In a vividly illustrated artist’s book, Cammock breaks through the fourth wall of the page to present the city as a composition of energies.
A new book on the artist features selections from Saint Phalle’s prints, doodles, letters, and diaries, arranged in roughly chronological order.
In Memory, the poet shapes a new visual and textual language that explores the simmering possibilities of consciousness.
Madeline Gins uses the form to dislodge our notion of individual subjectivity, the narrator commonly known as “I.”
Dermisache’s drawings posture as communication yet undercut it through illegibility.
Vincent Sardon’s The Stampographer, published by Siglio Press, collects the witty designs he makes with rubber stamps, which are sometimes several feet long.
Midway through the retrospective of Belgian artist Marcel Broodthaers currently at the Museum of Modern Art, the visitor comes across the witty short film La Pluie (Projet pour un texte) [The Rain (Project for a text), 1969].
One of the minor ironies of the postwar avant-garde is that an artist so resolutely against personal expression and the myth of the inspired genius should become the focus of a cult of personality.
“To wear masks put them off,” writes Ruth Greisman, alter-ego of the late artist and writer Robert Seydel. Though based on and named after Seydel’s real-life aunt, Ruth is largely a fictional construct.
Richard Kraft’s Here Comes Kitty: A Comic Opera explodes off the page.
LOS ANGELES — They said it would never work. They said Angelenos aren’t interested in art books. Then, two years ago, they were proven wrong.
Dorothy Iannone describes her trip to Reykjavík in 1967 as the “journey which seems to have made all other journeys possible.” It was there she met the artist Dieter Roth, with whom she swiftly fell in love and for whom she left her husband and a comfortable life in the United States.