Artists' Magazines by Gwen Allen
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.
Publication Date: 2011
The Magazine by Gwen Allen
The artist's magazine as a place where new ideas and forms can be imagined and created, from the eighteenth century to the twenty-first.The multiple platforms of the digital era have not diminished the role of the magazine for artists as an alternative medium and experimental space. Whether printed on paper or electronically generated, the artist's magazine continues to be a place where new ideas and forms can be imagined as well as a significant site of artistic production. Intrinsically collaborative, including readers' active engagement, the magazine is an inherently open form that generates constantly evolving relationships. It was integral to the emergence of art criticism in the Enlightenment period and to the development of artistic dialogues around notions of culture, politics, and the public from the modern era avant-gardes to the present. This collection contextualizes the current condition and potential of the artist's magazine, surveying the art worlds it has created and then 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. In addition to surveying case studies of transformational magazines from the early 1960s onwards, The Magazine 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, Anton Vidokle Writers include Saul Anton, Stewart Brand, Jack Burnham, Johanna Burton, Thomas Crow, Edit DeAk, Kenneth Goldsmith, J rgen Habermas, Martina K ppel-Yang, Antje Krause-Wahl, Lucy Lippard, Caolan Madden, Valentina Parisi, Howardena Pindell, Georg Sch llhammer, Nancy Spector, Sally Stein, Reiko Tomii, Jud Yalkut, Vivian Ziherl
Publication Date: 2016
Barthes: a Very Short Introduction by Jonathan Culler
Roland Barthes was the leading figure of French Structuralism, the theoretical movement of the 1960s which revolutionized the study of literature and culture, as well as history and psychoanalysis. But Barthes was a man who disliked orthodoxies. His shifting positions and theoretical interests make him hard to grasp and assess. This book surveys Barthes' work in clear, accessible prose, highlighting what is most interesting and important in his work today. In particular, the book describes the many projects, which Barthes explored and which helped to change the way we think about a range of cultural phenomena--from literature, fashion, wrestling, and advertising to notions of the self, of history, and of nature.
Publication Date: 2002
All Yesterdays' Parties by Clinton Heylin
The Velvet Underground are among the most influential bands of all time. Their trademark sound is easily detected in David Bowie, Iggy Pop, Talking Heads, R.E.M., Jane's Addiction, Yo La Tengo, Luna, and the Strokes, and they are also credited with creating a streetwise, pre-punk sensibility that has become inseparable from the popular image of downtown New York. 'Discovered' by Andy Warhol in 1966, the VU-with their original line-up of Lou Reed, John Cale, Sterling Morrison, and Mo Tucker-would soon become the house band of the avant-garde, composing songs simultaneously furious in their abrasiveness and beautiful in their pathos, standing in striking contrast to the prevailing flower power of the era.With such a notorious pedigree, it's only natural that the story of the VU has become shrouded in myth and hyperbole.All Yesterdays' Parties gathers for the first time almost all of the published writings contemporary with the band's existence-from sources as mainstream as the New York Times to vanished voices of the counterculture like Oz, Open City, Fusion, and Crawdaddy! It's an invaluable snapshot of an era by trailblazing rock writers such as Lester Bangs, Robert Greenfield, Sandy Pearlman, and Paul Williams. With the most complete VU discography assembled to date, a biographical overview by editor and author Clinton Heylin, and photographs, posters, and other visual evocations of the period throughout,All Yesterdays' Parties is an invaluable resource, a trove of lore for anyone interested in the VU, their roots, and legacy.
Publication Date: 2005
Picture Industry by Walead Beshty (Editor); Giorgio Agamben (Text by); Ariella Azoulay (Text by); Roland Barthes (Text by)
Curated by artist Walead Beshty, the exhibition Picture Industry reflects upon transformations in the production and distribution of photographic images as realized through its varied constructions of the corporeal, from its origin as a scientific tool and a means of cultural investigation to its phenomenological effects on the viewer.Picture Industry serves as a comprehensive catalogue for the exhibition by way of an anthology of historical and theoretical texts, including reproductions of key art works and publications.It offers a resource to consider dominant threads in aesthetic theory, including selections from structuralist and post structuralist explorations of representation, to German media theory, the study of cultural techniques, and the still-burgeoning realm of new media theory.Rather than attempting a definitive history, the publication posits an alternative approach to the myriad questions and debates associated with representation, presenting its technological history as inextricable from the social history of media, and staging this through the complex and multivalent relationship between the photographic image and the body, whether the body of the viewer, or that of the image.Published with the Center for Curatorial Studies, Bard College, and the LUMA Foundation, on the occasion of the exhibition, Picture Industry at LUMA, Arles (12 October 2018 - 6 January 2019).The exhibition is an extended version of that presented as part of, Systematically Open? New Forms for Contemporary Image Production, the inaugural series of exhibitions at the LUMA Foundation, Arles.
Publication Date: 2018