A children’s book on agriculture in Le Cateau brings together drawings by students from three classes at three different schools in the region to partner with Musée Matisse Le Cateau-Cambrésis, located in rural northern France. At the invitation of Carrie Pilto, director of the museum, artist Harrell Fletcher joined by Nolan Calisch and Molly Sherman proposed instructions for children to illustrate a text on the agricultural history of the region. This book traces the first meeting between these artists and the inhabitants of Le Cateau and its environs, beginning a series of participatory projects initiated by Musée Matisse Le Cateau-Cambrésis. Made on ...

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…

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. Daniel Eatock

This title will be available soon. Charlotte Salomon (1917–1943) is one of the nameless. During her brief lifetime, the only document that affirmed her status as artist was the typed transport list that took her from Drancy on October 7, 1943, to Auschwitz, where she was murdered on October 10 because she was a pregnant Jewish woman. Salomon had been incarcerated in 1940 in the French concentration camp at Gurs, along with a diverse group of women, many of whom managed to escape the camp in the turmoil following the capitulation of France to invading German forces in June 1940. Those ...

Between December 2006 and January 2007, Sillman and Bordowitz recorded approximately 10 hours of conversation on topics ranging from art and philosophy to their personal histories and friendship. The resulting publication follows the chronology of their discussions from beginning to end. The transcript starts where they consider the beliefs underlying their respective endeavors, what art can and cannot accomplish. This e-book contains a new postscript created by Sillman and Bordowitz in the summer of 2014.

In this edited extract from her new book The Autobiography of Video: The Life and Times of a Memory Technology, Ina Blom examines the memory and history of early analog video, and investigates how the medium, heralding new forms of technological and social life, prehended the forms and forces of painting.

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.

“Defacement” introduces twelve contemporary artists, and presents them in context alongside the “Situationist International,” an intellectual, social and artistic organization active from 1957-1972 which included Asger Jorn and Guy Debord. The Situationists aimed to critique the evolving mass-consumerist society resulting from the globalizing force of capitalism. At the core of the exhibition is a re-reading of the strategy détournement, specifically interpreting the concept of defacement. The exhibition includes painter Jacqueline de Jong, who was one of the original members of “Situationist International,” Andy Warhol, whose use of repetition negated the concept of preciousness and posed a question to our conception ...

Aaron Gemmill and Dana Schutz

On episode 9 of Hidden Noise, hosts Abby Sandler and Rebecca Siegel discuss this weeks Go See: “Peter Hujar: Speed of Life” at the Morgan Library and Museum. In Critical Conversations, Even editor Jason Farago speaks to painter Amy Sillman. For the Even 8, the hosts are joined by The Kitchen’s executive director and chief curator Tim Griffin.

As we continue to circle the question “what makes great art?”, Sky Goodden spoke with Margaux Williamson, a slow painter who gives the greatest primacy to the work of her work, and to the thinking-through that the work requires. Based in Toronto, and known for both her intense focus in the studio and her community-building in Toronto’s art scene, Williamson speaks with humor and heart about where her friends show up in her art, and the soft focus that painting requires. ‘People can be easily impressed by skill, and I know that’s not what art is.’

Negotiations is a book that comprises a multiplicity of definitions. In one sense it is a word-for-word reproduction of an antiques auction catalog (Christie’s New York, 1983). In another it is a book about the (re)production of images and text, and in another, it is a book that negotiates the role of the abstraction of value in art and its markets. And in another, it is about encyclopedic information, subjectivity and hermeneutics. The form of the book is structured by a series of layers or sections. Part one is a modulated facsimile of the catalog itself, including comprehensive descriptions of auction ...