Bruce Conner: It’s All True (2016)

“Realist. Surrealist. Hippie. Punk. Bruce Conner (1933-2008) was all of these and more. A pioneer in experimental film, collage, photography, conceptual works, and paintings, he challenged the limitations of medium, genre, and style, constantly breaking new ground. Both of and ahead of his time, Conner continues to exert influence over artists working today. Bruce Conner: It’s All True was the first comprehensive retrospective of this pivotal American artist’s output, bringing together over 250 objects in various media, including film and video, works on paper, assemblages, photographs and photograms, performance, and more. Spanning his five-decade career, the exhibition presents aspects of Conner’s work that have rarely been seen before, from paintings he made in the 1950s to photos from the Bay Area punk scene in the 1970s to video work from the 2000s, as well as numerous works produced in the last decade of his life.”

With texts by Rachel Federman, Laura Hoptman, Kellie Jones, Michelle Barger, Roger Griffith and Megan Randall, Rachel Federman, Kristine Stiles, Rudolf Frieling, Gary Garrels, Diedrich Diederichsen, Stuart Comer, Johanna Gosse, a.o.

Edited by Rudolf Frieling and Gary Garrels
Publisher San Francisco Museum of Modern Art, in association with University of California Press, 2016
ISBN 9780520290563, 0520290569
384 pages

Review: Hugo Daniel (Critique d’art, 2017, FR).
Exh. reviews: Roberta Smith (New York Times), Andrea K. Scott (New Yorker), J. Hoberman (New York Review of Books), Matthew Biro (Brooklyn Rail), Maika Pollack (Aperture), Kristin M. Jones (Wall Street Journal), Kimberly Connerton (Aesthetica), Thomas Gladysz (Huff Post).

Exhibition (MoMA)
Exhibition (SFMOMA)
Exhibition (Reina Sofia)
Publisher
WorldCat

PDF (35 MB)

Tempo, Tempo! The Bauhaus Photomontages of Marianne Brandt (2005) [English/German]

“Marianne Brandt (1893–1983) is celebrated for her Bauhaus metal designs, beautiful and mass-reproducible objects created to revolutionize modern interior spaces. Much less well known are her photomontages, which constitute a critical complement to her metal works. In these pieces from the mid-1920s and early 1930s, Brandt focused an analytical gaze on contemporary society and politics. Drawing on the vast array of visual material made available by the Weimar Republic’s burgeoning illustrated press, Brandt’s photomontages relied upon the technologies of modern visual culture to challenge pictorial conventions, to denounce the dangerous side of modern technology that had become so apparent in the First World War, and to image new roles for women in interwar society. Tempo, Tempo! The Bauhaus Photomontages of Marianne Brandt is the first publication to present, document and analyze the full range of Brandt’s work in photomontage.”

Edited by Elizabeth Otto
Publisher Jovis Verlag, Berlin, and Bauhaus-Archiv Museum of Design, Berlin, 2005
ISBN 3936314551, 9783936314557
175 pages
via Academia.edu

Reviews: Marion Deshmukh (H-Net, 2006), Melissa A. Johnson (Woman’s Art Journal, 2008).
Exh. reviews: Grace Glueck (New York Times, 2006), Ben Davis (Artnet, 2006).

Exhibition (Harvard Art Museums, Cambridge, MA)
Exhibition (International Center of Photography, New York)
Publisher
WorldCat

PDF (7 MB)

Jonathan Benthall: Science and Technology in Art Today (1972)

An early treatise on art, science and technology based on the series of articles written for Studio International.

Publisher Praeger, New York, 1972
180 pages

Review: John H. Holloway (Leonardo, 1975).

WorldCat

PDF (46 MB)
See also Jonathan Bentham’s Technological Art and Studio International‘s Eclectic Vanguardism, 2017.