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 This anthology contextualizes the artist's magazine, surveying the art worlds it has by turns created and superseded; the commercial media forms it has critically appropriated, intervened in or subverted; the alternative, DIY cultures it has brought into being; and the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.