In Part: Writings by Julie Ault

Contributions by: Nicole-Antonia Spagnola, Georgia Sagri, John Kelsey, Matthew Pang, Cathy Wilkes, Sarah Rapson, Nick Irvin, Gene Beery, Anne Dressen, Anne Pontégnie, Jacqueline Mesmaeker, Sara Deraedt, Anne Rorimer, Kari Rittenbach, Olga Balema, Maria Nordman, Louise Lawler, Julie Ault, Martin Beck, Adrian Morris, Matt Browning, John Miller, Envers Hadzijaj, Enzo Shalom, Bedros Yeretzian, Morag Keil, Helmut Draxler, Gianna Surangkanjanajai, Steve Cannon, Rae Armentrout, Zoe Hitzig, Pierre Guyotat, Lola Sinreich, Fanny Howe, Hélène Fauquet, Marie Angeletti, Richard Hawkins, Andy Robert, Alexander García Düttmann, Daniel Horn, El Hadji Sy, Henrik Olesen, Aurélien Potier, Richard John Jones, Stéphane Barbier Bouvet, Nora Schultz, Peter Fend, Megan Francis Sullivan, Jill Johnston, Sturtevant, Tonio Kröner, Bernard Bazile, Pierre Bal-Blanc, Jérome Pantalacci, Gérard Traquandi, Gladys Clover, Maria Wutz, Jimmie Durham, Richard Sides, Camilla Wills, Michael Callies, Steven Warwick, Matthew Langan-Peck, Dan Graham, Nina Könnemann, Hans Christian Dany, Valérie Knoll, Win McCarthy, Eleanor Ivory Weber, Anna Rubin, Heji Shin, Michèle Graf & Selina Grüter, Inka Meißner, Simone Forti, Morgan O’Hara, Angharad Williams, Ye Xe, Lily Van Der Stokker, Yuki Kimura, Peter Wächtler, Eva Steinmetz, Michael Van den Abeele, Marc Kokopeli, Bradley Kronz, Robert Grosvenor, Samuel Jeffery, Charlotte Houette, Adam Martin, Wade Guyton, Chloe Truong-Jones.

Edited by Marie Angeletti with Gianmaria Andreetta and Camilla Wills.

Printed in December 2022.
416 pages, Edition of 840.
© 2022 Claude Balls Int. / the author(s).

David Wojnarowicz, one of the most provocative artists of his generation, explores memory, violence, and the erotism of public space—all under the specter of AIDS.

Here are David Wojnarowicz’s most intimate stories and sketches, from the full spectrum of his life as an artist and AIDS activist. Four sections—”Into the Drift and Sway,” “Doing Time in a Disposable Body,” “Spiral,” and “Memories that Smell like Gasoline”—are made of images and indictments of a precocious adolescence, and his later adventures in the streets of New York. Combining text and image, tenderness and rage, Wojnarowicz’s Memories That Smell Like Gasoline is a disavowal of the world that wanted him dead, and a radical insistence on life.

The new and revised edition features a foreword by Ocean Vuong and a note from the editor, Amy Scholder.

Piecing Pages is a (visual) reader which collects the work of fifteen artists, writers and designers across twelve contributions. Each contribution offers insights into a practice or research project that in some way embodies the notion of working in fragments. Together, these contributions unravel how a traditional women’s craft technique continues to influence and inform the fragmented working methods of designers, artists and writers today.

With contributions by Asefeh Tayebani, Hanka van der Voet, Jess Bailey and Sharbreon Plummer, Joke Robaard, Linda van Deursen, Lucy R. Lippard, Melissa Meyer and Miriam Schapiro, Rietlanden Women’s Office, Ronja Andersen, Rosita Kær, Susu Lee and Youngeun Sohn

On the rich history of video art and its enduring relevance to today's artistic and critical practices. 

The New Television delves into the rich history of video art, reexamining the pivotal Open Circuits conference held at MoMA in 1974 and exploring its enduring relevance to today's artistic and critical practices. Open Circuits was an important event in establishing video art in American museums and articulated a range of conflicting teloses for the medium, some which materialized (like local cable television) and others that remain unrealized. The conference proceedings were published in 1977 as The New Television: A Public/Private Art, and the radical design of the book reflected the conference's utopian aims. 

This two-part publication includes a facsimile of the long-out-of-print conference proceedings and new essays and discussions by over a dozen scholars and artists. The new scholarly texts and previously unpublished archival documents in The New Television illuminate the network of institutional histories of video art, consider global televisual contexts and alternative critical approaches, and examine contemporary video art and its continued relevance from new perspectives.

Rachel Churner is the director of the Carolee Schneemann Foundation. She is also an art critic and editor, whose writings have appeared in Artforum and October magazine, among other publications. She was a recipient of the 2018 Creative Capital/Andy Warhol Foundation Arts Writers Grant and is the editor of multiple books, including Jacqueline Humphries: jHΩ1:) (2022); Yvonne Rainer: Revisions (no place press, 2020), Hans Haacke (MIT Press, 2015), and two volumes of writings by film historian Annette Michelson (MIT Press, 2017 and 2020). Churner is a faculty member at Eugene Lang College at The New School, New York.

Rebecca Cleman is Executive Director of Electronic Arts Intermix (EAI) and a writer. She has programmed screenings and special projects for such venues as the International House Philadelphia; the Museum of Art and Design, Anthology Film Archives, and Andrea Rosen Gallery, New York City; and the Julia Stoschek Collection, Germany; and organized or co-organized many events for EAI, including a panel discussion on the films of David Wojnarowicz and a conversation between Hilton Als and The Wooster Group's director and co-founder Elizabeth LeCompte.

Tyler Maxin is curator at Blank Forms. He was previously the Communications and Special Projects Associate at Electronic Arts Intermix (EAI). His writing has appeared in publications including Artforum, BOMB, and Film Comment.

Archives on Show brings the potential of reformulating the social and political relevance of archives by curatorial means into focus.

Based on the specific properties, faculties and methods of curation, the volume highlights those techniques and strategies that deal with archives not only to make their genesis and history apparent but also to open them up for the future. The 22 different ways of dealing with archives testify to the curatorial participation in (re)shaping the archival logic, structures and conditions. As process-oriented, collective and relational modes of producing meaning, these curatorial practices allow for the alteration, reconfiguration and mobilization of the laws, norms and narratives that the archive preserves as preconditions of its power.

The contributions to this volume by artists, curators and theorists demonstrate approaches that curatorially insist on building other relations between human and non-human archival participants. Each is using the book to create a curatorial constellation that generates and forms new connections between different times and spaces, narratives, disciplines and discourses. Configured as a glossary, the positions assembled in this volume exemplify curatorial methods with which to treat the archive as site and tool of collective, ongoing negotiations over its potential societal role and function.

Contributions by Heba Y. Amin, Talal Afifi, Eiman Hussein, Tamer El Said, Stefanie Schulte, Strathaus, Haytham El Wardany, Julie Ault, Kader Attia, Roger M. Buergel, Sophia Prinz, Yael Bartana, Rosi Braidotti, Kirsten Cooke, Ann Harezlak, Alice Creischer, Andreas Siekmann, Octavian Esanu, Megan Hoetger, Carlos Kong, Iman Issa, Kayfa ta, Kapwani Kiwanga, Doreen Mende, Stefan Nowotny, Marion von Osten, pad.ma, Abdias Nascimento, Eran Schaerf, Magdalena Tyżlik-Carver, Françoise Vergès.

Textdemic | A Retrospective on Jenny Holzer’s Laments” Ed. by A.L. Steiner and GenderFail, a publication based on A.L. Steiner + Friends on Jenny Holzer at Dia Chelsea. This book is based on the Artists on Artists Lecture Series when the Dia Art Foundation invited Steiner to curate a public program based on a work of the artist's choice.

Steiner chose Jenny Holzer’s Laments and invited Morgan Bassichis, Riel Bellow, Gregg Bordowitz, Alexander Chee, Malik Gaines, Guadalupe Maravilla + Alexa Mishell Guillen, Lucas Michael, Eileen Myles and Pamela Sneed to present in Dia’s first in-person program after the Covid-19 pandemic began in 2021. This publication features records of the poems, lectures, and performances during this memorial program. The book's design plays homage to the 1990 Laments publication by the Dia Art Foundation.

For this publication, Steiner and GenderFail invited Matilde Guidelli-Guidi, Associate Curator at Dia Art Foundation and the organizer of the Artists on Artists Lecture Series, to write an afterword for the book. In this, she states: "Dispensing altogether with the monographic formula that characterizes the institution, for her Lecture A.L. Steiner convened a group of artists, writers, and activists to join her in responding to Jenny Holzer’s 1989 text-based installation, Laments. Holzer identified the thirteen texts that comprise Laments as 'voices of the dead,' a visual choir in response to the raging HIV/AIDS epidemic and government inaction. Over the protracted COVID-19 lockdown, Steiner developed the idea to organize an evening for the voices of the living to lament today's crises.”

In times of great uncertainty, the urgency of the artist's task is only surpassed by its difficulty. Ours is such a time, and rising to the challenge, novelist and poet Fanny Howe suggests new and fruitful ways of thinking about both the artist's role and the condition of doubt. In these original meditations on bewilderment, motherhood, imagination, and art-making, Howe takes on conventional systems of belief and argues for another, brave way of proceeding. In the essays "Immanence" and "Work and Love" and those on writers such as Carmelite nun Edith Stein, French mystic Simone Weil, Thomas Hardy, and Ilona Karmel—who were particularly affected by political, philosophical, and existential events in the twentieth century—she directly engages questions of race, gender, religion, faith, language, and political thought and, in doing so, expands the field of the literary essay. A richly evocative memoir, "Seeing Is Believing," situates Howe's own domestic and political life in Boston in the late '60s and early '70s within the broader movement for survival and social justice in the face of that city's racism.

Whether discussing Simone Weil, Gertrude Stein, Meister Eckhart, Saint Teresa, Samuel Beckett, or Lady Wilde, Howe writes with consummate authority and grace, turning bewilderment into a lens and a light for finding our way.

A Map of Absence presents the finest poetry and prose by Palestinian writers over the last seventy years. Featuring writers in the diaspora and those living under occupation, these striking entries pay testament to one of the most pivotal events in modern history – the 1948 Nakba.

This unique, landmark anthology includes translated excerpts of works by major authors such as Mahmoud Darwish, Ghassan Kanafani and Fadwa Tuqan alongside those of emerging writers, published here in English for the first time. Depicting the varied aspects of Palestinian life both before and after 1948, their writings highlight the ongoing resonances of the Nakba.

An intimate companion for all lovers of world literature, A Map of Absence reveals the depth and breadth of Palestinian writing.