Jeff Wall's Picture for Women (1979) marks the transition of photography as an art form from the printed page to the gallery wall. Before this, photographs—from the ortho
Jeff Wall's Picture for Women (1979) marks the transition of photography as an art form from the printed page to the gallery wall. Before this, photographs—from the orthodox photographic work o
Opening with a prolonged salvo of fiery explosions accompanied by the warning cry of a siren, Dara Birnbaum's video Technology/Transformation: Wonder Woman (1978–79) is a concise, action-packed
Opening with a prolonged salvo of fiery explosions accompanied by the warning cry of a siren, Dara Birnbaum's video Technology/Transformation: Wonder Woman (1978–79) is a concise, action-packed
This book delves into the specific challenges Girlfriends presents -- both for viewers and for art historians -- whilst simultaneously situating it in relation to the extended work of Polke across a r
The Way Things Go (Der Lauf der Dinge) is a thirty-minute film by Swiss artists PeterFischli and David Weiss featuring a series of chain reactions involving ordinary objects. It is alsoone of the trul
In Andy Warhol's silent black-and-white movie, Blow Job (1964), a youth is filmed as he is apparently being given the sex act named in the title. The 35-minute film is accentuated by the paucity of e
In Andy Warhol's silent black-and-white movie, Blow Job (1964), a youth is filmed as he is apparently being given the sex act named in the title. The 35-minute film is accentuated by the paucity of e
Chris Marker's legendary "cine roman" ("film novel") La Jetee is considered one of the greatest and most influential experimental films of all time. This short film—a postap
Chris Marker's legendary "cine roman" ("film novel") La Jetee is considered one of the greatest and most influential experimental films of all time. This short film—a postap
Hanne Darboven's Kulturgeschichte 1880-1983 (Cultural History 1880-1983) (1980-1983) is an overwhelming and encyclopedic installation consisting of 1,590 works on paper and 19 sculptural objects. The
In the mid-1980s, the Canadian art group General Idea (AA Bronson, Felix Partz, and Jorge Zontal) created a symbol using the acronym AIDS, arranging the letters in a manner that resembled Robert Indi
In the mid-1980s, the Canadian art group General Idea (AA Bronson, Felix Partz, and Jorge Zontal) created a symbol using the acronym AIDS, arranging the letters in a manner that resembled Robert Indi
Agnes Martin's Night Sea (1963) is a large canvas of hand-drawn rectangular grids painted in luminous blue and gold. In this illustrated study, Suzanne Hudson presents th
Warhol Marilyn (1965) is not a work by Andy Warhol but by the artist Elaine Sturtevant (1930--2014). Throughout her career, Sturtevant (as she preferred to be called) remade and exhibited works by oth
Part-text, part-sculpture, part-architecture, part-junk heap, Thomas Hirschhorn'soften monumental but precarious works offer a commentary on the spectacle of late-capitalistconsumerism and the global
Part-text, part-sculpture, part-architecture, part-junk heap, Thomas Hirschhorn'soften monumental but precarious works offer a commentary on the spectacle of late-capitalistconsumerism and the global
An illustrated exploration of Helen Chadwick’s erotic, playful, and fierce 1986 installation. In 1986 the Institute of Contemporary Arts in London showed a new commission by the artist Helen Chadwick (1954–1996). What Chadwick conceived for the ICA exhibition explored her characteristic themes―the female body (her own), the aesthetics of pleasure, the material variety and wonder of phenomena―but took them in a new, flamboyant direction. In this illustrated volume, Marina Warner examines one part of Chadwick’s installation, The Oval Court. This work was erotic, playful, and fierce; it showed imaginative ambition on an exceptional scale and a unique, piquant sensibility, both raunchy and delicate. Despite the work’s recognition as a feminist monument of rare intensity, it has rarely been shown or discussed since the author’s catalogue essay for the original exhibition. Warner here reconsiders Chadwick’s influence as an artist who helped to shift conventional aesthetics and transvalue
A strikingly original analysis of Isa Genzken’s move towards merging sculptural and architectural morphologies into the critique of commodity culture.Fuck the Bauhaus, made in the year 2000 out of quotidian objects and cheap materials foraged from New York City by the German artist Isa Genzken, marked a poetic and provocative departure from Genzken’s earlier work. Since the 1970s, Genzken’s “post-Minimalist” works had been like ruins in reverse, conjuring the haunting specters of recent catastrophe, destruction, and failure in the United States, while also playfully suggesting a degree of freedom and elevation. Analyzing how this mode gave way to a new penchant for appropriation, collage, and montage, André Rottmann offers a strikingly original analysis of Genzken’s move towards merging sculptural and architectural morphologies into the critique of commodity culture. In this new addition to the One Work series, Rottmann draws on the writings of Deleuze and Guattari, Bruno Latour, and
