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Flash Flaherty
Flash Flaherty, the much-anticipated follow-up volume to The Flaherty: Decades in the Cause of Independent Cinema, offers a people's history of the world-renowned Robert Flaherty Film Seminar, an annual event where participants confront and reimagine the creative process surrounding multiple document/documentary forms and modes of the moving image. This collection, which includes a mosaic of personal recollections from attendees of the Flaherty Seminar over a span of more than 60 years, highlights many facets of the "Flaherty experience." The memories of the seminarians reveal how this independent film and media seminar has created a lively and sometimes cantankerous community within and beyond the institutionalized realm of American media culture. Editors Scott MacDonald and Patricia R. Zimmermann have curated a collective polyphonic account that moves freely between funny anecdotes, poetic impressions, critical considerations, poignant recollections, scholarly observations, and artistic insights. Together, the contributors to Flash Flaherty exemplify how the Flaherty Seminar propels shared insights, challenging debates, and actual change in the world of independent media.
Between Images
"Between Images proposes a unique theory of montage a technique of relation: a means of fundamentally rethinking and reshaping how humans relate-to ourselves and each other, to the material world, to the planet and its nonhuman inhabitants. Historically, film criticism has cast montage in one of several roles: as narrative's invisible executor of spatiotemporal continuity to maintain the viewer's investment in the story-world; as an agent of disorder that confounds conventions of storytelling and realism and prompts the viewer's intellectual engagement; and as an expressionistic device for augmenting the duration and combination of shots to affect viewers at a sensory level. While not exactl...
Tell Me what You Want, what You Really, Really Want
This first compilation of writings by art critic Jan Verwoert galvanizescentral themes he has been developing in pursuit of a language todescribe art's transformative potential in conceptual, performative andemotional terms. He analyzes the power of public gestures toconstitute communities as well as the pressure to perform that governsthe sphere of creative labor, in order to show how particular artistsperform gestures and invoke community differently. Exploring theemotional power games that shape social relations, Verwoert looks foran alternative ethos of action and feeling, asking: How can a modernistapproach to artistic form as a means of social critique be expandedto fully avow its subliminal affective undercurrents, and produce apleasurably crooked form of criticality in art and writing?
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."
Poems that Do Not Go Together
Jimmie Durham (born 1940) is a Cherokee poet, sculptor, essayist and a visual artist who has been making and exhibiting work since 1963. The cultural and political uses of material, objects and space have been central to his practice, and his career has deftly bridged the space between art and activism. His collected poems, Columbus Day, was published by West End Press in 1983. Beautifully produced, Poems That Do Not Go Together is the second part of his collected poems, containing 41 pieces written between 1966 and 2012. Full of puns, jokes, sad stories, political outrage and bitter reflections on the plight of Natives, it elucidates the animating energies behind Durham's half-century-long career with clarity and volume.
Jutta Koether - Seasons and Sacraments
Jutta Koether's translucent color fields, expressive brushstrokes and female subjects--as well as her use of poetry, art history and Mylar--can make her seem like a feminist answer to the Cologne art scene, a counterpart to artists like Martin Kippenberger, Sigmar Polke and Albert Oehlen. In fact, she is a central contemporary painter in her own right, as well as a performance artist, a musician and a critic. She collaborates musically with Sonic Youth's Kim Gordon and Television's Tom Verlaine, contributes regularly to "Artforum" and the respected German culture magazine "Spex," and teaches in Bard College's MFA program--and has recently shown her work at Reema Spaulings Fine Art and Thomas Erben Gallery in New York. Koether's work, which the "New York Times" has called "vibrant" and "intriguing," was a standout in the 2006 Whitney Biennial. This look back documents the artist's oeuvre from the mid-80s forward, with an extensive selection of images.
Bernhard Rüdiger: 49 Exhibitions
A comprehensive survey of an Italian sculptor's spatial and acoustic interventions Italian sculptor Bernhard Rüdiger (born 1964) makes architectural objects and installations that dialogue with history through meticulous spatial and acoustic arrangements. This exhaustive volume chronicles his body of work over the past 35 years, accompanied by texts and interviews with the artist.
Re-view
One of the first Germans to open a New York gallery after World War II, Reinhard
Tamam Shud
"The Tamam Shud narrative emerged through a series of episodic performances and an exhibition by Alex Cecchetti at the Ujazdowski Castle Centre for Contemporary Art, Warsaw. For two years the writing process and the artistic process were interwoven, feeding each other as they evolved. The art project and the artist’s novel are linked together as much as the life of the victim is connected to the piece of paper found in his pocket"--Back cover.
