Edited by Chantal Pontbriand. Text by Guy Bellavance, Douglas Crimp, Georges Didi-Huberman, Philippe Dubois, Anne-Marie Duguet, Peggy Gale, Geert Lovink, Laura U. Marks, Laura Mulvey, David Thomas, et al.
Pbk, 6 x 8.25 in. / 222 pgs / 20 bw. | 2/24/2015 | In stock ISBN 9783037643822 | $29.95
Edited by Larissa Harris, Media Farzin. Text by Hilary Ballon, Nicholas Chambers, Douglas Crimp, Diane di Prima, Dick Elman, Tom Finkelpearl, Albert Fisher, Brian L. Frye, John Giorno, Anthony Grudin, Larissa Harris, Felicia Kornbluh, Gerard Malanga, Jonas Mekas, Timothy Mennel, Richard Meyer, Billy Name, Brian Purnell, Anastasia Rygle, Eric Shiner, Richard Norton Smith, Lori Walters, Mark Wigley.
Pbk, 7.5 x 9.25 in. / 152 pgs / 13 color / 84 bw. | 2/24/2015 | Out of stock ISBN 9781929641192 | $35.00
Edited by Yilmaz Dziewior, Barbara Engelbach. Foreword by Yilmaz Dziewior, Barbara Engelbach, Kaspar König. Text by Gabriele Brandstetter, Douglas Crimp, Yilmaz Dziewior, Barbara Engelbach, Carrie Lambert-Beatty, Volker Pantenburg, Catherine Wood.
Pbk, 7.5 x 10 in. / 296 pgs / 35 color / 107 bw. | 8/31/2012 | Not available ISBN 9783863351373 | $55.00
Foreword by Frank Wagner, Kasper König. Text by Judith Butler, Douglas Crimp, Diedrich Diederichsen, Harald Fricke, Julia Friedrich, Hanne Loreck, Cristina Nord, Thomas Meinecke, Eva Meyer, Marlene Steeruwitz, Frank Wagner.
Paperback, 8.75 x 12 in. / 304 pgs / 200 color / 109 bw. | 10/1/2006 | Not available ISBN 9783775718295 | $55.00
Published by Gregory R. Miller & Co.. Edited with text by Joan Simon. Text by Joan Jonas, Douglas Crimp, Johanna Burton, Barbara Clausen, Richard Serra, Susan Rothenberg.
One of the most continuously influential figures of the past half century, Joan Jonas was among the first artists to embrace the forms of video, performance and installation. From her beginnings as a sculptor, and her emergence in the New York art and performance scenes of the 1960s and 70s (including the seminal "Vertical Roll" video piece of 1972, in which the titular television malfunction enacted a memorably fractured female identity), up through her six appearances at Documenta and her performance at the Performa 13 biennial, her work has always been surprising, groundbreaking and necessary. This extensively illustrated volume, containing hundreds of full-color photographs, drawings, scripts and diagrams, presents the definitive collection of Jonas' work. The first and authoritative career-spanning monograph of the multimedia pioneer, it covers more than 40 years of performances, films, videos, installations, texts and video sculptures. Art writer Joan Simon has painstakingly researched every one of Jonas' works and includes notes on each piece, along with new and never-before-published writings by the artist that provide extensive background. In the Shadow a Shadow also contains essays by Douglas Crimp, Barbara Clausen and Johanna Burton, and unpublished photographs and drawings from Jonas' archives. With a detailed production and exhibition history of the video and performance works, as well as the first comprehensive bibliography and biography of the artist, this intensively researched and authoritative book documents the range, breadth and depth of one of the most prolifically original artists of the twentieth and twenty-first centuries. New York–born and based, Joan Jonas (born 1936) has taught at UCLA School of the Arts, in Stuttgart, Germany and at the Massachusetts Institute of Technology, where she is a professor emerita. She has lived and worked in Greece, Morocco, India, Germany, Holland, Iceland, Poland, Japan, Italy, Hungary and Ireland.
Published by JRP|Ringier. Edited by Chantal Pontbriand. Text by Guy Bellavance, Douglas Crimp, Georges Didi-Huberman, Philippe Dubois, Anne-Marie Duguet, Peggy Gale, Geert Lovink, Laura U. Marks, Laura Mulvey, David Thomas, et al.
Following two precious volumes of writings from the 1970s–90s Canadian magazine Parachute— Museums, Art History, and Theory and Performance & Performativity—the essays collected in this third volume focus on photography, film, video and new media. These genres were discussed in some of the earliest volumes of Parachute. Photography received particular attention in the early 1980s, film and video later in that decade and through the beginning of the 1990s. Discussing what were then still relatively new and overlooked artistic fields, these texts are particularly useful as signposts to how these new media and works were approached. The essays discuss works by artists such as Eija-Liisa Ahtila, James Coleman, Nan Goldin, Bill Viola and Rodney Graham. The texts by Georges Didi-Huberman, Douglas Crimp and Laura Mulvey, written in the early 1980s, are among their most seminal.
Published by 80WSE Press. Edited, introduction and afterword by Gran Fury. Interview by Douglas Crimp, David Dietcher, Robert Gober, Gran Fury.
Gran Fury: Read My Lips is the first comprehensive catalogue on the AIDS activist art collective's work from 1987–95. Naming itself after the Plymouth automobile model used by the New York City Police Department, Gran Fury made public projects that were simultaneously scathing, provocative, stylish and often funny. Gran Fury's billboards, postcards, videos, posters and paintings raised public awareness of AIDS and put pressure on politicians, while sparking debate in sites ranging from the Illinois Senate to Italy's tabloid press. Bridging the gap between Situationist site-specific art strategies, postmodern appropriation and Queer activism, the influential work of Gran Fury elucidates the political and collectivist art practices that flourished in 80s/90s downtown New York. This catalogue, designed by Gran Fury, is the first major publication solely devoted to their output. It reprints historical interviews between Gran Fury and Robert Gober, David Deitcher and Douglas Crimp, plus three never-before-published conversations by Gran Fury from late 2010. Read My Lips was created in conjunction with the retrospective curated by Michael Cohen and Gran Fury at NYU.
PUBLISHER 80WSE Press
BOOK FORMAT Paperback, 10.5 x 8 in. / 88 pgs / 43 color / 10 bw / 21 duotone.
PUBLISHING STATUS Pub Date 1/27/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2015 p. 147
PRODUCT DETAILS ISBN 9781938922671TRADE List Price: $25.00 CDN $34.50
AVAILABILITY In stock
in stock $25.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Queens Museum/The Andy Warhol museum. Edited by Larissa Harris, Media Farzin. Text by Hilary Ballon, Nicholas Chambers, Douglas Crimp, Diane di Prima, Dick Elman, Tom Finkelpearl, Albert Fisher, Brian L. Frye, John Giorno, Anthony Grudin, Larissa Harris, Felicia Kornbluh, Gerard Malanga, Jonas Mekas, Timothy Mennel, Richard Meyer, Billy Name, Brian Purnell, Anastasia Rygle, Eric Shiner, Richard Norton Smith, Lori Walters, Mark Wigley.
This volume brings expert opinion and first-hand testimony to bear upon the events surrounding the creation and destruction of Andy Warhol's Thirteen Most Wanted Men at the 1964 New York World's Fair. The complex constellation of art, politics and gay life surrounding Warhol's mural and its painting-over comes alive in 13 interviews—with historian Hilary Ballon, critic Douglas Crimp, poet Diane di Prima, 1964 World's Fair head of television Albert Fisher, poet John Giorno, art historian Anthony Grudin, civil rights historian Felicia Kornbluh, former Warhol assistant and poet Gerard Malanga, filmmaker Jonas Mekas, art historian Richard Meyer, former Warhol assistant and photographer Billy Name, Rockefeller biographer Richard Norton Smith and architect and critic Mark Wigley. The interviews are introduced by the show's co-curator Larissa Harris, and accompanied by reproductions of all of the Thirteen Most Wanted Men; photographs of Warhol and the Fair by Factory regulars and photojournalists; and rarely seen archival documents from Warhol's Time Capsules.
PUBLISHER Queens Museum/The Andy Warhol museum
BOOK FORMAT Paperback, 7.5 x 9.25 in. / 152 pgs / 13 color / 84 bw.
PUBLISHING STATUS Pub Date 2/24/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2015 p. 127
PRODUCT DETAILS ISBN 9781929641192TRADE List Price: $35.00 CDN $47.50
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Contemporary Arts Museum, Houston. Edited and with text by Valerie Cassel Oliver. Introduction by Douglas Crimp. Forward by Bill Arning.
Dreams into Glass accompanies the first major museum exhibition of African-American photographer Alvin Baltrop (1948–2004), whose career unfolded in the late 1960s amid a period of turbulent social and political upheaval. Following a stint in the Navy, Baltrop returned to New York in the 1970s and immersed himself in the city’s decaying landscape, documenting a post-industrial wasteland of vacant manufacturing buildings that included the piers located along the Hudson River in lower Manhattan. It was here that Baltrop captured his most iconic images of nocturnal danger and despair alongside intimate and voyeuristic portraits of the homeless, teenage runaways, prostitutes and clandestine sexual encounters. During this period, Baltrop captured Gordon Matta-Clark’s monumental piece “Day’s End” and the work of graffiti artist, Tava, now lost to history. This survey features over three decades of vintage and reprinted photographs as well as archival material--from Baltrop’s intimate portraits of Navy friends and other enlisted men to his poetic body abstractions and street photography to the documentation of an era of gay sexual abandon between the Stonewall riots and the AIDS pandemic.
Published by Kunsthaus Bregenz/Museum Ludwig, Cologne. Edited by Yilmaz Dziewior, Barbara Engelbach. Foreword by Yilmaz Dziewior, Barbara Engelbach, Kaspar König. Text by Gabriele Brandstetter, Douglas Crimp, Yilmaz Dziewior, Barbara Engelbach, Carrie Lambert-Beatty, Volker Pantenburg, Catherine Wood.
Despite her years of work and influence as one of the world’s leading choreographers, dancers and filmmakers, Yvonne Rainer (born 1934) has until now not received the retrospective exhibition in Europe that her career deserves. Yvonne Rainer: Space, Body, Language is published for exhibitions at the Kunsthaus Bregenz and the Museum Ludwig, Cologne, and covers the full spectrum of her work, starting from her foundational New York dance works such as The Mind Is a Muscle (1968), which created a new physical language out of everyday gestures and humdrum objects such as mattresses, barbells and bubblewrap. Moving to her political and feminist films between 1976 and 1996, which took the filmic montage features of her dance (and her incorporation of filmed actions of hands and volleyballs in her performances) to their next level, Space, Body, Language brings us up to the present with Rainer’s return to choreography in 2000 and such recent compositions as Assisted Living: Good Sports 2 (2011) and Spiraling Down (2008). This catalogue presents previously unseen documentation of stage works, notebooks, an astonishing number of dance scores, scripts, movie and exhibition posters and a carefully compiled appendix, as well as essays by Douglas Crimp, Gabriele Brandstetter, Carrie Lambert-Beatty, Volker Pantenburg, Catherine Wood and editors Yilmaz Dziewior and Barbara Engelbach.
Published by Hatje Cantz. Text by Douglas Crimp, Gertrud Koch.
In 1991, German-born photographer Vera Lutter (born 1960) moved to New York. Inspired by the city’s architecture and night-time luminescence, Lutter took the extraordinary step of transforming her apartment into a pinhole camera, and, in a process that could last weeks or even months, exposed images directly onto wall-size sheets of photographic paper. Intent upon minimal interference with this process, Lutter refrained from duplicating the images, and used the negative as the final work. New York has remained the recurrent subject of Lutter’s (literally) unique photographs, but over the past two decades, she has applied the process to other locations and styles of architecture around the world, documenting shipyards, airports and abandoned factories. This volume offers the first thorough overview of Lutter’s magical architectural photography, representing her full range of motifs and subjects in superb duotone. Also included is an account of her first film and sound installation.
Published by La Fábrica/Fundación Telefónica. Text by Gerardo Mosquera, Douglas Crimp, Diana Cuéllar, José Miguel G. Cortés.
1000 Faces/0 Faces/One Face unites two great contemporary artists who have interrogated constructions of identity with an entirely unknown late-nineteenth-century photographer named Frank Montero. Its thesis runs as follows: in Cindy Sherman’s manipulations of generic casting we encounter a face that produces all faces; in Thomas Ruff’s proliferating but depersonalized portraits, we all encounter all faces reduced to a zero degree; and in Montero, we encounter a face that plays the role of itself, throughout the inscriptions wrought upon it by time. Montero’s work, seemingly made without artistic intentions or ambitions, and published here for the first time, provides a sort of Rembrandt-like counterpoint to the identity arguments made by Ruff and Sherman’s work, and alongside them makes for the most fascinating panorama of the absolute constructedness of the photographic portrait and the eerie artifice of identity itself.
Published by JRP|Ringier. Edited by John C. Welchman. Text by Jane Blocker, Douglas Crimp, Rachel Greene, Richard Shiff, et. al.
This anthology of essays, images and dialogues exploring contemporary art's engagements with risk--physical, social, political and aesthetic--brings readers into the conference from which the book takes its title, a third annual collaboration between the Getty Research Institute and the Southern California Consortium of Art Schools (SoCCAS). Some content there was so intense that it came with a warning label: "Contains graphic depictions of violence, nudity and bodily functions. No one under the age of 18 years will be admitted." The Aesthetics of Risk showcases conversations between Catherine Opie and Douglas Crimp, Paul McCarthy and Kristine Stiles, and presentations including "Aestheticizing Risk in Wartime: The SLA to Iraq." Featured artists include Brock Enright and Steve Kurtz. Featured critics and commentators include Jane Blocker of the University of Minnesota, independent curator Rachel Greene, Richard Shiff of the University of Texas at Austin and Stiles, Professor at Duke University. Editor John C. Welchman is professor of modern and contemporary art history and theory at the University of California, San Diego, and the editor of the most recent title in this series, Institutional Critique and After.
Published by Hatje Cantz. Foreword by Frank Wagner, Kasper König. Text by Judith Butler, Douglas Crimp, Diedrich Diederichsen, Harald Fricke, Julia Friedrich, Hanne Loreck, Cristina Nord, Thomas Meinecke, Eva Meyer, Marlene Steeruwitz, Frank Wagner.
In chess, when a pawn reaches the eighth square on the far side of the board, the player can swap it for a piece from his opponent's set. So the pawn--a lowly foot soldier--can transform into a queen, the least powerful figure can transform into the epitome of power, and a man can become a woman--just like that. Issues of sexuality are playing out around us all the time, quaking and transmuting under the surface of every family exchange and embedded in all of our popular media images. This scholarly and yet still erotic compendium examines, through works by more than 70 artists, historical and social developments in human sexuality, taking on all facets of drag, gender, queerness and transsexuality. Artists include Diane Arbus, Francis Bacon, Matthew Barney, Louise Bourgeois, Nan Goldin, Felix Gonzalez-Torres, David Hockney, Jasper Johns, Robert Mapplethorpe, Tracey Moffatt, Bruce Nauman, Robert Rauschenberg and Cindy Sherman.