Bøger udgivet af Dancing Foxes Press

Beloved artist and collagist Carmen Winant takes on the issue of "practice" as it relates to art and athleticsThe acclaimed American visual artist and writer Carmen Winant (born 1983) is best known for her multimedia works that center found imagery to explore representations of women. Her newest book, How We Practice, is part critical writing and part experimental essay, while also a self-portrait of Winant's life in long-distance competitive running.The book asks a single, knotty question: What is "practice"? Winant attempts to answer this by posing others, such as: What is the difference between going to a practice and having one? Are practice and theory dialectical? Does practice ever end?This project works to define the often contradictory term as it functions across contemporary art discourse, in the process offering new ways to read it. The book examines "practice" in relation to legitimacy in the newfound role of artist-as-professional and the influence of MFA programs in promoting creative work as white-collar labor. It imports influences from outside the field of art production--most notably, by looking to the world of athletics--to approach the implications, strategies and potentialities of practice vis-à-vis labor and exhaustion, repetition and pleasure, gender and rehearsal.

Untangling the conceptual threads that unite a distinguished artist's two- and three-dimensional artworksSpanning two decades of the multifaceted work of Pakistani American visual artist Anila Quayyum Agha (born 1965), Interwoven documents immersive installations, embroidery, drawings, paintings and wall sculptures. Such visual gateways, the "patterns used to break patterns," as the New York Times put it in a recent profile on the artist, poetically convey the contradictions and layered dimensions of the American journey. Whether immersive rooms of light or delicate, intimate drawings, Agha's works prompt feelings of wonder, disarming audiences with their beauty and allowing them to ponder deep questions regarding themes such as the history of women, the role of spirituality and the immigrant experience. The book includes essays that explore Agha's work through the lenses of biography, feminism and art and architectural history. This book was published in conjunction with The Westmoreland Museum of American Art

Leaving fingerprints and tool marks behind, a São Paulo artist evokes the cycles of the cosmosThis volume takes an expansive view of the bold and influential practice of Brazilian artist Erika Verzutti (born 1971), surveying more than 60 pieces made over the past 15 years. In Verzutti's art, moons recur as symbols of renewal and the multiple phases that a person or entity can pass through. Her work presents novel modes of perception by orbiting outside set systems of being-zooming out, in a telescopic sense, to the point where the relations we take so seriously here on Earth can be rethought. Vibrant illustrations of individual works and installation views of New Moons, the artist's first US museum survey, highlight how her approaches to display and presentation reveal such relationships. Presenting original scholarship on the art historical and theoretical aspects of Verzutti's practice as well as the artist's own writing, this book offers insights on the inspiration and multifaceted ideas at play across her work.

A critical reappraisal of a classic collection's modernist legacy for women artistsTaking as its point of departure the art collection at Kykuit-the former home of the Rockefeller family, now a museum-Inspired Encounters asks: if exclusively women-identifying artists remained in this legendary modernist collection, what would be revealed? Essentially the product of three people whose lives intertwined around MoMA-Alfred H. Barr Jr., Dorothy Canning Miller and Nelson A. Rockefeller-Kykuit's holdings include work by Anni Albers, Mary Bauermeister, Lee Bontecou, Mary Callery, Valerie Clarebout, Dorothy Dehner, Grace Hartigan, Louise Kruger, Marisol, Louise Nevelson and Lenore Tawney. The book augments this group with works by Louise Bourgeois, Elizabeth Catlett, Lin Emery and Fanny Sanín to expand the possibilities of a "closed" collection. Commissioned works by Sonya Clark, Maren Hassinger, Elana Herzog, Melissa Meyer, Barbara Takenaga and Kay WalkingStick reflect on the collection.

Chronicling an epic multimedia project 10 years in the making, A.K. Burns' first monograph grapples with climate change, community and sociopolitical agencyDeploying science fiction, material feminism, eco-anarchism, queer theory and technoscience, New York-based artist A.K. Burns (born 1975) explores the fraught relationships between humanity and nature in an epic multimedia work, Negative Space (2015-23). This nonlinear allegory provokes questions about marginalized bodies, environmental fragility and technology. Developed as a cycle of four video installations, Negative Space imagines new relationships to the spaces we occupy and the impact of our bodies in these spaces through imagery, research and critical and creative writings. Set in a speculative present, the tetralogy envisions a new materialist cosmology wherein hierarchical relations are transformed.

Poetics as artistic practice and world-making: practitioners from Bernadette Mayer and Sky Hopinka to Liliane Lijn and Shanzhai Lyric explore the wilder, parapoetic shores of languageThrough work by artists and poets of various generations and geographies, as well as additional thinkers and artistic contributors, SIREN considers the ways in which language is increasingly employed by artists in works that trouble the line between language as a literary practice and language as a visual one. Both human and nonhuman forms of language-making and poetics are insisted upon, from precolonial myth to scientific speculation, fungal networks to gut bacteria, text to textile, poem to algorithm.Contributors include: Ruth Estévez, Hana Noorali and Lynton Talbot, Don Mee Choi, Anaïs Duplan, Katja Aufleger, Patricia L. Boyd, Bia Davou, Sky Hopinka, Liliane Lijn, Bernadette Mayer, Rosemary Mayer, Nour Mobarak, Senga Nengudi, Rivane Neuenschwander, Mayra A. Rodríguez Castro, Aura Satz, Ser Serpas, Shanzhai Lyric, Jenna Sutela, Iris Touliatou, Christa Wolf and Dena Yago.

The bodies of work by artist Zoe Leonard that form this publications centerpiece

Fifty years of media critique from the leading exponent of feminist video artThroughout her five-decade career, New York-based artist Dara Birnbaum (born 1946) has relentlessly dissected the process of watching and has argued against the passive absorption of mass media, information and ideology, through various techniques-many of which can be described as subversive reactions or reversals. As media itself has evolved over the years, from the monolithic nature of TV broadcast networks to the Internet's decentralization of information, Birnbaum's work has remained consistently prescient and vital, incorporating new technologies and providing a touchstone for generations of younger artists. Including original scholarship by leading critics and curators of moving image and media art, this book examines Birnbaum's key works and concepts to illustrate how much her practice has to teach in a technology and media laden culture that demands constant participation and response.

"Edited by the renowned artist, curator, writer, and editor Julie Ault, Hidden in Plain Sight brings together essential writings by the art historian and curator Karin Higa (1966-2013). The selected essays, written between 1992 and 2011, focus on the creation of Japanese internment camps and the artistic production and communities that took root within them, as well as on the individual and collective narratives of Asian American artists in response to discriminatory immigration policies. While exploring issues of national identity and immigration, Higa recuperates significant artists and oeuvres from historical neglect and regards works by contemporary artists to examine how art acts as both a source for cultural identity and a transmitter of culture. This book reveals how Higa's conviction that art and the lived experience of the past are indissolubly linked was at the root of her methodological modeling of an Asian American art history. Moving between portrayals of milieux such as artists' networks in the camps, Little Tokyo communities, and cities around the world--across ethnic, geographic, and stylistic boundaries--and case studies of oeuvres and biographies, she recovers vital art practices and hidden histories of creative struggle and efflorescence, in the process mapping individual practices, networks, and communal life, as fertile creative contexts. Higa shows how artists of Asian descent have moved past the divide between United States and their ancestral homes by using their freedom as artists to more broadly define their culture."--

A long-form collaborative exploration of images and their enduring traces on the American landscapeIn 2012, Leslie Hewitt (born 1977) and Bradford Young (born 1977) produced Untitled (Structures), a series of silent, nonlinear film vignettes that grew out of an invitation from the Menil Collection, Houston, to consider the museum's civil rights-era photograph collection. The invitation, which inspired years of research into the aftereffects of the Great Migration, the civil rights movement and the ongoing struggle for human rights, prompted Hewitt and Young to shoot new work in Chicago, Memphis and Arkansas in an array of important sites, found and not found in the museum's photographs. Exposing the tensions between still photography and moving images, Hewitt and Young's project interrogates the ways in which history is embedded in contemporary topographic, corporeal and psychological landscapes. Taking the film as its point of departure, this publication furthers the artists' inquiries into the project's poetic and political themes, including psychogeography, anti-monumentalism and the intersections of image, memory and architecture.

Drawing on avant-garde cinema and found photographs, Saunders' multimedia works explore the mobility and affective power of imagesThis publication encompasses eight years of work by Cambridge, MA- and Berlin-based artist Matt Saunders (born 1975), who engages painting as a time-based medium through cameraless photography, animation, and innovative painting and printmaking processes. Best known for his haunting portraits and landscapes (using imagery culled from avant-garde cinema and found photographs) and moving-image works, Saunders uses analog materials to explore the affective power of images.Focusing on his experimentation with color processes, the stunning reproductions in this volume range from his first color film, Century Rolls (2012), to his more recent large-scale video installations. Moving image folds together with painting, photography and print, enlivening our relationship to images and their capacity for uncanny returns, echoes and ghosts.

Brooklyn-based interdisciplinary artist Jeanine Oleson (born 1974) created a 2017 exhibition at the Hammer Museum in Los Angeles, presenting her ongoing sharply absurdist response to research on the ways copper is produced and used in 21st-century capitalism. Through a video installation, objects and a performance--including a copper-based instrument that reacted to human touch and a handwoven rug based on perspectives visible in three-dimensional modeling--the exhibition focused on the confused entwinement of the human into contemporary material, as well as the relation with representation and art when these activities are now, more often than not, mediated through the digital--for which copper is an essential material component. With humor, pathos and intellectual rigor, Oleson explores issues of labor, the environment, craft and performance. Conduct Matters features an introduction by Connie Butler, chief curator at the Hammer Museum, and texts by cultural historian Jaleh Mansoor and legal scholar K-Sue Park, along with the full script of Oleson's video.

Published on the occasion of the exhibition held June 23-December 14, 2018, at CCS Bard, Annandale-on-Hudson, NY.

The most substantive monograph yet published on the work of German-born, New York-based multimedia artist Geyer, Dance in a Future with All Present focuses on her recent explorations of the marginalized yet pivotal role that women have played in the formulation of American modernism, tracing and honoring the ephemeral acts, initiatives, and stories that shaped it.

Ranging from figurative representation to gestural abstraction, monumental landscape paintings to more intimate portraits, the oeuvre of American painter Churchman channels his artistic and literary influences, friendships, moods, surrounding landscapes, and the visual iconography of divergent religions and philosophies.