Drawing on cultural studies, philosophy and psychoanalysis, Gregg Bordowitz presents an in-depth exposition of Glenn Ligon’s Untitled (I am a Man) (1988) as it is both inspired by and departs from the labour movements it remembers.
Focusing on techniques of reproduction, Stefan Gronert presents a study of Sigmar Polke’s Freundinnen (Girlfriends, 1965/66), a work that challenges the social use, production and function of images.
In this illustrated study, Suzanne Hudson presents Agnes Martin's Night Sea (1963) as the work of an artist who was also a thinker, poet and writer for whom self-presentation was a necessary part of making her works public.
This title brings together Laura Mulvey's 1975 essay and a newly commissioned work by Rachel Rose. It is part of a unique Two Works book, where an artist responds to a key text that has informed their understanding of art and its histories.
In this book, Patricia Lee examines Warhol Marilyn as representing a shift in thinking about artistic authorship and originality, highlighting a decisive moment in the rethinking of the contemporary artwork.
In this book, Saul Anton provides an in-depth discussion of The Little Screens (1963–69), a series of photographs by Lee Friedlander that shows television screens broadcasting glowing images of faces and figures into unoccupied rooms in homes and motels across America.
Mike Kelley’s Educational Complex (1995) presents forgotten spaces as subjective frames for trauma, real or imagined.
We are pleased to announce that on Monday 27 November Elena Filipovic will be in dialogue with Lucy Steeds on the subject of artists as curators.
For this event, Filipovic will draw from her recently-published One Work book, David Hammons: Bliz-aard Ball Sale, an unannounced action in which the artist peddled snowballs on the streets of New York in 1983.
Steeds will present and analyse the focus of a book in Afterall’s Exhibition Histories series: ‘an Exhibit’, the maze-like installation built by artists Richard Hamilton and Victor Pasmore, with the writerly involvement of Lawrence Alloway, first in Newcastle with the help of art students in 1957, before its transfer to the ICA in London.
Uniting these two artistic case studies, and opening up to further examples, Elena and Lucy will debate the history of artists as curators. Specifically, Elena will draw on her work for The Apparently Marginal Activities of Marcel Duchamp (The MIT Press, 2016) and her edited volume The Artist as Curator (Mousse Publishing, 2017) to which Lucy contributed.
In this generously illustrated book, Anna Dezeuze examines Deleuze Monument (2000), the second in Thomas Hirschhorn’s series of four Monuments, and its relation to ‘scatter art’ and participatory art in the 1990s.
Philip Guston’s The Studio (1969) depicts a member of the Ku Klux Klan painting a self-portrait. Darkly comic, crude and complex The Studio is a key work in Guston’s shift from abstract expressionism to his late figurative style.
Lee Lozano’s Dropout Piece (begun c.1970) is one of her most challenging and elusive works. First and foremost, it is the name Lozano gave to her self-imposed transformation from art world insider to outsider. It is also a large-scale action carried out with lifelong, indeed posthumous, consequences.
Bruce Jenkins looks at looks at Gordon Matta-Clark's Conical Intersect in relation to urban development and the public role of art. This examination of Matta-Clark's 'non-u-ment' is supplemented with rarely seen photographs taken by French artist Marc Petitjean.
Bas Jan Ader disappeared at sea in 1975 while attempting to sail from the US to Europe. In this book, Jan Verwoert highlights how Ader explores the role of the romantic hero in ways that are as conceptual and analytic as they are poetic and existential.
Shepherd Steiner offers an in depth discussion of Rodney Graham's Phonokinetoscope (2001) as a pivotal work in the context of the artist’s early explorations of proto-cinema and later preoccupations with the ‘temporal object’.
David Campany offers an account of Jeff Wall’s move from a Conceptual approach towards an engagement with the idea of a singular (rather than serial) picture. Wall’s Picture for Women is an attempt to relate the spectatorial demands of the 1970s to modernist pictorial art.
Sabeth Buchmann and Max Jorge Hinderer Cruz offer a critical examination of Hélio Oiticica and Neville D’Almeida: Block-Experiments in Cosmococa – program in progress (1973–74) and consider its vast catalog of references.
T.J. Demos explores Dara Birnbaum's pioneering development of the possibilities of video as a medium, situating it historically amidst postmodernist appropriation, media analysis and feminist politics.
Ruth Noack offers the first sustained examination of Sanja Iveković’s widely exhibited, now canonical artwork, Triangle (Trokut, 1979).
Anne Rorimer considers Kunsthalle Bern, 1992 (1992) in the context of Michael Asher's ongoing desire to fuse art with the material, economic and social conditions of institutional presentation.
In this first monograph on Infinity Mirror Room — Phalli’s Field (1965), Jo Applin examines the importance of this epoch-defining work in the context of Yayoi Kusama’s ‘obsessional art’.
Steve Edwards offers the first sustained critical examination of Martha Rosler's The Bowery in two inadequate descriptive systems, a fundamental work that bridged the concerns of conceptual art with those of political documentary.
Drawing on an unpublished interview with Richard Prince, Michael Newman analyses Prince's 1977 Untitled (couple), connecting it to ideas of allegory, simulacrum and the formation of personal identity in a society of commodity and spectacle.
In this book, Julian Jason Haladyn argues that Marcel Duchamp's intention in his final artwork, Étant donnés, was not to provide a neat summation of his career, but the opposite: to question and even undermine definitive readings of his own previous work.
Dan Graham’s Rock My Religion (1982–84) is a video essay populated by punk and rock performers and historical figures. In this illustrated book Kodwo Eshun explores this groundbreaking work and its connections to New York's art and music scenes of the 1980's.
In Jeff Koons's One Ball Total Equilibrium Tank (1985), a Spalding basketball floats in what Koons called 'the penultimate state of being'. In this book, Michael Archer argues that such an image of stillness captured the spirit of its day.