Helen Anne Molesworth

Ruth Erickson

La exposición refleja la historia del Black Mountain College (BMC), fundado en 1933 en Carolina del Norte y concebido como universidad experimental que situaba al arte en el centro de una educación liberal que pretendía educar mejor a los ciudadanos para participar en la sociedad democrática. La educación era interdisciplinaria y concedía gran importancia al debate, la investigación y la experimentación, dedicando la misma atención a las artes visuales –pintura, escultura, dibujo- que a las llamadas artes aplicadas –tejidos, cerámica, orfebrería, así como a la arquitectura, la poesía, la música y la danza.

Black Mountain College, 1933-1957

Leap Before You Look

Julia Bryan-Wilson

M. Darsie Alexander

Des Moines Art Center

Baltimore Museum of Art

Wexner Center for the Arts

Examines the proliferation of new ways of making "art" in the 1960s by focusing on the changed organization of work in society at the time. Co-published with The Baltimore Museum of Art in conjunction with an exhibition of the same name.

Work Ethic

Moyra Davey

Photographer Moyra Davey takes quiet but ravishing photographs of typically overlooked and banal objects. Newspapers, dust, books, money, empty bottles, and the things on top of refrigerators all figure in series of pictures that bring viewers into a state of increased sensitivity to their everyday lives. Long Life Cool White features forty-five of the artist’s photographs from the past two decades. Davey’s relationship to such traditions as street and conceptual photography and French surrealism can be seen throughout these pages. Noted scholar Helen Molesworth examines the domestic content of Davey’s work as well as Davey’s burgeoning career as a writer. The book also includes Davey’s insightful essay “Notes on Photography and Accident,” in which she discusses the themes of chance, death, and the poetic that occur in the writings of three major theorists of photography: Roland Barthes, Walter Benjamin, and Susan Sontag.

Photographs & Essays

Long Life Cool White

Louise Lawler has devoted her art practice to investigating the life cycle of artobjects. Her photographs depict art in the collector's home, the museum, the auction house, and thecommercial gallery, on loading docks, and in storage closets. Her work offers a sustained meditationon the strategies of display that shape art's reception and distribution. The cumulative effect ofLawler's photographs is a silent insistence that context is the primary shaper of art's meaning.Informed by feminism and institutional critique, Lawler's witty, poignant, and trenchant photosfrequently pay attention to a host of overlooked details -- almost Freudian slips -- that ineffablyand tacitly shore up what we conventionally think of as art's "power." This book includes the earliest published text on Lawler's work; an examinationof her ephemera (Lawler produced, among other things, matchbooks and paperweights); a rare interviewwith the artist, conducted by Douglas Crimp; a conversation between George Baker and Andrea Fraseron Lawler's work; and essays by writers including Rosalind Krauss, Rosalyn Deutsche, and HelenMolesworth, the volume's editor. The book traces the changing reception of Lawler's work from earlypreoccupations with appropriation to later discussions of affect.

Louise Lawler

Johanna Burton

A fascinating examination of the cultural and political forces that shaped the art of a tumultuous decade

Art, Love & Politics in the 1980s

This Will Have Been

Amy Sillman

Accompanying a major museum retrospective of the acclaimed American painter, this book traces Amy Sillman's diverse body of work that includes drawings, cartoons, paintings, and animated videos produced on an iPhone. From her early small-scale cartoon figures to her later enormous abstract paintings, Amy Sillman's artistic vision shines through in this beautiful volume that covers the period from 1995 to the present. Filled with drawings, paintings, and 'zines, as well as stills from the artist's recent forays into animated films, the book traces the development of Sillman's work from her early use of cartoon figures and a vivacious palette through her exploration of the diagrammatic line, the history of Abstract Expressionism.0Exhibition: Institute of Contemporary Art, Boston, USA (4.10.2013-5.1.2014) / Aspen Art Museum, Colorado, USA (13.2.-11.5.2014) / Center for Curatorial Studies, Bard College, New York, USA (28.6.-21.9.2014).

One Lump Or Two

Cornelia H. Butler

Valerie Smith

Abigail Solomon-Godeau

Vancouver Art Gallery

Catherine Lord

Peggy Phelan

National Museum of Women in the Arts (U.S.)

Nelly Richard

Jenni Sorkin

Judith Russi Kirshner

Institute for Contemporary Art (New York, N.Y.)

Marsha Meskimmon

Richard Meyer (umetnostni zgodovinar.)

Accompanied by critical essays and analysis, a groundbreaking collection of art produced by women artists during the 1970s reveals the influence of the feminist revolution on art in works by Judy Chicago, Louise Bourgeois, Susan Hiller, Yoko Ono, Hannah Wilke, Faith Ringgold, Cindy Sherman, Joan Semmel, Miriam Shapiro, Lucy Lippard, and many others.

Art and the Feminist Revolution

WACK!

'Part Object Part Sculpture' maps a genealogy of postwar sculpture that challenges the Minimalist/Post-Minimalist sequence maintained in most accounts of the period.

Part Object Part Sculpture

Landscape Confection brings together a group of emerging and mid-career artists involved in expanding the historical practice of landscape painting. Long considered one of the primary categories of Western painting, landscape has traditionally been dialectically structured by the production of either realistic or idealized representations of the natural world. The artists in Landscape Confection work in the realm of imaginary landscape. Many of the paintings derive from the unconscious space of dreams, some borrow from the discipline of topography, and still others reside at the boundary between landscape and abstraction. Most of the pictures have a high degree of whimsy and call to mind the f'êtes galantes of Watteau, redolent as they are with bodily and visual pleasure. Artist included in the exhibition and catalogue are Rowena Drig, Pia Fries, Jason Gubbiotti, Jim Hodges, Katie Pratt, Michael Raedecker, Neil Rock, Lisa Sanditz, Amy Sillman and Janaina Tschape.

Landscape Confection

Helen Anne Molesworth

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