Black Phoenix: Third World Perspectives on Contemporary Art and Culture

Created by Mary Heilmann in 1999, The All Night Movie beautifully wraps a memoir inside of a monograph, creating an artist book in which each page is designed as though it were a painting. The artist delicately utilizes color, text, candid photographs, reproductions of paintings, and song lyrics that unfold seamlessly to create an immersive visual experience. Heilmann has described the book as “the story of my life, told in words, painted images and photographs.”

Across eight chapters, Heilmann recounts her life, from childhood in California through New York in the 1990s, providing intimate insight into the development of her work, friendships, and formative life experiences. Snapshots by the artist and others provide a portrait of Heilmann’s evolving artistic community, which included Gordon Matta-Clark, Pat Hearn, Dicky Landry, Jack Pierson, Keith Sonnier, Pat Steir, William Wegman, and Jackie Winsor, among others. And this is just the first half of the book. Included with the artist’s memoir is an essay by Jutta Koether and a survey of paintings from 1972-1999. This highly revered and extremely scarce publication was co-designed with Mark Magill and is reproduced here as a facsimile edition. The All Night Movie was originally published by Hauser & Wirth and Offizin Verlag.

Mary Heilmann was born in San Francisco in 1940. She studied at the University of California at Santa Barbara, San Francisco State University and the University of California at Berkeley before moving to New York in 1968. Heilmann began her career creating sculpture before quickly pivoting into abstract painting once on the East Coast, experimenting with bright colors and unusual geometries that bridge two-dimensional and three-dimensional elements. She has been the recipient of the Anonymous Was a Woman Foundation Award as well as a Guggenheim Foundation award.

Stay away from nothing shines a spotlight on the deep relationship between Paul Thek and Peter Hujar through the artists’ letters and photographs. Beginning in 1956 and spanning two decades, the publication opens a window into their intimate, complex, and beautiful lives, starting with a sequence of images by Hujar that showcases the two of them in innocent moments of pensive and haunting play in Coral Gables and beyond.

These early portraits of their budding relationship are followed by several playful postcards from Thek in 1960 and his first letter to Hujar in 1962, written while the artist is in the Philadelphia harbor aboard a containership bound for Europe. In the letter, Thek is brimming with joy and new discoveries and exclaims that the world “seems bigger and more gloriously strange than ever before in my entire life.” The two eventually meet in Rome, where they both begin to evolve into the icons we know them as today, and the remaining letters trace Thek’s travels and adventures, romantic dalliances, work, and financial ups and downs through 1975. More than fifty letters and postcards, along with drawings and other ephemera, are reproduced in Stay away from nothing and their poetic, quotidian, and melancholic tone provide a rare glimpse into Thek and Hujar’s relationship as it wavers with seduction, glamor, tumult, and mischievousness.

Throughout this period, Hujar was photographing Thek in his now-iconic style, capturing him in Italy, in various studios, and on the beaches of Fire Island. Included are the artist’s classic images of Thek in the catacombs in Palermo, as well as his studio portraits of the artist creating The Tomb. Among these well-known works are dozens of other photographs, many unpublished until now, including candid portraits of Thek, as well as images of the two artists goofing around or posing for passport photos. Collectively, these images demonstrate not only the complex emotional interiority of Thek but the tender, dark, and hopeful connection between the two artists, lovers, and friends.

An afterword is provided by Andrew Durbin, author of The Wonderful World That Almost Was, a biography of Peter Hujar and Paul Thek. Edited by Francis Schichtel.

Paul Thek is among the most legendary and elusive artists of the post-1960s generation. He burst onto the New York scene with his Technological Reliquaries series, then known as “meat pieces,” which challenged Pop and Minimalism with an idiosyncratic approach that merged earnest posthuman embodiment and a critique of contemporary art trends. In Europe in the 1970s, he created new modes of exhibition-making that involved the creation of elaborate, ephemeral installations composed of sand, candles, newspaper, chicken-wire, Polaroids, and discarded furniture. Upon returning to New York in the later years of his career, he produced his deliberately “bad paintings” while continuing his longest-running series of paintings executed on newspaper, works that poignantly underscore his sustained engagement with themes of ephemerality and the passage of time. Thek died of AIDS in 1988.

Peter Hujar died of AIDS in 1987, leaving behind a complex and profound body of photographs. Hujar was a leading figure in the group of artists, musicians, writers, and performers at the forefront of the cultural scene in downtown New York in the 1970s and early 80s, and he was enormously admired for his completely uncompromising attitude towards work and life. He was a consummate technician, and his portraits of people, animals, and landscapes, with their exquisite black-and-white tonalities, were extremely influential. Highly emotional yet stripped of excess, Hujar’s photographs are always beautiful, although rarely in a conventional way. His extraordinary first book, Portraits in Life and Death, with an introduction by Susan Sontag, was published in 1976, but his “difficult” personality and refusal to pander to the marketplace ensured that it was one of the last publications during his lifetime.

Constance DeJong’s long-neglected 1977 novel, Modern Love, is one thing made up of many: It is science fiction. It is a detective story. It is a historical episode in the time of the Armada and the dislocation of Sephardic Jews from Spain to an eventual location in New York’s Lower East Side. It is a first-person narrator’s story; Charlotte’s story; and Roderigo’s; and Fifi Corday’s. It is a 150-year-old story about Oregon and the story of a house in Oregon. Modern Love’s continuity is made of flow and motion; like an experience, it accumulates as you read, at that moment, through successive moments, right to the end.

An important figure of downtown New York’s performance art and burgeoning media art scene in the late 1970s and early 1980s, DeJong designed Modern Love herself and published it with help from Dorothea Tanning on the short-lived Standard Editions imprint. Critically acclaimed in its time, Modern Love is now back in print on the 40th anniversary of its original publication.

Constance DeJong is an artist and writer who has worked for thirty years on narrative form within the context of avant-garde music and contemporary art. Considered one of the progenitors of media art, or “time-based media,” DeJong shapes her intricate narrative form through performances, audio installations, print texts, electronic objects, and video works. Since the 1980s, DeJong has collaborated with Phillip Glass, Tony Oursler, and the Builders Association on performances and videos at Walker Art Museum, Minneapolis, MN; the Wexner Center, Columbus, OH; Philadelphia Museum of Art; and in New York, at The Kitchen, Thread Waxing Space, the Whitney Museum of American Art, and the Dia Center for the Arts. Her books include I.T.I.L.O.E. and SpeakChamber, and her work is included in the anthologies Up is Up, But So is Down: New York’s Downtown Literary Scene, 1974–1991 (NYU Press, 2006); Blasted Allegories (New Museum/MIT, 1987); and Wild History (Tanam Press, 1985).

COOP documents Swedish artist Fia Backström's (born 1970) performances of two recent scripts, continuing her exploration of language, marketing, disorders and performance. The first script operates according to two distinct logics: a four-part linear base structure and text material that was chosen and read during the performance through chance movement of the performer's body across a grid.

This publication was especially designed to reflect this type of unpredictable and spontaneous movement. Mathematical symbols have been embedded into the text and these symbols link to ones on the upper corner of pages with nonlinear material. These indicate where the text could be inserted during a performance, thus incorporating the form of performance into the book. The second script serves as an epilogue to the first and was performed by four voices, reading from beginning to end without assigned lines, sometimes simultaneously.

A facsimile of the GALA Committee's mock auction catalog for an artistic intervention into the props and plots of Melrose Place.

Originally published in a limited run in 1998, Primetime Contemporary Art documented In the Name of the Place, a radical two-year intervention by a group of artists, initiated by Mel Chin and known as the GALA Committee, on the primetime television show Melrose Place. This extremely rare artist's book is reproduced for the first time as a facsimile edition.

The artists comprising the GALA Committee worked with the producers of Melrose Place to develop a series of political works that were used as props and plot devices across two seasons of the show, providing surreptitious commentary on reproductive rights, HIV/AIDS, the Gulf War, domestic terrorism, corporate malfeasance and substance abuse. Some of these topics were banned by the FCC at the time, and the group's works allowed for the artists and the show to create political commentary that went unnoticed by censors. The artworks they produced were exhibited at the Los Angeles Museum of Contemporary Art in 1997 and then sold at an auction at Sotheby's to support several charities. Primetime Contemporary Art was created by Mel Chin and Helen Nagge as a mock auction catalog documenting the artwork made for the show and the conceptual framework of the GALA Committee.

Made in 1969 but never published, Terminal Boundaries is an artist book by Lawrence Weiner, a sculptor whose medium was language. The manuscript for the publication, which was recently brought to light, contains two related bodies of work represented as typewritten statements on paper that Weiner pasted to the pages of a small composition notebook. The book’s absence from Weiner’s oeuvre plagued him as it marked a terminus of his relationship to the physical construction of his artworks, and illustrated the principle of “specific” and “general” which he applied to his art.

Created from a standard notebook purchased in a stationery store, the manuscript is two books in one: Terminal Boundaries and A natural watercourse diverted reduced or displaced. A tête-bêche with two front covers, the book can begin from either cover by turning it upside down.

Weiner was a traveler by nature and the materials he refers to in these works are those that one can encounter on a road trip. The artist was traveling across Europe when this manuscript was composed. Struck by the tumultuous times and the critical illuminations about the climate from the Club of Rome discussions, the works in this book are in Weiner’s words, “concerned with the relationship of natural resources in relation to human beings.” Distinct from his contemporaries associated with the Land Art movement, in Terminal Boundaries and A natural water course diverted reduced or displaced, Weiner constructs his landscape interventions in language—the specific and/or general act and the location are stated—offering the reader/viewer the opportunity to consider each work’s existence, to build it in their mind’s eye. One can only wonder what Weiner did to divert, reduce, or displace a natural water course in Saltsrumen, Norway, the location of the world’s strongest maelstrom, or in nearby Bodø at the site of Svartisen glacier. A work in Terminal Boundaries titled The joining of France Germany and Switzerland by rope demonstrates the geopolitical perspective of Weiner’s land art. Requiring physical and mental borders to be transgressed in performing this work; how and where could this happen?

Terminal Boundaries finds Weiner just off the cusp of his decision to make art that lived centered in language, emphasizing the viewer’s responsibility to engage with it to make it whole. The book marks a crucial inflection point in the artist’s practice, defining his direction to make work that “attempts to present something to people that is not just about me,” but about materials and the world we find ourselves in here and now.

Featuring Zoe Leonard, Eileen Myles, Jimmy DeSana, Princess Julia, Olivia Laing, Simon Costin, Timothy Thornton, Mary Manning and many more. Published 2020.

Sore is a serial anthology that brings together authors whose writing practices oscillate between the genres of diary keeping and fiction. For the second issue of Sore, ten contributors – both authors and visual artists – were invited to collectively develop their work through a series of informal critiques over the course of five months.

In the first issue of Sore, observations of everyday life intertwined with memories and cultural references to denote the significance of a certain soreness we each carry within us as we negotiate the various challenges of social existence. In this second ensemble, seven new authors widen our understanding of the term ‘sore’ by underlining a need to orient one’s gaze towards what’s hidden underneath, to enter the anatomy of all these necessary contortions and u-turns one performs in order to escape the grip of expected compliance.

With contributions from: Mathilde Heuliez, Lisa Lagova, Muyeong Kim, Nour Ben Saïd, Masha Ryabova, Adrienne Chung, Richard Dmitri Hees, Oscar Le Merle, Morra Kozlitina, Tindra Eliason, Helmer Stuyt, Ilya Stasevich, Kristina Stallvik.

Published by cover crop, Mathilde Heuliez & Lisa Lagova.

Lost & Found: The CUNY Poetics Document Initiative publishes unexpected, genre-bending works by important 20th century writers. Unearthed from personal and institutional archives in the United States and abroad, these materials are edited by doctoral students at the Graduate Center, CUNY.

SERIES III is a collection of 8 chapbooks that authenticate Edward Dahlberg's claim that "There is more political energy in friendship than in ideology."

Langston Hughes & Nancy Cunard cement their personal relationship by penning notes across the ocean throughout the Spanish Civil War. After meeting at Black Mountain, John Wieners & Charles Olson remain in close correspondence until months before Olson's death. In "Old Father, Old Artificer," part lecture and part evocation of Charles Olson, Diane di Prima helps to establish how key figures in "New American Poetry" were processing their own past, while the breathless Olson lecture by Ed Dorn erodes the fictive dualism that pits poetic theory against practical action. In his letters, Michael Rumaker invites you to share his life, its radiant pursuit of love, "dirty realism," literature, and lasting community, and Joanne Kyger booms "communication is essential" in her Letters to & from. In Homemade Poems, a gift-book mailed to a friend in 1964, Lorine Niedecker insists that the handmade chapbook is the material continuation of the poems so carefully nestled in its pages.

Breaking up the monolith of the historical lens, Series III continues to track individuals as they tell their stories, cast their lifelines, and position themselves in relation to the times they lived in—and the times we live in—through intimate journals, letters, lectures, and friendships. Edited, annotated, and with accompanying essays, The London Review of Books calls this "a serious and worthy enterprise." Diane di Prima calls the series "a gold mine" and Joanne Kyger writes: "What a brilliant cast of characters. Just exactly what one (myself) would like to read."

SERIES III includes:

Lorine Niedecker: Homemade Poems (John Harkey, editor)

John Wieners & Charles Olson: Selected Correspondence (Parts I & II) (Michael Seth Stewart, editor)

Diane di Prima: Charles Olson Memorial Lecture (Ammiel Alcalay and Ana Božičević, editors)

Edward Dorn: The Olson Memorial Lectures (Lindsey Freer, editor)

Michael Rumaker: Selected Letters (Megan Paslawski, editor)

Letters to & from Joanne Kyger (Ammiel Alcalay and Joanne Kyger, editors)

Langston Hughes, Nancy Cunard & Louise Thompson: Poetry, Politics & Friendship in the Spanish Civil War (Anne Donlon, editor)

Poet, editor, filmmaker, actor, child star in Mussolini’s Italy, founder of The Dead Language Press and of the Paris Filmmakers Cooperative, Piero Heliczer (1937–1993) was an essential yet secret agent of the 1960s and ’70s counterculture. In the course of his nomadic existence in Rome, New York, London, Amsterdam, Paris, and Préaux-du-Perche, where he spent the last few years of his life, he met and worked with a constellation of avant-garde writers, forged friendships with figures from the Beat Generation and the British Poetry Revival as well as the New York art scene. At the crossroads of many underground experiences, Heliczer’s name appears in books dedicated to the artists and poets he collaborated with during his lifetime—names by the likes of Gregory Corso, Barbara Rubin, Andy Warhol, Jack Smith, Ira Cohen, or The Velvet Underground, a band he participated in creating with his friend Angus MacLise.

This myth obscures the fact that Piero Heliczer was first and foremost a poet. Today, this part of his work is overlooked; it is all the more difficult to encounter because Heliczer himself never collected it. So it was scattered, or lost, in the course of his wanderings. Heliczer favored the circulation of his works rather than their archiving: he was committed to the production of mobile forms—flyers, broadsides, and other ephemera—disseminated his verses in magazines, and preferred public readings and performances to the finished form of the book.

The present volume gathers a significant number of Heliczer’s poetic works through facsimile reproduction of his contributions to more than thirty periodicals—mostly stemming from poets’ presses or universities—published between 1958 and 1979. This collection isn’t “complete”—but it makes available again poems that, in some cases, never circulated after their initial publication. 

Un recueil de poèmes de Piero Heliczer (1937–1993), auteur, éditeur et cinéaste, figure de l’underground et de la contre-culture, proche de Andy Warhol, Gerard Malanga, et Jack Smith. Sa poésie, héritière de la Beat Generation, restitue en métaphores et images saisissantes des expériences et des visions personnelles, tout en s’appuyant sur des formes héritées de la tradition anglaise et des partis-pris typographiques originaux. Ce recueil rassemble des facsimilés des publications originales de poèmes de Heliczer – périodiques d’artistes, revues miméographiées, petits magazines… – accompagnées de leurs traductions en français, ainsi que de plusieurs documents, parmi lesquels une reproduction intégrale d’une publication rare de 1961, Wednesday Paper, et, en insert, un facsimilé d’un placard de 1975, The Handsome Policeman.

Traduction des poèmes: Rachel Valinsky
Publié avec l’aide du CNAP