In the Mind, But Not From There: Real Abstraction and Contemporary Art considers how the Marxian concept of Real Abstraction--originally developed by Alfred Sohn Rethel, and recently updated by Alberto Toscano--might help to define the economic, social, political, and cultural complexities of our contemporary moment. In doing so, this volume brings together noted contemporary artists, literary critics, curators, historians, and social theorists who connect the concept of Real Abstraction with contemporary cultural production. Theoretical and artistic contributions from Benjamin Noys, Paul Chan, Joao Enxuto and Erica Love, Marina Vishmidt, Sven Lutticken, and many others help to map out the relationship between political economy and artistic production in the realm of contemporary, globalized cultural exchange. This anthology places economic and social analyses alongside creative projects and visual essays to consider the many angles of contemporary art, and how inquiry into the the production of abstraction through material and social processes can be used to better understand, and hopefully change, the conditions under which art is made, seen, and circulated today. Published in collaboration with [NAME] publications.

Artists and critics explore the concept of Real Abstraction to help understand contemporary cultural production In the Mind, But Not From There: Real Abstraction and Contemporary Art considers how the Marxian concept of Real Abstraction--originally developed by Alfred Sohn Rethel, and recently updated by Alberto Toscano--might help to define the economic, social, political, and cultural complexities of our contemporary moment. In doing so, this volume brings together noted contemporary artists, literary critics, curators, historians, and social theorists who connect the concept of Real Abstraction with contemporary cultural production. Theoretical and artistic contributions from Benjamin Noys, Paul Chan, Joao Enxuto and Erica Love, Marina Vishmidt, Sven Lutticken, and many others help to map out the relationship between political economy and artistic production in the realm of contemporary, globalized cultural exchange. This anthology places economic and social analyses alongside creative projects and visual essays to consider the many angles of contemporary art, and how inquiry into the the production of abstraction through material and social processes can be used to better understand, and hopefully change, the conditions under which art is made, seen, and circulated today. Published in collaboration with [NAME] publications.

Published to mark the artist's first solo US museum show, Paulo Nazareth: Melee presents an engaging and timely look at the artist's multifarious work. The exhibition, held at the Institute of Contemporary Art, Miami in 2019, explored how Nazareth's work engages the complex colonial and racial histories of the Americas. An artist who works across mediums, Nazareth uses performance and sculpture to critique the colonial experience and its afterlives in Brazil and the Americas. His durational performances and installations draw from his joint African and Indigenous heritage to highlight marginalized historical legacies, progressive political figures, non-Western worldviews, and potential methods of nonexploitative living and relating. Nazareth's work assumes a new poignancy in light of the return of repressive political forces and the racial reckoning that our historical moment demands. This beautifully produced volume offers over one hundred color illustrations in addition to newly commissioned scholarship. Paulo Nazareth: Melee is the first exhaustive catalogue of Nazareth's work, solidifying his place as one of today's most important global artists.

One of the great conceptual artists of the twenty-first century, Terry Adkins (1953-2014) was renowned for his pioneering work across mediums, from sculpture, drawing, and site-specific installation to photography, video, and performance. Terry Adkins: Infinity is Always Less Than One accompanies the first institutional posthumous exhibition of Adkins's sculptural production. While Adkins is often recognized for his musical and performative practice, this exhibition focuses on his complex memorials and monuments to historical figures. The exhibition showcases four of his major series, dedicated to four distinct figures: Bessie Smith, John Brown, Zora Neale Hurston, and Jimi Hendrix. These series are presented alongside a group of early sculptures to reveal the development of the Adkins's mature practice. The exhibition highlights Adkins's crucial contributions to sculpture and to cultural protest, featuring major works that have not been viewed in decades. It explores significant periods and influences in Adkins's career, beginning with transitional hand-wrought sculptures and continuing with his major immersive installations. His often elegiac and always resonant objects challenge dominant historical narratives and prompt a rethinking of ways of being and moving in the world that are shaped by the legacies of displacement and the sociability and community that happen despite it. Adkins's work also enlarges the historical legacies of the postwar avant-garde while reminding us of the immaterial legacies that are passed on through ritual and sound. Contributors. Alex Gartenfeld, Kobena Mercer, Gean Moreno, Nizan Shaked, and Greg Tate A Publication of ICA Miami Distributed by Duke University Press

Drawing on draftsmanship, painting, literature, and installations, Michael Tedja's oeuvre erupts into a flamboyant and visually playful whole. His boisterous storms of imagery recall the CoBrA movement of artists from Copenhagen, Brussels and Amsterdam briefly banded together after World War II. Aiming to banish bourgeois rituals as well as theorizing around avant-garde art, they embraced expressionist spontaneity, an unrestrained use of vivid colors, folkloric elements, handwriting and graffiti. But Michael Tedja has taken out the folkloric and anti-intellectual, his painting is a kind of IQ test. With abstract and figurative visual vocabulary complementing each other, Tedja's imagery is expressive and linguistic, full of references and autobiographical elements. This monograph encompasses large-scale paintings, his overwhelming installation of large drawings Hypersubjective, as well as The Color Guide Series. Here, Tedja deploys textured paint, crayon and chalk on commercial paper stock-the color bars printed along the paper's edge are left exposed-turning mass-produced standard into something decidedly unique. Yet by constantly recycling and repurposing images, Tedja explores the alterability of meaning within the visual context of globalization.