Edited and with text by Jacob Proctor. Foreword by Heidi Zuckerman Jacobson. Contributions by Walead Beshty, Yve-Alain Bois, Stuart Comer, Christophe Gallois and Jean-Philippe Antoine, Melissa Gronlund, William E. Jones, Scott MacDonald, Frances Stark, Christopher Williams.
Pbk, 6 x 9 in. / 192 pgs / illustrated throughout. | 6/23/2015 | In stock ISBN 9780934324588 | $30.00
Published by Koenig Books/A.R.T. Press. Edited by Rhea Anastas, Alejandro Cesarco. Text by Judith Batalion, Vincenzo de Bellis, Gregg Bordowitz, Sabine Breitwieser, Stuart Comer, Joshua Decter, Yilmaz Dziewior, Jörg Heiser, Miwon Kwon, Bennett Simpson.
This substantial archive offers an ideal point of entry into the work and reception of Los Angeles–based performance artist and writer Andrea Fraser (born 1965). The interview format provides particular insight into Fraser's self-positioning as a central aspect of her practice. By presenting the artist's voice as mediated through various interlocutors (ranging from professional peers to popular media), Collected Interviews, 1990–2018 uniquely contextualizes Fraser's practice in the artistic and institutional fields in which she intervenes.
As Fraser is engaged, challenged and understood from diverse perspectives, readers learn as much about her artistic commitments from the artist's humor and affect as from her incisive analyses. The collection spans three decades, from the early 1990s to the present, and is organized chronologically with minimal editing.
Published by LACE/Pitzer College Art Galleries. Introduction by Robert Crouch, Ciara Ennis. Text by Bill Anthes, Ciara Ennis, Julieta González, et al. Interviews with Stuart Comer, Marilys Downey, Jim Harithas.
Radiant Nature contributes substantial new scholarship on the early work of Chilean artist Juan Downey (1940–93) through the exploration of works made between 1967 and 1975: interactive sculptures (1967–71); happenings and performances (1968–75); and the Life Cycle Installations (1970–71).
Key themes addressed here include the interaction between technology, aesthetics and the body as a means to forge more horizontal forms of participation and more ethical ways to interact with the environment.
PUBLISHER LACE/Pitzer College Art Galleries
BOOK FORMAT Clth, 8.25 x 11 in. / 248 pgs / 75 color / 100 bw.
PUBLISHING STATUS Pub Date 11/21/2017 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2017 p. 147
PRODUCT DETAILS ISBN 9780996644525TRADE 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 Aspen Art Press. Edited and with text by Jacob Proctor. Foreword by Heidi Zuckerman Jacobson. Contributions by Walead Beshty, Yve-Alain Bois, Stuart Comer, Christophe Gallois and Jean-Philippe Antoine, Melissa Gronlund, William E. Jones, Scott MacDonald, Frances Stark, Christopher Williams.
Los Angeles–based artist and filmmaker Morgan Fisher first achieved widespread recognition in the late 1960s and 1970s for a body of experimental films that deconstructed the language of cinema, both as raw material and as a set of production methods and technical procedures. Since the late 1990s, Fisher has focused primarily on painting (and the painting’s environment), and this volume is published in conjunction with the first solo museum exhibition of his paintings in the U.S., at Aspen Art Museum. Containing interviews conducted with Fisher over a span of 25 years--conversations between Fisher and Walead Beshty, Yve-Alain Bois, Stuart Comer, Christophe Gallois and Jean-Philippe Antoine, Melissa Gronlund, William E. Jones, Scott MacDonald, Frances Stark and Christopher Williams--and featuring new work by Fisher conceived especially for the exhibition, this is an invaluable Morgan Fisher sourcebook.
Published by Walther König, Köln. Edited with text by Ellen Blumenstein. Text by Thomas Miessgang. Conversation with Ryan Trecartin, Klaus Biesenbach, Stuart Comer, Laura Hoptman.
Los Angeles–based artist Ryan Trecartin (born 1981), whom The New Yorker called "the most consequential artist to have emerged since the 1980s," is best known for his highly stylized videos, often installed in special environments designed by his longtime collaborator, Lizzie Fitch, that draw on Internet and youth cultures, with characters and images that are familiar and utterly unfamiliar at the same time. Site Visit is published to accompany Trecartin's exhibition at Berlin's KW Institute for Contemporary Art, which includes a new multichannel film and site-specific installation designed with Fitch. The look and feel of the catalogue reflects the forceful, frenetic pace and complex layering of Trecartin's movies, with lavish, full-bleed illustrations and dynamic typography. Also included in this volume is a conversation between Trecartin, Klaus Biesenbach, Stuart Comer and Laura Hoptman.
Published by JRP|Ringier. Edited by Beatrix Ruf, Thomas Seelig. Text by Stuart Comer, Elisabeth Lebovici, Fionn Meade, Linda Yablonsky.
A luminous comet shooting across the late 70s constellation of photographers and artists that included Nan Goldin, David Armstrong, Jack Pierson and Philip-Lorca diCorcia, Mark Morrisroe produced an incredibly rich and various body of work in the brief ten-plus years in which he was active. He survived a fraught childhood and teen years as a prostitute (he was once shot by a client) to attend the School of the Museum of Fine Arts in Boston, where he made friendships with Goldin, Armstrong and others, performed in drag under the name Sweet Raspberry, cofounded the punk zine Dirt ("he sort of invented the Boston punk scene," Jack Pierson later recalled) and eventually graduated from the school with honors. Shortly after, Morrisroe moved to New York, acquired a Polaroid camera and began photographing. Most of his photographs are portraits--of hustlers, lovers, friends and of himself--or hand-painted photograms. Morrisroe is also famed for his X-ray self-portraits, which show the bullet lodged near his spine after his shooting. All of his output carries this reckless, go-for-broke character, and an edge of urgency and necessity. After his death (from AIDS-related illnesses), more than 2,000 Polaroids were found among his possessions. This first comprehensive monograph compiles photographs and ephemera from the early punk years to Super-8 films, photograms and the late self-portraits. More than 500 photographs are reproduced here, alongside essays and an extensive biography.
Born to a drug-addicted mother, Mark Morrisroe (1959-1989) left home at 13, began hustling at 15 and at 17 was shot in the back by a client. The entirety of Morrisroe's brief life was characterized by danger and poverty, and mythologized by him as such: his mother was a friend and neighbor of Albert DeSalvo (aka the Boston Strangler) and Morrisroe claimed to be his illegitimate son. Morrisroe died in 1989.
Published by Charta/MUAC/MUSAC. Text by Stuart Comer, Juan Vicente Aliaga, Mark Westmoreland.
Lebanese artist Akram Zaatari (born 1966) uses a range of photographs, videos, films and documentary material to explore gender roles and expectations in the Arab world. The title The Uneasy Subject refers specifically to issues of the body in the Middle East but its ambiguity also addresses the artist's broader investigation into the nature of individual versus collective action.
BOOK FORMAT Paperback, 6.75 x 9.5 in. / 176 pgs / 70 color / 20 bw.
PUBLISHING STATUS Pub Date 12/31/2011 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2011 p. 160
PRODUCT DETAILS ISBN 9788881588176TRADE List Price: $37.50 CDN $45.00
Published by JRP|Ringier. Edited by Hans Ulrich Obrist, Julia Peyton-Jones, Beatrix Ruf. Text by Will Bradley. Interview by Stuart Comer.
A prominent figure in Glasgow's vibrant art scene, Luke Fowler's cinematic collages break down conventional approaches to biographical and documentary filmmaking. Fowler's films have often been linked to the British Free Cinema of the 1950s, and Fowler likewise avoids didactic voice-over and narrative continuity in favor of impressionistic sound and editing. However, Fowler moves beyond simply referencing the work of his predecessors. Mercurially applying the logic, aesthetics and politics of his subjects—who include the composers/musicians Cornelius Cardew and L. Voag, and the psychologist R.D. Laing—to the film he is making about them, he creates atmospheric, sampled histories that reverberate with the vitality of the people he studies. This is the first major publication on Luke Fowler. It provides a comprehensive overview of his artistic production, with color illustrations, an in-depth discussion between Stuart Comer and the artist, and an essay by Will Bradley.