Lisa Le Feuvre

Carol Bove: Collage Sculptures presents an extensive look into the contemporary artist’s work over the past five years and her ongoing exploration of scale, color, material, and artistic traditions of the twentieth century. Bove’s recent work engages the conceptual concerns of mid-century sculpture, such as spontaneity, industrial materials, and the potential of painted sculpture. However, within this space of familiar sculptural traditions, Bove has discovered new approaches that lead to places previously unknown. Bove’s “collage sculptures” are created from scrap metal and stainless steel that has been carefully worked into sinuous forms and are frequently painted. Considering the hard rigidity of the steel, the works possess an appearance of almost impossible softness, as if steel could become as pliable as clay. Such works range from small pedestal sculptures to large, imposing compositions. Bove’s interest in scale and how a viewer’s understanding of an artwork shifts depending on its context are explored through a selection of small works from the collection of the Nasher Sculpture Sculpture. Published by the Nasher Sculpture Center, the catalogue features beautiful reproductions of Bove’s work and an introduction as well as an essay by curator Catherine Craft on the development of the collage sculptures and their relationship to other artists and traditions of modern sculpture. Also included is an essay by Lisa Le Feuvre that explores Bove’s complex work by means of a thematic alphabet related to the artist’s interests.

A collection of work by 80 artists who explore the contemporary art world’s fundamental concerns of value, markets, and the business of art Grounded in the global, conceptual art tendencies that began in the 1960s, For What It’s Worth looks at artists who generate, question, and infect value systems through their work. These works address issues vital to the art world connected to systems of exchange, social structures, or metacritiques of the market – and all stops in between. A companion to the 2024 exhibition at The Warehouse, the dedicated exhibition space for The Rachofsky Collection in Dallas, Texas, this book includes a dedicated section, The Value Systems Reader, which comprises an anthology of texts selected by the living artists featured in the Warehouse exhibition, elaborating their positions in the ongoing exploration of questions of value in art. Drawn from dozens of key modern and contemporary artists, For What It’s Worth explores the themes and strategies that continue to reverberate through art and the world today. Features works from the famed The Rachofsky Collection by artists including: Judy Chicago, Felix Gonzalez-Torres, Annette Lawrence, Seung-taek Lee, Sherrie Levine, Piero Manzoni, Bruce Nauman, Giulio Paolini, Sherrill Roland, Rirkrit Tiravanija, Fred Wilson, and Yukinori Yanagi.

An in-depth exploration of the pathbreaking works of Nancy Holt, a pioneering practitioner of Conceptual and Land Art Nancy Holt: Inside/Outside takes a journey through the artist’s key experiments in visual art presenting works never seen before, commissioning new critical thinking, and amplifying knowledge of an artist whose ideas are fundamental to how we define art today. Over the course of fifty years, Nancy Holt’s rich output spanned concrete poetry, audio, film and video, photography, drawings, room-sized installations, earthworks, and public sculpture. Nancy Holt: Inside/Outside details her unique and significant contributions, situating an important female voice within the narratives of land art and conceptual art. Initiating her art practice in 1966 with concrete poetry, she soon expanded her ideas into other media and the landscape. Through each of the mediums she worked in, Holt explored how we understand our place in the world by investigating perception and site within and outside of traditional museum contexts. In the mid-1970s Holt completed her most influential earthwork, Sun Tunnels, an artwork central to the definition of land art. Rigorous documentation of Holt’s work, as well as contributions by key scholars, previously unseen photoworks and drawings, and a revealing, never-before-published “self-interview” by the artist bring her work into far fuller context. Developed in close consultation with Holt/Smithson Foundation, an artist endowed organization dedicated to preserving and extending the work of Nancy Holt and her husband Robert Smithson, this expansive publication will serve as a major contribution to the critical ongoing research into the art of our time. This new book is published to coincide with an exhibition anchored at Bildmuseet in Umeå, Sweden, and traveling to MACBA Museu d’Art Contemporani de Barcelona and further internationally.

Esther Shalev-Gerzs art has long been at the forefront of debates regarding participation, citizenship, cultural memory, and the role of the artist in society. Her practice has consistently confronted many of the most profound ethical questions of our time regarding the politics of representation, memorialization, and the narration of our histories. Through the artworks and methods of Esther Shalev-Gerz, this book seeks to provide a platform for a debate on trust and dialogue and to act as a catalyst for reflection on the relativity of these two concepts when characterized by, and as, art. This is the first illustrated anthology to be published on Shalev-Gerzs work. It brings together some of the most significant thinkers, writers, and curators of our time to stimulate debate on notions of trust and dialogue and their interrelations as exemplified through her oeuvre. Edited by Jason E. Bowman Contributing writers: Stefanie Baumann, Jason E. Bowman, George Didi-Huberman, Lisa Le Feuvre, Andrea Phillips, Jacques Rancière, Jacqueline Rose, Esther Shalev-Gerz, Annika Wik, James E. Young

Part of the acclaimed 'Documents of Contemporary Art' series of anthologies . Amidst current global uncertainty failure has become a central subject of investigation in recent art. Artists have actively claimed the space of failure to propose a resistant view of the world. Here success is deemed overrated, doubt embraced, experimentation encouraged and risk considered a viable position. Between the poles of success and failure lies a productive space where paradox rules and dogma is refused. This anthology establishes failure as a core concern in contemporary cultural production. Artists surveyed include: Bas Jan Ader, Francis Alÿs, John Baldessari, Chris Burden, Phil Collins, Martin Creed, David Critchley, Fischli & Weiss, Ceal Floyer, Isa Genzken, Dominique Gonzalez-Foerster, Félix González-Torres, Wade Guyton, International Necronautical Society, Ray Johnson, Mike Kelley, Martin Kippenberger, Michael Krebber, Bruce Nauman, Simon Patterson, Janette Parris, Yvonne Rainer, Robert Rauschenberg, Dieter Roth, Allen Ruppersberg, Roman Signer, Annika Ström, Paul Thek and William Wegman. Writers include: Giorgio Agamben, Samuel Beckett, Daniel Birnbaum, Bazon Brock, Johanna Burton, Emma Cocker, Gilles Deleuze, Russell Ferguson, Ann Goldstein, Jörg Heiser, Jennifer Higgie, Richard Hylton, Jean-Yves Jouannais, Lisa Lee, Stuart Morgan, Hans-Joachim Müller, Karl Popper, Edgar Schmitz and Coosje van Bruggen