The Guerrilla Girls' Bedside Companion to the History of Western Art by
THE GUERILLA GIRLS' BEDSIDE COMPANION TO THE HISTORY OF WESTERN ART
Art Workers by
During the late 1960s and early 1970s, in response to the political turbulence generated by the Vietnam War, an important group of American artists and critics sought to expand the definition of creative labor by identifying themselves as "art workers." In the first book to examine this movement, Julia Bryan-Wilson shows how a polemical redefinition of artistic labor played a central role in minimalism, process art, feminist criticism, and conceptualism. In her close examination of four seminal figures of the period--American artists Carl Andre, Robert Morris, and Hans Haacke, and art critic Lucy Lippard--Bryan-Wilson frames an engrossing new argument around the double entendre that "art works." She traces the divergent ways in which these four artists and writers rallied around the "art worker" identity, including participating in the Art Workers' Coalition--a short-lived organization founded in 1969 to protest the war and agitate for artists' rights--and the New York Art Strike. By connecting social art history and theories of labor, this book illuminates the artworks and protest actions that were central to this pivotal era in both American art and politics. A Best Book of 2009, Artforum Magazine
Working Conditions by
Texts by Hans Haacke that range from straightforward descriptions of his artworks to wide-ranging reflections on the relationship between art and politics.Hans Haacke's art articulates the interdependence of multiple elements. An artwork is not merely an object but is also its context-the economic, social, and political conditions of the art world and the world at large. Among his best-known works are MoMA-Poll (1970), which polled museumgoers on their opinions about Nelson Rockefeller and the Nixon administration's Indochina policy; Gallery-Goers' Birthplace and Residence Profile (1969), which canvassed visitors to the Howard Wise Gallery in Manhattan; and the famously canceled 1971 solo exhibition at the Guggenheim Museum, which was meant to display, among other things, works on two New York real estate empires. This volume collects writings by Haacke that explain and document his practice. The texts, some of which have never before been published, run from straightforward descriptions to wide-ranging reflections and full-throated polemics. They include correspondence with MoMA and the Guggenheim and a letter refusing to represent the United States at the 1969 S o Paulo Biennial; the title piece, "Working Conditions," which discusses corporate influence on the art world; Haacke's thinking about "real-time social systems"; and texts written for museum catalogs on various artworks, including GERMANIA, in the German Pavilion of the 1993 Venice Biennial; DER BEV LKERUNG (To the Population) of 2000 at the Berlin Reichstag; Mixed Messages, an exhibition of objects from the Victoria and Albert Museum (2001); and Gift Horse, unveiled on the fourth plinth in Trafalgar Square in 2015.
Howardena Pindell: What Remains to be Seen by
This retrospective volume celebrates five decades of Howardena Pindell's art, including works on paper, collage, photography, film, and video. Born in middle-class Philadelphia in the 1940s, Howardena Pindell came of age during the Civil Rights movement. As an African-American woman artist, making her way in the world provided Pindell with source material to inspire her work. This book examines every facet of Pindell's impressive career to date. Since the 1960s, she has used materials such as glitter, talcum powder, and perfume to stretch the boundaries of traditional canvas painting. She has also infused her work with traces of her labor, such as obsessively affixing dots of pigment and circles made with an ordinary hole punch tool. After a car crash in 1979 left her with short-term amnesia, Pindell's work looked beyond the painting studio to explore a wide range of subjects, including the personal and diaristic as well as the social and political. This monograph also highlights Pindell's work with photography, film, and performance. Excerpts from the artist's writing, in particular her critique of the art world and her responses to feminism and racial politics, provide prescient commentary in light of conversations around equality and inclusion today. Published in association with the Museum of Contemporary Art Chicago
The Heart of the Question: The Writings and Paintings of Howardena Pindell by 
still from O'Grady's performance, "Untitled (Mlle Bourgeoise Noire)," 1980
Cut out work, 70's-90's
Lorraine o'Grady: Both/and by
Four decades of multimedia exploits in race, art politics and subjectivity: a long-overdue survey on conceptual performance artist Lorraine O'Grady Conceptual performance artist Lorraine O'Grady burst into the contemporary art world in 1980 dressed in a gown made of 180 pairs of white gloves and wielding a chrysanthemum-studded whip. For the next three years, O'Grady documented her exploits as this incendiary fictional persona, visiting gallery openings and providing critiques of the racial politics at play in the New York art scene. The resulting series, Mlle Bourgeoise Noire, was merely the beginning of a long career of avant-garde work that would continue to build upon O'Grady's conceptions of self and subjectivity as seen from the perspective of a Black woman artist. This survey of O'Grady's work spans four decades of her career and features nearly all of her major projects, as well as Announcement, the opening series of a new performance piece seven years in the making. Contextualized by an extensive timeline with letters, journal entries and interviews, Both/And provides a long-overdue close examination of O'Grady's artistic and intellectual ambitions. Before she became an artist at the age of 45, Lorraine O'Grady (born 1934) worked as an intelligence analyst for the United States government, a translator, and a rock music critic for the Village Voice and Rolling Stone. O'Grady's unique life experiences, as well as her identity as a diasporic subject, have informed her multidisciplinary practice across live performance, video, photomontage, public art and cultural criticism. She is represented by Alexander Gray Associates, New York.
Writing in Space, 1973-2019 by
Writing in Space, 1973-2019 gathers the writings of conceptual artist Lorraine O'Grady, who for over forty years has investigated the complicated relationship between text and image. A firsthand account of O'Grady's wide-ranging practice, this volume contains statements, scripts, and previously unpublished notes charting the development of her performance work and conceptual photography; her art and music criticism that appeared in the Village Voice and Artforum; critical and theoretical essays on art and culture, including her classic "Olympia's Maid"; and interviews in which O'Grady maps, expands, and complicates the intellectual terrain of her work. She examines issues ranging from black female subjectivity to diaspora and race and representation in contemporary art, exploring both their personal and their institutional implications. O'Grady's writings--introduced in this collection by critic and curator Aruna D'Souza--offer a unique window into her artistic and intellectual evolution while consistently plumbing the political possibilities of art.
