Use this only as a reference and buy from your local independent book shop.
Clive Phillpot has been a tireless advocate for the artist’s book for more than 40 years—both as a critic, curator and editor, and in his tenure as director at the library of The Museum of Modern Art in the late 1970s, where he built the library’s collection of artist’s books and mapped out the field with influential essays that traced its ancestry and distinguished it from seemingly similar genres such as the livre d’artiste. As he has delineated the genre: “Artists’ books are understood to be books or booklets produced by the artist using mass-production methods, and in (theoretically) unlimited numbers, in which the artist documents or realizes art ideas or artworks.” Also collaborating with Printed Matter and Franklin Furnace, among other places dedicated to the medium of the book, Phillpot helped raise awareness of artists’ books, endowing them with the critical credentials to enter the collections of museums. Booktrek gathers for the first time Phillpot’s essays on the definition and development of artists’ books from 1972 to the present—historical texts, manifestos, catalogue entries and essays on works by Ed Ruscha, Sol LeWitt, Dieter Roth and Richard Long. Booktrek will prove an invaluable reference for all those interested in the evolution of the artist’s book, and offers a crucial account of the genre’s ascent.
Louis Althusser’s renowned short text ‘Ideology and Ideological State Apparatuses’ radically transformed the concept of the subject, the understanding of the state and even the very frameworks of cultural, political and literary theory. The text has influenced thinkers such as Judith Butler, Ernesto Laclau and Slavoj iek.
The piece is, in fact, an extract from a much longer book, On the Reproduction of Capitalism, until now unavailable in English. Its publication makes possible a reappraisal of seminal Althusserian texts already available in English, their place in Althusser’s oeuvre and the relevance of his ideas for contemporary theory. On the Reproduction of Capitalism develops Althusser’s conception of historical materialism, outlining the conditions of reproduction in capitalist society and the revolutionary struggle for its overthrow.
Written in the afterglow of May 1968, the text addresses a question that continues to haunt us today: in a society that proclaims its attachment to the ideals of liberty and equality, why do we witness the ever-renewed reproduction of relations of domination? Both a conceptually innovative text and a key theoretical tool for activists, On the Reproduction of Capitalism is an essential addition to the corpus of the twentieth-century Left.
Edited by American artist and blogger Greg Allen, this book contains the published transcript of Richard Prince during the copyright infringement case against him by French photographer Patrick Cariou. Prince, an artist known for his work involving appropriating photographs, or re-photography , was sued for unauthorised use of Cariou s images. In the transcripts, which cover several hours of questions and answers between Prince and the attorneys, he must defend and explain his method of working. This involves an in-depth and candid discussion about his career, life, motivations and so on quite an extraordinary encounter, considering that the artist seldom gives interviews.
From the seventeenth century until today, the ‘modern’ has served as a key category by which to understand an ever-changing present. Art and architecture have played a key role in this pursuit, as the means by which ‘the modern’ was to manifest itself. The essays in this new anthology trace the modern project through its multifarious manifestation in order to understand contemporary culture in a deeper sense than discussions of ‘modernism’ and ‘post modernism’ usually offer. Drawng on architectural and urban history as well as philosophy and sociology, the book outlines the complex and conflicting roots of modernity by tracing its manifestations in architecture and the city. David Frisby, Iain Boyd Whyte, Caroline van Eck, Gabriele Bryant, Dalibor Vesely, Gavin Stamp, Mari Hvattum, Diana Periton, Tomas A. Markus, Detlef Mertins, Dagmar Weston, Jonathan Charley, Juliet Kin
Graphic autobiography by Italo Lupi is a complex, comprehensive book on the work of the architect and master of graphics, images and design who, over the course of his career, worked with some of the biggest names in publishing, fashion, design and architecture. The editorial project, curated personally by Italo Lupi, doesn’t take a traditional form but covers 40 years of work through the use of pictures, comments, quotes or articles published in magazines that Lupi had worked with. Image consultant for La Rinascente, IBM Italy, the Triennale di Milano, and then art director for Domus and editor-in-chief and art director of Abitare: Graphic autobiography is a comprehensive volume which comprehensively tackles Italo Lupi’s output, from his work in publishing to small architectural projects, as well as urban design and, above all, his temporary and museum exhibitions, without forgetting those masters who inspired him throughout his career. The point where it all began is special: designs for posters, made while still at high school. The book is divided into sections featuring the author’s creations divided by thematic areas, each presented through rich iconographic and textual apparatus – new and old – bearing the signature of critics, journalists, graphic designers, architects and friends who has shown their appreciation for Lupi’s work. A beautiful, brand new publication that succeeds in representing the work, some as yet unseen, that Italo Lupi has done for companies and industries, public spaces, and cultural and political initiatives, helping to contemporaneously train our visual consciousness from both an aesthetic and an emotional point of view.
Neue Schriften. New Typefaces. bietet Einblicke in die faszinierende Welt des Type-Designs. Vorgestellt werden Positionen des zeitgenössischen Schriftentwurfs in Wort und Bild: Wichtige Protagonisten berichten über ihr Denken und Arbeiten, sodass aktuelle Entwicklungen unter den neuen technischen, ästhetischen und gesellschaftspolitischen Bedingungen nicht nur vorgestellt, sondern auch bewertet werden können. Wurden in den Siebzigerjahren jährlich noch wenige hundert Schriften veröffentlicht, können wir heute zwischen zehntausenden Fonts wählen – Tendenz steigend. Dass sich aktuelles Type-Design dennoch keinesfalls in Beliebigkeit oder einem modischen Hype erschöpft, verdeutlicht diese Publikation: Aus dem reichen, internationalen Schriftkosmos präsentiert sie experimentelle Schriftentwürfe, die von einer spontanen Idee oder der Konzeption eines selbst gewählten Gestaltungsprojekts ausgehen; Display-Fonts mit wenigen Schnitten oder Leseschriften mit umfangreichen Schriftfamilien, die, oft über Jahre hinweg, mit leidenschaftlicher Ausdauer und einer unerschütterlichen Liebe zu den charakteristischen Details systematisch ausgebaut werden. In ihrer Gesamtheit dokumentiert die Publikation Neue Schriften. New Typefaces daher nicht nur die hohe Professionalität, sondern auch den ernsthaften Enthusiasmus, der Schriftgestalterinnen und -gestalter heute antreibt. / Pressetext Neue Schriften. New Typefaces. Herausgeber: Petra Eisele, Isabel Naegele, Annette Ludwig Verlag: Niggli Gestaltung: Jens-Peter Giesel, Yvonne Kümmel Veröffentlichung: 2013 Umfang: 248 Seiten Format: 17 × 22,5 cm Sprache: Deutsch/ Englisch Ausführung: Softcover ISBN: 978-3-7212-0892-4 Preis: 29,80 Euro Besprechung auf slanted.de
Exploring Christopher Wool’s meanings and messages in a comprehensive monograph
In-your-face, achingly simple, deceptively frank, the work of Christopher Wool is so very New York. Though he owes a debt to abstract expressionism and pop art, he completely transcends—even demolishes—these genres. Whether it’s a text-based painting or an abstract spray-painted piece, his work is immediately engaging. Wool questions painting, like many other artists in his generation, but he doesn’t provide any easy answers. “The harder you look the harder you look,” he puts it in one of his word paintings, and that is an excellent example of how he states the obvious whilst provoking us to think deeper about what seems obvious.
Christopher Wool became known in the mid-1980s through allover paintings produced with rubber rollers commonly used to simulate decorative wallpaper patterns on walls. By 1988 he had hit stride with his dry, dead-pan word paintings (“Trbl,” “Riot,” “Sell the House, Sell the Car, Sell the Kids”), while continuing to explore the possibilities of pattern painting. Since the 1990s, he has incorporated a widening variety of media in his work, including photography, silkscreen, and, in the new millennium, also the computer.
In over 400 pages, all of Wool’s work phases are covered in large-scale reproductions, accompanied by production Polaroids and installation photos by Wool himself. Essays and analyses by Glenn O’Brien, Jim Lewis, Ann Goldstein, Anne Pontégnie, Richard Hell, and Eric Banks make this book a great read as well as a definitive study of the artist’s oeuvre so far.
This is the unlimited trade edition
Twentieth-century artist Joseph Beuys (1921-1986)—legendary and self-mythologizing, enigmatic and controversial—remains an important influence on artists today. Beuys embraced radically democratic artistic and political ideas, proclaiming “Everyone is an artist,” and advocating direct democracy through referenda. He famously worked with such nontraditional materials as felt, fat, and plants and animals both alive and dead. Beuys and his work—performance art, drawing, painting, sculpture, installation—received perhaps the most contentious reception of any postwar artist. This reader brings together the crucial writings on Beuys and his work, presenting key essays by prominent artists and critics from North America and Europe. With a foreword by Arthur C. Danto, “Style and Salvation in the Art of Beuys,” Benjamin H. D. Buchloh’s now classic 1980 essay, “Beuys, Twilight of the Idol,” and influential texts by Vera Frenkel, Thierry de Duve, Rosalind Krauss, Peter Bürger, Irit Rogoff, and others, Joseph Beuys: The Reader is the most significant gathering of critical texts on this challenging artist that has ever been assembled. It will be essential reading for any student of Beuys and for all those interested in postwar art, the cult of the artist, and art’s engagement with politics and society. Claudia Mesch is Assistant Professor at the School of Art, Arizona State University. Viola Michely is a writer and curator and teaches art and philosophy at the August-Macke School, Bonn.ContributorsJoseph Beuys, Eugen Blume, Benjamin H. D. Buchloh, Peter Bürger, Jean-François Chevrier, Catherine David, Thierry de Duve, Vera Frenkel, Stefan Germer, Rosalind Krauss, Barbara Lange, Dirk Luckow, Claudia Mesch, Viola Michely, Irit Rogoff, Gregory Ulmer, Theodora Vischer, Antje von Graevenitz, Dorothea Zwirner
This book focuses on Aby Warburg (1866-1929), one of the legendary figures of twentieth century cultural history. His collection, which is now housed in the Warburg Institute of the University of London bears witness to his idiosyncratic approach to a psychology of symbolism, and explores the Nachleben of classical antiquity in its manifold cultural legacy. This collection of essays offers the first translation of one of Warburg’s key essays, the Gombrich lecture, described by Carlo Ginzburg as ‘the richest and most penetrating interpretation of Warburg’ and original essays on Warburg’s astrology, his Mnemosyne project and his favourite topic of festivals. Richard Woodfield is Research Professor in the Faculty of Art and Design at the Nottingham Trent University, England. He has edited E.H Gombrich’s Reflections on the History of Art (1987), Gombrich on Art and Psychology (1996), The Essential Gombrich *(1996), and a volume on Riegl in the *Critical Voices in Art, Theory and Culture series. He is also the General Editor of a new series of books for G+B Arts International, Aesthetics and the Arts. Edited by Richard Woodfield, Research Professor in the Faculty of Art and Design at Nottingham Trent University, UK.
Francesco Franchi’s perceptive book about the design of media and information graphics. In it, Franchi also envisions the future of news reporting by publishing companies and on the internet. Francesco Franchi is one of the most exceptional talents working in information graphics today. Although relatively young and new to the field, Franchi has already received worldwide acclaim for his distinctive graphic and editorial design of IL—Intelligence in Lifestyle, an Italian magazine now widely considered to be a modern classic. With Designing News, Franchi conveys his vision for the future of news and the media industry. Based on personal insight and experience, he offers valuable analysis and perspectives on the fundamental changes that are taking place in the way media is being used. Franchi explores consumer behaviors and expectations that represent the biggest challenges facing traditional publishing houses and broadcasting companies as well as journalists and designers. For Franchi, reporting is not merely filing a story once, but rather telling a continuous narrative in a way that is most relevant for a broad range of traditional and digital media—from breaking news to analysis, from interviews to commentaries, and from photo essays and illustrations to information graphics and interactive visualizations of data. In this book, Franchi explains the ramifications of this development and how newspapers can become credible, comprehensive news brands. In Designing News, Franchi also outlines a new, integrated approach for editorial designers. If they show enough dedication, creativity, and talent for interdisciplinary teamwork, Franchi sees editorial designers as playing a key role in advancing the evolution of media.
PIN–UP Interviews* is a compilation of over 50 of the most fascinating interviews from PIN–UP magazine since its first issue was published in October 2006. Serious, yet accessible, and featuring the elegant and modern aesthetic PIN–UP’s readers have come to expect, there is no comparable compilation found today with such a stunning array of contemporary design talent collected in one place. It’s an indispensable source for all lovers of today’s brightest architectural and design ideas.
PIN–UP Interviews is the first book produced by PIN–UP, the award-winning, New York-based biannual architecture and design magazine. Cheekily dubbing itself the “Magazine for Architectural Entertainment,” PIN–UP features interviews with architects, designers, and artists, and presents their work informally—as a whimsical assembly of ideas, stories, and conversations, all paired with cutting-edge photography and artwork. Both raw and glossy, this “cult design zine” in the words of The New York Times, is a nimble mix of genres and themes, finding inspiration in the high and the low by casting a refreshingly playful eye on rare architectural gems, amazing interiors, and smart design, resulting in a veritable Venn diagram of where these spheres cross-pollinate.
Included in PIN–UP Interviews are the architects David Adjaye, Shigeru Ban, Ricardo Bofill, David Chipperfield, Zaha Hadid, Junya Ishigami, Rem Koolhaas, Peter Marino, Richard Meier, and Ettore Sottsass; artists Daniel Arsham, Cyprien Gaillard, Simon Fujiwara, Boris Rebetez, Oscar Tuazon, Andro Wekua, and Robert Wilson; and designers Rafael de Cárdenas, Martino Gamper, Rick Owens, Clémence Seilles, Hedi Slimane, and Bethan Laura Wood.
When does an artist’s creation become art, and where? Does it occur in the solitary confines of an artist’s studio, or does it require the context of an art gallery’s white cube? Studio and Cube is author Brian O’Doherty’s long-awaited follow-up to his seminal 1976 essays for Artforum<, republished in 1999 as *Inside the White Cube: The Ideology of the Gallery Space. In Studio and Cube he expands his interpretation to include the artist’s studio, tracking the relationship between the artwork and the artist from Vermeer through late modernism.