Winner of the 2020 PEN America Literary Award for Debut Short Story Collection, Mimi Lok's Last of Her Name narrates the interconnected lives of diasporic women from ’80s UK suburbia to WWII Hong Kong and contemporary California
Published by Steidl. Text by Pi Li, Christopher Phillips, Geoff Raby, Liu Heung Shing.
This book contains the two most important bodies of work by Pulitzer Prize–winning photojournalist Liu Heung Shing (born 1951): photos that document pivotal decades of Communism in China and Russia, made between 1976 and 2017. A Life in a Sea of Red presents scenes of hope, hardship and change under—and in the aftermath of—Communist rule.
Liu arrived in Beijing in 1978 on assignment for Time magazine to photograph the country at a moment of momentous transition—from the withdrawal of Mao’s portraits from the public realm, to the increase in free commercial, artistic and personal expression, to the violence in Tiananmen Square in 1989 and, more recently, the rise of Chinese yuppies.
In contrast, Liu’s photos of Russia, taken between 1990 and 1993, document the collapse of a Communist state. The most enduring of these shows Gorbachev throwing down the speech he delivered on December 25, 1991, announcing his resignation and signaling the end of the Soviet Union and Cold War.
Published by Schaulager, Laurenz Foundation/Badlands Unlimited. Edited by George Baker, Eric Banks with Isabel Friedli, Martina Venanzoni. Introduction by George Baker.
The work of Paul Chan (born 1973) has charted a course in contemporary art as unpredictable and wide-ranging as the thinking that grounds his practice. Paul Chan: Selected Writings 2000–2014 collects the critical essays and artist’s texts that first appeared in Artforum, October, Texte zur Kunst and Frieze, among other publications, as well as previously unpublished speeches and language-based works. From the comedy of artistic freedom in Duchamp to the contradictions that bind aesthetics and politics, Chan’s writings revel in the paradoxes that make the experience of art both vexing and pleasurable. He lays bare the ideas and personalities that motivate his work by reflecting on artists as diverse as Henry Darger, Chris Marker, Sigmar Polke and Paul Sharits, and grapples with writers and thinkers who have played decisive roles in his practice, including Theodor Adorno, Samuel Beckett and the Marquis de Sade.
Published by The Museum of Modern Art, New York. Edited with text by Klaus Biesenbach, Christophe Cherix. Text by Julia Bryan-Wilson, Jon Hendricks, Yoko Ono, Clive Phillpot, David Platzker, Francesca Wilmott, Midori Yoshimoto.
Yoko Ono: One Woman Show, 1960–1971 examines the beginnings of Ono's career, demonstrating her pioneering role in visual art, performance and music during the 1960s and early 1970s. It begins in New York in December 1960, where Ono initiated a performance series with La Monte Young in her Chambers Street loft. Over the course of the decade, Ono earned international recognition, staging "Cut Piece" in Kyoto and Tokyo in 1964, exhibiting at the Indica Gallery in London in 1966, and launching with John Lennon her global "War Is Over!" campaign in 1969. Ono returned to New York in the early 1970s and organized an unsanctioned "one woman show" at MoMA. Over 40 years after Ono's unofficial MoMA debut, the Museum presents its first exhibition dedicated exclusively to the artist's work. The accompanying publication features three newly commissioned essays that evaluate the cultural context of Ono's early years, and five sections reflecting her geographic locations during this period and the corresponding evolution of her artistic practice. Each chapter includes an introduction by a guest scholar, artwork descriptions, primary documents culled from newspapers, magazines and journals, and a selection by the artist of her texts and drawings.
Born in Tokyo in 1933, Yoko Ono moved to New York in the mid-1950s and became a critical link between the American and Japanese avant-gardes. Ono's groundbreaking work greatly influenced the international development of Conceptual art, performance art and experimental film and music. In celebration of Ono's eightieth birthday in 2013, the Schirn Kunsthalle Frankfurt organized a major traveling retrospective.
Klaus Biesenbach is the Director at MoMA PS1 and Chief Curator at Large at MoMA.
Christophe Cherix is the Chief Curator of Drawings and Prints at MoMA.
Jon Hendricks is a collector, artist, and the Fluxus Consulting Curator at MoMA.
Clive Phillpot is the former Director of the MoMA Library.
David Platzker is a Curator in the Drawings and Prints department at MoMA.
The Kaya Anthology of South Korean Science Fiction
Published by Kaya Press. Edited with text by Sunyoung Park, Park Sang Joon.
Readymade Bodhisattva: The Kaya Anthology of South Korean Science Fiction presents the first book-length English-language translation of science and speculative fiction from South Korea, bringing together 13 classic and contemporary stories from the 1960s through the 2010s. From the reimagining of an Asimovian robot inside the walls of a Buddhist temple and a postapocalyptic showdown between South and North Korean refugees on a faraway planet to a fictional recollection of a disabled woman's struggle to join an international space mission, these stories showcase the thematic and stylistic versatility of South Korean science-fiction writers in its wide array. At once conversant with the global science-fiction tradition and thick with local historical specificities, their works resonate with other popular cultural products of South Korea—from K-pop and K-drama to videogames, which owe part of their appeal to their pulsating technocultural edge and their ability to play off familiar tropes in unexpected ways.
Coming from a country renowned for its hi-tech industry and ultraspeed broadband yet mired in the unfinished Cold War, South Korean science fiction offers us fresh perspectives on global technoindustrial modernity and its human consequences. The book also features a critical introduction, an essay on SF fandom in South Korea, and contextualizing information and annotations for each story.
Authors include Geo-il Bok, In-Hun Choi, Djuna, Soyeon Jeong, Bo-Young Kim, Changgyu Kim, Jung-hyuk Kim, Young-ha Kim, Taewoon Lim, Yunseong Mun, Seonghwan Park, Min-gyu Pak, I-Hyeong Yun, Seonghwan Park, Mingyu Pak and I-Hyeong Yun.
Illuminated by pop fantasies, Donna Summer disco tracks and teen passion, the fiercely earnest characters in Rolling the R’s come to life against a background of burning dreams and neglect in a small 1970s Hawaiian community. In his daring first novel, R. Zamora Linmark treats the music of the Bee Gees and schoolyard bullying as equally formative experiences in the lives of a group of Filipino fourth-graders living in Kalihi, Honolulu, who call themselves the "Farrah Fawcett Fan Club." The characters’ stories unfold largely in the documentary detritus of their lives—their poems and prayers, book reports and teacher evaluations—all written in carefully observed, pitch-perfect vernacular. Now back in stock, Linmark’s tour-de-force experiments in narrative structure, pidgin and perspective roll every "are," throwing new light on gay identity and the trauma of cultural assimilation. Rolling the R’s goes beyond "coming of age" and "coming out" to address the realities of cultural confusion, prejudice and spiraling levels of desire in humorous yet haunting portrayals that are, as Matthew Stadler writes, "stylish, shameless and beautiful." This special twentieth anniversary edition includes a new essay by the author, introducing one of the most original and iconic stories of the Asian diasporic experience and an essential work of fiction in the Asian American literary canon. R. Zamora Linmark (born 1968) is a writer and poet currently based in Honolulu and Manila. He has published three poetry collections, two novels and adapted Rolling the R’s for the stage in 2008.
Blending elements of memoir and sports writing, Anelise Chen’s debut novel is an experimental work that perhaps most resembles what the ancient Greeks called hyponemata, or “notes to the self,” in the form of observations, reminders and self-exhortations. Taken together, these notes constitute a personal handbook on “how to live”––or perhaps more urgently “why to live,” a question the narrator, graduate student Athena Chen, desperately needs answering. When Chen hears news that her brilliant friend from college has committed suicide, she is thrown into a fugue of fear and doubt. Through anecdotes and close readings of moments in the sometimes harrowing world of sports, the novel questions the validity of our current narratives of success.
Anelise Chen earned her BA in English from UC Berkeley and her MFA in Fiction from NYU. Her fiction, essays and interviews have appeared in The New York Times, Gawker, NPR and elsewhere. She currently teaches writing at Columbia University.
Published by Walther König, Köln. Edited with text by Okwui Enwezor. Text by Damian Lentini, Julie Mehretu, Zadie Smith.
Centrifuge is a new site-specific installation by New York–based artist Sarah Sze (born 1969) in the Middle Hall of the Haus der Kunst in Munich. The piece commences from a fixed point and dynamically morphs outward into the surrounding space, shifting in scale and density as its various components unravel. Both constructed and off-the-shelf objects and materials—ranging from mirrors, wood, salt, bamboo and stainless steel to archival pigment prints, projectors and ceramics—are arranged into a series of sculptural groupings. On her approach to sculpture, Sze states in an interview with Okwui Enwezor (curator of the show), "a work should be constantly in a state of flux in terms of how it exists in space, how it exists in time; it should be unclear whether it's in a process of becoming or a process of entropy."
Published by T. Adler Books. Edited by Evan Backes. Foreword by Pico Iyer. Introduction by Nancy Matsumoto.
"This sorry episode has been illuminated in books and documentaries. But I've never felt its emotional texture—the unexpected mix of dereliction and upstanding hopefulness—so vividly as in this set of photographs taken by Ansel Adams and Dorothea Lange and five others, among them an artist incarcerated at Manzanar." –Pico Iyer
PUBLISHER T. Adler Books
BOOK FORMAT Hardcover, 9.25 x 8.75 in. / 176 pgs / 160 bw.
PUBLISHING STATUS Pub Date 10/23/2018 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2018 p. 19
PRODUCT DETAILS ISBN 9781942884293TRADE List Price: $45.00 CDN $60.00 GBP £40.00
AVAILABILITY In stock
in stock $45.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Gregory R. Miller & Co.. Text by Christopher Bedford, Hal Foster, Katy Siegel, Renata Salecl, Hito Steyerl.
For over 20 years Sarah Sze (born 1969) has produced celebrated works of art, synthesizing a near boundless range of everyday materials into intricate constructions that are both delicate and overwhelming. Sze's latest site-specific installation at the Rose Art Museum, Timekeeper, combines sculpture, video and installation into a sprawling experiential work that approaches some of the most complex themes of her career: time's passage and its marking in mechanical and biological forms.
The Timekeeper installation was a catalyst for a book which explores major new ideas in Sze's work and practice. The ambitious work is extensively documented here alongside significant new texts on Sze, her work and the experience of time.
Waylaid is the story of a Chinese American boy who struggles to grow up in the grip of an overcharged sexual environment. With a daily routine that involves renting out rooms to johns and hookers at his parents' sleazy hotel, the narrator loses his grip on concepts of friendship, family and childhood. As he pursues his all-consuming quest to lose his virginity, issues of race, class and sex cripple his sense of self-worth. It is a story told with a Gen-X-style bleak humor that doesn't pander to conventional notions of immigrant narrative. Waylaid doesn't cut a wide swath through Asian American literature. It is a switchblade in the gut to stories of over-achievement and success in America that ignore the human cost.