New Materials Added to Intermedia Collections

Submitted by Sarah.Lou on Thu, 11/10/2011 – 8:06pm

The following materials have been recently added to the Intermedia collection and are available or your consideration and use in 404 Chadbourne hall:


Between Nietzsche’s “death of God” and the ascent of Buddhism in twentieth-century America and Europe, the idea of “void” has permeated Western art and culture, and the means by which artists and thinkers have dismantled conventions of reality and perception with acts of emptying, removing, destroying, or emphasizing nothingness, are numerous, as this massive survey testifies. This hardcover edition of Voids serves as a catalogue to the Centre Pompidou’s retrospective of empty exhibitions, curated by the dream team of Laurent Le Bon, John Armleder, Mathieu Copeland, Gustav Metzger, Mai-Thu Perret, and Clive Phillpot, and featuring Yves Klein, Robert Barry, Art & Language, Stanley Brouwn, Laurie Parsons, Bethan Huws, Robert Irwin, Maria Eichhorn, Roman Ondak; but it also supplies a crucial anthology of texts, with contributions by artists and writers such as Stuart Comer, Brian O’Doherty, Ralph Rugoff, Jon Savage, Sarah Wilson, Peter Downsbrough, Lawrence Weiner, Sherrie Levine, Seth Price, Trisha Donnelly, Wade Guyton and Olivier Mosset, among others.

In Deed: Certificates Of Authenticity In Art

Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples of artists certificates from the past fifty years, this book reveals how roles have shifted and developed, as well as how the materials and content of art have changed.


The New Now Sounds of Today! is a CD compilation of songpoems written by contemporary visual artists. They composed the lyrics, and specified the musical genre and vocal style in which they wanted to hear them performed. A professional songwriting company then wrote the songs, thereby allowing contemporary visual artists to test the unfamiliar waters of consensual ersatz glamour. In giving up creative control in order to become a star, the song-poet enters into a collusion with the musician/producer to construct an alternate, democratic version of celebrity culture. Highlights include John Baldessari’s new-age “Learn to Draw” and Mike Kelley’s pop-folk tune “Anal Sadistic”. Other lyrics were provided by Alexis Smith, Jim Shaw, Rev. & Mrs. Ethan Acres, Stephen Prina, Pae White, RubÈn Ortiz Torres, Martin Kersels, Tamara Fites, Sharon Ellis, Judy Fiskin, Steven Hull, Doug Harvey, Jeffrey Vallance, Museum of Jurassic Technology, Joe Scanlan, Dave Muller, Eleanor Antin, Gary Simmons, and Robert Heinecken

Logical Conclusions: 40 Years of Rule-Based Art

Exhibition catalogue published in conjunction with show held February 18 – March 26, 2005. Text by Marc Glimcher. Artists include: Josef Albers, Ad Reinhardt, Alfred Jensen, Jasper Johns, Marcel Broodthaers, Andy Warhol, Ed Ruscha, Piero Manzoni, Frank Stella, Carl Andre, Tony Smith, Donald Judd, Dan Flavin, Sol LeWitt, Mel Bochner, Hanne Darboven, On Kawara, Bernd & Hilla Becher, Chuck Close, Richard Serra, Robert Mangold, Jo Baer, Joan Jonas, John Baldessari, Bruce Nauman, Mario Merz, Charles Ray, Jeff Koons, Jenny Holzer, Sherrie Levine, Felix Gonzalez-Torres, Peter Halley, Damien Hirst, Tom Friedman, Andrea Zittel, Keith Tyson, Vik Muniz, Gary Hill, Michael Rovner, James Siena, Tara Donovan, Corban Walker, Julie Mehretu, Jonathan Monk, Paul Pfeiffer, and RSG. Includes black-and-white and color illustrations accompanied by artist quotes, brief narrative artist biographies, and exhibition checklist.

Continuous Project #12

The latest in a series of facsimile appropriations, pamphlets, performances and interventions by the collective Continuous Project, this illustrated volume, the second in their “institutional” series, marks the occasion of the exhibition Seth Price/Kelley Walker/Continuous Project at Modern Art Oxford. Here the past becomes an episode of the present: part catalogue and part anthology of writings, Continuous Project #12 combines commissioned texts with historical reprints.

Documenting the work of Seth Price and Kelley Walker with reproductions of their installation in Oxford, the book brings together new essays by Robert Hobbs and Jan Avgikos alongside contributions from curator Suzanne Cotter and religion scholar Joshua Dubler, in addition to historical documents.


DIRTY BABY is a provocative “trialogue” between the paintings of Ed Ruscha, the music of Nels Cline, and the poems of David Breskin. The title comes from the idea that when different art forms mate, the resulting offspring is no purebred but rather a wonderfully dirty and lovable mutt. The book is divided into two “sides” in the manner of a vinyl record: Side A offers a time-lapse history of Western Civilization; Side B charts the American misadventure in Iraq. The 66 Ruscha pictures in the book are drawn from two rarely seen bodies of work, the “Silhouettes” and the “Cityscapes,” in which Ruscha uses “censor strips” in place of the words which normally occupy a prominent place in his pictures. Throughout, Breskin’s lyrical verses, using the ancient Arabic form of the ghazal, serve as powerful companions to Ruscha’s gorgeously reproduced paintings. To this mix Cline adds more than an hour-and-a-half of new music for a large ensemble: by turns rhapsodic and edgy, heartfelt and raucous, it ranges from acoustic impressionism to dense, dark electronica. Housed in a luscious slipcase and including four CDs, two of music and two of spoken-voice poetry, this vibrant, polyphonic book is a wild surprise produced by three of the most exciting artists working today.

The Photobook: A History, Vol. 1 and 2

This book provides a unique perspective on the story of photography through the particular history of the photobook. The first of two extensive volumes, it is a study of the major trends and movements that have shaped the photobook genre since the birth of photography in the early nineteenth century. It represents a valuable catalogue of rare and important photobooks. This volume covers the history of photobooks from the earliest examples of the genre from the nineteenth century, through the modernist and propaganda books of the 1930s and 40s, to the radical Japanese photobooks of the 60s and 70s. While the history of photography is a well-established canon, much less critical attention has been directed at the phenomenon of the photobook, which for many photographers is perhaps the most significant vehicle for the display of their work and the communication of their vision to a mass audience. In the first of two volumes, both co-edited by Martin Parr and Gerry Badger, The Photobook provides a comprehensive overview of the development of the photobook, from its inception at the dawn of photography in the early nineteenth century through to the radical Japanese photobooks of the 1960s and 70s, by way of the modernist and propaganda books of the 1930s and 40s.

Volume one is divided into a series of thematic and broadly chronological chapters, each featuring a general introductory text providing background information and highlighting the dominant political and artistic influences on the photobook in the period, followed by more detailed discussion of the individual photobooks. The chapter texts are followed by spreads and images from over 200 books, which provide the central means of telling the history of the photobook. Chosen by Parr and Badger, these illustrations show around 200 of the most artistically and culturally important photobooks in three dimensions, with the cover or jacket and a selection of spreads from the book shown. Volume One also features an illuminating and provocative introduction, ‘The Photobook: Between the Film and the Novel’ by Badger, which is accompanied by a preface written by Parr.

Following on from the success of the first volume, The Photobook: A History volume II brings the story of the Photobook fully up to date. It features publications by many well-known photographers ranging from Man Ray, Ed Ruscha and Andy Warhol to Christian Boltanski, Stephen Shore ad Sophie Calle by way of Bernd and Hilla Becher, Andreas Gursky and Lewis Baltz. Several innovative books by unknown photographers are also included, offering an opportunity to discover these overlooked works.