Published by Walker Art Center. Edited with text by Fionn Meade, Joan Rothfuss. Foreword by Olga Viso. Text by Carlos Basualdo, Juliet Bellow, Philip Bither, Roger Copeland, Mary L. Coyne, Douglas Crimp, Hiroko Ikegami, Kelly Kivland, Claudia La Rocco, Benjamin Piekut, David Vaughan. Interviews by Victoria Brooks, Danielle Goldman, Aram Moshayedi.
How Cunningham transformed postwar culture through collaboration
Published by The Museum of Modern Art, New York. Edited with text by Leah Dickerman, Achim Borchardt-Hume. Text by Yve-Alain Bois, Andrianna Campbell, Hal Foster, Mark Godfrey, Hiroko Ikegami, Branden Joseph, Ed Krcma, Michelle Kuo, Pamela Lee, Emily Liebert, Richard Meyer, Helen Molesworth, Kate Nesin, Sarah Roberts, Catherine Wood.
“Offering both a complete overview and fresh perspective of the momentous artist, nearly everything that Rauschenberg tackled in his career is included here, including his printmaking, photography, and famous silkscreen paintings.” –Interview Magazine
Published by JRP|Ringier. Edited by Raphael Gygax, Heike Munder. Text by Torsten Blume, Eva Díaz, Raphael Gygax, Juliet Koss, Tobias Peper.
In his lifetime, "Xanti" (Alexander) Schawinsky (1904-79) was best known for his work in the theater department at the Bauhaus. Fleeing Germany before the beginning of the Second World War, he landed at Black Mountain College in North Carolina, where in the 1930s he developed his theory of the "Spectodrama." Involving multimedia productions examining elementary phenomena such as space, motion, light, sound or color from scientific, technical and performance-based perspectives, the Spectodrama represents an early form of the "happening." Beyond the avant-garde utopias of the Bauhaus and his proto-happening art, Schawinsky also worked as a painter and graphic designer. Protracted legal disputes over the artist's estate meant that Schawinsky's work was until recently almost inaccessible; Xanti Schawinsky is the first survey of Schawinsky's extraordinarily prolific output over the course of five decades, and a long-overdue resource on the work of this key figure.
Published by The Museum of Modern Art, New York. Edited with text by Sarah Hermanson Meister. Text by Elizabeth Otto, Lee Ann Daffner.
Josef Albers is widely recognized as a crucial figure in 20th-century art, both as an independent practitioner and as a teacher at the Bauhaus, Black Mountain College and Yale University. Albers made paintings, drawings and prints and designed furniture and typography. Arguably the least familiar aspect of his extraordinary career was his inventive engagement with photography, only widely known after his death, including his production of approximately 70 photocollages that feature photographs he made at the Bauhaus between 1928 and 1932. These works anticipate concerns that he would pursue throughout his career--the effects of adjacency, the exploration of color through white, black and gray, and the delicate balance between handcraft and mechanical production.
Albers’ photographs were first shown at MoMA in a modest exhibition in 1988, when the Museum acquired two photocollages. In 2015 the Museum acquired ten additional photocollages, making its collection the most substantial anywhere outside the Albers Foundation. This publication reproduces each of the photocollages Albers made at the Bauhaus, presenting the scope of this achievement for the first time. An introductory essay by Sarah Hermanson Meister situates them within the contexts of modernist photography, the Bauhaus ethos and of Albers’ own practice.
German-born abstract painter Josef Albers laid the foundations for some of the most important art education programs of the 20th century. In 1936, during his time working at the Black Mountain College in North Carolina, he had his first solo exhibition in New York at J. B. Neumann’s New Art Circle. In 1949, Albers left the college and began his famous Homage to the Square series. He taught at various institutions throughout America, including Yale University, New Haven, where he lectured for eight years. The Museum of Modern Art, New York, organized Albers' traveling exhibition in 1965 and a retrospective of his work was held at the Metropolitan Museum of Art, New York, in 1971. The artist died in 1976.
Sarah Meister is Curator in the Department of Photography at the Museum of Modern Art, New York.
How to Improve the World (You Will Only Make Matters Worse)
Published by Siglio. Edited by Richard Kraft, Joe Biel.
Composed over the course of 16 years, John Cage's Diary: How to Improve the World (You Will Only Make Matters Worse) is one of his most prescient and personal works. A repository of observations, anecdotes, obsessions, jokes and koan like stories, the diary registers Cage's assessment of the times in which he lived as well as his often uncanny predictions about the world we live in now. With a great sense of play as well as purpose, Cage traverses vast territory, from postwar music to Watergate, from domestic minutiae to ideas on how to feed the world. Typing on an IBM Selectric, Cage used chance operations to determine not only the word count and the application of various typefaces but also the number of letters per line, the patterns of indentation and--in the case of Part Three (published as a Great Bear pamphlet by Something Else Press)--color. The beautiful and unusual visual variances become almost musical as the physicality of the language on the page suggests the sonic. This first complete hardcover edition collects all eight parts Cage originally published in A Year from Monday, M and X. Coeditors Kraft and Biel have consulted these publications along with Cage's original manuscripts, and--with the Great Bear pamphlet as a guide--they have used chance operations to render the entire text in various combinations of red and blue as well as apply a set of 18 typefaces to the entire work. Composer, philosopher, writer and artist, John Cage (1912-92) is one of the most influential figures of the 20th century. A pioneer in extending the boundaries of music, often composing works through chance operations, Cage also had an extraordinary impact on dance, poetry, performance and visual art.
Published by Siglio. Edited by Elizabeth Zuba. Text by Kevin Killian.
Ray Johnson (1927–1995) blurred the boundaries of life and art, of authorship and intimacy. Correspondence is the defining character of all of Johnson’s work, particularly his mail art. Intended to be read, to be received, to be corresponded with, his letters (usually both image and textual in character) were folded and delivered to an individual reader, to be opened and read, again and again. Johnson's correspondence includes letter to friends William S. Wilson, Dick Higgins, Richard Lippold, Toby Spiselman, Joseph Cornell, Yoko Ono, Nam June Paik, Robert Motherwell, Eleanor Antin, Germaine Green, Lynda Benglis, Arakawa and Madeline Gins, Christo, Billy Name, Jim Rosenquist and Albert M. Fine, among many others. The subjects of his correspondence ranged from the New York avant-garde (Cage, Johns, de Kooning, Duchamp) to filmmakers such as John Waters, philosophers such as Jacques Derrida and writers such as Gertrude Stein and Marianne Moore. This collection of more than 200 selected letters and writings--most of which are previously unpublished--opens a new view into the sprawling, multiplicitous nature of Johnson’s art, revealing not only how he created relationships, glyphs and puzzles in connecting words, phrases, people and ideas, but also something about the elusive Johnson himself. In a 1995 article in The New York Times, Roberta Smith wrote: "Make room for Ray Johnson, whose place in history has been only vaguely defined. Johnson’s beguiling, challenging art has an exquisite clarity and emotional intensity that makes it much more than simply a remarkable mirror of its time, although it is that, too."
Long out of print and unavailable to wider audiences, The Paper Snake is an essential work in Ray Johnson’s oeuvre and the second title published by Dick Higgins’ Something Else Press, in 1965. Johnson describes the book as "all my writings, rubbings, plays, things that I had mailed to [Higgins] or brought to him in cardboard boxes or shoved under his door, or left in his sink, or whatever, over a period of years." A vertiginous, mind-bending artist’s book, The Paper Snake was far ahead of its time. In his essay "The Hatching of the Paper Snake," Higgins says: "I was fascinated by the way that the small works which Ray Johnson used to send through the mail seemed so rooted in their moment and their context and yet somehow they seemed to acquire new and larger meaning as time went along ... Since a book is a more permanent body than a mailing piece or even than our own physical ones, I could not help wondering what it would be like to make a new body for Johnson’s ideas as a sort of love letter or time capsule for the future." A collection of letters, little plays, tid-bits, collages and drawings, The Paper Snake connects disparate elements to unbed fixed relationships and forge new systems of meaning by means of scissors, paste and the American postal system.