Talking Art

Interviews with Artists Since 1976

Patricia Bickers and Andrew Wilson

“The interview has become a quintessentially twentieth-century form of historical narrative,” writes co-editor Patricia Bickers in this rich collection of interviews with artists from the British magazine Art Monthly. From the interview with constructivist Naum Gabo, done just a few months before his death, this weighty volume (without illustrations) includes more than 60 influential artists of the last quarter of the twentieth century. The importance of the artists is unmistakable, including Frank Stella, David Hockney, Robert Motherwell, Jasper Johns, Barbara Kruger, Brice Marden, Gilbert & George, George Segal, Richard Serra, Claes Oldenburg, Sol LeWitt and John Baldessari. With an outstanding index of artists and others cited by the interviewees.

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TALKING ART 1

Interviews with Artists Since 1976

Patricia Bickers & Andrew Wilson (Eds.)

The second edition of this indispensable collection, Talking Art 1 is now available in a more portable format. This popular collection of the best of Art Monthly’s interviews since the magazine’s inception in the early 1970s provides a supplementary history of 20th-century art from more than 150 perspectives through discussions between artists and critics. Many leading practitioners have been interviewed, often at highly significant moments in their careers. These provide the most immediate access to an artist’s thought processes and offer compelling narratives of the changing creative process. The rerelease of this successful collection will be followed by the publication of Talking Art 2, in 2014. Featured artists include John Baldessari, Joseph Beuys, Sophie Calle, Agnes Martin and many more. With an introduction by Iwona Blazwick.

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TERMS OF EXHIBITING (FROM A TO Z)

Petra Reichensperger (Ed.)

Terms of Exhibiting (from A to Z) looks at how art exhibitions are created between artists and institutions in the 21st-century. Noted artists such as, Liam Gillick, Manfred Hermes, Karl Holmqvist and Tobias Vogt are paired with six theoretical essays and interviews. The essays investigate key working “terms” raised by an exhibition series at Kunsthaus Dresden in 2012. Jan Verwoert reflects on the division of labor in artistic production; Anke te Heesen presents a survey of the museum, collections and exhibition; and Markus Miessen discusses the advantages of curating institutions and inventing structures rather than merely implementing or appropriating them. The conversations with and between the artists place their formulas for making art under scrutiny within the context of the individual practices. For example, referencing the term “presence,” Daniel Knorr explains the significance of materialization for his own creative process, while Brian O’Doherty discusses “invention” in relation to his practice.

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THE GREENROOM

Reconsidering the Document and Contemporary Art #1

Maria Lind and Hito Steyerl

Documentary practices make up one of the most significant and complex tendencies within art during the last two decades. This anthology seeks to overcome the existing dispersion of texts on documentary practices and offer new perspectives on this crucial theme. Authors include T.J. Demos, Okwui Enwezor, Carles Guerra, Jörg Heiser, Stefan Jonsson, Olivier Lugon, Jean-Pierre Rehm, Hito Steyerl, and Jan Verwoert. They discuss issues such as what the function of documentary art forms is in the context of globalizing media and an expanding art world. How do the operations of documentary forms change in the age of digital reproduction? Being part of the research project “The Greenroom: Reconsidering the Documentary and Contemporary Art” at the Center for Curatorial Studies, Bard College, this publication functions similar to a greenroom at a television station, where staff and guests meet before and after filming and engage in discussions which often differ from those conducted in the limelight.

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The Happy Hypocrite

A Rather Large Weapon

Maria Fusco

Featured in this provocatively titled fourth issue of the always intriguing Happy Hypocrite are clever stories, images, a blackboard, an interview, surveillance photos, heroes, and photos of the pages of the notorious Canadian Indian Act of 1867 blasted with a Lee Enfield 308 sniper’s rifle and a 12-gauge shotgun by Native American artist Lawrence Paul Yuxweluptan. A biannual journal featuring writing by artists, The Happy Hypocrite is informed by a lineage of modern experimental and avant-garde magazines. “Necessity is pressing and pressing hard,” proclaims the last page. Contributors include Bernadette Buckley, Jeff Derksen, Candice Hopkins, Anthony Iles, Daniel Kane, Yve Lomax, Robert Longo, Sean Lynch, Laura Oldfield Ford, Luke Pendrell, Rachelle Sawatsky, Mark von Schlegell, Natasha Soobramanien and Nick Thurston.

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THE HAPPY HYPOCRITE - LINGUISTIC HARDCORE

For and About Experimental Art Writing

Mario Fusco

Experimental art writing is an exciting and challenging field. This new journal’s strength is in its editor: Belfast-born writer and lecturer Maria Fusco, the Director of Art Writing at Goldsmiths College London and a regular contributor to international visual culture magazines such as ArtMonthly, Circa, Dot Dot Dot, Flash Art and i-D. This first issue includes an interview, a translation, and a short story, and works by writers and artists including Cosey Fanni Tutti, Douglas Coupland, Stewart Home, Andrea Mason, Clunie Reid, Gerard Byrne, Paolo Arao, Lisa Robertson, Farhad Ahrarnia, Nick Thurston, Giles Eldridge and Alexandre Singh.

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The Happy Hypocrite - Volatile Dispersal

Speed & Reading

Maria Fusco

Third in the Happy Hypocrite series, Volatile Dispersal presents a complete reprint of A Great Books Prime: Essays on Liberal Education, the Uses of Reading, and the Rules of Reading, originally published by the Great Books Foundation, Chicago (1955). Seemingly useless when divorced from the complete series of Great Books, this numerous primer exists as both an archaic set of rules, and open-ended set of possibilities. In this spirit, the editing process happens outside the journal in the form of a parley-based art writing festival at the Whitechapel Gallery, London in August 2009, with new commissions selected from invitation and open submission.

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THE HAPPY HYPOCRITE – HUNTING AND GATHERING

Maria Fusco

The Happy Hypocrite is a biannual journal led by artists’ writings. Informed by a lineage of modern experimental and avant-garde magazines, such as: Bananas, Documents, The Fox, Merlin and Tracks, this journal aspires to unpack the methodology of such key journals, whilst providing a brand new approach to art writing. It will provide a greatly needed testing ground for new writing and research-based projects, somewhere for artists, writers and theorists to express experimental ideas that might not otherwise be realized or published. In this issue bodies of new writing present techniques of collage, found text and image, interspersed with appropriated writing. Contributors include: ArtstrA/Barbara Reise Archives, Steve Beard, Susanne Clausen, Marie Darrieussecq, Brian Dillon, Andrew Dodds, Thomas Hirschhorn, Gabriel Lester, Jo Melvin, Rashanna Rashied-Walker, Lisa Robertson, Andrew Shelley, Nick Thurston and Lynne Tillman.

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THE HAPPY HYPOCRITE – WHAT AM I?

Maria Fusco

What am I? Roland Barthes. As if. Garbed in a sequence of paradigmatic structures such as the joke, the notebook, the novel and the script, this latest issue of the ever-engrossing, ever-puzzling Happy Hypocrite offers a range of contributions that defy the innate obsolescence of classification through their embrace of poetic analysis. Drawing theme and method from a new translation of Barthes’s essay The Preparation of the Novel, which starts ‘…as if I was going to write one,’ contributors include Chris Kraus, Beatrice Gibson, Seth Price, Antonia Hirsch, a new translation of Roland Barthes, and a reprint from The Plebs, What Am I? is not quite what it looks, but the ever-intrepid Book Works decided to publish anyway.

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THESE ARE THE TOOLS OF THE PRESENT

Beirut Cairo

Mai Abu ElDahab, November Paynter & Marnie Slater (Eds.)

An important collection of interviews with contemporary artists, musicians and writers in dialogue with Beirut and Cairo today, These Are the Tools of the Present is not an overview of the art scenes in these cities, but a picture of how artists think about being active in the contexts of these two cities. It offers insight into the circumstances that structure their stories, and the often-accidental influences that shaped the development of their practices. Published on the occasion of Meeting Points 8, “Both Sides of the Curtain,” a biannual international multidisciplinary arts event taking the Arab world as a starting point to pose questions about art. Contributions by Lawrence Abu Hamdan, Haig Aivazian, Mounira Al Solh, Doa Aly, Andeel, Mirene Arsanios, Malak Helmy, Iman Issa, Mahmoud Khaled, Maurice Louca, Jasmina Metwaly, Joe Namy, Nile Sunset Annex, November Paynter, Roy Samaha, Sharif Sehnaoui, Rania Stephan, Christophe Wavelet and Lauren Wetmore.

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