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Lutz Bacher
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Lutz Bacher
This exhibition of the unsettling, uncategorisable work of American artist Lutz Bacher (1943-2019) explores her use of music, sound and voice. Bacher's work oscillates between the conceptual and the visceral. Much of it involves appropriation, using material from American popular culture and flotsam from the information age (pulp fiction, self-help manuals, trade magazines, scientific publications, pornography, bureaucracy, discarded photographs), in work that can be intimate, violent or funny. Bacher often played with her own visibility, making use of personal conversations, relationships and diaristic recordings while working under an assumed name. Lutz Bacher: AYE!, initiated with the artist by curator Anthony Huberman before her death, includes films and installations that feature the voices of Leonard Cohen, Roberta Flack and James Earl Jones, and the funeral of Princess Diana, as well as a pit of sand, giant sound baffles and a machine that plays the keys of an electric organ. Often in Bacher's film and sound work, moments are suspended, raising tension to a point between agony and bathos. -- https://ravenrow.org/exhibitions/lutz-bacher-aye-1.
Max Ophuls in the Hollywood Studios
Drawing on documents in many archives and on interviews with more than sixty of Ophuls' contemporaries, Bacher traces the European director's struggle to find a niche in the U.S. film industry.
The Letters of Mina Harker
Bellamy's debut novel revives the central female character from Bram Stoker's Dracula and imagines her as an independent woman living in San Francisco during the 1980s. Hypocrisy's not the problem, I think, it's allegory the breeding ground of paranoia. The act of reading into--how does one know when to stop? KK says that Dodie has the advantage because she's physical and I'm "only psychic." ... The truth is: everyone is adopted. My true mother wore a turtleneck and a long braid down her back, drove a Karmann Ghia, drank Chianti in dark corners, fucked Gregroy Corso ... --Dodie Bellamy, The Letters of Mina Harker First published in 1998, Dodie Bellamy's debut novel The Letters of Mina Harker...
Lutz Bacher
Ever since her career began in the 1970s, this Bay Area artist has drawn upon fragmentary information from popular culture and her own life to produce works that play with the instability of identity and the all-around trickiness of images. In artist's books, installations, sculptures, videos, photographs, paintings, and screen prints, Bacher uses images and objects in a physical, visceral manner. Bacher's mixture of bodies and ideas, pop and personal, while always remaining somehow elusive, feels entirely relevant to problems in art and life now. In this publication, she has compiled her work from 1975 to 2013 into a hefty volume of seemingly digital files from an inventory. It is accompanied by a new essay by Caoimhín Mac Giolla Léith. The book is published with Kunsthalle Zürich, Portikus, Frankfurt am Main, and the Institute of Contemporary Arts, London.
The Jazz Image
Typically, a photograph of a jazz musician has several formal prerequisites: black-and-white film, an urban setting in the mid-twentieth century, and a black man standing, playing, or sitting next to his instrument. That's the jazz archetype that photography created. Author K. Heather Pinson discovers how such a steadfast script developed visually and what this convention meant for the music. Album covers, magazines, books, documentaries, art photographs, posters, and various other visual extensions of popular culture formed the commonly held image of the jazz player. Through assimilation, there emerged a generalized composite of how mainstream jazz looked and sounded. Pinson evaluates repre...
The Conditions of Being Art
The Conditions of Being Art is the first book to examine the activities of groundbreaking contemporary art galleries Pat Hearn Gallery and American Fine Arts, Co. (1983-2004), and the transnational milieu of artists, dealers and critics that surrounded them. Drawing on the archives of dealers Pat Hearn and Colin de Land--both, independently, legendary players on the New York art scene of the 1980s and '90s, and one of the great love stories of the art world--this publication illustrates their distinctive artistic practices, significant exhibitions and events, and daily business. Hearn and de Land championed art that challenged the business of running an art gallery; artists like Renée Green...
Do You Love Me?
"Do You Love Me? is an extension of Lutz Bacher's videos of the same name, in which Bacher interviews curators, artists, friends, and family about Bacher the person and Bacher the artist. Though Lutz Bacher is the starting point, the interviews often reveal more about the people being interviewed than Bacher herself. The publication takes the form of transcripts interwoven with images of Bacher's artwork from the 70s to the present as well as photos, letters, and ephemera"--Publisher's website.
Tell Them I Said No
Essays on artists who have withdrawn from the art world or have adopted an openly antagonistic position against it. This collection of essays by Martin Herbert considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms. A large part of the artist's role in today's professionalized art system is being present. Providing a counterargument to this concept of self-marketing, Herbert examines the nature of retreat, whether in protest, as a deliberate conceptual act, or out of necessity. By illuminating these motives, Tell Them I Said No offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge. Essays on Lutz Bacher, Stanley Brouwn, Christopher D'Arcangelo, Trisha Donnelly, David Hammons, Agnes Martin, Cady Noland, Laurie Parsons, Charlotte Posenenske, and Albert York.
