Bøger udgivet af Soberscove Press

Art writing, theory, poetry and more from a leading champion of "painting as a poetic act"This unprecedented collection compiles the writings of artist and poet Jesse Murry (1948-93), an extraordinary thinker who believed in the capacity of painting to hold the complexity of human meaning. Painting Is a Supreme Fiction brings together Murry's published art criticism with previously unpublished philosophical writing and poetry from 1980 to his tragic death from AIDS-related illness at the age of 44. The result is a portrait of an original mind who sought to unite the histories of Romantic landscape painting with the realities of Black experience through "a belief in the restorative and creative powers of the imagination." No artist before occupied the exact intersections Murry created through his work, which aimed to reclaim "painting as a poetic act" amid the "death of painting" discourse of the 1980s. In addition to Murry's writings, this volume also includes reproductions of selected paintings; excerpts from a a pair of panel discussions on art criticism and expressionism that took place in 1980; as well as transcriptions of two of the artist's notebooks, in which the spatialization of the words across the page approaches the condition of thought. Painting Is a Supreme Fiction presents Jesse Murry in his own words, offering intimate access to this remarkable figure.

On the life and afterlives of Jay DeFeo's Estocada, a work created in the shadow of The RoseIn 1965, Jay DeFeo (1929-89) was evicted from her San Francisco apartment, along with the 2,000-pound colossus of a painting for which she would become legendary, The Rose. The morning after it was carried out the front window, DeFeo was forced to destroy the only other artwork she'd started in six years, an enormous painting on paper stapled directly to her hallway wall. The unfinished Estocada--a kind of shadow Rose--was ripped down in unruly pieces and reanimated years later in her studio through photography, photocopy, collage and relief.Drawing from largely unpublished archival material, Rip Tales traces for the first time Estocada's material history, interweaving it with stories about other Bay Area artists--Zarouhie Abdalian, April Dawn Alison, Ruth Asawa, Lutz Bacher, Bruce Conner, Dewey Crumpler, Trisha Donnelly and Vincent Fecteau--that likewise evoke themes of transformation, intuition and process. Foregrounding a Bay Area ethos that could be defined by its resistance to definition, Rip Tales explores the unpredictable edges of artworks and ideas.

A multidisciplinary reader on an acoustic phenomenon conventionally deemed undesirableWhen a bowed stringed instrument is played, the vibrations of certain notes can resonate at the same frequency as the vibrations of the instrument itself. The dissonant effect that results is referred to as a "wolf tone," for its howl, and is almost universally characterized as an unpleasant deviance. For Maximilian Goldfarb, Nancy Shaver and Sterrett Smith, however, the wolf tone has come to serve as a productive analogy for describing forces at work in a visual field and a model for their ongoing collaboration, Wolf Tones. Here, the artists present an orchestrated cacophony of images from their individual and collaborative practices alongside texts by contributors from the realms of music and sound, art, poetry, art criticism and architecture. Referencing landscape, temporality, sonic surpluses, improvisation, Éliane Radigue's Naldjorlak and more, this book addresses the artists' collaboration as well as the acoustic phenomenon itself, reimagining the wolf tone as something to be celebrated.

"Cuban American painter Gustavo Ojeda (1958-1989) was known primarily for his lush and meditative urban nightscapes, which brought him notoriety in the legendary downtown New York art scene of the 1980s. He exhibited alongside artists like Jean-Michel Basquiat, Keith Haring, David Wojnarowicz, Tom Bianchi, and Luis Frangella, before passing away from AIDS-related complications in 1989, just two weeks shy of his 31st birthday. Ojeda's exhibited paintings were notably unpopulated; in his private sketch practice, however, Ojeda complemented and opposed his painting by fixating on the people of New York, filling thousands of pages with disembodied faces, the bodies of sleeping people riding public transportation, and the movement of people within urban space. The selection of sketches presented here showcases Ojeda's enormous productivity not through his most known work but rather through his most private work. In the margins of his sketchbooks, Ojeda often wrote that he felt anxious about his productivity, shaming himself for not being able to paint more before his death. An Excess of Quiet answers Ojeda's worries with the recovery of what was always right in front of him, his most obsessive and tender artistic practice, rendered with adept craftsmanship and rapt attention"--

"In the early 2000's, John Corbett struck thrifter's gold in a going-out-of-business Chicago junk shop when he stumbled onto a 1933 manuscript intimately documenting the Chicago Mafia. The tone of the browned and brittled pages immediately grabbed him-sensationalistic and funny, they read like an embellished police blotter as they named names, gave addresses, and detailed crimes. Presented here in facsimile in order to capture the physicality of the type-written and annotated document, Bullets for Dead Hoods: An Encyclopedia of Chicago Mobsters, c. 1933 offers an expanded overview of the Chicago Outfit through 140 character sketches that range from the infamous-Al Capone, Big Jim Colosimo, the Everleigh Sisters-to their lesser known aiders and abetters. Whoever dared to put this testament together was clearly someone with access to information-a cop? a detective? a newspaperman? a bitter mafiosi?-but who would've risked sharing this information, and why, is a mystery that will most likely never be solved. What is left for us is a concise introduction to a particularly gripping chapter in American history that, through its details, knits Chicago together in a new way. In addition to the 1933 manuscript in facsimile (approx 200 pages/images), there will be an introduction by John Corbett; a list of all addresses and locations mentioned in the manuscript, organized according to Chicago's grid layout; and a map that shows the locations of all of the addresses mentioned"--

"First published by Object Relations in 2016 on the occasion of the exhibitions "Rosemary Mayer: Conceptual Works and Early Fabric Sculptures, 1969-1973," at SOUTHFIRST Gallery, Brooklyn, NY"--Title page verso.

In 1970, galvanized in part by the musical experiments of John Cage, Gavin Bryars, and Cornelius Cardew, students at Portsmouth College of Art formed their own symphony orchestra. Christened the Portsmouth Sinfonia, the primary requirement for membership specified that all players, regardless of skill, experience, or musicianship, be unfamiliar with their chosen instruments. This restriction, coupled with the decision to play "only the familiar bits" of classical music, challenged the Sinfonia's audience to reconsider the familiar, as the ensemble haplessly butchered the classics at venues ranging from avant-garde music festivals to the Royal Albert Hall. By the end of the decade, after three LPs of their anarchic renditions of classical and rock music and a revolving cast of over one hundred musicians--including Brian Eno and Michael Nyman--the Sinfonia would cease performing. "The World's Worst: A Guide to the Portsmouth Sinfonia", the first book devoted to the ensemble, examines the founding tenets, organizing principles, and collective memories of the Sinfonia, whose reputation as "the world's worst orchestra" underplays its unique accomplishment as a populist avant-garde project. While seemingly a niche musical anecdote, the story of the Portsmouth Sinfonia engenders wide-ranging conversations that touch upon the legacy of interdisciplinary art pedagogy, the power of popular music, the investment necessary in order to work and learn together, and the effects of destabilizing canonization. The unorthodox journey of the orchestra unfolds here through interviews with original members and their publicist/manager, magazine publications, photographs, and previously uncollected archival material, as well as an essay by Christopher M. Reeves and a foreword by Gavin Bryars.

The marble workers laboring on the decades-long restoration of the Acropolis are the invisible force rebuilding one of the world's most storied monuments. Inheritors of a millennia-old tradition, few carvers exist today; fewer pass the Acropolis entrance exams. Their work is a highly technical, fascinating amalgam of past and present, yet what these master marble carvers do and how they do it was previously undocumented. As the Acropolis restoration enters its final phases in the midst of political and economic crises in Greece, this book of interviews (in English, with Greek translation) conducted by American artist Allyson Vieira presents the marble carvers' stories in their own words. The workers describe their craft, techniques, training and their specific roles in the restoration; and consider how the Greek crisis has changed the way they think about their jobs and their citizenship.

Born in Detroit, Michigan, Ray Johnson (1927-95) studied under Josef Albers and Robert Motherwell at Black Mountain College in North Carolina, and worked as a painter early in his career, exhibiting alongside Ad Reinhardt before embracing pop imagery, collage and mail art, producing thousands of collages and other works on paper. His life and death (by suicide, jumping from a bridge in Sag Harbor, Long Island) were the subject of the award-winning documentary How to Draw a Bunny (2002). 'That Was the Answer: Interviews with Ray Johnson' brings together a selection of interviews and conversations from 1963 to 1987 that offer unique access to Johnson's distinctive thinking and working methods. Throughout, Johnson's responses are marked by his humor and close attention to language. Gathering these interviews for the first time, That Was the Answer serves as an ideal introduction to Ray Johnson as well as a resource for those wanting deeper insight into this artist and his kaleidoscopic body of work.