The first-ever monograph on Reynaud-Dewar, one of today’s most celebrated multimedia artists

French artist Lili Reynaud-Dewar creates environments and situations in which she uses her own body to examine the dual experience of vulnerability and empowerment that results from acts of exposing oneself to the world. Evolving through a range of media such as performance, video, installation, sound, and literature, her work considers the fluid border between public and private space, challenging conventions related to the body, sexuality, power relations, and institutional spaces. This is the first book to document her remarkable career.

"Parallel Practices: Joan Jonas & Gina Pane" considers the works of two pioneers of performance art. Jonas (born 1936) and Pane (1939-1990) lived and worked in the United States and France respectively. Each artist worked multidisciplinarily, producing sculpture, drawings, installations, film and video in addition to live actions. Notably, Jonas and Pane have been lauded for their foundational work in performance, a field in which both of these artists blazed trails. Published to accompany an exhibition at the Contemporary Arts Museum Houston, "Parallel Practices" explores the trajectory of these artists' practices to reveal shared and complementary aspects, as well as to highlight the significant divergences and differences that characterize each artist's work. It includes texts by curator Dean Daderko, Elisabeth Lebovici and Anne Tronche and Barbara Clausen.

The appearance of the Human Immunodeficiency Virus and the Acquired Immune Deficiency Syndrome (HIV/AIDS) in the early 1980s and its subsequent rapid spread around the world has left deep marks in society. The illness itself and its effects on society have also caused manifold responses by artists and activists in many countries. United by AIDS, published in conjunction with an extensive group show on the topic of loss, remembrance, activism and art in response to HIV/AIDS at Zurich's Migros Museum of Contemporary Art (Migros Museum fur Gegenwartskunst), sheds light on the multi-faceted and complex interrelation between art and HIV/AIDS from the 1980s to the present. It examines the blurred boundaries between art production and HIV/AIDS activism and showcases artists who played - and still play - leading roles in this discourse. Alongside images of artworks and brief texts on the represented artists, the book features voices from the past and present. Essays by Douglas Crimp, Alexander Garcia Duttmann, Raphael Gygax, Elsa Himmer, Ted Kerr, Elisabeth Lebovici ,and Nurja Ritter broaden the view of the international discourse on HIV/AIDS and society's confrontation with the disease.

A rebel and feminist, the Switzerland-born Miriam Cahn is one of the major artists of her generation. Widely known for her drawings and paintings, she also experiments with photography, moving images, sculptures, and performance art. Cahn's diverse body of work is disturbing and dreamlike, filled with striking human figures pulsing with an energy both passionate and violent. These pieces, along with Cahn's reflections on artistic expression, have always responded to her contemporary moment. In the 1980s, her work addressed the feminist, peace, and environmental movements, while the work she produced in the 1990s and early 2000s contains allusions to the war in the former Yugoslavia, the conflict in the Middle East, and the September 11 terrorist attacks. Her recent production tackles ever-evolving political conflicts, engaging with the European refugee crisis and the "#metoo" movement. Miriam Cahn: I as Human examines different facets of the artist's prolific and troubling oeuvre, featuring contributions from art historians, critics, and philosophers including Kathleen Buhler, Paul B. Preciado, Elisabeth Lebovici, Adam Szymczyk, Natalia Sielewicz and .

A luminous comet shooting across the late 70s constellation of photographers and artists that included Nan Goldin, David Armstrong, Jack Pierson and Philip-Lorca diCorcia, Mark Morrisroe produced an incredibly rich and various body of work in the brief ten-plus years in which he was active. He survived a fraught childhood and teen years as a prostitute (he was once shot by a client) to attend the School of the Museum of Fine Arts in Boston, where he made friendships with Goldin, Armstrong and others, performed in drag under the name Sweet Raspberry, cofounded the punk zine "Dirt "("he sort of invented the Boston punk scene," Jack Pierson later recalled) and eventually graduated from the school with honors. Shortly after, Morrisroe moved to New York, acquired a Polaroid camera and began photographing. Most of his photographs are portraits--of hustlers, lovers, friends and of himself--or hand-painted photograms. Morrisroe is also famed for his X-ray self-portraits, which show the bullet lodged near his spine after his shooting. All of his output carries this reckless, go-for-broke character, and an edge of urgency and necessity. After his death (from AIDS-related illnesses), more than 2,000 Polaroids were found among his possessions. This first comprehensive monograph compiles photographs and ephemera from the early punk years to Super-8 films, photograms and the late self-portraits. More than 500 photographs are reproduced here, alongside essays and an extensive biography.
Born to a drug-addicted mother, Mark Morrisroe (1959-1989) left home at 13, began hustling at 15 and at 17 was shot in the back by a client. The entirety of Morrisroe's brief life was characterized by danger and poverty, and mythologized by him as such: his mother was a friend and neighbor of Albert DeSalvo (aka the Boston Strangler) and Morrisroe claimed to be his illegitimate son. Morrisroe died in 1989.