Edited with text by Stuart Comer. Text by Naomi Beckwith, Mark H.C. Bessire, C. Carr, Valerie Cassel Oliver, Adrienne Edwards, Malik Gaines, Danielle A. Jackson, Adrian Heathfield, EJ Hill, Thomas J. Lax, André Lepecki, Yvonne Rainer, Martine Syms, Martha Wilson.
Hbk, 8 x 10 in. / 144 pgs / 100 color. | 10/22/2019 | Awaiting stock ISBN 9781633450868 | $40.00
Published by The Museum of Modern Art, New York. Edited with text by Stuart Comer. Text by Naomi Beckwith, Mark H.C. Bessire, C. Carr, Valerie Cassel Oliver, Adrienne Edwards, Malik Gaines, Danielle A. Jackson, Adrian Heathfield, EJ Hill, Thomas J. Lax, André Lepecki, Yvonne Rainer, Martine Syms, Martha Wilson.
An absurdist provocateur and brilliant interventionist, Pope.L is a seditious force in contemporary American art
Pope.L is a consummate thinker and provocateur whose practice across multiple mediums—including painting, drawing, installation, sculpture, theater and video—utilizes abjection, humor, endurance, language and absurdity to confront and undermine rigid systems of belief. Published in conjunction with an exhibition at the Museum of Modern Art that will feature a combination of videos, photographs, sculptural elements, ephemera and live actions, member: Pope.L, 1978–2001 presents a detailed study of 13 early works that helped define Pope.L’s career. Essays by curators, artists, filmmakers and art historians, plus an interview and artistic interventions by the artist, establish key details for each work and articulate how the artist continues to think about the legacy of these ephemeral projects unfolding in time. Among the works included are performances rooted in experimental theater, such as Egg Eating Contest (1990), Aunt Jenny Chronicles (1991) and Eracism (2000), as well as street interventions such as Thunderbird Immolation a.k.a. Meditation Square Piece (1978), ATM Piece (1997) and The Great White Way: 22 miles, 9 years, 1 street (2001–09), among others. Together these works highlight the role that performance has played within a seditious, emphatically interdisciplinary career that has established Pope.L as an influential force in contemporary art. Pope.L (born 1955) is an acclaimed and prolific interdisciplinary artist best known for his provocative performances, such as ATM Piece (1997) and his decades-long Crawl series—most notably Times Square Crawl (1978), Tompkins Square Crawl (1991) and The Great White Way: 22 miles, 9 years, 1 street (2001–09)—in which the artist drags his body across New York City. Pope.L received his MFA from the Mason Gross School of Arts at Rutgers University and has exhibited internationally. He lives and works in Chicago.
Published by Mousse Publishing. Edited by Dieter Roelstraete. Text by Zachary Cahill, Klea Charitou, Iris Colburn, Tianyu Guo, Jeffrey Hsu, Leon Hösl, Vidura Jang Bahadur, Michal Koszycki, Chichan Kwong, Cristen Leifheit, Jasmin Liang, Brock Lownes, Elizabeth McClafferty, Adrienne Meyers, Pope.L, Monika Szewczyk, Marie-Gabrielle Verbergt.
Published by Mitchell-Innes & Nash. Interview by Aliza Hoffman, Bennett Simpson.
Pope.L: Proto-Skin Set explores early works the artist (William) Pope.L (born 1955) made between 1979 and 1994 exploring materiality and language. Published in this volume for the first time are the artist’s Proto-Skin Sets, a selection of mixed-media collages and assemblages that the artist began making as a student in the 1970s engaging the social constructions of language, race and gender. Treating language as an image and images as a language, these works anticipate his ongoing project Skin Sets, text-based works that employ language to construct pointed, absurd and layered messages about the vagaries of color. The publication also includes a five-part document from 1979 that is part of an open-ended set of written works titled Communications Devices, and a new interview with the artist conducted by Pope.L’s studio administrator Aliza Hoffman and curator Bennett Simpson.
Published by JRP|Ringier. Edited by Clément Dirié. Text by Iain Kerr, Helen Molesworth, William Pope.L.
“When Pope.L shakes his head he makes drawings that keep him from laugh-crying to death,” writes Helen Molesworth of Skin Set Drawings, an ongoing series by multi-disciplinary artist William Pope.L (born 1955). Made with very humble materials, this extended corpus deals with the absurdities and perversities of intentional language, especially racist language and language associated with categorizing and naming color. “Black People Are Taut,” “Brown People Are the Green Ray,” “Blue People Are What We Do to Homosexuals,” “Red People Are From Mars Green People Are From New Jersey,” “Purple People Are Reason Bicarbonate,” “Red People Are the Niggers of the Canyon” are some examples of this highly-charged series by the self-proclaimed “friendliest black artist in America.” Black People Are Cropped offers a selection of drawings from 1997–2011, sketches, critical texts and the artist’s own writing.