| | | | | | | |  | FUGITIVE SITES
INSTALLATION GALLERY
ISBN: 9780964255449 | US $29.95
Pub Date: 3/2/2003
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| Edited by Mary Jane Jacob. Preface by Lynn Ennis. Introduction by Roger Manley. Text by Paul Mendes-Flohr, W. J. T. Mitchell, Adam Zagajewski.
Published by Gregg Museum of Art & DesignAn encounter with Aaron Siskind inspired American photographer Alan Cohen (born 1943) to abandon his doctoral program in thermodynamics and instead pursue a career in photography under Siskind’s tutelage. For the past two decades Cohen has traveled the world, using the medium of black-and-white photography to record places marked by the political acts or the covert actions of others; places marked by time through the course of natural and often catastrophic occurrences. Crumbling stone walls and other near-invisible demarcations of political boundaries are among the mute witnesses he chooses as his subjects. “I have come to understand that history, in a contemporary image, can be sited,” Cohen writes. “Events can--and do--become geography.” This book tracks the evolution of Cohen’s work over a 40-year career, reflecting the artist’s belief in photography as both a social document and a meditative art.
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| Essays by Jan Verwoert, Jean Attali, Wouter Davidts, Charles Esche, Mary Jane Jacob and Sven Lütticken.
Published by nai010 publishersSince 1995, Rotterdam artists Liesbeth Bik and Jos Van der Pol have drawn from their immediate surroundings to create architecture-inspired installations. Displayed in art museums and galleries, the duo's spaces and interiors do not merely reproduce physical constructions but also copy their functions and uses in an ongoing attempt to tease out the essential meaning and purpose of these very spaces. With their “constructive criticism” installations, Bik Van der Pol deliberately seek to influence cultural spaces and transform them in a constructive manner by adding what might be lacking or by illuminating things like signage, which is sometimes obscure. This publication is the first comprehensive overview of Bik Van der Pol's projects since the artists began working collaboratively a decade ago. Seven essays by leading authors draw attention to the breadth and significance of their methodology. The selected projects are thus placed within a critical framework that allows interpretation by and inspiration for artists, architects, designers and theorists.
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| Public Interventions 1979-2005Essays by Nancy Princenthal and Mary Jane Jacob.
Published by ChartaAn architect interested in ephemeral structures, a photographer who has grown increasingly suspicious of pictures, Jaar's most telling gesture is to relinquish the camera by placing it, figuratively and sometimes literally, in the public's hands. In other words, Jaar is a master of indirection. And no wonder. His work was shaped at the outset by the need to speak clearly and forcefully against murderous injustice, using language of the most lucid obliquity. Jaar's work declares that daring to connect and participate is our last, best hope.
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| inSITE2000/01 New Contemporary Art Projects for San Diego/TiajuanaArtwork by Gustavo Artigas, Judith Barry, Arturo Cuenca, Roman de Salvo, Mauricio Dias, Rita Gonzales, Silvia Gruner, Diego Gutiªrrez, Jonathan Hernandez, Norma Iglesias, Alberto Caro LimÄn, Iìigo Manglano-Ovalle, Allan McCollum, Monica Nador, Ugo PalaviPhotographs by Lorna Simpson. Edited by Alfredo Jaar, Osvaldo Sanchez. Contributions by Carmen Cuenca, Michael Krichman. Text by David Joselit, David Avalos, Susan Buck-Morss, Nestor Garcia Cancini, David Harvey, Mary Jane Jacob, Ivo Mesquita, Masao Miyoshi, Nelson Brissac Peixoto, Sally Yard, George Ydice, Serge Guilbaut.
Published by Installation GalleryTaking the city as a laboratory, Fugitive Sites challenges the predictable radicality of global art projects, the usual notions of site specificity, community engagement, artistic practice and public space. Initiated in 1992 as a collaborative venture of cultural institutions in San Diego and Tijuana, inSITE commissions new work by artists from the Americas that responds to the extraordinary context of these two inextricably linked border cities, and is reinvented according to the shifting interests of artists and public institutions in Mexico. This most recent version of inSITE reconfigures public space, disrupts the syntactical order of the city, exposes its patterns, traces the activities of its goods and people and provides remedies against the intertia of everyday life.
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