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Titre:
Rachel Harrison If I did it

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$56.00
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Résumé:
Gracing the cover jacket of Rachel Harrison's highly anticipated second monograph is an informal monument to the man who holds the Americas' namesake. The only hint to this memorial for the 15th century Italian explorer, Amerigo Vespucci, is an apple resting on an outcropping of neon-green cement; of course the fact that the apple is not only artificial but has a bite taken out of it suggests otherwise to the discovery of these "Edenic" continents. This slight yet important fact raises the basic concept of if i did it: the active disavowal of art's political function as a museological testament to the "progress" of social history. By tossing off this monumental propensity, Harrison builds "antimonuments;" not so much sculptures but lumpen aggregates of pop psychology. In addition to Vespucci, throughout the book, one finds that celebrities Johnny Depp and Tiger Woods are included in a pantheon with John Locke and 18th century Corsican revolutionary Pasquale Paoli, meanwhile Al Gore checks the temperature, Claude Levi-Strauss checks the door with a taxidermied hen and rooster and a bi-curious Alexander the Great is the master of ceremonies. The title, taken from O.J. Simpson's infamous "hypothetical" account of his murder of Nicole Brown Simpson and Donald Goldman, groups this role call of high- and low- brow idols into a nonhierarchical tableau where cultural and political value are allotted only where one sees fit.

Titre:
Something between us

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$55.95
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Résumé:
Presenting works that conceive of the human being as a social animal, 'Something between us' looks at interpretations of love and empathy in the digital age by artists Kirstin Burckhardt, Miriam Cahn, Teboho Edkins, Vivian Greven, Luzia Hürzeler, Alice Musiol, Warren Neidich, Stefan Panhans, Sibylle Springer, Thomas Taube and Andrea Winkler.

Titre:
Kiki Smith her home

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$54.00
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Résumé:
Beautifully produced to include a selection of family photographs from the artist's childhood and ancestry alongside generous documentation of her recent concurrent one-person exhibitions in Krefeld, Germany and Nuremberg, this volume sheds new light on one of the most influential American artists of her generation. Taking as her starting point an eighteenth-century American silk embroidery entitled "First, Second and Last Scene of Mortality," which depicts a white woman working at a table while a white child and a black servant rest on one side of her and a closed black coffin sits on the other side, Smith here develops several narrative threads that revolve around the theme of the unmarried woman. With excursions into Christian iconography and the history of the American postcolonial era, she speaks also to the archetype of the inspired female creator or artist.