Using her own body as raw material for her artistic practice, French artist ORLAN deconstructs the traditional iconography of the feminine. In the 1990s, ORLAN caused a sensation with surgical operations performed on her body, but it was as early as 1964, at the age of 17, that she gave birth to her artistic self. Since then, she has continuously recreated herself and keenly explored the concept of identity. In her "carnal art," the body becomes both subject and object. This publication traverses the six decades of ORLAN's oeuvre, revisiting her early performances in particular. One of her most recent creations is the ORLANOIDE robot, and thanks to an augmented reality app, ORLAN avatars come to life and emerge from this richly illustrated volume. The political status of the body is made evident through all of her works: in 1989 she transformed Gustave Courbet's famous painting L'origine du monde into L'origine de la guerre by replacing the vulva with the phallus. The statement has not lost any of its topicality.

Published in conjunction with the first solo museum exhibition of the work of Sanja Iveković in the United States, this volume presents the most comprehensive survey on the artist available in English. A feminist, activist, video and performance pioneer, Iveković (born Zagreb, 1949) came of age in the early 1970s during the period known as the Croatian Spring, when artists broke free from mainstream institutional settings, laying the ground for a new form of practice antipodal to official art. She produced works of crosscultural resonance that range from Conceptual photomontages to video, installation and performance. This catalogue presents an overview of the artist’s projects from the early 1970s to 2010 in all mediums, offering a fascinating view of the official politics of power, gender roles, and the paradoxes inherent in a society’s collective memory. Essays by Roxana Marcoci and Terry Eagleton offer a critical examination of the neo-avantgarde in former Yugoslavia, within which Iveković’s work first emerged, and place her work in the context of violence in art and real-life circumstances. This publication contributes to the reevaluation of significant women artists ad a broader understanding of the discursive relationship between art, performance, political studies, and social change in the post-1960s period.

Published to accompany the first museum exhibition in the United States of the work of German-born Grete Stern and Argentinean Horacio Coppola, From Bauhaus to Buenos Aires explores the individual accomplishments and parallel developments of two of the foremost practitioners of avantgarde photography in Europe and Latin America. The book traces their artistic development from the early 1930s, when the two met in Berlin at the Bauhaus, through the mid-1950s, by which time they had firmly established the foundations of modern photography in Buenos Aires. While twentieth-century photography has a fair number of important teams, Stern and Coppola are unique in that they managed to share their avant-garde ambition while maintaining their autographic styles and individual practices. The couple effectively imported the lessons of the Bauhaus to Latin America, and revolutionized the practice of art and commercial photography on both sides of the Atlantic by introducing such innovative techniques as photomontage, embodied in Stern's protofeminist works for the women's journal Idilio, and through Coppola's experimental films and groundbreaking images for the photographic survey Buenos Aires 1936. Featuring a selection of newly translated original texts by Stern and Coppola, and essays by curators Roxana Marcoci and Sarah Meister and scholar Jodi Roberts, From Bauhaus to Buenos Aires is the first publication in English to examine the critical intersections that defined the notable careers of these two influential artists.