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 ...

AAA Public Programmes Curator Ingrid Chu explored the international phenomenon of the ‘art book bag’ in a short history of the art book bag (and the things that go in them). Using the last 15 years as a guide, the exhibition featured ‘the things that go in them’—art publications, magazines, and related ephemera—alongside a vast array of these popular totes in the AAA Library. Chu invited artists, curators, art book fair organisers, and print and online publishers to provide insight into the changing modes of knowledge production and circulation, and their influence on recent art of Asia. An associated public talk, ...

This sixteen page book is titled ‘Alif, after the first letter and numeral of the Arabic language, which are both written with a single stroke. The book contains a series of love poems possibly written by the seventh century arab poet Abu Nuwas, to his contemporary, the alchemist Jabir Ibn Hayyan. The poems are said to be carried out by the poet according to rigorous parameters set by the alchemist.

What would it be like if one day everyone you encountered said that they were you. Would you let them assume your identification, knowing that ultimately they can only be themselves. These questions are what Carroll provokes us with in All the men that think they can be me.

Jonas Mekas’s artist book is made up of postcards, notes, drawings and letters that friends and artists have sent him over the years. It is a sequel to his filmed and written diaries.

I’m one of those ADD people. I’ve never touched art in a gallery, but that’s because it’s in a gallery, not because “it’s art”. Really good art is best appreciated by rubbing yourself all over it. So, this “I Failed as a Visitor” thing is a wee bit offensive. Modern art should be inviting visitor participation, not building up that wall of separation. posted by shii at 6:07 AM on December 9, 2009

73 expressive portraits of Michael Ballack, the superstar german footballer.The cut-outs are taken from photographs collected by the artist from daily newspapers between May 2005 and May 2006.

Gwen Smith (born in the U.S.A. in 1968) lives and works along the waterfront of the East River in Greenpoint, Brooklyn. Smith’s photographs of neighborhoods and their markings recognize a psychic energy in places that are fleeting. She uses photography to observe change and questions what is permanent. Cancer is the sequel to Tropic.

Here are some drips, splashes and pours, all accidental or intentional and all stolen from one late work by a well known master. Sometimes it takes a new type of looking in order to move forward. What do we see when we take things apart and reorganize? Really, it is open to your own interpretation but I included a photo I took to let you know how I feel.

Every day, people on Wikipedia nominate articles for deletion and discuss whether they should remain in the encyclopedia or not. This is done on a sub page called “Articles for deletion”. A frequent reason for exclusion of an entry is “non-notability”. After I had a look at those discussions, the article about my own person (Gregor Weichbrodt) ironically became nominated for deletion from the German Wikipedia, too. The anonymous person that put me on the list wrote “Completely misses notability criteria for ‘authors’. Unsatisfying notability criteria for artists too.” I wrote a Python script to download the contents of every “articles for ...

“One of the ways in which the Conceptual project in art has been most successful is in claiming new territory for practice. It’s a tendency that’s been almost too successful: today it seems that most of the work in the international art system positions itself as Conceptual to some degree, yielding the “Conceptual painter,” the “DJ and Conceptual artist,” or the “Conceptual web artist.” Let’s put aside the question of what makes a work Conceptual, recognizing, with some resignation, that the term can only gesture toward a thirty year-old historical moment. But it can’t be rejected entirely, as it has ...

For his participation in the 56th Venice Biennale, Rirkrit Tiravanija realized Untitled 2015 (14,086 unfired) an event located in the Central Exhibition, Arsenale, allowing visitors to purchase construction bricks stamped with a Mandarin translation of Guy Debord’s protest slogan “Ne Travaillez Jamais” with proceeds benefiting the Italian foundation ISCOS, a nonprofit supporting international worker’s rights in Italy and developing countries. Inspired by the ubiquitous presence of construction bricks piled before various building sites in Beijing, Tiravanija decided to “make a little factory” in China where this slogan was stamped into bricks by workers, emphasizing their labor as literal building block of ...

“A fence’s integrity rests on its ability to enclose what one is unwilling or unable to offer.” Views from a performance of black fatherhood. “Fences” by Saretta Morgan is part of Resentment, the twenty-fifth issue of Triple Canopy, that is devoted to reclaiming—if not recuperating—resentment, especially as harbored by those who are used to fits of anger and bitterness being indicted as unproductive, petty, selfish, even pathological.

These line drawings are preliminary plans for sculptures. The sculptures themselves are trilateral, perforated structures that don’t have a “correct” perspective and are intended to be both looked ‘at’ and ‘through’, like a screen. On the page, the same forms are applied as patterns, geometric abstractions, and parred-down faces and bodies.

Hello! We are 3 artists that recently made a trip from Vienna to Reykjavik and back to amongst others take part in the Icelandic art festival Sequences, and an exhibition in Kunsthaus Graz, Austria. The trip was focused on documenting and drawing, which resulted in a travel blog, http://www.yngveholen.com/fishfinder. Hand drawings by Constantin Luser(AT) and CAD drawings by Yngve Holen(NO), photography by Marlie Mul(NL). We are very interested in presenting the blog in printed form and thought One Star Press could be suitable for this. I would like to propose to meet you this week to explain the project and see ...

Based on a project at Documenta 13, this publication presents new multimedia works by New York artist Seth Price (born 1973) that meditate on today’s material (fabric) culture. Folklore U.S. includes paintings on plywood, vacuum-formed rope paintings and cloth sculptures fabricated in NYC’s garment district.

A meal in three courses, by Martha Rosler, 1985 by Seth Price, 2004

Gnosis (from the Latin gnosos meaning “knowledge” and nosos meaning “disease”) is an intriguing meditation on the subjectivity of perception. Composed by artist Sreshta Rit Premnath, it consists of eight collaged silhouettes accompanied by two found texts: a 19th century clinical description of the neurological condition anosognosia and a list of CIA counterintelligence categories used in the interrogation of suspects.

Showing together in Europe now for the second time, Wade Guyton, Seth Price, Josh Smith and Kelley Walker may not be the New Yorkiest band in the world, but if they were this would be their second album. Let’s call them fellow travelers and assume their grouping is at least partly a European construction. It’s their packaging and touring as Guyton, Price, Walker, Smith that allows for the production of something like a New York moment in the Kunsthalle and wherever such moments are in demand. And it could be that the objects and images on view here are not ...

This title will be available soon. If in fact there is a context…

This book was produced in the context of Art Dubai’s Marker, a curated not-for-profit gallery programme that concentrates each year on a particular theme or geography. (www.artdubai.ae/marker). The 2014 edition of Marker is curated by Slavs and Tatars and takes Central Asia and the Caucasus as its focus.

“They’re a kind of cabin or hut, very basic and awkwardly assembled, wedged into the space of the balcony between the guardrail and the wall of the building.The vertical sides are made of plywood, canvas or tarp, and are topped by a vegetal roofing that is more or less dry, more or less green, threaded with palm wattle. These huts are opaque and seem to communicate with apartments…”

Many or most of the objects in the Library would be impossible to replace already, just a few years after they were made. Some were singular, or in editions of two or ten copies, others were print on demand but from sites and situations that have already disappeared. The Library is a document of a moment and a sensibility that seems simultaneously contemporary and historical—just by being gathered in this way, the manifold and subtle affects and design choices gather force and become expressive of a period. As I held the books I felt them slipping out of my grasp. ...

A selection of 150 cities within Slavs and Tatars’ Eurasian remit, Love Me, Love Me Not: Changed Names plucks the petals off the past to reveal an impossibly thorny stem: a lineage of names changed by the course of the region’s grueling history. Some cities divulge a resolutely Asian heritage, so often forgotten in today’s quest, at all costs, for European integration. Some vacillate almost painfully, and others with numbing repetition, entire metropolises caught like children in the spiteful back and forth of a custody battle. Love Me, Love Me Not: Changed Names celebrates the multilingual, carnivalesque complexity readily eclipsed ...