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Part of the acclaimed 'Documents of Contemporary Art' series of
anthologies . Intrinsically collaborative, the magazine is an
inherently `open' form, generating constantly evolving
relationships. This anthology contextualizes the artist's magazine,
surveying the art worlds it has by turns created and superseded;
the commercial media forms it has critically appropriated,
intervened in or subverted; the alternative, DIY cultures it has
brought into being; and the expanded fields of cultural production,
exchange and distribution it continues to engender. Surveying case
studies of transformational magazines from the early 1960s onwards,
this book also includes a wide-ranging archive of key editorial
statements, from eighteenth-century Weimar to twenty-first century
Bangkok, Cape Town and Delhi. Artists surveyed include: Can Altay,
Ei Arakawa, Julieta Aranda, Tania Bruguera, Maurizio Cattelan,
Eduardo Costa, Dexter Sinister, Rimma Gerlovina, Valeriy Gerlovin,
Robert Heinecken, John Holmstrom, John Knight, Silvia Kolbowski,
Lee Lozano, Josephine Meckseper, Clemente Padin, Raymond Pettibon,
Adrian Piper, Seth Price, Raqs Media Collective, Riot Grrrl, Martha
Rosler, Sanaa Seif, Rirkrit Tiravanija, Scott Treleaven, Triple
Canopy and Anton Vidokle. Writers include: Saul Anton, Stuart
Brand, Jack Burnham, Johanna Burton, Thomas Crow, Edit DeAk,
Kenneth Goldsmith, Jurgen Habermas, Martina Koeppel-Yang, Antje
Krause-Wahl, Lucy Lippard, Caolan Madden, Valentina Parisi,
Howardena Pindell, Georg Schoellhammer, Nancy Spector, Sally Stein,
Reiko Tomii, Jud Yalkut and Vivian Ziherl.
Volume 2 of this exceptional catalogue raisonne project compiles
the unique works on paper that Edward Ruscha (b. 1937) made between
1977 and 1997, the artist's midcareer period, during which he
achieved international renown. More than 1,000 works are
documented, among them hundreds that have rarely, or never, been
exhibited or published. Highlights include Ruscha's inimitable word
and phrase works, made in organic materials, pastel, or acrylic;
compositions featuring signature images (windows, ships,
silhouetted objects and figures, and film closing credits); and
drawings and studies related to important public commissions for
the Miami-Dade Public Library, the Denver Central Library, and the
Getty Center. Each work is catalogued with a beautiful color
reproduction, collection details, full chronological provenance,
exhibition history, and bibliographic references. Essays by Lisa
Turvey and Gwen Allen complete the volume, providing critical
frameworks and historical context for the art within. Distributed
for Gagosian Gallery
How artists' magazines, in all their ephemerality, materiality, and
temporary intensity, challenged mainstream art criticism and the
gallery system. During the 1960s and 1970s, magazines became an
important new site of artistic practice, functioning as an
alternative exhibition space for the dematerialized practices of
conceptual art. Artists created works expressly for these
mass-produced, hand-editioned pages, using the ephemerality and the
materiality of the magazine to challenge the conventions of both
artistic medium and gallery. In Artists' Magazines, Gwen Allen
looks at the most important of these magazines in their heyday (the
1960s to the 1980s) and compiles a comprehensive, illustrated
directory of hundreds of others. Among the magazines Allen examines
are Aspen (1965-1971), a multimedia magazine in a box-issues
included Super-8 films, flexi-disc records, critical writings,
artists' postage stamps, and collectible chapbooks; Avalanche
(1970-1976), which expressed the countercultural character of the
emerging SoHo art community through its interviews and
artist-designed contributions; and Real Life (1979-1994), published
by Thomas Lawson and Susan Morgan as a forum for the Pictures
generation. These and the other magazines Allen examines expressed
their differences from mainstream media in both form and content:
they cast their homemade, do-it-yourself quality against the
slickness of an Artforum, and they created work that defied the
formalist orthodoxy of the day. Artists' Magazines, featuring
abundant color illustrations of magazine covers and content, offers
an essential guide to a little-explored medium.
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