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Updated documentation of The Theater of Refusal on the exhibition's 30th anniversaryIn 1993, at the University of California, Irvine, Charles Gaines and Catherine Lord mounted a category-breaking exhibition of Black artists from different generations, working across Fluxus, Conceptualism, assemblage, photography and installation. Challenging the racializing of Black artists' work, the exhibition confronted the discourse around race difference in the United States by including excerpts of writing by art critics who had discussed the featured artists. On the 30th anniversary of this event, this publication reprints the eponymous 1993 volume documenting the show, which contained essays by Gaines, Lord and Berger, and the transcript of a roundtable of artists and writers. Reproducing images of the exhibition in color for the first time, this new edition augments the original publication with an essay by poet and scholar Fred Moten; recent conversations between Lord and Gaines; an interview with Gaines by Moten; and a new roundtable discussion moderated and edited by curator Jamillah James and Thomas (T.) Jean Lax.Artists include: Jean-Michel Basquiat, Renée Green, David Hammons, Ben Patterson, Sandra Rowe, Gary Simmons, Lorna Simpson, Carrie Mae Weems.

"This volume brings together the paintings and drawings of Elizabeth Murray (1940-2007) and the work of New York-based sculptor Jessi Reaves (born 1986). Despite the generations that separate Murray and Reaves, this publication highlights each artist's lyrical, playful and rigorous engagements with the decorative, domestic, and bodily"--

"Upgrade Available. By Julia Christensen. Edited by Karen Kelly, Barbara Schroeder. Conversations with Ravi Agarwal, Cory Arcangel, Lori Emerson, Jessica Gambling, Rick Prelinger, Bobbye Tigerman, Laura Welcher. This volume documents an ongoing investigation by artist Julia Christensen into how our relentless "upgrade culture"-the perceived notion that we need to constantly upgrade our electronics to remain relevant-fundamentally impacts our experience of time. In a personal narrative interspersed with related interdisciplinary artwork and conversations with experts from different fields (other artists, archivists, academics), Christensen takes readers along a path, from the international "e-waste" industry to institutional archives, that eventually leads her to a collaboration with NASA's Jet Propulsion Lab (JPL)"--

A long-overdue appreciation of the influential sculpture of Liz Larner and its radically adventurous formal and conceptual vocabularyLos Angeles-based sculptor and installation artist Liz Larner (born 1960) was originally a photographer: in some of her earliest projects, she documented the volatility of bacterial cultures in petri dishes. However, she soon realized that she was more compelled by the dishes themselves and how they presented questions about what an art object can entail. Since then, she has continued to pursue her interest in formal unpredictability through a focus on sculpture and architectural space. Composed of a diverse variety of materials, her sculptures frequently function as optical illusions that seem to bend the space around them. Sometimes rigidly technical in their geometry and at other times soft-edged and amorphous, Larner's sculptures are striking both for their fluctuation of form and for their representation of spatial politics.Repositioning her enduring formal and material concerns alongside her relationship to a feminist sculptural position, this monograph offers an opportunity to consider Larner's artistic project within today's expanded discourses of embodiment, gender and posthumanism, and to recalibrate our understanding of it in relation to male-dominated Postminimalism and installation art, which have often underpinned Larner's critical reception. Poet Ariana Reines, cultural critic and theorist Catherine Liu, and curators Connie Butler and Mary Ceruti consider the physical properties and sociopolitical implications of the materials present in Larner's work, which range from ceramic to steel chain to surgical gauze to human hair.

Initially known for her work in photography--which she has been making over the last three decades--New York-based artist Moyra Davey (born 1958) is also an esteemed writer, editor and, most recently, filmmaker, whose works layer personal narratives with explorations of other authors, filmmakers and artists. This book is based on two related projects that take form as text, photography and film. Les Goddesses (2011) collapses the lives of Davey and her five sisters with those of the daughters of Mary Wollstonecraft, the 18th-century feminist writer and activist. Hemlock Forest (2016) weaves references to Wollstonecraft, Chantal Akerman and Karl Ove Knausgaard with her own family stories. During the making of Hemlock Forest, Akerman took her own life. Her death soon engulfed Davey's awareness, prompting a broader exploration of Akerman's and her own biographies, amid more universal themes of compulsion, artistic production, life and its passing.