Bøger udgivet af P S 1 CONTEMPORARY ART CTR

MoMA PS1 presents the fourth iteration of Greater New York. Recurring every five years, the exhibition has traditionally showcased the work of emerging artists living and working in the New York metropolitan area. Considering the "greater" aspect of its title in terms of both geography and time, Greater New York. begins roughly with the moment when MoMA PS1 was founded in 1976 as an alternative venue that took advantage of disused real estate, reaching back to artists who engaged the margins of the city. In conjunction with the exhibition, MoMA PS1 is publishing a series of readers that will be released throughout the run of the exhibition. These short volumes revisit older histories of New York while also inviting speculation about its future, highlighting certain works in the exhibition and engaging a range of subjects including disco, performance anxiety, real estate and newly unearthed historical documents. The series features contributions from Fia Backström, Mark Beasley, Gregg Bordowitz, Susan Cianciolo, Douglas Crimp, Catherine Damman, David Grubbs, Angie Keefer, Aidan Koch, Glenn Ligon, Gordon Matta-Clark, Claudia Rankine, Collier Schorr, and Sukhdev Sandhu, concluding with a round-table conversation with exhibition curators Peter Eleey, Douglas Crimp, Thomas J. Lax and Mia Locks. The series is edited by Jocelyn Miller, Curatorial Associate, MoMA PS1.

Clifford Owens (born 1971) has long been aware that the history of African-American performance art remains largely unwritten. Rather than rectifying the oversight in scholarly terms, Owens has created an unprecedented artistic project, a compendium of African-American performance art that is both highly personal and thoroughly historical. This volume, Owens' first publication, includes written performance scores that Owens solicited from fellow African-American artists, which he then enacted in various locations at MoMA PS1. Clifford Owens: Anthology brings together the final artworks that resulted from the performances, and features essays by art historians Huey Copeland and John Bowles, as well as MoMA PS1 assistant curator Christopher Y. Lew. It also includes interviews with individuals who attended the live performances and a round-table discussion with selected Anthology artists moderated by art historian Kellie Jones.

The attacks of September 11, 2001 were among the most pictured disasters in history, yet they remain, a decade later, underrepresented in cultural discourse--particularly within the realm of contemporary art. Responding to these conditions, MoMA PS1 curator Peter Eleey brings together more than 70 works by 41 artists--many made prior to 9/11--to explore the attacks' enduring resonance. Eschewing both images of the event itself and art made directly in response, the exhibition and its accompanying catalogue provide a subjective framework within which to reflect upon the attacks and their aftermath, and explore the ways that they have altered how we see and experience the world in their wake. Opening on the tenth anniversary of the attacks, September 11 includes works by Diane Arbus, John Chamberlain, Bruce Conner, Christo, Ellsworth Kelly, Mary Lucier, Stephen Vitiello and others.

Throughout history, the excitements, surprises and discoveries of travel have inspired many. Great travelers, of course, are often great ambassadors of knowledge and ideas, but while the exchanges between disparate cultures have enchanted--and sometimes puzzled--both the visitors and the visited, they have also historically been the cause of conflict and strife. Christopher Columbus's fourth long voyage from Spain to America has been chosen as a metaphor for P.S.1 Contemporary Art Center's exhibition The Real Royal Trip. The "artist-travelers" featured in this historic exhibition reveal through their work a potent creative energy and illuminate the flow of new ideas, images, and approaches emerging from Spain's unique contemporary cultural climate. Breaking down barriers established by nations, the exhibition reaches across the Atlantic Ocean to include work by artists from Cuba and Puerto Rico, pursuing the pioneering voices of contemporary Latin America. (The inclusion of Ernesto Neto ensures that the great South American dream is also represented.) With the language of Spain--and not its national borders--as a common currency, this international panorama of art-making proposes a new kind of Spanish identity, one that is intricately linked to U.S. and Latin American culture.