Cady Noland

The Clip-On Method is THE book on the work of Cady Noland everybody was waiting for but nobody expected. Two volumes, almost 600 pgs, that gather a minute, specific, documentation of the artist’s works (“often shown within their first installations,” from 1984 onwards) and further unfold the issues and questions that form the core of her practice and structure her engagement in art – without imposing any interpretation, critical perspective, other than the one proposed (suggested) by the artist’s own approach to the book form.

Book 1 gathers documents, essays, sholarly texts and articles regarding capitalism, violence, aircraft industry, racial discrimination in US universities, amongst various issues, interspersed with pictures of the artist’s works.

In Book 2 there are more photographs along with an exciting, impressive collection of writings by Noland (including, of course, “Towards a Metalanguage of Evil”). Most of the texts, and several of the pictures as well, are presented as facsimiles, laying out the work process, and the origins of what forms that sum.

Design by Cady Noland, Will Holder

This collection of essays by Martin Herbert considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms (essays on Lutz Bacher, Stanley Brouwn, Christopher D'Arcangelo, Trisha Donnelly, David Hammons, Agnes Martin, Cady Noland, Laurie Parsons, Charlotte Posenenske, and Albert York).

A large part of the artist's role in today's professionalized art system is being present. Providing a counterargument to this concept of self-marketing, Herbert examines the nature of retreat, whether in protest, as a deliberate conceptual act, or out of necessity. By illuminating these motives, Tell Them I Said No offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge.

2nd edition (2025).