A major monograph on artist Shahryar Nashat that will be co-published with Kunsthalle Basel and Lenz Press. The publication presents newly commissioned essays on seven significant bodies of work by Shahryar made in recent years. The featured pairings include Negar Azimi on Psych Twombly; Elena Filipovic on Image is an Orphan and The Cold Horizontals; Huw Lemmey on Bone In and Genevas; Adam Linder on Prosthetic Everyday; Hamza Walker and Aram Moshayedi on Hard Up for Support; Jordan Carter on Sore and Chômage Technique; and Laura McLean-Ferris on Keep Begging; amidst graphic interventions and artist projects by Shahryar that will unfold throughout the book.
A first monograph on Shahryar Nashat, generously illustrated with color photographs of the artist?s work and new scholarly contributions. Published in conjunction with two solo exhibitions, at Kunsthalle Basel and Swiss Institute in New York, the monograph includes an introduction by Simon Castets and Elena Filipovic, and further contributions by Negar Azimi, Jordan Carter, Huw Lemmey, Adam Linder, Laura McLean-Ferris, and as well a discussion between Aram Moshayedi and Hamza Walker.00Exhibition: Kunsthalle Basel, Switzerland (29.09.2017 - 07.01.2018) / Swiss Institute, New York, USA (20.03.-02.06.2019).
"In this book, the first in English about Nasir al-Din Shah, Abbas Amanat gives us both a biography of the man and an analysis of the institution of monarchy in modern Iran. Amanat poses a fundamental question: how did monarchy, the center-piece of an ancient political order, withstand and adjust to the challenges of modern times, both at home and abroad? Nasir al-Din Shah's life and career, his upbringing and personality, and his political conduct provide remarkable material for answering this question.
The first overview on fabric sculptor Marion Baruch, from the 1960s to today This richly illustrated edition presents a broad span of Romanian artist Marion Baruch's (born 1929) oeuvre, spanning her painting, textile art, photography, installations and graphics. It includes focus texts by curators, friends and art historians from the artist's circle.
Drawing on unpublished documents and oral histories, an illustrated examination of an iconic artwork of an artist who has made a lifework of tactical evasion. One wintry day in 1983, alongside other street sellers in the East Village, David Hammons peddled snowballs of various sizes. He had neatly laid them out in graduated rows and spent the day acting as obliging salesman. He called the evanescent and unannounced street action Bliz-aard Ball Sale, thus inscribing it into a body of work that, from the late 1960s to the present, has used a lexicon of ephemeral actions and self-consciously “black" materials to comment on the nature of the artwork, the art world, and race in America. And although Bliz-aard Ball Sale has been frequently cited and is increasingly influential, it has long been known only through a mix of eyewitness rumors and a handful of photographs. Its details were as elusive as the artist himself; even its exact date was unrecorded. Like so much of the artist's work, it was conceived, it seems, to slip between our fingers—to trouble the grasp of the market, as much as of history and knowability. In this engaging study, Elena Filipovic collects a vast oral history of the ephemeral action, uncovering rare images and documents, and giving us singular insight into an artist who made an art of making himself difficult to find. And through it, she reveals Bliz-aard Ball Sale to be the backbone of a radical artistic oeuvre that transforms such notions as “art,” “commodity,” “performance,” and even “race” into categories that shift and dissolve, much like slowly melting snowballs.
"Each iteration of Made in L.A. sheds new light on the creative work of artists based in Los Angeles, expanding on the work of its predecessors and forging new relationships with the city's diverse artistic communities. 'Made in L.A. 2016: a, the, though, only' continues in this vein and investigates what is vital and distinctive about Los Angeles as an international destination and cutting-edge art center and how its artists--from vastly different backgrounds and disciplines--resist and defy categorization"--Foreword.
A gentleman pickpocket, elegant to the bone, plies the best cafes of Cairo. Ossama is a thief: "not a minister, banker or real estate developer - a modest thief". His country may be a disaster but he is a hedonist, convinced that "nothing on this Earth is tragic for an intelligent man". In one fat victims wallet, he discovers a highly compromising letter, revealing bribery, corrupt ministers, and lethally shoddy building practices. He decides he must act...
