In this latest addition to the highly acclaimed ‘Art and…’ series, Aloi surveys the insistent presence of animals in the world of contemporary art, exploring the leading concepts which inform this emerging practice.
This first historical and critical analysis of the artist’s work by prominent scholars and the artist herself brings nearly forty years of creative output into focus by tracking the development of her constant themes through each medium. The essays range from formal to theoretical to psychological to poetical analyses. Includes a DVD.
Published in conjunction with a major retrospective of the artist’s work at the New Museum of Contemporary Art, New York, January – April 1999. Includes excerpts from Wojnarowicz’s writings and essays by Dan Cameron, Mysoon Rizk, C. Carr and John Carlin.
A book of photo etchings of Mendieta’s Rupestrian Sculptures.
Exhibition catalogue. Original exhibition: Graz, Künstlerhaus, October – November 1976. Further exhibitions: Innsbruck, Vienna, Bochum. In English and German.
Enrique Metinides's choice of the 101 key images from his life photographing crime scenes and accidents in Mexico for local newspapers and the nota roja (or red pages, for their bloody content) crime press. An accompanying exhibition, which launched at Rencontres d'Arles in July 2011, toured to venues in Europe and the Americas.
This book and the exhibition launched with it represent a powerful exploration in both image and text of the impact of the AIDS crisis. Different voices reveal the profound inadequacies in our attitudes to disease.
The first sustained publication on the artist and writer of Scottish and Ghanaian heritage who lived and worked in Britain. Originally accompanied the exhibition, Maud Sulter: Passion at Street Level Photoworks in Glasgow, 25 April – 21 June 2015.
Includes exhibition programme from Maud Sulter: Syrcas at Autograph ABP in London, 15 January – 2 April 2016.
Editor Chon A. Noriega collects ephemera gathered from Gamboa’s three-decade-long dadaistic career. The book includes interviews with artists, poetry, fiction, collaged images, documentation of public and staged performances, photographic portraits of Chicano men, and political writings, including an essay on public schools reflecting his son’s first year in kindergarten.
Tracing a dynamic genealogy of performance from the nineteenth to the twenty-first century, Uri McMillan contends that black women artists practiced a purposeful self- objectification, transforming themselves into art objects.