Artists

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“18 PARIS IV.70” was an exhibition organized by Michel Claura in Paris in 1970. Held at a temporary space on Rue Mouffetard that April, it was accompanied by this trilingual publication (in English, French, and German), edited by Claura and published and distributed by Seth Siegelaub. Claura invited a group of artists to each contribute a work to the exhibition. Having collected a series of artist proposals, Claura then sent this collection to each of the participants, after which they were allowed to change their initial plans. This publication includes a preface and a postface by Claura and a two-part entry ...
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Publisheronestar press2003
Angelo Plessas started in 2000 to create web sites as artworks. This book contains most of the illustrations that he created during the period of 2001-2003. Some of these works are not yet published on the web. Angelo Plessas’ works includes web sites for worldwide famous artists and and art centers such as Andreas Angelidakis, Vanessa Beecroft, Miltos Manetas, Armin Linke, Xavier Veilhan, Carsten Holler.
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Publisheronestar press2014
The long poem 24 hours is made up of twenty-four sections, each section consisting of twenty-four lines. This is a very different poem for me. Intellectually it came out of conversations about obsession I had been having with visual artists. Emotionally it’s one of my most personal poems, a poem about my own mental health, addictions, grief, and an attempt to understand myself through repetition. The first draft of the poem was written over a twenty-four hour period of insomnia, panic, and a kind of energetic wondering about the Self.
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Publisheronestar press2013
The following was announced on the windows of a small blue house at dOCUMENTA (13): The 60 wrd/min art critic is available. ­Reviews are free of charge, and are written here on Mondays, Wednesdays and Saturdays ­between the hours of 1 and 6 p.m. Lori Waxman will spend 25 minutes ­looking at submitted work and writing a 200-word review. Thoughtful responses are guaranteed. Completed reviews will be ­published in the Hessische/­Niedersächsische­Allgemeine (HNA) weekly, and will remain on view here throughout ­dOCUMENTA (13). This book collects together all 241 reviews written during the d13 performance, with an afterword by Carolyn Christov-Bakargiev. LIST OF ARTIST ...
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PublisherSculptureCenter2018
74 million million million tons is an exhibition about the types of evidence that artworks can produce. Employing different methodologies to investigate, intervene, and assemble, the artists in the exhibition reveal subjects on the threshold of politics and the outskirts of legality: the robot, the refugee, the environment, the startup, and others. While their subject matter is divergent, the exhibition’s artists push against narratives put forth by corporate and government industries by producing specific knowledge and corroborative objects around un-mapped historical and political events. Directly intervening in the moments before such events coalesce into widely accepted narratives, they anticipate and ...
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A magazine about art and social engagement. A Blade of Grass (ABOG) was founded to support and deepen understanding for socially engaged artists who are enacting social change within a community.
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PublisherSculptureCenter2012
A Disagreeable Object brings together 20 artists who employ and borrow from the methods and artistic practices that the Surrealists developed in the first half of the century. This is not an exhaustive survey, nor an attempt to re-consider our understanding of Surrealism as an historical movement. Rather, the exhibition offers a view of contemporary sculpture identifying influences and attitudes that have filtered through decades of cultural production. The works in A Disagreeable Object respond to a decidedly contemporary context…
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PublisherHatje Cantz2012
Sometime in 1971, Harald Szeemann visited Turin in preparation for the documenta exhibition he was curating for the following year. Among the people he tried to meet in the city was Alighiero Boetti, but when Szeemann visited Boetti’s studio, the Italian artist wasn’t there. All indications are that somebody took the curator through the studio and showed him around, and that, mistakenly, Szeemann forgot a small piece of paper with a list of artists’ names. Several weeks might have passed before Boetti returned to Turin (that year he took two long trips to Afghanistan) and found the piece of paper ...
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This volume collects the curatorial writing produced at Noxious Sector Projects, a window gallery in downtown Seattle, curated by Ted Hiebert between 2011-13. The gallery had as its mandate to be a “formalized forum for informal inquiry” and to exhibit works that creatively challenged the boundaries between the imaginary and the everyday. Featuring the work of: Jackson 2bears, Cindy Baker, Cedar Tavern Singers, Tanya Doody, Neal Fryett, Tetsushi Higashino, Doug Jarvis, Arthur & Marilouise Kroker, Christian Kuras & Ben Tanner, Christian Kuras & Duncan MacKenzie, David LaRiviere, Nate Larson & Marni Shindelman, Urich Lau, Deirdre Logue & Allyson Mitchell, Susan ...
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PublisherThe Funambulist2014
This podcast is the first one to have two guests, Miami-based artists, writers and editors Gean Moreno and Ernesto Oroza, for an account of their collaborative work manifested in several texts and exhibitions. This conversation focuses on their analysis of “Generic Objects” that allows the optimal function of globalized capitalism (containers, cranes, ships, highways, palettes, buckets, etc.) through a universal metric system, as well as a more local tinkering of these objects in Miami’s Little Haiti for a more local economic form. It concludes the short series of podcasts in Miami. Gean Moreno is an artist and writer based in Miami. ...
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Publisheronestar press2009
Do you know that canvas you see in every permanent collection in every art museum around the world that has been slashed by an artist called Fontana? There are many of them, each a slightly different size, with a different length slash. When encountering them I peer through the slash to the dark shadow, ‘concetto spaziale,’ adjusting my eyes to the light that reaches the gallery wall. I wonder how many canvasses Fontana slashed, and how they would look displayed from the longest to the shortest? The book aligns and extends these voids from page 1 to page 150. A selection ...

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