Lanka Tattersall

The first comprehensive publication to capture Hayes's unique blend of performance and social engagement which has been at the forefront of questions of feminist history, queer time, and protest culture for over a decade American artist Sharon Hayes uses photography, film, video, sound, performance, and text to interrogate the intersections between the personal and collective sphere. Her deeply affective and queer approach to history and politics draws particular attention to the language of twentieth-century activism as well as drama, anthropology, and journalism. This book is the first to feature all of Hayes's most significant projects, from the ten-hour performance My Fellow American 1981-1988 to her Monument Lab addressing the absence of monuments to women in Philadelphia. A professor of fine art at the University of Pennsylvania, Hayes’s work has been shown at the 2010 Whitney Biennial, Documenta 12 in Kassel, and the 55th Venice Biennale, as well as in the most prestigious museums around the world. Her re-examination of protest, speech, and history is one of the most powerful reflections of the complexity and the urgency of our times.

With a chronological plate section and detailed texts, this is the first monograph on the widely acclaimed German-born, New York-based painter Kerstin Bratsch (born 1979), a star of The Museum of Modern Art's 2014 show and catalogue The Forever Now. It surveys her expanded painterly practice, which includes paintings on paper and mylar foil, glass works and marblings, but also performances and collaborative projects as Das Institut (with Adele Roder) and Kaya (with Debo Eilers and Kaya Serene). Throbbing with bright color and thick, writhing forms, Bratsch's paintings are often installed in a manner that further intensifies their physicality--hung by magnets, draped or framed in between sheets of glass and then leaned against the wall. For the first time, this book highlights the developments and connections between her various bodies of work.