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Cover of Sturm und Drang

Radius Books

Sturm und Drang

Nicole Eisenman

€40.00

This book accompanies the 2020 Suzanne Deal Booth / FLAG Art Foundation Prize exhibition, Nicole Eisenman: Sturm und Drang. The exhibition ran from February 27 through November 15, 2020, at The Contemporary Austin’s downtown venue, the Jones Center on Congress Avenue, with an outdoor sculpture at the museum’s fourteen-acre sculpture park at Laguna Gloria. A related exhibition of Eisenman’s work with a selection of drawings by Bay Area artist Keith Boadwee, Nicole Eisenman and Keith Boadwee, is on view at The FLAG Art Foundation in New York December 12, 2020, through March 13, 2021. 

NICOLE EISENMAN was selected for the prize by an independent advisory committee comprising renowned curators and art historians from across the United States. The artist’s practice blends influences from Western art history and traditional figurative art with elements of punk, feminist activism, queer identity, humor, and emotional rawness to create profoundly unique works. Eisenman emerged in the early 1990s in New York City as a painter, and her creative output for nearly three decades centered on painting. More recently, however, the artist’s three-dimensional objects have overturned expectations of her work and of figurative sculpture. This publication reflects on the sculptural impulses within Eisenman’s work, considering the recent shift in her practice as both a new focus and always-present undercurrent brought to the surface.

Co-published with The Contemporary Austin and The FLAG Art Foundation

Essay by Heather Pesanti
Essay by Stephanie Roach and Jonathan Rider
Essay by Nicole Eisenman
Text by Litia Perta
Essay by Alhena Katsof
Conversation with Nicole Eisenman and Keith Boadwee

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Cover of Questions to Ask Before Your Bat Mitzvah

Wendy's Subway

Questions to Ask Before Your Bat Mitzvah

Jay Saper, Morgan Bassichis

€18.00

Questions to Ask Before Your Bat Mitzvah invites 38 writers, artists, scholars, and activists to offer accessible reflections on 36 questions to help young Jews—and anyone else who picks up this book—feel grounded in the Jewish radical tradition, unlearn Zionism, and deepen their solidarity with Palestinians, offering the B’nai Mitzvah as an opportunity for political awakening open to all. Edited by comedic performance artist and activist Morgan Bassichis with artist and educator Jay Saper and writer Rachel Valinsky, with a foreword by seminal scholar-activist Angela Y. Davis, and illustrations by the artist Nicole Eisenman, this essential volume offers an accessible and challenging set of personal and collective responses to critical questions for our time. 

Questions included range from “What even is a Bat Mitzvah?” and “I’m queer/nonbinary/secular/old/not even Jewish—are Bat Mitzvahs for me?” to “Why are there Israeli and American flags in my synagogue?” and “Why do people plant trees in Israel as a Bat Mitzvah gift?” and “What does the olive tree symbolize to Palestinians?” and “What does the watermelon symbolize to Palestinians?” and “What do Palestinian kids do when they turn thirteen?” and “How do I talk to my family about this stuff?”

Cover of Psalmist Kaput

Cloak

Psalmist Kaput

Cloak

Through the harsh noise of reality, a signal appears. At first faint, but slowly, as we approach, it grows louder, more defined. Aerial photographs depict odd structures and garbled sounds, blurred images of decaying media, alien architecture. It calls out your name.

Psalmist Kaput lures the reader into a misama of fragmented speech, disembodied voices, deteriortating thresholds, and lo-res nightmares. Fusing text and image, it is a work undefinable and wholly its own.

Enter the exclusion zone, witness its monuments, and if you're able, find your way back out again. "Soon we will all be submerged."

Cover of ztscript 33 : Lisa Fittko

ztscript

ztscript 33 : Lisa Fittko

ztscript

Typeface by Bea Schlingelhoff, from the Project "Women against Hitler"

Eric Bell & Kristoffer Frick: Rainbow Rope, 2017 1, Crystal Table (II), 2017 2, 63, Platonic Solid, 2018 64, Kolumne 3, Sara MacKillop: WC2N 4, 10, 15, 24, California Cannabis Legalization 9, Letzte Ausgabe der Spartakusbriefe, Oktober 1918 11, Delia Gonzales 16-21, Cordula Daus 22, Christina Irrgang 25, Eric Ellingsen 26, Hugo Canoilas: L’ô 29, 30, 35-38, Sadie Plant 31, Markus Krottendorfer: aus der Serie TERMINAL, 2017 32, Kate Rich: Feral Trade 39, Julia Knass 44, Walter Hetzer: World Trade Center 1972 46, Lidl, Wiedner Hauptstraße 15, Wien (ehemals Generali Foundation, gebaut 1993-95, Architektur Jabornegg & Pálffy) 50, One Hour and a Half in the Life of Ztscrpt 62-52

Cover of Emil Lime

Museo Ca2m

Emil Lime

Esther Gatón

Emil Lime collects various materials that nurture and give shape to Esther Gatón’s artistic practice, including collages made with her phone pics, sketches, sporadic notes and drawings, together with the writing of authors that have been influential on the work: Fredy Massad, María Fernanda Ampuero, Darya Diamond and Cory John. 

Cover of Seltsame Sterne starren zur Erde

Time has fallen asleep in the afternoon sunshine

Seltsame Sterne starren zur Erde

Sonia Si Ahmed

For the project Time has fallen asleep in the afternoon sunshine a group of people/ performers memorize a book of their choice. Together they form a library collection consisting of living books. After years of learning by heart and reciting for readers, some of the books have now been written down from memory to create new editions, versions resulting from this process. This book is one of those books, chosen by one person, learned by heart and recited many times, and now written down again from memory. This edition is not a re-edition of the original text. It is a re-writing of the text after the process of reading, memorizing and reciting, with all the alterations that might have occured in the course of this process.

Cover of Dreaming Water

Pinacoteca de Sao Paulo

Dreaming Water

Cecilia Vicuña

An edifying immersion into Vicuña’s creative wellspring as well as her decolonization and ecofeminist ideals.

Beautifully designed, with a special reverence for her humanitarian heart, Dreaming Water is the most thorough monograph dedicated to the work of Chilean artist Cecilia Vicuña to date. Vicuña coined the term “Arte Precario” in the mid-1960s as a new category for her works composed of debris and structures that disappear in the landscape, and which also include her quipus (“knot” in Quechua), envisioned as poems in space.

Dreaming Water brings together over 200 works—including paintings, drawings, screenprints, collages, textiles, videos, photographs, installations, poetry, artist books and performances—created throughout the artist’s remarkable career. It also features several stimulating texts—a lengthy epistolary piece by curator and editor Miguel A. López as well as new essays by anthropologist Elizabeth A. Povinelli, curator Catherine de Zegher and art historian José de Nordenflycht. Vicuña herself contributes two texts, reflecting on her drawings from the “Palabrarmas” project and the activism of the group Artists for Democracy, which she cofounded in 1974. A rousing conversation between Vicuña, anthropologist Marisol de la Cadena and curator Camila Marambio also figures in the book, blending the artist’s voice with those who are experts in fields pertinent to her practice.