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THE CLIP-ON METHOD
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Witness to Her Art
Foreword by Tom Eccles. Edited by Rhea Anastas, Michael Brenson. Text by Keith Piper, Kara Walker, Daniela Rossell, Mona Hatoum, Cady Noland, Jenny Holzer, Rhea Anastas, Michael Brenson, Norton Batkin, Joanna Burton, Aruna d'Souza, Pamela Franks, Janet Kraynak, David Levi Strauss, Cuauhtemoc Medina, Ann Reynolds, Hamza Walker.
Modern Women: Women Artists at The Museum of Modern Art
This text examines the collection of feminist art in the Museum of Modern Art. It features essays presenting a range of generational and cultural perspectives.
Strange Abstraction
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Is It Ours?
If you have tattoos, who owns the rights to the imagery inked on your body? What about the photos you just shared on Instagram? And what if you are an artist, responding to the surrounding landscape of preexisting cultural forms? Most people go about their days without thinking much about intellectual property, but it shapes all aspects of contemporary life. It is a constantly moving target, articulated through a web of laws that are different from country to country, sometimes contradictory, often contested. Some protections are necessary—not only to benefit creators and inventors but also to support activities that contribute to the culture at large—yet overly broad ownership rights st...
Everything Is Connected
Since the mid-twentieth century, conspiracy has pervaded our collective worldview, shaped by events such as the assassination of John F. Kennedy, the Vietnam War, Watergate, the Iran-Contra affair, and 9/11. Everything Is Connected examines how artists from the 1960s to the present have explored both the covert operations of power and the mutual suspicion between governments and their citizens. Featured are works by some thirty artists—including Sarah Charlesworth, Emory Douglas, Hans Haacke, Rachel Harrison, Jenny Holzer, Mike Kelley, Mark Lombardi, Cady Noland, Trevor Paglen, Raymond Pettibon, Jim Shaw, and Sue Williams—in media ranging from painting, drawing, and photography to video and installation art. Whether they uncover webs of deceit hidden in the public record or dive headlong into paranoid fever dreams, these artists use their work to take a powerful and proactive stance against the political corruption, consumerism, bureaucracy, and media manipulation that are hallmarks of contemporary life. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
33 Artists in 3 Acts
This compelling narrative goes behind the scenes with important living artists around the world to humanize and demystify contemporary art. When people think of contemporary art they often think of the market: eye-popping prices for splashy works. But Sarah Thornton argues that, for artists, the key marker of success isn’t money but credibility. 33 Artists in 3 Acts explores the strategies deployed by artists from international superstars to unheralded teachers. Thornton challenges the romantic vision of the lone artist, showing how these driven, inventive personalities interact with professional and intellectual networks of supporters, collaborators, and assistants. Drawing from interviews with 130 artists on four continents, Thornton crafts a brilliantly structured narrative that reveals the dynamicsof creative lives.
Compass in Hand
This collection of drawings was acquired by MOMA in 2005, and it as an extraordinary collection of over 2,500 works on paper. This exhibition presents over 300 of these works and includes a number of works that use collage, assemblage, appropriation and montage.
Glenn Ligon: Encounters and Collisions
Glenn Ligon (b. 1960) is one of the most significant American artists of his generation. Much of his work relates to abstract cxpressionism and minimalist painting, remixing formal characteristics to highlight the cultural and social histories of the time, such as the civil rights movement. This new book brings together artworks and other material Ligon references or work with which he shares certain affinities. The book illustrates works by Ligon and other artists--including Chris Ofili, Willem de Kooning, Jackson Pollock, Lorna Simpson, Felix Gonzalez-Torres, and Jasper Johns--accompanied by texts by Ligon, Francesco Manacorda, Alex Farquharson, and Gregg Bordowitz, and an anthology of some 20 texts selected/excerpted by Ligon.
Crisis as Form
Criticism of contemporary art is split by an opposition between activism and the critical function of form. Yet the deeper, more subterranean terms of art-judgment are largely neglected on both sides. These essays combine a re-examination of the terms of judgement of contemporary art with critical interpretations of individual works and exhibitions by Luis Camnitzer, Marcel Duchamp, Matias Faldbakken, Anne Imhof and Cady Noland. The book moves from philosophical issues, via the lingering shadows of medium-specificity (in photography and art music), and the changing states of museums, to analyses of the peculiar ways that works of art relate to time.To give artistic form to crisis, it is suggested, one needs to understand contemporary art's own constitutive crisis of form.
