Overview

Full Product Details

9798890181114

Table of Contents

Reviews

Author Information

Carrie Yamaoka (b. 1957, she/they) works at the intersection between records of chemical action/reaction and the desire to apprehend a picture emerging in fleeting and unstable states of transformation. Her work has been featured in exhibitions at the ICA Philadelphia, MoMA PS1, Palais de Tokyo, Henry Art Gallery, Artists' Space, Centre Pompidou, Wexner Center for the Arts, Leslie Lohman Museum, Victoria & Albert Museum, Fondation Ricard, and MassMOCA. Writing about her work has appeared in The New York Times, Artforum, Art in America, Artnews, The New Yorker, Time Out/NY, Hyperallergic, Interview, and BOMB. Yamaoka is the recipient of a John Simon Guggenheim Fellowship (2019) and an Anonymous Was A Woman award (2017). She is represented by Commonwealth and Council, Ulterior, and Kiang Malingue. She lives and works in New York. Artist-theorist and historian Jill H. Casid (b. 1966) is Professor of Visual Studies in the Departments of Art History and Gender & Women’s Studies at the University of Wisconsin–Madison. Casid researches across writing, photography, and film that is dedicated to queer, crip, trans*feminist, and decolonial interventions. Claire Grace (b. 1979) is an art historian specializing in art from the 1960s to the present, primarily in US contexts, and with a particular focus on intersections between aesthetic practices and social and political intervention. She is currently a faculty member of the Art & Art History and American Studies Departments at Wesleyan University. Elisabeth Lebovici (b. 1953) is a French art historian, journalist, and art critic. Her research examines gender and sexuality, and the relationships between feminism, queer theory, art history, and contemporary art. She has authored numerous monographic studies on contemporary artists and teaches at the School for Advanced Studies in the Social Sciences. Josiah McElheny (b. 1966) is an artist whose sculptures, paintings, installations, performances, and films engage with the history of ideas across literature, architecture, music theory, and astronomy. His works often combine glass or mirror with other materials, to emphasize the importance of the act of looking “as a subject in and of itself.” For McElheny, a skilled glassblower, the material serves as a productive agent, inciting chance encounters between forms and ideas that point toward alternative histories and futures. Jo-ey Tang (b. 1978) is an artist, writer, and curator who experiments with the formats of versions, repetitions, and iterations as an ongoing engagement with time and its potential. He has curated exhibitions at Centre Pompidou, Paris, Institute of Contemporary Art, Philadelphia, and Blaffer Art Museum, Houston. He has served as Director at KADIST San Francisco and Curator at the Palais de Tokyo.

Tab Content 6

Countries Available