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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Drawing on unpublished documents and oral histories, an illustrated examination of an iconic artwork of an artist who has made a lifework of tactical evasion.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...
Creamier
Creamier: Contemporary Art in Culture, is the 5th addition to Phaidon?s world renowned Cream series. Every few years, Phaidon brings together 10 illustrious curators to choose 100 of the art world?s best and most important emerging contemporary artists, and what they discover becomes an invaluable resource in an ever-changing art world. As has proven to be the case with those featured in the previous four Cream books, these will be the 100 artists the world is talking about for years to come. Valued by art collectors and art lovers alike as a road map through the ever expanding international art scene of gallery shows, museum exhibitions, biennials, and fairs, the Cream series is a must-have...
The Apparently Marginal Activities of Marcel Duchamp
A new understanding of Marcel Duchamp and his significance as an artist through an investigation of his non-art activities—archiving, art-dealing, and, most persistently, curating. This groundbreaking and richly illustrated book tells a new story of the twentieth century's most influential artist, recounted not so much through his artwork as through his “non-art” work. Marcel Duchamp is largely understood in critical and popular discourse in terms of the objects he produced, whether readymade or meticulously fabricated. Elena Filipovic asks us instead to understand Duchamp's art through activities not normally seen as artistic—from exhibition making and art dealing to administrating ...
The Artist as Curator
"This is an anthology of essays that first appeared in The Artist as Curator, a series that occupied eleven issues of Mousse from no. 41 (December 2013/January 2014) to no. 51 (December 2015/January 2016). It set out to examine what was then a profoundly influential but still under-studied phenomenon, a history that had yet to be written: the fundamental role artists have played as curators. Taking that ontologically ambiguous thing we call "the exhibition" as a critical medium, artists have often radically rethought conventional forms of exhibition making. This anthology surveys seminal examples of such exhibitions from the postwar to the present, including rare documents and illustrations. It includes an introduction and the twenty essays that first appeared in Mousse, a newly commissioned afterword by Hans Ulrich Obrist, and two additional essays that appear here for the first time."
Sculpture Undone, 1955-1972
"A sculptor who began working during the postwar period in a classical figurative style, Alina Szapocznikow radically reconceptualized sculpture as an imprint not only of memory but also of her own body. Though her career effectively spanned less than two decades (cut short by the artist's premature death in 1973 at age 47), Szapocznikow left behind a legacy of provocative objects that evoke Surrealism, Nouveau Râealisme, and Pop art. Her tinted polyester casts of body parts, often transformed into everyday objects like lamps or ashtrays; her poured polyurethane forms; and her elaborately constructed sculptures, which at times incorporated photographs, clothing, or car parts, all remain as ...
Displaying the Marvelous
How the exhibition spaces of Surrealism anticipated installation art.
The Future of Yesterday
In this fascinating collection of photographs, the Belgian artist Ives Maes explores the architecture of world expos. He sets the faded glory of these sites against the ambitious and utopian project, full of promise, represented by the first world exhibition more than a century and a half ago. Maes shows how time has taken its toll on these architectural monuments and pavilions, now decayed, abandoned or torn from their original context. In this comprehensive book, Ludion sets Maes's photographs alongside images of the Great Exhibition in London (1851) through to the most recent expo in Shanghai, 2010. The images are accompanied by essays from Anna Jackson (Victoria & Albert Museum), Elena Filipovic (WIELS) and Catherine L. Futter (Nelson-Atkins Museum of Art) on the history of world fairs, the role of photography and the sculptural character of Ives Maes's photographic work. 0Exhibition: Nelson-Atkins Museum of Art, Kansas City, USA (28.6.-28.10.2012).
Mes nuits sont plus belles que vos jours
In a supportive article covering the 4th Berlin Biennial, critic Steven Henry Madoff took a moment to question what many have termed "Biennial Fever," writing, "Are [biennials] here to capture trends or to advance artists' voices in a larger social dialogue? Do they promote international understanding or local interests? Are they bully pulpits for curators turned ideologues, or are they simply there to tap the art market's stopwatch till the next survey of hot new things draws the attention of an ever expanding universe of collectors?" For the 2008 edition of this always-provocative international fair, Curators Adam Szymczyk and Elena Filipovic brought together primarily newly commissioned work by 50 emerging and established international artists for a round-the-clock exhibition that included 63 nightly events. This expansive volume documents it all, and contains contributions by writers, critics and artists including Beatriz Colomina, Bettina Viesmann, Cameron Jamie, Gabriel Kuri, Babette Mangolte, Ahmet Ögüt and Katerina Seda.
Mark Leckey
Mark Leckey - On Pleasure Bent" is the first comprehensive monograph on the British artist's work. Tracing in reverse chronology the connections between his recent production - including videos, sculptures, installations, and lecture performances - and his earliest works from the mid and late 1990s, this publication reveals the persistent centrality of popular culture, music, and technology to Leckey's influential oeuvre. All the artist's scripts to date appear together for the first time in this lavishly illustrated volume.
Sadie Benning
The Renaissance Society presents 'Shared Eye', a new installation by artist Sadie Benning. In this series of mixed-media panels, images are layered and interpolated, suggesting the complexities of representation inherent in visual communications. The catalogue for Sadie Benning's solo exhibition 'Shared Eye' features new essays by Christine Mehring and John Corbett, an interview between the artist and Julie Ault, and installation views from the Renaissance Society and Kunsthalle Basel. Co-curators Solveig Øvstebø and Elena Filipovic provide an introduction. Exhibition: The Renaissance Society, Chicago, USA (19.11.2016-22.01.2017) / Kunsthalle Basel, Switzerland (10.02-30.04.2017).
