Search results for ""Dancing Foxes Press""

Baldwin's life and legacy as remembered by a pantheon of artists and writers: from Jamaica Kincaid and Barry Jenkins to Richard Avedon and Alice NeelWhen author James Baldwin died in 1987, he left behind an extraordinary body of work: novels, poems, film scripts and, perhaps most indelibly, essays. A friend and supporter of Martin Luther King Jr., Malcolm X and Medgar Evers, Baldwin was a critical voice in the civil rights movement. After reaching acclaim in his early career as a writer, he struggled to retain the author's I, while taking on the we of the people.Edited by Pulitzer Prizewinning author Hilton Als and growing out of his landmark exhibition at David Zwirner in 2019, God Made My Face brings together an impressive assembly of contributors, ranging from Baldwin biographer David Leeming to novelist Jamaica Kincaid and Moonlight director Barry Jenkins, to create a memorial mosaic: one that not only mirrors Baldwin's various tones but

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The Conditions of Being Art is the first book to examine the activities of groundbreaking contemporary art galleries Pat Hearn Gallery and American Fine Arts, Co. (1983–2004), and the transnational milieu of artists, dealers and critics that surrounded them. Drawing on the archives of dealers Pat Hearn and Colin de Land—both, independently, legendary players on the New York art scene of the 1980s and '90s, and one of the great love stories of the art world—this publication illustrates their distinctive artistic practices, significant exhibitions and events, and daily business. Hearn and de Land championed art that challenged the business of running an art gallery; artists like Renée Green and Susan Hiller, Andrea Fraser and Cady Noland, who employed conceptualism and installation, social and institutional critique. Contributing to the history of exhibitions, institutions and curating, The Conditions of Being Art addresses a significant gap in this literature around experimental commercial spaces in recent art history. This publication is the first book-length critical account of the alternative commercial gallery practices of the 1990s, a moment and a scene that is extremely influential to many of today's art dealers, curators and artists. Hearn and de Land's gallery practices explored new experimental and ethical possibilities within the selling of art, testing the relationship of contemporary art to its markets. In this volume, full-color images, in-depth scholarly investigations and detailed gallery histories vibrantly document how Hearn and de Land tested new notions of what an art gallery could be.

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How Evelyn Taocheng Wang’s nomadic life traversing cultures and continents has informed her explorations of identity This first comprehensive monograph on the work of China-born, Netherlands-based artist Evelyn Taocheng Wang (born 1981) unfolds along the path of her biography—beginning with her early studies in Chengdu, China, her arrival in 2008 in Berlin and Bleckede, Germany, from China, followed by a move to Frankfurt am Main to attend the Städel Academy as a guest student; time in Amsterdam at De Ateliers, Rotterdam; and, most recently, stays in Germany. Wang’s multimedia art—from painting to video—synthesizes themes of class, gender, fashion, cultural identity, art history and popular culture. The publication traces how the artist’s personal life experiences and encounters during these various stages interweave with her artistic research and practice. Richly illustrated, the book offers a comprehensive presentation of her drawings, paintings, collages, photography, video, narrative writing, installation, sewing and performance, set in dialogue with diverse text contributions by artist friends and colleagues. Essays by a range of writers expand on aspects of Wang’s work, including its narrative strategies, Western and East Asian art historical references, and its focus on cultural identity, political imagery and performance.

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Chronicling an epic multimedia project 10 years in the making, A.K. Burns’ first monograph grapples with climate change, community and sociopolitical agency Deploying science fiction, material feminism, eco-anarchism, queer theory and technoscience, New York–based artist A.K. Burns (born 1975) explores the fraught relationships between humanity and nature in an epic multimedia work, Negative Space (2015–23). This nonlinear allegory provokes questions about marginalized bodies, environmental fragility and technology. Developed as a cycle of four video installations, Negative Space imagines new relationships to the spaces we occupy and the impact of our bodies in these spaces through imagery, research and critical and creative writings. Set in a speculative present, the tetralogy envisions a new materialist cosmology wherein hierarchical relations are transformed.

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An exploration of the nature of visibility through a series of camera obscuras paired with silver gelatin prints of the sun In the two related bodies of work that form this volume’s centerpiece, New York–based photographer Zoe Leonard (born 1961) poses fundamental questions about the medium of photography and the nature of sight. In a series of large-scale installations, the artist employed the principle of the camera obscura, pairing it with gelatin silver photographs of the sun. The image in Leonard’s room-size camera obscuras is immersive and continuous, shifting constantly in response to the fleeting light of the outside world and unraveling in the surrounding space to come into its full vibrancy. Leonard’s camera obscuras have been sited in cities in Europe and the United States, from Venice and London to New York and Marfa. This title explores this body of work through photographs that document these installations in five international cities.

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Technological evolution and obsolescence on Earth and in outer space, in a new project by artist Julia Christensen This volume documents an ongoing investigation by artist Julia Christensen (born 1976) into how our relentless "upgrade culture"—the perceived notion that we need to constantly upgrade our electronics to remain relevant—fundamentally impacts our experience of time. In a personal narrative interspersed with related interdisciplinary artwork and conversations with experts from different fields (other artists, archivists, academics), Christensen takes readers along a path from the international "e-waste" industry to institutional archives, eventually leading her to NASA's Jet Propulsion Laboratory (JPL). At JPL, Christensen began a dialog with a group of exo-planetary scientists, engineers and machine learning experts to develop long-lived space mission concepts that include an update of the Voyager spacecrafts’ 1977 "Golden Record," to be embedded on a hypothetical future interstellar spacecraft. She and the scientists are designing an artwork generated by an extraterrestrial system that tells a distinctly new story of life on Earth. In taking on this challenge, Christensen—a female pioneer redefining the intersection of art, technology, and outer space—must envision an artwork for an evolving, autonomously-upgrading spaceship headed toward a potentially habitable planet in another star system. Her years-long investigation into upgrade culture leads to design concepts that potentially transcend technological obsolescence altogether.

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Brooklyn-based interdisciplinary artist Jeanine Oleson (born 1974) created a 2017 exhibition at the Hammer Museum in Los Angeles, presenting her ongoing sharply absurdist response to research on the ways copper is produced and used in 21st-century capitalism.Through a video installation, objects and a performance including a copper-based instrument that reacted to human touch and a handwoven rug based on perspectives visible in three-dimensional modeling the exhibition focused on the confused entwinement of the human into contemporary material, as well as the relation with representation and art when these activities are now, more often than not, mediated through the digital for which copper is an essential material component. With humor, pathos and intellectual rigor, Oleson explores issues of labor, the environment, craft and performance.Conduct Matters features an introduction by Connie Butler, chief curator at the Hammer Museum, and texts by cultural historian Jaleh Mansoor and legal scholar K-Sue Park, along with the full script of Oleson's video.

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The most substantive monograph yet published on the work of German-born, New York based multimedia artist Andrea Geyer (born 1971), Dance in a Future with All Present focuses on her recent explorations of the marginalized yet pivotal role that women have played in the formulation of American modernism, tracing and honoring the ephemeral acts, initiatives and stories that shaped it. Featuring full-color images of Geyer's artworks and research materials, including documents, found photographs and previously unpublished photographs by the artist, Dance in a Future with All Present offers insight into Geyer's art and the multiple histories of modernism. Contributors to this volume include Thomas J. Lax, Andre Lepecki, Soyoung Yoon, Andrianna Campbell, Alhena Katsof, Matthew Jeffrey, Juli Carson, Lynne Cooke, Barbara Clausen, Dean Daderko, Saisha Grayson, Sharon Hayes, Megan Heuer, Danielle Jackson, Kristan Kennedy, Ralph Lemon, Renate Lorenz, Josiah McElheny, Fred Moten, Kristin Poor, Yvonne Rainer, Gabriela Rangel and Jeannine Tang.

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Poetics as artistic practice and world-making: practitioners from Bernadette Mayer and Sky Hopinka to Liliane Lijn and Shanzhai Lyric explore the wilder, parapoetic shores of language Through work by artists and poets of various generations and geographies, as well as additional thinkers and artistic contributors, SIREN considers the ways in which language is increasingly employed by artists in works that trouble the line between language as a literary practice and language as a visual one. Both human and nonhuman forms of language-making and poetics are insisted upon, from precolonial myth to scientific speculation, fungal networks to gut bacteria, text to textile, poem to algorithm. Contributors include: Ruth Estévez, Hana Noorali and Lynton Talbot, Don Mee Choi, Anaïs Duplan, Katja Aufleger, Patricia L. Boyd, Bia Davou, Sky Hopinka, Liliane Lijn, Bernadette Mayer, Rosemary Mayer, Nour Mobarak, Senga Nengudi, Rivane Neuenschwander, Mayra A. Rodríguez Castro, Aura Satz, Ser Serpas, Shanzhai Lyric, Jenna Sutela, Iris Touliatou, Christa Wolf and Dena Yago.

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Fifty years of media critique from the leading exponent of feminist video art Throughout her five-decade career, New York–based artist Dara Birnbaum (born 1946) has relentlessly dissected the process of watching and has argued against the passive absorption of mass media, information and ideology, through various techniques—many of which can be described as subversive reactions or reversals. As media itself has evolved over the years, from the monolithic nature of TV broadcast networks to the Internet’s decentralization of information, Birnbaum’s work has remained consistently prescient and vital, incorporating new technologies and providing a touchstone for generations of younger artists. Including original scholarship by leading critics and curators of moving image and media art, this book examines Birnbaum's key works and concepts to illustrate how much her practice has to teach in a technology and media laden culture that demands constant participation and response.

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Documentation and testimony from Da Corte's 2020 reinvention of a classic 1960s happening In early March 2020, on the cusp of the COVID-19 shutdown, an audience gathered to witness a reinvention of Allan Kaprow’s happening, Chicken, by Philadelphia-based artist Alex Da Corte (born 1980). Performed at the site of Kaprow’s original—the Gershman Y at the University of the Arts in Philadelphia—Da Corte’s first live performance reimagined Kaprow’s chaotic event, which had been orchestrated in 1962 under the auspices of the first Pop art exhibition on the East Coast. While the focus of activity for the performers of Kaprow’s Chicken involved the hawking of live and boiled chickens and their eggs, Da Corte’s performers frantically peddled exquisite yellow orbs made from a variety of materials that represented the moon. Including sketches and reproductions of the objects and costumes constructed for Da Corte’s revision, as well as performance images, scripts, essays and personal accounts reflecting on the event’s impact and significance over the ensuing year, this publication becomes a living document of a moment in time.

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A long-overdue appreciation of the influential sculpture of Liz Larner and its radically adventurous formal and conceptual vocabulary Los Angeles–based sculptor and installation artist Liz Larner (born 1960) was originally a photographer: in some of her earliest projects, she documented the volatility of bacterial cultures in petri dishes. However, she soon realized that she was more compelled by the dishes themselves and how they presented questions about what an art object can entail. Since then, she has continued to pursue her interest in formal unpredictability through a focus on sculpture and architectural space. Composed of a diverse variety of materials, her sculptures frequently function as optical illusions that seem to bend the space around them. Sometimes rigidly technical in their geometry and at other times soft-edged and amorphous, Larner’s sculptures are striking both for their fluctuation of form and for their representation of spatial politics. Repositioning her enduring formal and material concerns alongside her relationship to a feminist sculptural position, this monograph offers an opportunity to consider Larner’s artistic project within today’s expanded discourses of embodiment, gender and posthumanism, and to recalibrate our understanding of it in relation to male-dominated Postminimalism and installation art, which have often underpinned Larner’s critical reception. Poet Ariana Reines, cultural critic and theorist Catherine Liu, and curators Connie Butler and Mary Ceruti consider the physical properties and sociopolitical implications of the materials present in Larner’s work, which range from ceramic to steel chain to surgical gauze to human hair.

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Colorful explosions of “bad objects”: the eccentric constructions of two American artists generations apart This volume brings together the paintings and drawings of Elizabeth Murray (1940–2007) and the work of New York–based sculptor Jessi Reaves (born 1986). Despite the generations that separate Murray and Reaves, this publication highlights each artist’s lyrical, playful and rigorous engagements with the decorative, domestic and bodily. Published to accompany an exhibition at the Contemporary Arts Museum Houston, Wild Life explores Murray and Reaves’ often ambiguous conceptions of the body and the home, wherein both body and home are continuously coming together and falling apart. This book features a newly commissioned conversation between Reaves and Johanna Fateman as well as a reprint of a historical interview between Murray and Kate Horsfield, which together chart the two artists’ irreverent plays with color and form, high and low cultural references, and notions of masculinity and femininity.

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Exploring the decades-long working relationship between Fred Sandback and Dia Art Foundation, which served as a venue for his situational sculptureIn 1968, sculptor Fred Sandback (19432003) mounted his first solo exhibition at Heiner Friedrich's Munich gallery, displaying works made from elastic cord or acrylic yarn that traced planes and volumes in space. Thus began a long-term relationship that extended to Dia Art Foundation, the institution cofounded by Friedrich in 1974. Until now, there has been little published on Sandback's extraordinary alliance with Dia. Essayists Julian M. Rose, Corinna Thierolf and Edward A. Vazquez, as well as conversation partners Matilde Guidelli-Guidi and Curtis Harvey, unearth and explore archival documents, sketches and photographs to reveal how the institution offered Sandback both space and time to meticulously hone his sculptural interventions in the architectural environments of Dia, including the Fred Sandback Museum in

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Leaving fingerprints and tool marks behind, a São Paulo artist evokes the cycles of the cosmos This volume takes an expansive view of the bold and influential practice of Brazilian artist Erika Verzutti (born 1971), surveying more than 60 pieces made over the past 15 years. In Verzutti’s art, moons recur as symbols of renewal and the multiple phases that a person or entity can pass through. Her work presents novel modes of perception by orbiting outside set systems of being—zooming out, in a telescopic sense, to the point where the relations we take so seriously here on Earth can be rethought. Vibrant illustrations of individual works and installation views of New Moons, the artist’s first US museum survey, highlight how her approaches to display and presentation reveal such relationships. Presenting original scholarship on the art historical and theoretical aspects of Verzutti’s practice as well as the artist’s own writing, this book offers insights on the inspiration and multifaceted ideas at play across her work.

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Drawing on avant-garde cinema and found photographs, Saunders’ multimedia works explore the mobility and affective power of images This publication encompasses eight years of work by Cambridge, MA- and Berlin-based artist Matt Saunders (born 1975), who engages painting as a time-based medium through cameraless photography, animation, and innovative painting and printmaking processes. Best known for his haunting portraits and landscapes (using imagery culled from avant-garde cinema and found photographs) and moving-image works, Saunders uses analog materials to explore the affective power of images. Focusing on his experimentation with color processes, the stunning reproductions in this volume range from his first color film, Century Rolls (2012), to his more recent large-scale video installations. Moving image folds together with painting, photography and print, enlivening our relationship to images and their capacity for uncanny returns, echoes and ghosts.

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Taking William Cordova's (born 1971) exhibition ankaylli: spatial and ideological terrain at Marfa Contemporary as a point of departure, this publication highlights the way the artist (who was born in Lima and is based in Miami) layers referents and histories across cultures. Bringing together a constellation of Cordova's artworks in a wide variety of medium—sculptures, collages, Polaroids, a video, objects around town, a free newspaper and a website—in which Pre-Columbian traditions, modern art and architecture, and spiritualism overlap, the exhibition stages these objects in the fitting home of Marfa, a town equally known for Native American history, minimalism and star-gazing. This book includes references to all three: stepped pyramid patterns, geometric concrete forms and symbols of the cosmos.

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A critical reappraisal of a classic collection’s modernist legacy for women artists Taking as its point of departure the art collection at Kykuit—the former home of the Rockefeller family, now a museum—Inspired Encounters asks: if exclusively women-identifying artists remained in this legendary modernist collection, what would be revealed? Essentially the product of three people whose lives intertwined around MoMA—Alfred H. Barr Jr., Dorothy Canning Miller and Nelson A. Rockefeller—Kykuit's holdings include work by Anni Albers, Mary Bauermeister, Lee Bontecou, Mary Callery, Valerie Clarebout, Dorothy Dehner, Grace Hartigan, Louise Kruger, Marisol, Louise Nevelson and Lenore Tawney. The book augments this group with works by Louise Bourgeois, Elizabeth Catlett, Lin Emery and Fanny Sanín to expand the possibilities of a “closed” collection. Commissioned works by Sonya Clark, Maren Hassinger, Elana Herzog, Melissa Meyer, Barbara Takenaga and Kay WalkingStick reflect on the collection.

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Higa’s critical work on Asian American art history and the art of Japanese Americans imprisoned in World War II US internment camps provides a compelling view into the historical realities of racially marked identity and art-making Edited by artist, curator, writer and editor Julie Ault, Hidden in Plain Sight brings together essential writings by the trailblazing art historian and curator Karin Higa (1966–2013). The selected essays, written between 1992 and 2011, focus on the forced evacuation of Japanese Americans in Western US states to specially constructed concentration camps, the artistic production and communities that took root within them and the individual and collective narratives of Asian American artists amid discriminatory policies, restricted political agency and racism. While exploring issues of identity and immigration, Higa recuperates significant artists and oeuvres from historical neglect and engages contemporary artists to examine how art acts as a source for and transmitter of cultural identity. This book reveals how Higa’s conviction that art and lived experience are indissolubly linked was at the root of her methodological modeling of an Asian American art history. Moving between portrayals of artists’ networks in the camps and Little Tokyo communities and case studies of oeuvres and biographies, Higa recovers vital art practices and hidden histories of creative struggle and efflorescence. In the process, she maps—across ethnic, geographic, and stylistic boundaries—the fertile creative milieux of individual practices and communities. Higa shows how artists of Asian descent have negotiated the divide between the United States and their ancestral homes by using their freedom as artists to define their culture more broadly.

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Ranging from figurative representation to gestural abstraction, monumental landscape paintings to more intimate portraits, the oeuvre of American painter Leidy Churchman (born 1979) channels his artistic and literary influences, friendships, moods, surrounding landscapes and the visual iconography of divergent religions and philosophies.Crocodile highlights the artist's investigations into consciousness in his renderings of anthropomorphic animals and psychological states; his appropriation of existing artworks and aesthetics; and his recasting of various signs and symbols, from his depiction of the Buddhist symbol of the protector deity in Mahakala (2017) to the Mastercard logo in Mastercard (2013).Churchman, who divides his time between New York and Maine, emerges here as a dynamic protagonist of contemporary American painting. In addition to collecting 90 reproductions of works, the book features artwork made especially for it, plus texts by Ruba Katrib, Alex Kitnik and Arnisa Zeqo, in addition to a conversation between Churchman and Lauren Cornell.

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An aesthetic and social history of art and dance in mid-20th-century New York interpreted by contemporary artist Nick Mauss Over the past decade, Nick Mauss (b. 1980) has pursued a hybrid mode of working that melds the roles of curator, artist, and scholar. Following his highly acclaimed 2018 Whitney Museum of American Art exhibition Transmissions, this volume elaborates on the artist’s complex portrait of mid-century New York as seen through the prism of modernist ballet. By pairing installation views of the exhibition and photographs of its daily performances by Paula Court and Ken Okiishi with reproductions of artworks, ballet programs, and fashion magazines, Transmissions animates the vividly enmeshed social and artistic networks that shaped both modern art and modern ballet. Through his emphasis on the collaborations and intimacies between models, dancers, photographers, choreographers, painters, sculptors, filmmakers, publishers, critics, amateurs, and devotees, Mauss re-calibrates the standard narrative of American modernism to locate performance, spectatorship, and the eroticized body at its center.Transmissions features reproductions of documents and artworks—a number published here for the first time—by Paul Cadmus, George Platt Lynes, Dorothea Tanning, Carl Van Vechten, Isamu Noguchi, Pavel Tchelitchew, Walker Evans, Ilse Bing, PaJaMa, Man Ray, Maya Deren, Marcel Duchamp, Elie Nadelman, Eugene Berman, Peter Hujar, and many more. Additional texts address the subjects of ballet and the body, Mauss’s work as an artist and curator, and performance within museum spaces, while an extensive conversation with the sixteen dancers who participated in the Whitney exhibition brings rare insight into the labor of making performance-based work while negotiating diverging legacies of embodiment. Distributed for the Whitney Museum of American Art and Dancing Foxes Press

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