys Irving Oskar Fischinger Scott Bartlett Pat O'Neill Walter Ruttmann Edwin S. Porter Emile Cohl Norman Dawn Stan Brakhage Gregory Markopoulos Ron Rice Andy Warhol David Curtis Studio Vista / London Film / Video Out-of-print / Rare Theory / Essay Art Surrealism Dada Eros

More Than Real : Art In The Digital Age
Edited by Daniel Birnbaum and Michelle Kuo

2018, English
Softcover, 240 pages, 20 x 11 cm
Published by Koenig Books / London

$30.00 - Out of stock

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This is the second in the Summit publication series, disseminating key insights of the 2018 Summit and extending a global dialogue on an important social issue: art in the digital age. The multidisciplinary perspectives come together through the inspirational book design of Irma Boom.

Acting as a cultural incubator for innovative ideas and change, the Verbier Art Summit is an international platform erected to optimise the role of art in a global society. Their mission is to connect thought leaders to key figures in the art world and thus position the Summit as a catalyst for innovation and change. Their vision is to create an influential platform in a non-transactional context for artists, curators, museum directors, private and corporate collectors, art critics, gallerists, art historians and art consultants – Verbier Art Summit 2018

Contributors : Karen Archey, Ed Atkins, Douglas Coupland, Olafur Eliasson, Lars Bang Larsen, Pamela Rosenkranz, John Slyce, Dado Valentic, Paul F.M.J Verschure, Jochen Volz, Anicka Yi

Edited by Daniel Birnbaum and Michelle Kuo

File under: Dado Valentic Anicka Yi Ed Atkins Olafur Eliasson Pamela Rosenkranz Daniel Birnbaum Michelle Kuo Douglas Coupland Karen Archey Lars Bang Larsen Paul F.M.J Verschure Jochen Volz John Slyce Koenig Books / London Group Shows / Collections Theory / Essay Art Film / Video Curatorial

Ellen Cantor
A history of the world as it has become known to me

2018, English / German
Softcover, 328 pages, 21 x 28.2 cm
Published by Sternberg Press / Berlin CCA Wattis Institute for Contemporary Arts / San Francisco Künstlerhaus Stuttgart / Stuttgart Participant Inc. / New York

$48.00 - Out of stock

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Edited by Lia Gangitano, Fatima Hellberg, Jamie Stevens
Contributions by Dodie Bellamy, Jonathan Berger, John Brattin, Ellen Cantor, Lia Gangitano, Cy Gavin, Joseph Grigely, Clara López Menéndez, John Maybury

Ellen Cantor (1961–2013) combined ready-made materials with diaristic notes and drawings to probe her perceptions and experiences of personal desire and institutional violence. This book is concerned with, and a document of, Cantor’s work through the lens of Pinochet Porn (2008–16) and its making—an epic experimental film embodying and radically extending her multifaceted artistic practice. Taking the form of an episodic narrative about five children growing up under the regime of General Augusto Pinochet in Chile, and shot between her dual hometowns of London and New York, history is observed through Cantor’s fictive speculations on private experience within a totalizing political order. A history of the world as it has become known to me brings together writings and archival materials of Cantor’s, including a reproduction in full of her drawing-based script Circus Lives from Hell (2004), alongside contributions by writers, artists, collaborators, and friends reflecting on Cantor’s practice, Pinochet Porn, and a singularly transgressive vision: explicitly feminist, remorselessly emotional, dramatic in tone, and, as Cantor herself liked to put it, adult in subject matter.

This publication follows the exhibitions “Cinderella Syndrome,” CCA Wattis Institute for Contemporary Arts (December 8, 2015–February 13, 2016) and “Ellen Cantor,” Künstlerhaus Stuttgart (April 2–July 31, 2016).

Copublished with Künstlerhaus Stuttgart, Participant Inc., and CCA Wattis Institute for Contemporary Arts
Design by Pedro Cid Proença

File under: Ellen Cantor Lia Gangitano Fatima Hellberg Jamie Stevens Ellen Cantor Dodie Bellamy Jonathan Berger John Brattin Cy Gavin Joseph Grigely Clara López Menéndez John Maybury Sternberg Press / Berlin CCA Wattis Institute for Contemporary Arts / San Francisco Künstlerhaus Stuttgart / Stuttgart Participant Inc. / New York Art Theory / Essay Film / Video Feminism LGBTQ+

Andrea Fraser

2015, English
Softcover, 304 pages. 24 x 28 cm
Published by Hatje Cantz / Berlin

$99.00 - Out of stock

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Text by Sabine Breitwieser, Andrea Fraser, Shannon Jackson, Sven Lütticken.

Controversial, provocative and poignantly humorous, American artist Andrea Fraser (born 1965) is one of the most influential and pioneering figures of her generation and has been captivating a devoted audience for more than 30 years. She employs a wide range of media, including prints, photographs, installations and performances as well as texts and videos, time and again reformulating the same fundamental questions: what do we want from art, how do we view it and how does the art market distribute it? Fraser's brand of performance during the 1990s popularized the institutional critique art movement, a loosely formed artistic practice meant to critique the very institutions that are involved in the sale, display, and commerce of art. Fraser's work typically comments on the politics, commerce, histories, and even the self-assuredness of the modern-day art museum, including the hierarchies and the exclusion mechanisms of art as an enterprise. Her performances, despite having serious undertones, are often presented in a humorous, ridiculous, or satirical manner. Fraser was a founding member of the feminist performance group, The V-Girls (1986-1996); the project-based artist initiative Parasite (1997-1998); and the cooperative art gallery Orchard (2005-2008). She was also co-organizer, with Helmut Draxler, of Services, a “working-group exhibition” that has been conceived at Kunstraum of Lüneburg University and toured to eight venues in Europe and the United States between 1994 and 2001.

This richly illustrated catalogue presents a full overview of the artist's career for the first time. It assembles the early Four Posters (1984) as well as her famous performances such as Museum Highlights (1989), Inaugural Speech (1997), Official Welcome (2001/03), and Untitled (2003) linking them with her most recent videos.

File under: Andrea Fraser Hatje Cantz / Berlin Conceptual Art Feminism Performance / Dance / Theater Film / Video Photography Theory / Essay Art

Texte Zur Kunst #110
June 2018 "Performance Evaluation"

2018, English / German
Softcover, 272 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin

$30.00 - Out of stock

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In the 18 years since Texte zur Kunst first turned its attention to the field of performance, a lot has happened, to say the least. Today, performance refers to almost any act, willing or forced, and is used by the institutions the world over whose aim is often to solicit performative acts from consumers, whether they are an audience at an art event or a user of social media. With performance today comes the inevitable system of evaluation—likes, ratings, grades, followers, etc.—a fact that has made separating performance as an art, and its popularity, from the overpowering influence of the culture of evaluation. For this issue of Texte zur Kunst, "Performance Evaluation," we investigate the overlapping definitions of performance, following their ubiquity and uses in particular, in order to evaluate what performance means today, and what we mean when we call something a "performance."

Issue No. 110 / June 2018 "Performance Evaluation"

Table Of Contents
Vorwort
Preface

Sabeth Buchmann
Feed Back: Performance In The Evaluation Society

Steffen Mau And Uwe Vormbusch
Likes And Performance / A Conversation Between Uwe Vormbusch And Steffen Mau On The Quantification Of The Social

Alexandra Pirici
Performance As Conjuring / Artist Statement

Stefan Hölscher
(Re-)Evaluating Performance Since 1990

Evelyn Annuss
On The Future Of The Volksbühne –  Failure Is An Option

Andreas Gelhard
Notes On The Competence Society
Working With Performance / A Conversation About Collaboration, Collectivity, And The Value Of Performance

New Development :
Amanda Schmitt
Miranda Warning

Rotation :
Nach Dem Metabolischen Bruch / Martin Müller Über „Molekulares Rot. Theorie Für Das Anthropozän“ Von Mckenzie Wark
Klang Körper
Äpfel Und Birnen / Wolfgang Seidel Über „Underground Und Improvisation. Alternative Musik Und Kunst Nach 1968“ In Der Akademie Der Künste, Berlin
Stunt / Anke Dyes Über Georgia Sagri Im Portikus Frankfurt/M.
Brighten The Corners / Colin Lang On “Res·O·Nant” At The Jewish Museum Berlin
Anke Dyes, Luisa Kleemann Und Tina Schulz  Über Das Gallery Weekend In Berlin

Reviews :

Endstation Selbstbezug / Hans-Christian Dany Über „Harald Szeemann: Museum Of Obsessions“ Und „Grandfather: A Pioneer Like Us“ Im Getty Center Und Ica In Los Angeles
Forward In This Generation / Eva Díaz On The New Museum Triennial
Archivarisch Verdichtet / Agnieszka Roguski Über „Left Performance Histories“  In Der Neuen Gesellschaft Für Bildende Kunst, Berlin
Broken Lineage / Gregory H. Williams On “Inventur: Art In Germany, 1943–55” At The Harvard Art Museums
Geld Ist Sein Pinsel / Verena Dengler Über Damien Hirst Bei Gagosian, Beverly Hills
Antipathy & Ecstasy / Kari Rittenbach On Ilya Lipkin At Svetlana, New York
Museum In Progress / Barbara Hess Über „Von Da An. Räume, Werke, Vergegenwärtigungen Des Antimuseums 1967–1978“ Im Museum Abteiberg, Mönchengladbach
Composition As Explanation / Annie Godfrey Larmon On Cally Spooner At The Centre D’art Contemporain Genève
Ikonisches Nachleben / Johannes Bennke Über James Benning Bei Neugerriem-Schneider, Berlin
Game Of Thrones / Chris Reitz On Geta Bratescu At Hauser & Wirth, Los Angeles
Park, Blicke / Benjamin Meyer-Krahmer Über Maya Schweizer Im Kunstverein Leipzig
Humanity’s Last Hopf / Mikael Brkic On Judith Hopf At Kunst-Werke Berlin
Memes, Schönheit Und Verfremdung / Jessica Aimufua Über Arthur Jafa In Der Julia Stoschek  Collection Berlin
Unendliche Arbeit / Hans-Jürgen Hafner Über Catherine Christer Hennix  Im Stedelijk Museum, Amsterdam
Relentless Applause / Carmen Gray On Katrina Daschner At The Neue Galerie Graz
Karikaturen Ohne Pointe / Michael Franz Und Franziska Ipfelkofer Über Matthias Noggler Bei Emanuel Layr, Wien
Administrativer Papierkram / Fiona Geuß Über „Paperwork“ In Der Sammlung Haubrok, Fahrbereitschaft, Berlin

Nachrufe :

Linda Nochlin (1931–2017)
Kynaston Mcshine (1935–2018)
Peter Gorsen (1933–2017)

Edition :

Tauba Auerbach
Eliza Douglas
Hans Haacke

File under: Damien Hirst Tauba Auerbach Eliza Douglas Hans Haacke Georgia Sagri Ilya Lipkin Cally Spooner James Benning Geta Bratescu Arthur Jafa Catherine Christer Hennix Judith Hopf Andrea Fraser Evelyn Annuss Andreas Gelhard Alexandra Pirici Steffen Mau Uwe Vormbusch Sabeth Buchmann Mckenzie Wark Harald Szeemann Hans-Christian Dany Agnieszka Roguski Eva Díaz Kari Rittenbach Barbara Hess Jessica Aimufua Texte Zur Kunst / Berlin Art Performance / Dance / Theater Film / Video Sound / Music Periodicals Theory / Essay

Practice
Edited by Marcus Boon and Gabriel Levine

2018, English
Softcover, 240 pages, 21 x 23 cm
Published by The MIT Press / Massachusetts Whitechapel / London

$49.00 - Out of stock

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The first anthology to investigate what contemporary notions of practice mean for art, tracing their development and speculating on where this leads.

“Practice” is one of the key words of contemporary art, used in contexts ranging from artists' descriptions of their practice to curatorial practice, from social practice to practice-based research. This is the first anthology to investigate what contemporary notions of practice mean for art, tracing their development and speculating on where this leads.

Reframing the question of practice offers new ways of reading the history of art and of evaluating particular forms of practice-based art. Once used to denote “doing,” as distinct from thinking and making, today the term can convey associations of political action (praxis), professional activity, discipline, or rehearsal, and signal a shift away from the self-enclosed artwork or medium to open-ended actions, series, processes, and projects. Although the turn to practice might promise freedom from finality or eventfulness, it also reflects the neoliberal pressures to train oneself, to perform, and to rehearse a marketable set of skills. This book offers an indispensible guide to the art history and theoretical framework of art-as-practice, clarifying the complex issues at stake in thinking about and enacting practice.

Artists surveyed include Francis Alys, Arakawa, Rebecca Belmore, AA Bronson, Judy Chicago, Lygia Clark, Andrea Fraser, Madeline Gins, Tehching Hsieh, Mary Kelly, Henri Michaux, Linda M. Montano, Pauline Oliveros, Yoko Ono, Adrian Piper, Raivo Puusemp, Rammellzee, Gerhard Richter, Miriam Schapiro, Carolee Schneemann, Gregory Sholette, Aliza Shvarts, Situationist International, Jonas Staal, Stelarc, Fiona Tan, Min Tanaka, Nadezhda Tolokonnikova, Cecilia Vicuña

Writers include Kathy Acker, Giorgio Agamben, Louis Althusser, Hannah Arendt, Alain Badiou, Lauren Berlant, Gregg Bordowitz, Pierre Bourdieu, Julia Bryan-Wilson, Judith Butler, Jennifer Doyle, Okwui Enwezor, Saidiya V. Hartman, Maulana Karenga, Julia Kristeva, Saba Mahmood, Viktor Misiano, Fred Moten, Paul B. Preciado, Lane Relyea, Suely Rolnik, Peter Sloterdijk, Isabelle Stengers, Winnie Won Yin Wong

Part of the Whitechapel Documents of Contemporary Art series

File under: Francis Alÿs Rebecca Belmore AA Bronson Judy Chicago Lygia Clark Andrea Fraser Madeline Gins Tehching Hsieh Mary Kelly Henri Michaux Pauline Oliveros Yoko Ono Adrian Piper Raivo Puusemp Rammellzee Gerhard Richter Miriam Schapiro Carolee Schneemann Gregory Sholette Aliza Shvarts Situationist International Jonas Staal Stelarc Fiona Tan Min Tanaka Nadezhda Tolokonnikova Cecilia Vicuña Shusaku Arakawa Linda Montano The MIT Press / Massachusetts Whitechapel / London Art Performance / Dance / Theater Sculpture / Installation Conceptual Art Feminism Theory / Essay Film / Video Sound / Music Fluxus Dada

Documentary
Edited by Julian Stallabrass

2013, English
Softcover, 240 pages, 21 x 23 cm
Published by The MIT Press / Massachusetts Whitechapel / London

$55.00 $30.00 - Out of stock

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The revival of documentary in art, considered in historical, theoretical, and contemporary contexts.

After a long period in eclipse, documentary has undergone a marked revival in recent art. This has been spurred by two phenomena: the exhibition of photographic and video work on political issues at Documenta and numerous biennials; and increasing attention to issues of injustice, violence, and trauma in the war zones of the endemically conflict-ridden twenty-first century. The renewed attention to photography and video in the gallery and museum world has helped make documentary one of the most prominent modes of art-making today. Unsurprisingly, this development has been accompanied by a rich strain of theoretical and historical writing on documentary.

This anthology provides a much-needed contextual grounding for documentary art. It explores the roots of documentary in modernism and its critique under postmodernism; surveys current theoretical thinking about documentary; and examines a wide range of work by artists within, around, or against documentary through their own writings and interviews.

Artists surveyed include:Kutlug Ataman, Ursula Biemann, Hasan Elahi, Harun Farocki, Omer Fast, Joan Fontcuberta, Regina José Galindo, David Goldblatt, Craigie Horsfield, Alfredo Jaar, Emily Jacir, Lisa F. Jackson, Philip Jones Griffiths, An-My Le, Renzo Martens, Boris Mikhailov, Daido Moriyama, Walid Raad, Michael Schmidt, Sean Snyder

Writers include:James Agee, Ariella Azoulay, Walter Benjamin, Adam Broomberg, Judith Butler, Oliver Chanarin, Georges Didi-Huberman, John Grierson, David Levi Strauss, Elizabeth McCausland, Carl Plantinga, Jacques Rancière, Martha Rosler, Jean-Paul Sartre, Allan Sekula, W. Eugene Smith, Susan Sontag, Hito Steyerl, Trinh T. Minh-ha

Part of the Whitechapel Documents of Contemporary Art series

File under: Kutlug Ataman Ursula Biemann Hasan Elahi Harun Farocki Omer Fast Joan Fontcuberta Regina José Galindo David Goldblatt Craigie Horsfield Alfredo Jaar Emily Jacir Lisa F. Jackson Philip Jones Griffiths An-My Le Renzo Martens Boris Mikhailov Daido Moriyama Walid Raad Michael Schmidt Sean Snyder Julian Stallabrass James Agee Ariella Azoulay Walter Benjamin Adam Broomberg Judith Butler Oliver Chanarin Georges Didi-Huberman John Grierson David Levi Strauss Elizabeth McCausland Carl Plantinga Jacques Rancière Martha Rosler Jean-Paul Sartre Allan Sekula W. Eugene Smith Susan Sontag Hito Steyerl Trinh T. Minh-ha The MIT Press / Massachusetts Whitechapel / London Art Film / Video Theory / Essay SALE

QUEER
edited by David J. Getsy

2016, English
Softcover, 240 pages, 145 x 210 mm
Published by The MIT Press / Massachusetts Whitechapel / London

$49.00 - Out of stock

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Historically, “queer” was the slur used against those who were perceived to be or made to feel abnormal. Beginning in the 1980s, “queer” was reappropriated and embraced as a badge of honor. While queer draws its politics and affective force from the history of non-normative, gay, lesbian, and bisexual communities, it is not equivalent to these categories, nor is it an identity. Rather, it offers a strategic undercutting of the stability of identity and of the dispensation of power that shadows the assignment of categories and taxonomies. Artists who identify their practices as queer today call forth utopian and dystopian alternatives to the ordinary, adopt outlaw stances, embrace criminality and opacity, and forge unprecedented kinships, relationships, loves, and communities.

Rather than a book of queer theory for artists, this is a book of artists’ queer tactics and infectious concepts. By definition, there can be no singular “queer art.” Here, in the first Documents of Contemporary Art anthology to be centered on artists’ writings, numerous conversations about queer practice are brought together from diverse individual, social and cultural contexts. Together these texts describe and examine the ways in which artists have used the concept of queer as a site of political and institutional critique, as a framework to develop new families and histories, as a spur to action, and as a basis from which to declare inassimilable difference.

Artists and writers include
Nayland Blake, Gregg Bordowitz, Leigh Bowery, AA Bronson, A. K. Burns, Giuseppe Campuzano, Tee Corinne, Barbara DeGenevieve, Dyke Action Machine!, Elmgreen & Dragset, Rotimi Fani-Kayode, Simon Fujiwara, Malik Gaines, Felix Gonzalez-Torres, Gran Fury, Sunil Gupta, Hahn Thi Pham, Harmony Hammond, Sharon Hayes, Hudson, Roberto Jacoby, Derek Jarman, Isaac Julien, Mahmoud Khaled, Zoe Leonard, Lesbian Avengers, Catherine Lord, Ma Liuming, LTTR, Allyson Mitchell, Zanele Muholi, Carlos Motta, Ocaña, Hélio Oiticica, Catherine Opie, Ridykeulous (Nicole Eisenman & A.L. Steiner), Marlon Riggs, Emily Roysdon, Prem Sahib, Assoto Saint, Tejal Shah, Amy Sillman, Jack Smith, Wolfgang Tillmans, Toxic Titties, Danh Vo, David Wojnarowicz, Wu Tsang, Yan Xing, Las Yeguas del Apocalipsis, Akram Zaatari, Sergio Zevallos

About the Editor

David J. Getsy is Goldabelle McComb Finn Distinguished Professor of Art History at the School of the Art Institute of Chicago. His books include Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender, Scott Burton: Collected Writings on Art and Performance, and Rodin: Sex and the Making of Modern Sculpture.

File under: AA Bronson AK Burns Akram Zaatari AL Steiner Allyson Mitchell Amy Sillman Assoto Saint Barbara DeGenevieve Carlos Motta Catherine Lord Catherine Opie Danh Vo David Wojnarowicz Derek Jarman Dyke Action Machine! Elmgreen & Dragset Emily Roysdon Felix Gonzalez-Torres Giuseppe Campuzano Gran Fury Gregg Bordowitz Hahn Thi Pham Harmony Hammond Hélio Oiticica Hudson Isaac Julien Jack Smith Las Yeguas del Apocalipsis Leigh Bowery Lesbian Avengers LTTR Ma Liuming Mahmoud Khaled Malik Gaines Marlon Riggs Nayland Blake Nicole Eisenman Ocaña Prem Sahib Roberto Jacoby Rotimi Fani Kayode Sergio Zevallos Sharon Hayes Simon Fujiwara Sunil Gupta Tee Corinne Tejal Shah Toxic Titties Wolfgang Tillmans Wu Tsang Yan Xing Zanele Muholi Zoe Leonard The MIT Press / Massachusetts Whitechapel / London Art Film / Video Sculpture / Installation Theory / Essay LGBTQ+

Carolee Schneemann
Uncollected Texts

2018, English
Softcover, 164 pages, 21.6 x 14 cm
Published by Primary Information / New York

$38.00 - Out of stock

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Uncollected Texts draws together a number of Carolee Schneemann’s earliest writings – many exceedingly rare and several that are published here for the first time – ranging from letters to the editor, dream journals, and film criticism, to satirical poems, detailed discussions of her art, and pointed feminist critiques. Edited by Branden W. Joseph, the book includes 30 texts by Carolee Schneemann written between 1956 and 1981, as well as an introduction by Joseph.

First published in short-run magazines like Caterpillar, Film Culture, The Fox, Manipulations, and Matter; academic journals such as Performing Arts Journal; and mainstream publications including The New York Times and The Village Voice, the writings gathered in this volume shed light on some of Schneemann’s most important artistic achievements. Schneemann writes about her most famous “kinetic theatre” piece, Meat Joy; anti-Vietnam War works such as Snows, Viet-Flakes, and Divisions and Rubble; the multimedia performance Up to and Including Her Limits; and the double-screen film Kitch’s Last Meal. Frequently referring to one another, the assembled writings produce a densely interwoven tapestry of cross-references that provide unique insights into Schneemann’s artistic development while also foregrounding the artist’s uniquely poetic style.

File under: Carolee Schneemann Branden W. Joseph Primary Information / New York Performance / Dance / Theater Painting Sculpture / Installation Film / Video Art Theory / Essay Feminism

Carolee's
by Carolee Schneemann

2016, English
Softcover, 200 pages, 31.5 x 24 cm
Published by The Artist's Institute / New York Walther König / Köln

$53.00 - Out of stock

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'Caroleeʼs' is the second issue of The Magazine of the Artistʼs Institute.
The first was 'Pierre's' by Pierre Huyghe.

Dedicated to Carolee Schneemann, it features a previously unpublished image archive from Schneemannʼs studio that documents half a century of morphological connections between her work and other visual material, including art, advertising, and popular culture.

A new long-form proﬁle of Schneemann by writer Maggie Nelson accompanies this project and considers the artistʼs relationship to the history of her reception and Schneemannʼs signiﬁcant inﬂuence on subsequent generations of feminists.

File under: Carolee Schneemann Jenny Jaskey Maggie Nelson The Artist's Institute / New York Walther König / Köln Art Feminism Film / Video Performance / Dance / Theater Periodicals Sculpture / Installation Theory / Essay

Documentary Across Disciplines
Edited by Erika Balsom and Hila Peleg

2016, English
Softcover, 328 pages, 15 x 23 cm
Published by The MIT Press / Massachusetts Haus der Kulturen der Welt / Berlin

$49.00 - Out of stock

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Artists, filmmakers, art historians, poets, literary critics, anthropologists, theorists, and others, investigate one of the most vital areas of cultural practice: documentary.

Contemporary engagements with documentary are multifaceted and complex, reaching across disciplines to explore the intersections of politics and aesthetics, representation and reality, truth and illusion. Discarding the old notions of “fly on the wall” immediacy or quasi-scientific aspirations to objectivity, critics now understand documentary not as the neutral picturing of reality but as a way of coming to terms with reality through images and narrative. This book collects writings by artists, filmmakers, art historians, poets, literary critics, anthropologists, theorists, and others, to investigate one of the most vital areas of cultural practice: documentary. Their investigations take many forms—essays, personal memoirs, interviews, poetry.

Contemporary art turned away from the medium and toward the world, using photography and the moving image to take up global perspectives. Documentary filmmakers, meanwhile, began to work in the gallery context. The contributors consider the hybridization of art and film, and the “documentary turn” of contemporary art. They discuss digital technology and the “crisis of faith” caused by manipulation and generation of images, and the fading of the progressive social mandate that has historically characterized documentary. They consider invisible data and visible evidence; problems of archiving; and surveillance and biometric control, forms of documentation that call for “informatic opacity” as a means of evasion.

Contributors Ariella Azoulay, Zach Blas, Christa Blümlinger, Stella Bruzzi, Lucien Castaing-Taylor, Kris Fallon, Evgenia Giannouri, Ben Lerner, SylveÌre Lotringer, Antonia Majaca, Sohrab Mohebbi, Volker Pantenburg, Veìreìna Paravel, Christopher Pinney, Ben Rivers, and Eyal Sivan

Copublished between the MIT Press and the Haus der Kulturen der Welt (HKW), Berlin

File under: Harun Farocki Ben Rivers Ariella Azoulay Zach Blas Christa Blümlinger Stella Bruzzi Lucien Castaing-Taylor Kris Fallon Evgenia Giannouri Ben Lerner SylveÌre Lotringer Antonia Majaca Sohrab Mohebbi Volker Pantenburg Veìreìna Paravel Christopher Pinney Ben Rivers Eyal Sivan Erika Balsom Hila Peleg The MIT Press / Massachusetts Haus der Kulturen der Welt / Berlin Film / Video Art Theory / Essay Fiction / Poetry

Documenta IX
COMPLETE 3 VOLUME BOXSET, HARDCOVER ED.

1992, German / English
Hardcover (in original slipcase), Vol. 1 : 255 pages; Vol. 2 : 310 pages; Vol. 3 : 619 pages, 18.5 x 27 cm
1st Edition, Out of print title / used / good
Published by Hatje Cantz / Berlin

$120.00 - Out of stock

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Hardcover edition, three volume exhibition catalogue published in conjunction with Documenta IX, Kassel, Germany, June 13 - September 9, 1992.

Documenta 9 is remembered as one of the most popular of all documenta exhibitions, thanks not least of all to the influence of its artistic director, the charismatic Belgian curator Jan Hoet. Hoet wanted to make the human being and our sensual, perceptual, agonized corporeality, which had been progressively displaced by the digitized, virtual world, the focus of attention at his exhibition. “From body to body to bodies” was the meaningful, poetic motto of documenta 9. Hoet described his curatorial mission in the following words: “At a time in which the human race is confronted more than ever with such dangers as AIDS and multinational wars, nuclear catastrophes, and global climate disasters, at a time in which threats are growing increasingly abstract and the fears more and more diffuse, I see reflection on the physical conditions of life as an appropriate answer.”

Texts by Jan Hoet, Denys Zacharopoulos, Bart de Baere, Pier Luigi Tazzi, Claudia Herstatt, Joyce Carol Oates, Jacques Roubaud, Cornelius Castoriadis, Heiner Müller, Paul Robbrecht, Hilde Daem.

Artists include Marina Abramovic, Absalon, Richard Artschwager, Francis Bacon, Marco Bagnoli, Nicos Baikas, Miroslaw Balka, Matthew Barney, Jerry Barr, Lothar Baumgarten, Jean-Pierre Bertrand, Joseph Beuys, Michael Biberstein, Guillaume Bijl, Dara Birnbaum, Jonathan Borofsky, Louise Bourgeois, Herbert Brandl, Ricardo Brey, Tony Brown, Marie José Burki, Jean-Marc Bustamante, Michael Buthe, Pedro Cabrita Reis, Waltercio Caldas, Pier Paolo Calzolari, Ernst Caramelle, Lawrence Carroll, Saint Clair Cemin, Tomasz Ciecierski, Tony Clark, James Coleman, Tony Conrad, Patrick Corillon, Damian, Richard Deacon, Thierry De Cordier, Silvie Defraoui & Chérif Defraoui, Raoul De Keyser, Wim Delvoye, Braco Dimitrijevic, Eugenio Dittborn, Helmut Dorner, Stan Douglas, Marlene Dumas, Jimmie Durham, Mo Edoga, Jan Fabre, Luciano Fabro, Belu-Simion Fainaru, Peter Fend, Rose Finn-Kelcey, FLATZ, Fortuyn/O'Brien, Günther Förg, Erik A.Frandsen, Michel François, Vera Frenkel, Katsura Funakoshi, Isa Genzken, Gaylen Gerber, Robert Gober, Dan Graham, Rodney Graham, Angela Grauerholz, Michael Gross, George Hadjimichalis, David Hammons, Georg Herold, Gary Hill, Peter Hopkins, Rebecca Horn, Geoffrey James, Olav Christopher Jenssen, Tim Johnson, Andrej N. Joukov, Ilya Kabakov, Anish Kapoor, Kazuo Katase, Tadashi Kawamata, Mike Kelley, Ellsworth Kelly, Bhupen Khakhar, Per Kirkeby, Harald Klingelhöller, Kurt Kocherscheidt, Peter Kogler, Vladimir Kokolia, Joseph Kosuth, Mariusz Kruk, Guillermo Kuitca, Suzanne Lafont, Jonathan Lasker, Jac Leirner, Zoe Leonard, Eugène Leroy, Via Lewandowsky, Bernd Lohaus, Ingeborg Lüscher, Attila Richard Lukacs, James Lutes, Marcel Maeyer, Brice Marden, Cildo Meireles, Ulrich Meister, Thom Merrick, Gerhard Merz, Mario Merz, Marisa Merz, Meuser, Jürgen Meyer, Liliana Moro, Reinhard Mucha, Matt Mullican, Juan Muñoz, Christa Näher, Hidetoshi Nagasawa, Bruce Nauman, Max Neuhaus, Pekka Nevalainen, Nic Nicosia, Moshe Ninio, Jussi Niva, Cady Noland, Manuel Ocampo, Jean-Michel Othoniel, Tony Oursler, Panamarenko, Giulio Paolini, A. R. Penck, Michelangelo Pistoletto, Hermann Pitz, Stephen Prina, Richard Prince, Martin Puryear, Royden Rabinowitch, Rober Racine, Philip Rantzer, Charles Ray, Martial Raysse, readymades belong to everyone, José Resende, Gerhard Richter, Ulf Rollof, Erika Rothenberg, Susan Rothenberg, Ulrich Rückriem, Thomas Ruff, Stephan Runge, Edward Ruscha, Reiner Ruthenbeck, Remo Salvadori, Joe Scanlan, Eran Schaerf, Adrian Schiess, Thomas Schütte, Helmut Schweizer, Maria Serebriakova, Mariella Simoni, Susana Solano, Ousmane Sow, Ettore Spalletti, Haim Steinbach, Pat Steir, Wolfgang Strack, Thomas Struth, János Sugár, Yuji Takeoka, Robert Therrien, Frederic Matys Thursz, Niele Toroni, Thanassis Totsikas, Addo Lodovico Trinci, Mitja Tušek, Luc Tuymans, Micha Ullman, Juan Uslé, Bill Viola, Henk Visch, James Welling, Franz West, Rachel Whiteread, Christopher Wool, KeunByung Yook, Heimo Zobernig, Gilberto Zorio, and Constantin Zvezdochotov.

Very Good condition volumes in hardcover (much less common edition than usual softcover), preserved in their original illustrated slipcase (with common repaired splitting and bumping damage).

File under: Absalon Richard Artschwager Francis Bacon Marco Bagnoli Nicos Baikas Miroslaw Balka Matthew Barney Jerry Barr Lothar Baumgarten Jean-Pierre Bertrand Joseph Beuys Michael Biberstein Guillaume Bijl Dara Birnbaum Jonathan Borofsky Louise Bourgeois Herbert Brandl Ricardo Brey Tony Brown Marie José Burki Jean-Marc Bustamante Michael Buthe Pedro Cabrita Reis Waltercio Caldas Pier Paolo Calzolari Ernst Caramelle Lawrence Carroll Saint Clair Cemin Tomasz Ciecierski Tony Clark James Coleman Tony Conrad Patrick Corillon Damian Richard Deacon Thierry De Cordier Silvie Defraoui & Chérif Defraoui Raoul De Keyser Wim Delvoye Braco Dimitrijevic Eugenio Dittborn Helmut Dorner Stan Douglas Marlene Dumas Jimmie Durham Mo Edoga Jan Fabre Luciano Fabro Belu-Simion Fainaru Peter Fend Rose Finn-Kelcey Fortuyn/O'Brien Günther Förg Erik A.Frandsen Michel François Vera Frenkel Katsura Funakoshi Isa Genzken Gaylen Gerber Robert Gober Dan Graham Rodney Graham Angela Grauerholz Michael Gross George Hadjimichalis David Hammons Georg Herold Gary Hill Peter Hopkins Rebecca Horn Geoffrey James Olav Christopher Jenssen Tim Johnson Andrej N. Joukov Ilya Kabakov Anish Kapoor Kazuo Katase Tadashi Kawamata Mike Kelley Ellsworth Kelly Bhupen Khakhar Per Kirkeby Harald Klingelhöller Kurt Kocherscheidt Peter Kogler Vladimir Kokolia Joseph Kosuth Mariusz Kruk Guillermo Kuitca Suzanne Lafont Jonathan Lasker Jac Leirner Zoe Leonard Eugène Leroy Via Lewandowsky Bernd Lohaus Ingeborg Lüscher Attila Richard Lukacs James Lutes Marcel Maeyer Brice Marden Cildo Meireles Ulrich Meister Thom Merrick Gerhard Merz Mario Merz Marisa Merz Meuser Jürgen Meyer Liliana Moro Reinhard Mucha Matt Mullican Juan Muñoz Christa Näher Hidetoshi Nagasawa Bruce Nauman Max Neuhaus Pekka Nevalainen Nic Nicosia Moshe Ninio Jussi Niva Cady Noland Manuel Ocampo Jean-Michel Othoniel Tony Oursler Panamarenko Giulio Paolini Michelangelo Pistoletto Hermann Pitz Stephen Prina Richard Prince Martin Puryear Royden Rabinowitch Rober Racine Philip Rantzer Charles Ray Martial Raysse readymades belong to everyone José Resende Gerhard Richter Ulf Rollof Erika Rothenberg Susan Rothenberg Ulrich Rückriem Thomas Ruff Stephan Runge Edward Ruscha Reiner Ruthenbeck Remo Salvadori Joe Scanlan Eran Schaerf Adrian Schiess Thomas Schütte Helmut Schweizer Maria Serebriakova Mariella Simoni Susana Solano Ousmane Sow Ettore Spalletti Haim Steinbach Pat Steir Wolfgang Strack Thomas Struth János Sugár Yuji Takeoka Robert Therrien Frederic Matys Thursz Niele Toroni Thanassis Totsikas Addo Lodovico Trinci Mitja Tušek Luc Tuymans Micha Ullman Juan Uslé Bill Viola Henk Visch James Welling Franz West Rachel Whiteread Christopher Wool KeunByung Yook Heimo Zobernig Gilberto Zorio Constantin Zvezdochotov FLATZ Marina Abramovič A.R. Penck Hatje Cantz / Berlin Art Sculpture / Installation Performance / Dance / Theater Film / Video Sound / Music Theory / Essay Curatorial Out-of-print / Rare Conceptual Art Feminism Arte Povera Group Shows / Collections Australian Art

On Signs
A Semiotics Reader

1985, English
Softcover, 592 pages, 15.5 x 23 cm
Published by Johns Hopkins University Press / Baltimore

$30.00 - Out of stock

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Edited by Marshall Blonsky

Published in 1985, this heavy volume functions as a unified voice proclaiming the power of semiotics to reveal the hidden practices and secrets of modern society. Marshall Blonsky has gathered original and newly translated written and illustrated contributions by highly visible forces in semiotic circles of the period, including Roland Barthes, Michel de Certeau, Jacques Derrida, Edmundo Desnoes, Umberto Eco, Michel Foucault, Julia Kristeva, Jacques Lacan, Jean Franco, Milton Glaser, Thomas A. Sebeok, Guido Crepax, Susan Meiselas and many others.

File under: Guido Crepax Susan Meiselas Jean Franco Milton Glaser Roland Barthes Michel de Certeau Jacques Derrida Edmundo Desnoes Umberto Eco Michel Foucault Julia Kristeva Jacques Lacan Thomas A. Sebeok Johns Hopkins University Press / Baltimore Theory / Essay Art Film / Video Illustration / Graphic Art / Bandes Dessinées Fiction / Poetry Photography

Eric Rohmer
A Biography

2018, English
Softcover, 608 pages, 178 x 25.5 cm
Published by Columbia University Press / New York

$58.00 $30.00 - Out of stock

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The director of twenty-five films, including My Night at Maud's (1969), which was nominated for a Best Picture Academy Award, and the editor in chief of Cahiers du cinéma from 1957 to 1963, Éric Rohmer set the terms by which people watched, made, and thought about cinema for decades. Such brilliance does not develop in a vacuum, and Rohmer cultivated a fascinating network of friends, colleagues, and industry contacts that kept his outlook sharp and propelled his work forward. Despite his privacy, he cared deeply about politics, religion, culture, and fostering a public appreciation of the medium he loved.

This exhaustive biography uses personal archives and interviews to enrich our knowledge of Rohmer's public achievements and lesser known interests and relations. The filmmaker kept in close communication with his contemporaries and competitors: François Truffaut, Jean-Luc Godard, Claude Chabrol, and Jacques Rivette. He held a paradoxical fascination with royalist politics, the fate of the environment, Catholicism, classical music, and the French nightclub scene, and his films were regularly featured at New York and Los Angeles film festivals. Despite an austere approach to life, Rohmer had a voracious appetite for art, culture, and intellectual debate captured vividly in this definitive volume.

Antoine de Baecque and Noël Herpe achieve in this scrupulously researched volume the paradoxical feat of delivering the definitive biography of a pseudonymous subject. Eric Rohmer will interest film historians, theorists of film, enthusiasts of French cinema, and film directors both aspiring and established, for whom Rohmer's low-budget modus operandi remains one of the miracles of modern film production. This, the first biography of Rohmer (né Maurice Schérer), is likely also to be the last. (Derek Schilling, Johns Hopkins University)

An essential and ceaselessly enjoyable work of scholarship.... The most valuable gift afforded by this biography is the sheer joy of moving through the exacting, meticulous accounts of each stage of Rohmer's life and career, painstakingly researched and written as if the authors were striving for the same arresting attention to detail, subtlety, humor, and philosophical weight of his films. (Dan Sullivan Film Comment)

File under: Éric Rohmer Antoine de Baecque Noël Herpe Columbia University Press / New York Film / Video Theory / Essay SALE

Joan Jonas Is On Our Mind

2017, English
Paperback, 116 pages, 17 x 24 cm
Published by CCA Wattis Institute for Contemporary Arts / San Francisco

$46.00 - In stock -

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The CCA Wattis Institute in San Francisco dedicates year long seasons of discussions and public events to a single artist. In 2014–15, Joan Jonas was “on our mind.” This book brings together essays from writers, curators, art historians and artists that focus on a single work, from Jonas’ earliest films through her installation for the US Pavilion at the 56th Venice Biennale. The book also contains excerpts from readings and public lectures, and images by some of the other artists whose work was evoked in public and private conversation. Contributors include Jacqueline Francis, Renée Green, Quinn Latimer, Sarah Lehrer-Graiwer, Patricia Maloney, Elizabeth Mangini, Judith Rodenbeck and Lynne Tillman.

File under: Joan Jonas Quinn Latimer Sarah Lehrer-Graiwer Judith Rodenbeck Lynne Tillman Jacqueline Francis Renée Green Patricia Maloney Elizabeth Mangini CCA Wattis Institute for Contemporary Arts / San Francisco Art Film / Video Performance / Dance / Theater

The Complete Works of Akira Kurosawa

1971, Japanese / English
Hardcover (w. slipcase), 192 pages, 23.5 x 19 cm
1st Edition, Out of print title / used / very good
Published by Kinema Jumpo Sha / Japan

$50.00 - Out of stock

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Volume 6 from an incredible series (possibly 10-parts) published in Japan in the late 1960s-early 1970s that captures the work of Japanese film director and screenwriter Akira Kurosawa (1910 – 1998), who directed 30 films in a career spanning 57 years and is regarded as one of the most important and influential filmmakers in the history of cinema.

Each cardboard slipcased, hardbound volume comprises chronologically profiled films of Kurosawa presented scene for scene, reproducing the film through copious film stills alongside the film's entire script and dialogue (in both English and Japanese). Also includes a complete cast and staff listing for each film and further select full-page stills from the featured films. This volume (no. 6) features the films The Idiot (1951) and Ikiru (1952).

Very Good-Fine copy preserved in original issue cardboard slipcase (tanning to spine otherwise very well preserved).

File under: Akira Kurosawa Kinema Jumpo Sha / Japan Film / Video Out-of-print / Rare

Fuck Seth Price
by Seth Price

2016, English
Hardcover (w. dust jacket), 124 pages, 11.7 x 18 cm
2nd ed., hardcover,
Published by The Leopard Press / New York

$49.00 - Out of stock

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Hardcover, second edition!

From one of the most influential artists of his generation comes a provocative, moving novella about what it means to be a creative person under today’s digital regime. In the course of a gripping, headlong narrative, Price’s unnamed protagonist moves in and out of contemporary non-spaces on a confounding and enigmatic quest, all the while meditating on art in the broadest sense: not simply painting and sculpture but also film, architecture, literature, and poetry. From boutique hotels and highway bridges to PC terminals and off-ramps; from Kanye West and Jeff Koons to George Bush and Patricia Highsmith; from the playground to the internet to the mirror, Price’s hybrid of fiction, essay, and memoir gets to the central questions not only of art, but of how we live now.

Seth Price was born in 1973 in East Jerusalem, Palestine. He received a BA from Brown University in 1997, where he studied modern culture and media. In 2012 he began to work as an artist, and his first one-person exhibition was in 2004; major exhibitions of his work have since been presented around the world. His writings are widely anthologized and taught, and have been translated into eight languages. He lives in New York City.

File under: Seth Price Seth Price The Leopard Press / New York Art Fiction / Poetry Out-of-print / Rare Sculpture / Installation Film / Video

Nobuyoshi Araki
High School Girl Fake Diary

1981, Japanese
Softcover (w. dust jacket), 240 pages, 15 x 21 cm
1st Edition, Out of print title / Used*,
Published by ? / Japan

$100.00 - Out of stock

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Very rare, early 1981 photo-book/diary by Japanese photographer Nobuyoshi Araki, who became an icon of photographic publishing and one of Japan's most celebrated and prolific photographers. This book was published as Araki's behind the scenes diary to High School Girl Fake Diary, a soft-core pink film, or pinku (a specific type of Japanese pornographic film made by independent studios) directed by Araki and released in 1981 by Nikkatsu movie studios under its Roman Porno genre – dramatised porn. The film was poorly received and disappointed fans of the genre and Araki himself, but the book, full of Araki's casual imagery on and off the set working and playing with the film's stars, technicians, composers and crew, became a sought-after oddity of Araki's publishing oeuvre. Not only is it a fine example of his famed early diary books, packed full of rarely seen Araki photographs, it also gives a rare and candid glimpse inside the world of independent film-making in Japan. Texts in Japanese.

Nobuyoshi Araki is a prolific Japanese photographer who has produced thousands of photographs over the course of his career. He became famous for “Un Voyage Sentimental” (1971), a series of photos depicting both banal and deeply intimate scenes of his wife and lifelong muse, essayist Aoki Yoko (whom the artist credits for making him a photographer), during their honeymoon. To date the 75 year old has produced 450 photo books and counting. With a repertoire that knows no boundaries, Araki's diaristic style of photography has captured the world around him (his cat Chiro, the people and landscapes of Japan and his travels, flowers, family), though it is Araki’s intensely sexual imagery that has elicited particular controversy and fascination throughout his career. Similarly to Helmut Newton, Araki has often addressed subversive themes — such as bondage in the Japanese style Kinbaku — in his provocative depictions of female nudes. He typically works in black-and-white photography, and his hallmark style is deliberately casual. “Rather than shooting something that looks like a professional photograph, I want my work to feel intimate, like someone in the subject’s inner circle shot them,” he says. Pushing against the world of commercialised photography, he is celebrated for his history of self-publishing and distributing his work, beginning with his Xerox Photo Albums of 1970. Amongst many others, Araki has collaborated with American photographer Nan Goldin and Icelandic musician Björk.

Condition: Very Good-Fine (dust jacket and book clean and tight, preserved in plastic) – All care is taken to provide accurate condition details of used books, photos available on request.

File under: Nobuyoshi Araki Nobuyoshi Araki ? / Japan Art Eros Film / Video Japanese Photography Out-of-print / Rare Performance / Dance / Theater Photography