Large-scale critical overview of alternative art spaces in New York City since the 1960s, developed from an exhibition of the same title held at Exit Art, New York, September 24 – November 24, 2010. Edited by Lauren Rosati, Mary Anne Staniszewski. ... [details]
"How did a small art college in Nova Scotia become the epicenter of art education--and to a large extent of the postmimimalist and conceptual art world itself--in the 1960s and 1970s? Like the unorthodox experiments and rich human resources that made Black Mountain College an improbable center of art a generation earlier, the activities and artists at Nova Scotia College of Art and Design (aka NSCAD) in the 1970s redefined the means and methods of art education and the shape of art far beyond Halifax. ... [details]
Exhibition catalogue published in following show held at Office for Contemporary Art Norway, Oslo, Norway, November 8, 2008 - January 31, 2009. "'Whatever Happened to Sex in Scandinavia?' is a reader that brings together essays, artists’ writings and works, and countercultural publications to examine the juncture of the political and the erotic during the 1960s and 70s. ... [details]
Exhibition catalogue published in conjunction with show held at the Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, December 15 - June 29, 2008. Essays by Achim Hochdörfer, Susanne Neuberger, Liz Kotz, Michelle Kuo, and Wilfried Kuehn. ... [details]
Large-scale examination of the conceptual art network in it's years of inception, 1967, though to the time at which it had become highly formalized, 1977. An exacting examination by Sophie Richard, edited by Lynda Morris after Richard's unfortunate death. ... [details]
Monthly periodical published in Berlin. With written contributions by Martin Saar, Chris Kraus, Tom Holert, Peter Geimer, Douglas Crimp, Yvonne Rainer, Michaela Meise, Sabeth Buchmann, Dietmar Dath, Ulrich Gutmair, Joseph Imorde, Ei Arakawa, Eric de Bruyn, Jutta Koether, Rainer Bellenbaum, Walead Beshty, Mark Godfrey, Roger M. ... [details]
"In her dance and performances of the 1960s, Yvonne Rainer famously transformed the performing body--stripped it of special techniques and star status, traded its costumes and leotards for T-shirts and sneakers, and asked it to haul mattresses or recite texts rather than leap or spin. ... [details]
Issue edited by Tim Griffin. Essays "Film: Best of 2006," by John Waters, Amy Taubin, James Wuandt, Barbara London, Jonathan Romney; "Music: Best of 2006," by John Baldessari, Christine Mehring, James Meyer, Claire Bishop, Sven Lütticken, Chris Kraus, Terry Eagleton, Yvonne Rainer, Greil Marcus, Josiah McElheny, Sylvère Lotringer; "The Artists' Artists," Amy Sillman, Francis Alÿs, Eric Wesley, Richard Tuttle, Su-Mei Tse, Vito Acconci, Cory Arcangel, Kalup Linzy, Michael Rakowitz, Jim Shaw, Annette Messager, Thomas Demand, Lara Favaretto, Jennifer Bornstein, Rebecca Warren, Mircea Cantor, Damián Ortega, Miranda Lichtenstein, Carolee Schneemann, Rob Pruitt, Donald Baechler, Jonas Mekas, Thomas Hirschhorn, Suzanne Lacy, Kristin Baker, Rachel Harrison, Marine Hugonnier, Mark Bradford, Evan Holloway, Ulla von Brandenburg, Luisa Lambri, Ryan Trecartin, Luc Tuymans, Terence Koh, Philippe Decrauzat, Yvonne Rainer, Daria Martin, Pierre Bismuth, Michael S. ... [details]
"In this memoir, dancer, choreographer, and filmmaker Yvonne Rainer traces her personal and artistic coming of age. Feelings Are Facts (the title comes from a dictum by Rainer's one-time psychotherapist) uses diary entries, letters, program notes, excerpts from film scripts, snapshots, and film frame enlargements to present a vivid portrait of an extraordinary artist and woman in postwar America. ... [details]
Critical anthology of the art journal Interfunktionen. Edited by Gloria Moure. Texts by Friedrich Wolfram Heubach and Birgit Pelze. Artists include Vito Acconci, Keith Arnatt, John Baldessari, Lothar Baumgarten, Bill Beckley, Joseph Beuys, George Brecht, K. ... [details]
