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David Hammons
Drawing on unpublished documents and oral histories, an illustrated examination of an iconic artwork of an artist who has made a lifework of tactical evasion. One wintry day in 1983, alongside other street sellers in the East Village, David Hammons peddled snowballs of various sizes. He had neatly laid them out in graduated rows and spent the day acting as obliging salesman. He called the evanescent and unannounced street action Bliz-aard Ball Sale, thus inscribing it into a body of work that, from the late 1960s to the present, has used a lexicon of ephemeral actions and self-consciously “black" materials to comment on the nature of the artwork, the art world, and race in America. And alt...
Art and Its Worlds: Exhibitions, Institutions and Art Becoming Public Exhibition Histories Vol. 12
An anthology of essays on art's relation to the public realm since 1989 This critical anthology explores the myriad histories and worlds through which art is produced and experienced. It is guided by the following questions: How are the "global" and the "located" shaped and understood in disparate contexts and times? How have artists experimented with modes of exhibition-making and public presentation? Key essays previously published by Afterall are included alongside new image-led presentations, translated material and commissioned texts. The anthology addresses the topic in both theoretical terms and through case studies. Contributors include: Silvia Rivera Cusicanqui, Miguel A. López, Eddie Chambers, Francesca Recchia, Pablo Lafuente, Philippe Pirotte, Ntone Edjabe, Clémentine Deliss, Khwezi Gule, Charles Gaines, David Teh, Ekaterina Degot, Ana Teixeira Pinto, María Berríos, Mujeres Creando, Comunitario del Valle de Xico, Tonika Sealy Thompson and Stefano Harney.
Mike Kelley
An illustrated examination of a 1995 work by Mike Kelley that marked a significant change in his work. One of the most influential artists of our time, Mike Kelley (1954–2012) produced a body of innovative work mining American popular culture as well as modernist and postmodernist art—relentless examinations of subjectivity and of society that are both sinister and ecstatic. With a wide range of media, Kelley's work explores themes as varied as post-punk politics, religious systems, social class, and repressed memory. Using architectural models to represent schools he attended, his 1995 work, Educational Complex, presents forgotten spaces as frames for private trauma, real or imagined. T...
Philip Guston
An illustrated examination of Philip Guston's comic and complex painting The Studio. Throughout his career, Philip Guston's work metamorphosed from figural to abstract and back to figural. In the 1950s, Guston (1913–1980) produced a body of shimmering abstract paintings that made him—along with Willem de Kooning, Jackson Pollock, and Franz Kline—an influential abstract expressionist of the “gestural” tendency. In the late 1960s, with works like The Studio came his most radical shift. Drawing from the imagery of his early murals and from elements in his later drawings, ignoring the prevailing “coolness” of Minimalism and antiform abstraction, Guston invented for these late works...
Yayoi Kusama
A study of Kusama's era-defining work, a “sublime, miraculous field of phalluses,” against the background of abstraction, eroticism, sexuality, and softness. Almost a half-century after Yayoi Kusama debuted her landmark installation Infinity Mirror Room—Phalli's Field (1965) in New York, the work remains challenging and unclassifiable. Shifting between the Pop-like and the Surreal, the Minimal and the metaphorical, the figurative and the abstract, the psychotic and the erotic, with references to “free love” and psychedelia, it seemed to embody all that the 1960s was about, while at the same time denying the prevailing aesthetics of its time. The installation itself was a room lined...
Bas Jan Ader
An illustrated investigation into the critical motives behind the last, unfinished work that has defined the romantic legacy of conceptual artist Bas Jan Ader. In 1975 Bas Jan Ader disappeared at sea while trying to sail from the East Coast of the United States to Europe as part of a project titled In Search of the Miraculous. Ader's considerable influence on later conceptual artists stems from the way in which he used the cool analytic and antisubjective aesthetics of conceptual art to explore experiences that would seem definitively subjective—the emotional intensity of tragedy and the romantic quest for the sublime. In Search of the Miraculous was conceived as a three-part project: a lo...
Dan Graham
Dan Graham's Rock My Religion (1982-84) is a video essay populated by punk and rock performers (Patti Smith, Jim Morrison, Black Flag and Glenn Branca) and historical figures (including Ann Lee, founder of the Shakers). This coming together of several narrative voice-overs, of singing and shouting voices, of jarring sounds and text overlaid onto shaky, gritty images, proposes a historical genealogy of rock music and an ambitious thesis on the origins of America. In this illustrated book, Kodwo Eshun examines this landmark work of contemporary moving image in relation to Graham's wider body of work and to the broader culture of the time, especially in relation to history, popular culture, and individual and communal identity.
Beverly Buchanan
An illustrated examination of Beverly Buchanan's 1981 environmental sculpture, which exists in an ongoing state of ruination. Beverly Buchanan's Marsh Ruins (1981) are large, solid mounds of cement and shell-based tabby concrete, yet their presence has always been elusive. Hiding in the tall grasses and brackish waters of the Marshes of Glynn, on the southeast coast of Georgia, the Marsh Ruins merge with their surroundings as they enact a curious and delicate tension between destruction and endurance. This volume offers an illustrated examination of Buchanan's environmental sculpture, which exists in an ongoing state of ruination.
Marcel Duchamp
Duchamp's famous last artwork, seen not as a summation of his work but as an invitation to endless interpretation.
Helen Chadwick
An illustrated exploration of Helen Chadwick’s erotic, playful, and fierce 1986 installation. In 1986 the Institute of Contemporary Arts in London showed a new commission by the artist Helen Chadwick (1954–1996). What Chadwick conceived for the ICA exhibition explored her characteristic themes—the female body (her own), the aesthetics of pleasure, the material variety and wonder of phenomena—but took them in a new, flamboyant direction. In this illustrated volume, Marina Warner examines one part of Chadwick’s installation, The Oval Court. This work was erotic, playful, and fierce; it showed imaginative ambition on an exceptional scale and a unique, piquant sensibility, both raunchy...
