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Titre:
The art-architecture complex

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$39.99
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Résumé:
Hal Foster argues that a fusion of architecture and art is a defining feature of contemporary culture. While architects such as Zaha Hadid and Herzog and de Meuron draw on art to reanimate design, architecture has inspired fundamental transformations in painting, sculpture and film, which are also explored here. The book includes an extensive conversation with Richard Serra.

Titre:
Matt Mulligan

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$80.00
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Résumé:
The first major monograph on the rich and varied art of Matt Mullican.

Titre:
Critical laboratory : the writings of Thomas Hirschhorn

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$44.95
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Résumé:
In these writings, Hirschhorn discusses the full range of his art, from works on paper to the massive Presence and Production projects in public spaces. Throughout, certain continuities emerge : Hirschhorn’s commitment to quotidian materials; the centrality of political and economic thinking in his work; and his commitment to art in the public sphere. Taken together, the texts serve to trace the artist’s ideas and artistic strategies over the past two decades. Critical Laboratory also reproduces, in color, 33 Ausstellungen im öffentlichen Raum 1998–1989, an out-of-print catalog of Hirschhorn’s earliest works in public space.

Titre:
Bad new days: art, criticism, emergency

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$22.95
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Résumé:
"Bad new days" examines the evolution of art and criticism in Western Europe and North America over the last twenty-five years, exploring their dynamic relation to the general condition of emergency instilled by neoliberalism and the war on terror. Considering the work of artists such as Thomas Hirschhorn, Tacita Dean, and Isa Genzken, and the writing of thinkers like Jacques Rancière, Bruno Latour, and Giorgio Agamben, Hal Foster shows the ways in which art has anticipated this condition, at times resisting the collapse of the social contract or gesturing toward its repair; at other times burlesquing it. Against the claim that art making has become so heterogeneous as to defy historical analysis, Foster argues that the critic must still articulate a clear account of the contemporary in all its complexity. To that end, he offers several paradigms for the art of recent years, which he terms “abject,” “archival,” “mimetic,” and “precarious.”

Titre:
James Welling: Metamorphosis

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$78.00
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Résumé:
This book features highlights from four decades of James Welling’s oeuvre. Emerging out of the "Picture Generation" - a group of artists focused on a critique of photographic media - James Welling has gone on to experiment successfully in nearly every photographic genre. This monograph, designed by Joseph Logan in close collaboration with the artist, presents a selection of works from the early 1970s to today, demonstrating the artist’s conceptual foundations. Welling’s series are dialogues between image and matter, process and result, representation and abstraction. The illustrations are accompanied by an interview with the artist and critical essays that discuss Welling’s work in connection with American painting, post-modernism, and authorship, and the artist’s emotional photographic language.

Titre:
What comes after farce?

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$33.95
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Résumé:
If farce follows tragedy, what follows farce? Where does the double predicament of a post-truth and post-shame politics leave artists and critics on the left? How to demystify a hegemonic order that dismisses its own contradictions? How to belittle a political elite that cannot be embarrassed, or to mock party leaders who thrive on the absurd? How to out-dada President Ubu? And, in any event, why add outrage to a media economy that thrives on the same? 'What Comes After Farce?' comments on shifts in art, criticism, and fiction in the face of the current regime of war, surveillance, extreme inequality, and media disruption. A first section focuses on the cultural politics of emergency since 9/11, including the use and abuse of trauma, paranoia, and kitsch. A second reviews the neoliberal makeover of art institutions during the same period. Finally, a third section surveys transformations in media as reflected in recent art, film, and fiction. Among the phenomena explored here are “machine vision” (images produced by machines for other machines without a human interface),“operational images” (images that do not represent the world so much as intervene in it), and the algorithmic scripting of information so pervasive in our everyday lives.

Titre:
Conversations about sculpture

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$42.00
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Résumé:
Drawn from talks between celebrated artist Richard Serra and acclaimed art historian Hal Foster held over a fifteen-year period, this volume offers revelations into Serra’s prolific six-decade career and the ideas that have informed his working practice. Conversations about Sculpture is both an intimate look at Serra’s life and work, with candid reflections on personal moments of discovery, and a provocative examination of sculptural form from antiquity to today. Serra and Foster explore such subjects as the artist’s work in steel mills as a young man; the impact of music, dance, and architecture on his art; the importance of materiality and site specificity to his aesthetic; the controversies and contradictions his work has faced; and his belief in sculpture as experience. They also discuss sources of inspiration—from Donatello and Brancusi to Japanese gardens and Machu Picchu—revealing a history of sculpture across time and culture through the eyes of one of the medium’s most brilliant figures.

Titre:
Junkspace / Running room

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$25.95
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Résumé:
In Junkspace (2001), architect Rem Koolhaas itemised in delirious detail how our cities are being overwhelmed. His celebrated jeremiad is here updated and twinned with Running Room, a fresh response from architectural critic Hal Foster.

Titre:
Return of the real

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$47.50
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Résumé:
The Return of the Real presents an original reading of art and theory over the last three decades, with special attention to the controversial connections between the two.

Titre:
Thomas Demand: the dailies

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Prix:
$50.00
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Résumé:
Working within the parameters of his established technique, Thomas Demand created carefully formed paper and card sculptures, a parallel world which is photographed and then destroyed. The Dailies offers only traces – signs of consumption, or the spectres of things left behind. His creations are based on things he saw and photographs he took while travelling and walking the street. They show a world that is familiar but out of reach, like the dancing coloured pins on a clothesline, suspended somewhere between the overfamiliar and the hallucinatory – as if a chance apparition, glimpsed momentarily, before it vanishes into its habitat.