Ilit Azoulay: No Thing Dies


Book Description

Panoramic photographs by Ilit Azoulay relate the silenced histories of objects in Jerusalem's Israel Museum Here, Israeli photographer Ilit Azoulay (born 1972), known for panoramic photomontages, collects stories from those in charge of museum collections. Her "archive pages"--numerous high-resolution shots of objects mentioned in these stories, stitched together in Photoshop--are collected here alongside essays.




Ilit Azoulay


Book Description

Third in the KW Pocket Series is the catalog Shifting Degrees of Certainty from the exciting young Israeli artist, Ilit Azoulay. During her 2013 five-month residency at the KW Institute for Contemporary Art, Azoulay traveled throughout Germany collecting and photographing objects and architectural fragments in towns and cities from Berlin to Bamberg, as well as in the KW building itself. Her interest in the archaeology of cities resulted in the 2014 exhibition of the same title at the KW Berlin. Documented in this pocket-sized catalog accompanying the exhibition are images of the 93 objects she photographed, the site-specific installation, and narratives Azoulay developed about her finds based on correspondence with squatters, botanists and taxidermists. Combined with texts from the exhibition audio guide, the publication, edited by curators E llen Blumenstein and Adela Yawitz, also features an essay by Katia Reich examining the projects archival character.




Louise Bourgeois, Freud's Daughter


Book Description

An exploration of the art and writing of Louise Bourgeois through the lens of her relationship with Freudian psychoanalysis From 1952 to 1985, Louise Bourgeois (1911-2010) underwent extensive Freudian analysis that probed her family history, marriage, motherhood, and artistic ambition--and generated inspiration for her artwork. Examining the impact of psychoanalysis on Bourgeois's work, this volume offers insight into her creative process. Philip Larratt-Smith, Bourgeois's literary archivist, provides an overview of the artist's life and work and the ways in which the psychoanalytic process informed her artistic practice. An essay by Juliet Mitchell offers a cutting-edge feminist psychoanalyst's viewpoint on the artist's long and complex relationship with therapy. In addition, a short text written by Bourgeois (first published in 1991) addresses Freud's own relationship to art and artists. Featuring excerpts from Bourgeois's copious diaries, rarely seen notebook pages, and archival family photographs, Louise Bourgeois, Freud's Daughter opens exciting new avenues for understanding an innovative, influential, and groundbreaking artist whose wide-ranging work includes not only renowned large-scale sculptures but also a plethora of paintings and prints.




Ooh-la-la (Max in Love)


Book Description

Max the dog-poet is back, this time in Paris and falling in love, in Maira Kalman's delightful picture book. It's happened. Before you can say "Pepe le Pew," Max the millionaire poet dog has landed in Paris, the city of lights. The city of dreams. Everyone is in a froufrou of delight over Max. There's Fritz from the Ritz, Madame Camembert, Charlotte Russe, and Pierre Potpurri, who wants Max to perform in his Crazy Wolf Nightclub. Amidst the enchantment and beauty that is Paris in the spring, something is missing for Max. Max has made his millions; when will he find romance?




Revolution of the Eye


Book Description

An engaging exploration of the relationship between avant-garde art and American network television from the 1940s through the 1970s The aesthetics and concepts of modern art have influenced American television ever since its inception in the 1930s. In return, early television introduced the public to the latest trends in art and design. This engaging catalogue comprehensively examines the way avant-garde art shaped the look and content of network television in its formative years, from the 1940s through the mid-1970s. It also addresses the larger cultural and social context of television. Artists, fascinated with the new medium and its technological possibilities, contributed to network programs and design campaigns, appeared on television to promote modern art, and explored, critiqued, or absorbed the new medium in their work. More than 150 illustrations reveal both sides of the dialogue between high art and television through a selection of graphic designs, ephemera, and stills from important television programs--from The Twilight Zone to Batman to Rowan & Martin's Laugh-In, and more--as well as works by artists including Salvador Dalí, Lee Friedlander, Agnes Martin, Man Ray, Andy Warhol, and many others. Revolution of the Eye uncovers the cultural history of a medium whose powerful influence on our lives remains pervasive.




Afterlives


Book Description

A strikingly original exploration of the profound impact of World War II on how we understand the art that survived it By the end of World War II an estimated one million artworks and 2.5 million books had been seized from their owners by Nazi forces; many were destroyed. The artworks and cultural artifacts that survived have traumatic, layered histories. This book traces the biographies of these objects--including paintings, sculpture, and Judaica--their rescue in the aftermath of the war, and their afterlives in museums and private collections and in our cultural understanding. In examining how this history affects the way we view these works, scholars discuss the moral and aesthetic implications of maintaining the association between the works and their place within the brutality of the Holocaust--or, conversely, the implications of ignoring this history. Afterlives offers a thought-provoking investigation of the unique ability of art and artifacts to bear witness to historical events. With rarely seen archival photographs and with contributions by the contemporary artists Maria Eichhorn, Hadar Gad, Dor Guez, and Lisa Oppenheim, this catalogue illuminates the study of a difficult and still-urgent subject, with many parallels to today's crises of art in war.




Potential History


Book Description

A passionately urgent call for all of us to unlearn imperialism and repair the violent world we share, from one of our most compelling political theorists In this theoretical tour-de-force, renowned scholar Ariella Aïsha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences. Azoulay argues that the institutions that make our world, from archives and museums to ideas of sovereignty and human rights to history itself, are all dependent on imperial modes of thinking. Imperialism has segmented populations into differentially governed groups, continually emphasized the possibility of progress while it tries to destroy what came before, and voraciously seeks out the new by sealing the past away in dusty archival boxes and the glass vitrines of museums. By practicing what she calls potential history, Azoulay argues that we can still refuse the original imperial violence that shattered communities, lives, and worlds, from native peoples in the Americas at the moment of conquest to the Congo ruled by Belgium's brutal King Léopold II, from dispossessed Palestinians in 1948 to displaced refugees in our own day. In Potential History, Azoulay travels alongside historical companions—an old Palestinian man who refused to leave his village in 1948, an anonymous woman in war-ravaged Berlin, looted objects and documents torn from their worlds and now housed in archives and museums—to chart the ways imperialism has sought to order time, space, and politics. Rather than looking for a new future, Azoulay calls upon us to rewind history and unlearn our imperial rights, to continue to refuse imperial violence by making present what was invented as “past” and making the repair of torn worlds the substance of politics.




Ilit Azoulay


Book Description

Finally Without End features Ilit Azoulay's meticulously composed photographs, and includes work from the series “Implicit Manifestations,” created during a six-month residency at the KW Institute for Contemporary Art in Berlin. Concerned with the unacknowledged scraps and remains of the everyday—from architectural debris to spools of thread—her photographs capture the ambiguity of objects detached from their original purpose. Presented in new symmetrical configurations, her images speak to the memory-work attributed to things and our unreliable cataloguing of knowledge through them. In addition to her photographs, this publication offers a variety of perspectives on Azoulay's practice. Sarit Shapira describes the artist's 2008 series “Unknown Aspects” as an elevation of cultural debris to the level of representation, while Michal Ben-Naftali offers a psychoanalytic reading of Azoulay's uncanny images. Shalom Shpilman explores the viewer's participation in the artist's visual realm of significance. Curators Aya Lurie (Herzliya Museum of Contemporary Art, Israel) and Gabriele Horn (KW Berlin) meditate on two concurrent exhibitions of some of the work featured in this book. Azoulay's photographs, as one essay describes, are events-in-progress—forever unfolding and forestalling conclusion. Contributors Michal Ben-Neftali, Joseph Cohen, Gabriele Horn, Aya Lurie, Sarit Shapira, Shalom Shpilman, Raphael Zagury-Orly




Steve Bishop


Book Description

The publication Deliquescing accompanies Steve Bishop's 2018-19 solo exhibition at KW Institute for Contemporary Art in Berlin. Both the exhibition and publication reflect a body of research that focuses on the fragility of memory and the potential for its preservation, defying the gradual breakdown of matter through the effects of time. The lion's mane mushroom is sought after for its medicinal properties, known for protecting and repairing the mind and memory. Within KW, the artist reconstructed the exact conditions needed to cultivate the mushroom. Its medicinal properties were abstracted and repeated in the space of the gallery--the mushroom held in perfect stasis so that it wouldn't lapse into the entropic process known as deliquescing. Bishop's video work Deliquescing is paired with this regulated climate of cultivation: slow-panning HD shots study an abandoned Canadian mining town, maintained in a Sisyphean fashion by an unseen caretaker, homes still heated, bucolic front yards suspended from entropy, empty storefronts frozen, any sign of decay routinely swept away. This extreme stillness is randomly interrupted by the dashing of an animal, the only "aliveness" that remains. This publication continues Bishop's research into the lion's mane mushroom and the abandoned town in Canada, including video stills capturing this hauntingly beautiful place as well as photo documentation of the installations at KW. An interview of the artist with KW curator Anna Gritz is featured alongside essays by Gary Zhexi Zhang on a computer program that functions as an archive of "lists of lists"; Orit Gat on her exchanges with Bishop about the phobia of time, jazz standards, and the emotional weight of kitsch; and Anna Lowenhaupt Tsing on the foreign-borne diseases that plague native tree cultures. Contributors Steve Bishop, Orit Gat, Anna Gritz, Anna Lowenhaupt Tsing, Gary Zhexi Zhang Copublished with KW Institute for Contemporary Art, Berlin.