The cultural, social and scientific management of death--how to postpone it, how to prepare for it, what to do with remains, how to remember the deceased--forms the rarely acknowledged framework for the formation of society. Community is only possible if its members avow and disavow, the fact that every one of them will die. The many ways in which we live with, and despite, this knowledge inform the focus of Cabinet 49, with its special section on “Death.” Contributions include Stacey Roberts on the science of delaying death; Simon Jonasson on DIY burials; Elga Holt on the difference between human and animal mourning; and Suzanne Cotton on the history of suicide notes. Elsewhere in the issue: Leland de la Durantaye on a reimagining of The Waste Land; Sina Najafi on gifts given to and by American presidents; and an artist project by Santiago Borja.
Since 1984, Parkett has been an important source of literature on international contemporary art. Each biannual issue is a collaboration with four artists, in which their work is explored in fully illustrated essays by leading writers and critics. In addition, each artist creates an exclusive limited edition, available to Parkett readers. The long list of artists who have collaborated with Parkett includes John Baldessari, Sophie Calle, Fischli/Weiss, Isa Genzken, Mike Kelley, Cady Noland, Meret Oppenheim, Gerhard Richter, Cindy Sherman, Rosemarie Trockel, Andy Warhol, and many more.
Published by Apology Magazine. Edited by Jesse Pearson.
Apology is a new magazine of art, fiction, games, humor, essays, interviews, journalism and photography. Founded and edited by former Vice magazine editor-in-chief Jesse Pearson, Apology is inspired in equal measure by the golden ages of The New Yorker and Esquire; by 1980s punk zines like Sick Teen and RE/Search; by the Encyclopedia Britannica and The People's Almanac; and by MAD magazine. In a general 'statement of intent,' Pearson writes: "1) Each new issue of Apology will be just different enough from the one before it that it will be slightly unsettling if you were a big fan of the previous issue. 2) There will be no regular features in Apology, although if a certain kind of piece works really well we might do something very similar in a subsequent issue. 3) You will, however, be able to rely on each and every issue of Apology containing, in varying degrees: Fiction, poetry, photography, interviews, essays, humor and art. 4) I'm trying to think of each issue of Apology as one component of a big, Baroque Apologetic tapestry. Think of it like a season of a good TV show with all the little threads and coincidences. 5) I want Apology to be smart, beautiful and funny but I also want it to be really weird because there aren't any other genuinely weird magazines alive today. (I used those emphatic italics there to drive that point home extra hard.) 6) And now, one last thing: I hereby preemptively call out the fact that pretentious stuff has been said in this statement, and thereby I have stripped anybody else of the power to call me or Apology pretentious--forthwith, in perpetuity, ad infinitum." Jesse Pearson was the editor-in-chief of Vice magazine for eight years (from 2002-2010). Prior to that, he was an editor at index magazine. He has curated art shows in New York, Melbourne and Tokyo; conceived, produced and directed numerous internet television series (Soft Focus, Shot By Kern, Art Talk!, Americana); and edited numerous books (including Catholic: Cats; The Vice Photo Book; News, Nudity, and Nonsense: The Best of Vice).
Published by nai010 publishers. Edited by Véronique Patteeuw, Hans Teerds, Christophe Van Gerrewey. Text by Pier Vittorio Aureli, Isabelle Doucet, Paul Goldberger, Herman Hertzberger, Steven Holl, Anne Holtrop, Kersten Geers, David van Seeveren, Lucien Kroll, Andrew Leach, Philippe Morel, Rural Studio, Michael Sorkin, Bart Verschaffel.
Over the past century, models for architecture evaluation such modernism and postmodernism have been modified by supermodernism and retromodernism, and more recently by sustainability. OASE 90 investigates the expectation behind existing value models in architecture.
Printed on eight different paper stocks and featuring more than 100 die-cuts created by hand, Esopus 18 include artists' projects by Bill Burns, Bryan Nash Gill and Mary Lum; facsimile reproductions of materials from the MoMA Archives related to the museum's groundbreaking Spaces exhibition from 1969; never-before-seen early portraits by Magnum photographer Erich Hartmann; new fiction by Victoria Matsui; another found object contributed by archivist Rich Remsberg; 100 frames from acclaimed filmmaker Kelly Reichardt's undistributed 1999 short film Ode, with an introduction by Amy Taubin; and a selection of pages from the guest book of art critic Dorothy Adlow and her husband, the legendary composer, conductor and musicologist Nicolas Slonimsky. The issue closes with a compilation CD containing songs inspired by Slonimsky's hugely influential 1947 book Thesaurus of Scales and Melodic Patterns. Contributors to the CD include Andrew Bird, Lee Ranaldo, Elliott Sharp, Cat Martino and Horse Feathers.
Published by Aperture. Edited by Michael Famighetti.
The Fall 2013 issue of Aperture focuses on "Playtime." Taking its name from the 1967 film by Jacques Tati, the articles and portfolios explore how photography illuminates, facilitates, and participates in the many definitions of play-from role-play and sex-play to theater and jokes to leisure and fantasy. The issue features an interview with artist Chrisian Marclay about improvisation and the relationship between images and sounds; a conversation with Erwin Wurm about the possibilities and risks of using humor in contemporary art; and new, never-before-published work by Sophie Calle. Additionally, writer Eric Banks visits Saul Leiter's studio; Tim Davis examines the art of the photographic one-liner; Robin Kelsey surveys the artists who turned to games, whimsy, and clowning around in the 1960s and '70s; and Aveek Sen considers Italo Calvino's short story "The Adventure of a Photographer." Plus portfolios from Jo Ann Callis, Kauyoshi Usui, Bruno Munari, James Mollison, a little-known group of Cambridge University students who scaled campus buildings in the 1930s, and more.
Published by Blind Spot. Edited by Dana Faconti. Guest edited by Walead Beshty.
In 2013, Blind Spot is celebrating its twentieth year as the preeminent journal dedicated to presenting new and unseen photography-based art. Blind Spot has published some of today's most renowned artists working in the medium as they were building their careers-Adam Fuss, Vik Muniz, Doug & Mike Starn and James Welling appeared in the first issue-and since its launch in 1993, the magazine has featured more than 400 living artists, including Robert Adams, Francis Al˙s, John Baldessari, Moyra Davey, Tacita Dean, Liz Deschenes, William Eggleston, Rachel Harrison, Zoe Leonard and Ed Ruscha, as well as younger artists like Walead Beshty, Peter Coffin, Anne Collier, Michael Queenland, Amanda Ross-Ho and Seth Price. Printed in the United States by Meridian Printing, Blind Spot is known for its commitment to the highest quality reproductions. Each semi-annual issue is designed as a portable exhibition space where images are given primacy and are unaccompanied by explanatory text. Features are often designed in collaboration with the artists, and recent issues have been guest edited by contemporary artists, providing a visual exploration of specific ideas and approaches to photography-based image making. Blind Spot's unique format and this collaboration of the editors and the individual artists transforms each issue into a work of art. Issue 46 of Blind Spot is guest-edited by Walead Beshty.
Published by La Fábrica. Edited by Roni Horn, Vicente TodolĚ.
Guest-edited by Roni Horn and Vicente Todoli, the latest issue of Matador magazine is themed around Iceland and the general topic of weather, both of which Horn has explored at length in her own work. It includes poems by Emily Dickinson about Vesuvius; Dieter Roth's Surtsey Island series, in which he gradually transforms an image of the Surtsey volcano into a steaming plate of food; Dr. Atl's paintings of the Paricutin volcano; a transcription of Glenn Gould's radio-documentary The Idea of North; various images of Mount Herdubreid, the Queen of the Mountains in Iceland; and Horn's series You Are the Weather and Weather Reports You, in which people describe the weather where they live. A CD of music by Ólöf Arnalds is also included.
Published by Osmos. Edited by Cay Sophie Rabinowitz.
After cofounding Fantom in 2009 in Milan and New York, Cay Sophie Rabinowitz is continuing the endeavor by launching her magazine with the new name of Osmos. Osmos magazine focuses its editorial practice on texts and image series by practitioners and professionals investigating the uses and abuses of photography. Alongside more conventional genres, such as Essay, Interview, and Portfolio, Osmos frames some of its content in sectors, such as "Collections," about curatorial and archival practice; "Means to an End," about the side effects of non-artistic image production; and "Picture Perfect," where photography is implicit in the production of the featured work, but is not always the resulting final medium. One outstanding feature is the critical approach to the cover, which acknowledges the delayed effect of image capture or so-called "after image," by featuring an artist or work to be discussed in the following issue. With a radical blend of arresting images, print quality, and distinctive design, Osmos magazine is the most recognized publication in the market fostering contemporary perspectives in photography as the medium crossing all creative industries and practices--art, design, fashion and propaganda, aiming at the core of our imagination.
Published by Damiani. Edited by Maurizio Cattelan, Pierpaolo Ferrari.
Toilet Paper is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists' mental outbursts. Since the first issue, in June 2010, Toilet Paper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.