In 1960 George Heard Hamilton published the first complete typographic translation of Duchamp’s Green Box in English. This landmark publication translated Duchamp’s notes and conceptual ambitions for his masterwork, The Bride Stripped Bare by Her Bachelors, Even. And as a book, designed to hinge at its binding, the work fulfilled Duchamp’s conceptual proposal for art that would move from two- into three-dimensional space.
Hinge Pictures is an artist’s book in eight parts—a gorgeous, palimpsestual publication that layers the practices of Sarah Crowner, Julia Dault, Leslie Hewitt, Tomashi Jackson, Erin Shirreff, Ulla von Brandenburg, Adriana Varejão and Claudia Wieser over the pages of Duchamp’s imagination. It is also a companion publication to an exhibition in eight parts, a confrontation with the patrimony of European modernism. A literal reading of Duchamp positions the Bride, a nude woman, suspended above a host of ogling bachelors. In his writing, Duchamp narrates both social and physical constraint (“The Bride accepts this stripping…”) and formal liberation (“discover true form…develop the principle of the hinge.”). The artists of Hinge Pictures use formal constraint—a commitment to abstraction—in a demonstration of social liberation. With a Swiss binding that unveils the spine of the book and multiple vellum overlays that create layered interlocutions, the book’s physical qualities mirror its conceptual occupations.
Featured spread, by Erin Shirreff, is from 'Hinge Pictures.'
PRAISE AND REVIEWS
Artforum
Valentina Sarmiento Cruz
[The works of art in Hinge Pictures] translate the weighty vocabulary of European modernism into a new, multi-vocal language of contemporary abstraction.
Hyperallergic
Lee Ann Norman
To critique our inheritance from modernism in art generally and the art world’s facile positioning of white, European men as dominant is inherently antithetical to this notion, making Hinge Pictures a fitting realization of Duchamp’s philosophical challenge.
Hyperallergic
Megan N. Liberty
The book is hyper-specific without being overly explanatory and offers a seamed...reading experience, a call-and-response of groundbreaking pre-war modernism and the vibrations of its legacy in the radical work of women artists today.
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Thursday, May 16 from 6–8 PM, Printed Matter presents the launch of Hinge Pictures: Eight Women Occupy the Third Dimension, featuring works by Sarah Crowner, Julia Dault, Leslie Hewitt, Tomashi Jackson, Erin Shirreff, Ulla von Brandenburg, Adriana Varejão and Claudia Wieser and published by Siglio Press. continue to blog
FORMAT: Hbk, 6 x 9.25 in. / 124 pgs / 100 color. LIST PRICE: U.S. $39.95 LIST PRICE: CANADA $54.95 GBP £35.00 ISBN: 9781938221224 PUBLISHER: Siglio/Contemporary Arts Center, New Orleans AVAILABLE: 4/23/2019 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: WORLD Except France
Hinge Pictures Eight Women Artists Occupy the Third Dimension
Published by Siglio/Contemporary Arts Center, New Orleans. Text by Andrea Andersson, Alex Klein.
In 1960 George Heard Hamilton published the first complete typographic translation of Duchamp’s Green Box in English. This landmark publication translated Duchamp’s notes and conceptual ambitions for his masterwork, The Bride Stripped Bare by Her Bachelors, Even. And as a book, designed to hinge at its binding, the work fulfilled Duchamp’s conceptual proposal for art that would move from two- into three-dimensional space.
Hinge Pictures is an artist’s book in eight parts—a gorgeous, palimpsestual publication that layers the practices of Sarah Crowner, Julia Dault, Leslie Hewitt, Tomashi Jackson, Erin Shirreff, Ulla von Brandenburg, Adriana Varejão and Claudia Wieser over the pages of Duchamp’s imagination. It is also a companion publication to an exhibition in eight parts, a confrontation with the patrimony of European modernism. A literal reading of Duchamp positions the Bride, a nude woman, suspended above a host of ogling bachelors. In his writing, Duchamp narrates both social and physical constraint (“The Bride accepts this stripping…”) and formal liberation (“discover true form…develop the principle of the hinge.”). The artists of Hinge Pictures use formal constraint—a commitment to abstraction—in a demonstration of social liberation. With a Swiss binding that unveils the spine of the book and multiple vellum overlays that create layered interlocutions, the book’s physical qualities mirror its conceptual occupations.
