<p class="p1"><span class="s1">The Library will be&nbsp;closed March 11&ndash;16.</span></p>
<p>On&nbsp;March 12 the 0+ Space will be&nbsp;closed 18:30&ndash;20:30.</p>

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<p>The Library will be closed March 11&ndash;16.</p>

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<section class="text__review mceNonEditable"><header class="text__review__header mceEditable">
<p class="text__small"><strong>Overview by Ilmira Bolotyan, Elena Ishenko, Maria Sarycheva and Anastasia Tishunina</strong></p>
</header>
<article class="text__review__content mceEditable">
<p class="text__lead" data-tpl-selection="">The exhibition <em><a href="/en/exhibition/co-thinkers">Co&ndash;thinkers</a></em>, currently on show at Garage, was developed in collaboration with a team of four regular visitors with different disabilities, and seeks to expand our understanding of inclusion beyond the notion of physical accessibility. Garage Research, together with inclusive programs manager and one of the exhibition&rsquo;s curators Maria Sarycheva, have prepared an overview of publications available in Garage Library, which explore how art is perceived by groups that are often excluded as museum audiences.</p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_12%20%D0%BB%D0%B5%D0%BA%D1%86%D0%B8%D0%B9%20%D0%BF%D0%BE%20%D0%B3%D0%B5%D0%BD%D0%B4%D0%B5%D1%80%D0%BD%D0%BE%D0%B9%20%D1%81%D0%BE%D1%86%D0%B8%D0%BE%D0%BB%D0%BE%D0%B3%D0%B8%D0%B8.jpg" alt="" width="280" height="400" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Elena Zdravomyslova. Anna Tyomkina. 12 lektsiy po gendernoy sotsiologii [Nine Lectures in Sociology of Gender].</h2>
<p class="text__small text__muted">Saint Petersburg: European University in Saint Petersburg, 2015. &mdash; 768 pp.</p>
<p>Along with an introduction to the sociology of gender, its history and uses, the course of lectures by Elena Zdravomyslova and Anna Tyomkina touches on the theoretical basis of this branch of sociology, and its methodology. A separate chapter is devoted to intersectional analysis&mdash;or intersectional theory, which owes its name to the branch&rsquo;s central metaphor of an intersection of social categories and identities. The theory suggests that identities are shaped by gender as well as other categories, such as race, class, ethnicity and ability.</p>
<p>Intersectional analysis seeks to examine the complex patterns of power distribution. Gender inequality is no longer seen as a dichotomy between male and female. Instead, men and women are envisaged as actors that also represent a particular class, race and multiple other groups. An academic discipline, intersectional analysis is also a political project aimed at a more just social order that would give marginalized groups access to vital resources. In intersectional analysis, ability is a factor as important as gender, sexual orientation, race, ethnicity, religion etc. Each study focuses on several factors. </p>
<p>The constant addition of new factors to the list has allowed Judith Butler to speak of the &ldquo;etc. effect&rdquo;. Indeed, listing the categories that shape identities and affect the distribution of power, scholars often end with &ldquo;et cetera&rdquo;, but what or who does this phrase refer to? According to Zdravomyslova and Tyomkina, any intersectional analysis should not only look into universal factors, but it must also take into account the local context and the differences specific for a particular group. <em>I.B.</em></p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_rancier_prp.jpg" alt="" width="280" height="428" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Jacques Ranci&egrave;re. The Emancipated Spectator.</h2>
<p class="text__small text__muted">London: Verso, 2011. &mdash; 134 pp.</p>
<p>In this essential study on the problem of spectatorship in art, Jacques Ranci&egrave;re revisits the traditional understanding of observation and perception as passive consumption. This tradition envisages the viewer as a passive and ignorant spectator&mdash;essentially a consumer&mdash;while the artist or the author is seen as an active and knowing person. Ranci&egrave;re offers a different perspective on spectatorship, inviting the reader to think of it as of any other kind of human activity, which involves choosing, comparing, drawing connections&mdash;in other words, analyzing and interpreting what one is seeing or perceiving. &ldquo;Spectators see, feel and understand something in as much as they compose their own poem, as, in their way, do actors or playwrights, directors, dancers or performers&rdquo;, Ranci&egrave;re concludes.</p>
<p>Recognizing this fact, the French philosopher continues, is the first step to emancipating the spectator. Reaffirming the spectator&rsquo;s ability to make a judgment about the work of art, Ranci&egrave;re proceeds to discuss the relation between the individual spectator and the audience, and the possibility of collective perception. According to him, it is precisely the spectator&rsquo;s ability to develop individual interpretations based on individual experiences and beliefs that conditions the possibility of a collective experience of art, which he associates with the &ldquo;distribution of the sensible&rdquo;, and which, he believes, creates solidarity.</p>
<p>Emancipating the spectator essentially means providing him or her with independence of perception. Although he does not speak of that directly, by making the spectator active Ranci&egrave;re affirms the possibility of differences in perception (including beyond the core senses like sight and hearing) resulting from the human ability to understand and interpret a work of art. This leaves the artist or author responsible for allowing the freedom of interpretation by avoiding suggesting straightforward answers and solutions. <em>E.I.</em></p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Rething%20disability.jpg" alt="" width="280" height="248" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Rethinking Disability Representation in Museums and Galleries. Edited by Jocelyn Dodd, Richard Sandell, Debbie Jolly and Ceri Jones.</h2>
<p class="text__small text__muted">Leicester: RCMG, University of Leicester, 2008. &mdash; 169 pp.</p>
<p>The book is based on a 2007 study initiated by the Research Centre for Museums and Galleries (RCMG) at the University of Leicester, which examined the representation of disabled people&rsquo;s lives and experiences in nine museums in the UK. As its starting point, the project had to shift the focus of disability studies from disability itself to the social and communication barriers disabled people face in their daily life.</p>
<p>Four sections of the book&mdash; <em>Perspectives on Disability Representation</em>, <em>Museum Experiments</em>, <em>Reflections on Practice</em> and <em>Visitor Responses</em>&mdash;correspond to the four stages of the research project. The project was developed by a team of four people who co-edited the report: Jocelyn Dodd, the head of RCMG who has initiated a number of similar studies; Richard Sandell, a lecturer at the University of Leicester, whose research focuses on the social role of contemporary museums and their ability to offer a critique of their own legacy; Debbie Jolie a human rights activist and sociologist, who studies the history of disabled people&rsquo;s struggle for equality; and Ceri Jones, Professor of Psychology at the University of Leicester, whose academic research revolves around group dynamics. The team also collaborated with a number of activists, artists and art professionals with different disabilities, who also consulted the nine partner museums that have taken part in the project. Their collaboration has resulted in a number of exhibitions, screenings, tours and education events. For example, Glasgow Museum of Transport organized the exhibition <em>Lives in Motion</em> which included <em>Protest Movement</em> a poster calling for the end of discrimination against disabled people on public transport. <em>M.S.</em></p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Art%20and%20the%20alphabet.jpg" alt="" width="280" height="283" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Ileana Sanchez Santiago, Rebecca McGinnis. Art and the Alphabet: a Tactile Experience. Featuring works of art from The Metropolitan Museum of Art.</h2>
<p class="text__small text__muted">New York: The Metropolitan Museum of Art, 2009. &mdash; 35 pp.</p>
<p>Metropolitan Museum of Art in New York is among the world leaders in adapting museum programs for visually impaired visitors. Tours for partially sighted and blind visitors usually involve audio description of exhibits and tactile exploration of their models. This combination allows the visitors to get an idea of the theme, composition, and scale of the work. In 2009, the Met published a tactile catalogue&mdash;an alphabet with tactile pictures of masterpieces from the Met&rsquo;s collection. A is an angel from a 1180 Spanish manuscript; F is number five from Charles Demuth&rsquo;s <em>Figure 5 in Gold</em>; P stands for the parrot from <em>Woman with Parrot</em> by Edouard Manet. The book also features recommendations on how to describe artworks for seeing readers, encouraging them not to shy away from talking about colours and using simple analogies. The alphabet was developed for children with visual impairments but will be useful to anyone interested in inclusion in art. <em>M.S.</em></p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed__Sophie%20Calle_prp.jpg" alt="" width="280" height="395" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Sophie Calle. Blind.</h2>
<p class="text__small text__muted">Arles: Actes Sud, 2011. &mdash; 107 pp.</p>
<p>This album was made by the French artist Sophie Calle in collaboration with a large group of blind people she worked with over several decades. The project&mdash; exploring the way people blind from birth experience beauty&mdash;dates back to 1986.&nbsp; The first section of the book features photographs of all contributors to the project and their words are published in English and Braille&ndash;complete with illustrations. Participants speak of the beauty of nature and the beauty of colors, and touch on physical beauty and sexuality. While many find beauty in the human body, one female participant comments on the beauty of a particular sculpture by Rodin that she has explored through a tactile model. The section ends with a harsh quote from one of the male contributors &ldquo;Beauty &ndash; I&rsquo;ve buried beauty. I don&rsquo;t need beauty; I don&rsquo;t need images in my brain. Since I cannot appreciate beauty, I have always run away from it.&rdquo; &nbsp;</p>
<p>The second section is devoted to the second part of the project, entitled <em>Blind Color,</em> which the artist started in 1991. For this part, Sophie Calle asked blind people what they saw and compared their answers with quotes on monochrome paintings from Malevich, Manzoni, Rauschenberg, and Richter. The third and final section of the book sums up Calle&rsquo;s 2010 project <em>The Last Image</em>. &ldquo;I went to Istanbul. I spoke to blind people, most of whom had lost their sight suddenly&rdquo;, the artist recalls. &ldquo;I asked them to describe the last thing they saw.&rdquo; This is also the most dramatic part of the book as most of the memories are of traumatic experiences.</p>
<p>Providing an insight into how blind people experience the world for those of us who can see, the book is also a unique artist&rsquo;s research project exploring how the imagined can turn into images. Each section documents Calle&rsquo;s attempts to convey to the viewer the images and visual experiences of the blind. Together they create a kind of anthology on collaborations between an artist and blind people. <em>A.T.</em></p>
</article>
</section>
<p>&nbsp;</p>

Overview of publications for the exhibition Co–thinkers

<section class="text__review mceNonEditable"><header class="text__review__header mceEditable">
<p class="text__small"><strong>&nbsp;</strong></p>
</header>
<article class="text__review__content mceEditable">
<p class="text__lead" data-tpl-selection="">This selection of books introduces visitors to the broader context of Urs Fischer&rsquo;s projects <em>Small Axe</em> and <em>YES</em>&mdash;currently on show at Garage and open until August 21, 2016.</p>
<p class="text__lead" data-tpl-selection="">Creating fluid images of people and objects, the Swiss-born artist transforms our ideas of the world that surrounds us by playing with space and scale. Although he lists Pop Art, surrealism and Dada among his main influences, his technique and his punk aesthetic leave no doubt about him belonging to the twenty-first century.</p>
<p class="text__lead" data-tpl-selection="">The selection includes Urs Fischer&rsquo;s own publications, albums on sculpture, exhibition catalogues and interviews with the artist.</p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_3.%20Mina%20Stone%20cooking%20for%20artists.jpg" alt="" width="280" height="344" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Mina Stone <em>Cooking for Artists</em></h2>
<p class="text__small text__muted">Mina Stone. Cooking for Artists. LLC: KiitoSan, 2015 &mdash; 226 c.</p>
<p data-tpl-selection="">Chef Mina Stone, has accompanied Urs Fischer on many of his projects and has been cooking for the artist&rsquo;s friends for over ten years. Along with some of the favourite recipes of the New York art scene, the book contains anecdotes from their lives and is complete with mouthwatering pictures.</p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_2.%20Urs%20Fisher.%20Yes.jpg" alt="" width="280" height="351" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Urs Fischer: <em>YES</em></h2>
<p class="text__small text__muted">Urs Fischer. Yes. LLC: KiitoSan, 2015 &mdash; 200 pp.</p>
<p data-tpl-selection="">Bound in a t&ecirc;te-b&ecirc;che format as a reversible book, <em>Urs Fischer: YES</em> documents the artist&rsquo;s project of the same name, in which he explores the phenomenon of collective work by inviting visitors to make figures of clay. The two sections of the book are devoted to two iterations of the project that developed parallel to each other on different continents: at the DESTE Foundation's project space in Greece (from June to September 2013), and at MOCA, Los Angeles (from April to August 2013). The book, published in Switzerland in 2015, features photographs of clay figures made in both locations and lists the people who took part in the project in alphabetical order.</p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_4.%20Skinny%20Sunrise.jpg" alt="" width="280" height="343" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Urs Fischer <em>Skinny Sunrise </em></h2>
<p class="text__small text__muted">Urs Fischer. Skinny Sunrise. LLC: KiitoSan, 2012 &mdash; 124 pp.</p>
<p data-tpl-selection="">The catalogue for Urs Fischer&rsquo;s exhibition <em>Skinny Sunrise</em>, which took place in Vienna Kunsthalle in 2012. Photographs of the artist&rsquo;s works are published along with a discussion with Fischer and the curators of the exhibition Gerald Matt and Angela Stief.</p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_5.%202000%20words.jpg" alt="" width="280" height="376" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Urs Fischer <em>2000 Words </em></h2>
<p class="text__small text__muted">Urs Fischer. 2000 Words. Athens: The DESTE Foundation for Contemporary Art, 2013 &mdash; 165 pp.</p>
<p data-tpl-selection="">Conceived by Massimiliano Gioni, <em>2000 Words</em> is a series of monographs featuring a critical essay and a survey of works by one of the artists in the Dakis Joannou Collection. Focusing on works selected by one collector, the series gives insight into the work of some of the most exciting contemporary artists. <br />With an introduction by Tate Modern curator Jessica Morgan, who also curated Fischer&rsquo;s biggest exhibition at MOCA Los Angeles.</p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_10.%20Shower%20in%20a%20Holy.jpg" alt="" width="280" height="361" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Urs Fischer <em>Shovel in a Holy</em></h2>
<p class="text__small text__muted">Urs Fischer. JRP|Ringier, 2009 &mdash; 482 pp.</p>
<p data-tpl-selection="">This book was first published in October 2009 in conjunction with Urs Fischer&rsquo;s exhibition <em>Marguerite de Ponty</em>, curated by Massimiliano Gioni. It was produced in collaboration with designer Scipio Schneider at the New Museum, New York. <em>Shovel in a Holy</em> features over two hundred images of Urs Fischer&rsquo;s works, as well as essays by Bice Curiger and Jessica Morgan and interviews with Urs Fischer and Massimiliano Gioni.</p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_1.%20Urs%20Fisher.jpg" alt="" width="280" height="346" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin"><em>URS FISCHER</em></h2>
<p class="text__small text__muted">Urs Fischer. LLC: KiitoSan, 2013 &mdash; 634 c.</p>
<p data-tpl-selection="">A comprehensive catalogue exploring the artist&rsquo;s body of work with an introduction by Jeffrey Deitch and essays by Jessica Morgan and Ulrich Lehmann. The book was published by Kiito-San in 2013 for Urs Fischer&rsquo;s solo exhibition at MOCA in Los Angeles, which was curated by Jessica Morgan. The catalogue offers an overview of the artist&rsquo;s key works throughout his career.</p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_6.%20Paris%201919.jpg" alt="" width="280" height="363" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Urs Fischer Paris 1919</h2>
<p class="text__small text__muted">Urs Fischer. Paris 1919. Zurich: JPR|Ringier, 2006 &mdash; 87 pp.</p>
<p data-tpl-selection="">This catalogue was published by Urs Fischer in collaboration with designers Scipio Schneider, Daniel M&ouml;rle and Druckerei Uhl in Zurich in 2006. A limited edition of a thousand copies, this catalogue presents Urs Fischer&rsquo;s large installations made for the 2006 Whitney Biennial: Day for Night.</p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_7.%20Mary%20Poppins.jpg" alt="" width="280" height="333" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Urs Fischer <em>Mary Poppins </em></h2>
<p class="text__small text__muted">Urs Fischer. Mary Poppins. Houston: Blaffer Gallery, the Art Museum of the University of Houston, 2006 &mdash; 48 pp.</p>
<p data-tpl-selection="">The catalogue for Urs Fischer&rsquo;s 2006 exhibition <em>Mary Poppins</em> at the Blaffer Art Museum, University of Houston, Texas. The making of this site-specific installation for the show took Urs Fischer two weeks. The book, published by University of Houston, is edited by the exhibition&rsquo;s curator Claudia Schmukli and contains her essay on Fischer&rsquo;s art and the making of the works for the exhibition.</p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_8.%20Beds%20%26%20Problem%20Paintings.jpg" alt="" width="280" height="347" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Urs Fischer Beds &amp; Problem Paintings</h2>
<p class="text__small text__muted">Urs Fischer. Beds &amp; Problem Paintings. Beverly Hills: Gagosian Gallery, 2012 &mdash; 76 pp.</p>
<p data-tpl-selection="">This book complemented the 2012 exhibition at the Gagosian Gallery in Beverly Hills. It offers an overview of works from the exhibition and includes an introduction by artist Adam McEwen.</p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_9.%20Julian.jpg" alt="" width="280" height="388" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Urs Fischer Julian</h2>
<p class="text__small text__muted">Urs Fischer. Julian. NY: Karma, 2015 &mdash;56 pp.</p>
<p data-tpl-selection="">The catalogue for Urs Fischer&rsquo;s exhibition of wax figures at Karma, New York (August and September 2014). By Urs Fischer and Karma, the catalogue was published in 2015.</p>
</article>
</section>
<p><br /><br /></p>

Books to accompany Urs Fischer’s exhibition Small Axe and his project YES

<section class="text__review mceNonEditable"><header class="text__review__header mceEditable">
<p class="text__small"><strong>Overview by Valery Ledenev</strong></p>
</header>
<article class="text__review__content mceEditable">
<p class="text__lead" data-tpl-selection="">In anticipation of <a href="/en/exhibition/francisco-goya-sergei-eisenstein-robert-longo-proof">Proof: Francisco Goya, Sergei Eisenstein, Robert Longo</a>, opening at Garage September 30, Garage Research have prepared an overview of publications about Robert Longo and writings that allow for a better understanding of his work.</p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_01.jpg" alt="" width="280" height="391" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Douglas Crimp. Pictures</h2>
<p class="text__small text__muted">October, Vol. 8 (Spring, 1979), pp. 75-88</p>
<p>In 1977, Robert Longo was among the five artists featured in <em>Pictures,</em> a seminal exhibition organized by the American art critic Douglas Crimp, which also included works by Troy Brauntuch, Jack Goldstein, Sherrie Levine and Philip Smith. Crimp&rsquo;s article for <em>October</em> is a reworked essay he had written for the exhibition&rsquo;s catalogue, but, rather than focusing on the artists selected for the show, it discusses the broader phenomenon their work exemplified.</p>
<p>&nbsp;Artists of the generation that Robert Longo represents, as Crimp points out, do not confine themselves to any particular medium&mdash;they have shattered the integrity of mediums like painting and sculpture by choosing to work with common and nonspecific &ldquo;pictures&rdquo;. Used colloquially, the word &ldquo;picture&rdquo; can refer to a very broad range of images: from photos in newspapers, film stills, and advertisements, to book illustration, logos and symbols loaded with political connotations. Exploring the nature and the essence of pictures, artists of Longo&rsquo;s generation rejected Greenberg&rsquo;s ideal of a pure medium that resonated with the modernist tradition.</p>
<p>&nbsp;Borrowing pictures from film (Longo), mass media (Levine) or archives (Brauntuch), or creating fictional narratives, like Cindy Sherman, these younger artists look into how pictures are constructed and how we perceive them. Today, no image is independent as modernist artists intended it to be. Every picture is part of a broader narrative, and it is the context&mdash;the frame that the viewer adds to the image&mdash;that makes pictures meaningful. Every image exists at the intersection of several levels of communication and representation, social conventions and myths: all of those layers become visible if we extract the picture from its &ldquo;natural&rdquo; context and put it in the &ldquo;neutral&rdquo; exhibition space.</p>
<p>&nbsp;According to Crimp, artists&rsquo; refusal to stay loyal to a specific medium has marked the beginning of postmodernism: not just a change in style, but a radically new way of understanding art. &lsquo;We are not in search of sources or origins, but of structures of signification&rsquo;, Crimp explains, &lsquo;underneath each picture there is always another picture&rsquo;.</p>
<p>&nbsp;It was due to Douglas Crimp that the generation of artists he describes in this essay came to be known as <em>the Pictures Generation</em>. Their practices form the context that can help us get a better understanding of Longo&rsquo;s works.&nbsp;</p>
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<h2 class="text__nomargin">The Pictures Generation, 1974&ndash;1994</h2>
<p class="text__small text__muted">New York: Metropolitan Museum of Arts, 2009. &ndash; 350 pp.</p>
<p>In 2009, the artists featured in Douglas Crimp&rsquo;s landmark exhibition, were brought together again for the exhibition <em>The Pictures Generation, 1974&ndash;1994</em> in the Metropolitan Museum of Art. This retrospective show was initiated by Douglas Eklund, the Met&rsquo;s curator specialising in contemporary photography, who also wrote three essays for the exhibition catalogue.</p>
<p>&nbsp;While Crimp&rsquo;s <em>Pictures</em> at Artists Space in New York opened in September 1977, Eklund argues that the story of the Pictures Generation began much earlier, and that the group of artists who belonged to the &ldquo;generation&rdquo; was in fact much wider than Crimp&rsquo;s essay suggests.</p>
<p>&nbsp;Instead of New York, Eklund sees the roots of the movement in California, among the students of the conceptual artist John Baldessari at CalArts. Jack Goldstein who would later take part in Crimp&rsquo;s <em>Pictures</em> was one of them.</p>
<p>&nbsp;The mass exodus of young Californian artists to the East Coast has had a great influence on the New York art scene, and in particular on Robert Longo, who was among the founders of Hallwalls art center with Charles Clough. With CalArts at the time being funded by Walt Disney, its students&rsquo; interest in popular culture seems unsurprising, if not symbolic.</p>
<p>&nbsp;Baldessari&rsquo;s academic career coincided with the heyday of conceptual and pop art, and his students were no doubt very familiar with both movements. However, unlike Warhol and Lichtenstein, young Californians did not work with vulgar vernacular images, and at the same time, unlike conceptual artists, they did not opt for abstraction and the non-material.</p>
<p>&nbsp;A separate chapter in the book is devoted to the discussion of the 1977 exhibition and an analysis of works featured in Crimp&rsquo;s show, including those by Robert Longo. However, to Eklund, <em>Pictures</em> was but one of the later episodes in the history of the movement he associates with a very broad group of artists, whose texts and debates are very much present in his analysis.</p>
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<h2 class="text__nomargin">The Exhibitionist. Journal on Exhibition Making #2 / June 2010</h2>
<p class="text__small text__muted">Credits</p>
<p>The issue of <em>The Exhibitionist</em> that came out after the opening of <em>The Pictures Generation,</em> contains a number of articles discussing the context in which Robert Longo made some of his best-known works.</p>
<p>&nbsp;Writing for the influential Italian magazine on contemporary art and curating, Robert Storr offers an analysis of Douglas Crimp&rsquo;s 1977 essay. More than a mere attempt to describe a new phenomenon, Storr asserts that Crimp&rsquo;s text was to set him apart from the art historical establishment of the era, dominated by Clement Greenberg&rsquo;s and Michael Fried&rsquo;s views, which Crimp does indeed argue with.</p>
<p>&nbsp;Jenelle Porter, who was the first to recreate Crimp&rsquo;s seminal exhibition in 2001, writes on the influence that the artists of the Pictures Generation have had on her peers, whose works she exhibited along with those displayed in the original <em>Pictures</em>.</p>
<p>&nbsp;Commenting on a number of <em>Pictures</em> reconstructions, Jane Simon argues that the artists of Longo&rsquo;s generation have created a &lsquo;sense of critique, affection, and disaffection for the visual world around us&rsquo;. &lsquo;And I know that my critical, cynical, and complicated attachment to anything commercial is influenced and informed by Prince&rsquo;s Marlboro man and Sherman&rsquo;s movie star&rsquo;, she concludes.</p>
<p>&nbsp;Eva D&iacute;az offers a critical analysis of the 2009 exhibition, which to her is an example of the strange revisionism that has been creeping into contemporary curatorial projects. Reminding the reader of Crimp&rsquo;s background in philosophy, and his interest in French Marxism and the poststructuralist program (which also shows in his later writings), D&iacute;az argues that Eklund&rsquo;s interpretation of the Pictures Generation does not do justice to Crimp&rsquo;s critique of media and representation in the original project. With thirty artists featured in Eklund&rsquo;s project (as opposed to five in Crimp&rsquo;s), the links between them, she claims, are rather obscure.</p>
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<h2 class="text__nomargin">Appropriation / edited by David Evans</h2>
<p class="text__small text__muted">London: Whitechapel; Cambridge: MIT Press, 2009. &ndash; 238 pp.</p>
<p>This MIT anthology on appropriation, discusses some of the strategies used by the artists of the Pictures Generation. Authors include Louis Aragon, the French surrealist poet, Raoul Hausmann, the Austrian dada artist who pioneered collage, as well as Guy Debord, writing on the tactic of &ldquo;detournement&rdquo;, and Okwui Enwezor, who represents the postcolonial discourse&mdash;where appropriation becomes a political gesture. &nbsp;</p>
<p>&nbsp;A chapter by Thomas Crow is devoted to the New York art scene of the 1980s, which was strongly influenced by Robert Longo and Sherrie Levine, while Elizabeth Sassman offers a critical analysis of the exhibition <em>Endgame</em>, featuring works by Peter Halley and Philip Taaffe, who take an opposite stance to the artists of the Pictures Generation.</p>
<p>&nbsp;Jean Baudrillard&rsquo;s text on simulacra is published next to Sherrie Levine&rsquo;s manifesto explaining her artistic strategy and her pioneering use of appropriation.</p>
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<h2 class="text__nomargin">Robert Longo: Men In The Cities. Photographs 1976-1982</h2>
<p class="text__small text__muted">Munich : Schirmer/Mosel, 2009. &ndash; 128 pp.</p>
<p>Garage Library also holds two publications devoted exclusively to the art of Robert Longo. &nbsp;The first is the catalogue for his 2009 exhibition at the Museum of Modern and Contemporary Art in Nice.</p>
<p>&nbsp;&lsquo;The director of the Los Angeles County Museum, Earl A. Powell, concluded his remarks in the catalogue of the great retrospective twenty years ago with the statement that Longo&rsquo;s works evoked both the most deep-seated fears and the greatest hopes of contemporary civilization&rsquo;, Werner Spies writes in his article for the catalogue. &lsquo;What has become of this dichotomy between fear and hope since then? Nothing in Longo&rsquo;s most recent works points beyond a profound melancholy. At best, one might speak of a cynical inversion of horror into a compelling sublimity. Because what we see&mdash;a vortex of all-consuming floods, or billowing mushroom clouds &lt;&hellip;&gt;&mdash;all these are literally images of the world&rsquo;s end, chiliastic images after which no further images can come.&rsquo;</p>
<p>&nbsp;The second catalogue was published in Munich in 2009 and is devoted to the artist&rsquo;s best-known project <em>Men in the Cities</em>, 1977&ndash;1983&mdash;a series of images of men and women caught in strange positions, as if dancing or writhing under the blows from some unseen force. The images have been borrowed from mass media and cinema, and the models for the project include the artist Cindy Sherman, the critic Hal Foster and the art dealer Larry Gagosian. The catalogue also features essays by Cindy Sherman and Richard Prince.</p>
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<p>&nbsp;</p>

Selection of Texts for Robert Longo Exhibition

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<p class="text__small"><strong>Overview by Ilmira Bolotyan, Maryana Karysheva, Valery Ledenyov, Maria Shmatko and Yury Yurkin</strong></p>
</header>
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<p class="text__lead" data-tpl-selection="">Garage&rsquo;s exhibition Toward the Source features several projects based on Garage Archive Collection. Garage Research have prepared an overview of books on the artists taking part in the show, available at Garage Library.</p>
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<h2 class="text__nomargin">Вячеслав Курицын. Журналистика. 1993-1997 [Vyacheslav Kuritsyn. Journalism. 1993-1997]</h2>
<p class="text__small text__muted">СПб: Издательство Ивана Лимбаха, 1998. &mdash; 200 с.</p>
<p>This collection of articles by columnist, critic, writer, and poet Vyacheslav Kuritsyn contains his texts that were published in various newspapers and journals (<i>Segodnya</i>, <i>Nezavisimaya gazeta</i>, <i>Novoye literaturnoye obozrenie</i>, <i>Gala-sport</i>, <i>Oktyabr</i>, <i>Moscow Art Magazine</i>, <i>OM</i> and <i>Matador</i>) from 1993 to 1997. Along with book reviews bordering on essays, the publication also contains several articles on artists active in the 1990s, allowing the reader to get an idea of how some of the seminal performances of the decade were seen at the time they happened.&nbsp;</p>
<p>Kuritsyn&rsquo;s 1994 analysis of Oleg Kulik&rsquo;s works is surprisingly political. The sacrificing of the piglet; soldiers hiding behind a faux wall with paintings in their hands; the action <i>Giving Birth</i>, which never happened&mdash;to Kuritsyn, all these gestures contribute to an image of an artist as a &lsquo;strong man who can turn up the soil&rsquo;, which should be popular with most Russian voters. In 1997, Kuritsyn described Dmitri Prigov as an educator, bringing light to the ignorant population of the dark empire: &lsquo;You can easily imagine Prigov as a 100-year-old man: he will still be hanging out with 17-year-olds and performing in trendy venues&rsquo;. With a few bold strokes, he paints portraits of Zhanna Aguzarova as a &lsquo;national saint&rsquo; and Victor Pelevin as a contemporary fabulist, as ironic as his accounts of miscellaneous 1990s phenomena and events also included in the book&mdash;the introduction of new metro tickets (1996), urine therapy (1997), and women&rsquo;s prose (1996).&nbsp;</p>
<p>The book is complete with Kuritsyn&rsquo;s signature drawings of a foxlike character with short additional comments that always accompanied his articles. The fox &lsquo;represents the body of the Empire&rsquo;, &lsquo;gilds the voucher&rsquo;, and &lsquo;eats letters&rsquo;. Today, it is also taking part in Garage&rsquo;s exhibition <i>Toward the Source</i>, for which Vyacheslav Kuritsyn has made a project based on the collection newspaper clippings of the 1900s&ndash;1920s from Garage Archive. <i>I. B.</i>&nbsp;</p>
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<h2 class="text__nomargin">Olga Chernisheva. Compossibilities</h2>
<p class="text__small text__muted">Kunsthalle Erfurt, Erfurt: Hatje Cantz, 2013. &mdash; 216 pp.</p>
<p>The catalogue for Olga Chernisheva's exhibition <i>Compossibilities</i> at Kunsthalle Erfurt (2013) includes an interview with the curator of the show Silke Opitz and an essay by Boris Groys <i>Looking for the Great Sunday</i>.&nbsp;</p>
<p>According to Silke Opitz, one of the central themes in Chernisheva's work is &lsquo;melancholy of the moment itself,&rsquo; and in many ways, her practice continues the tradition of nineteenth-century realism, and in particular, the work of Peredvizhniki&mdash;a group Groys also refers to in his article for the publication. However, as Groys argues, unlike the realist tradition, which later took the shape of social realism, Chernisheva is interested in people outside of work. She is an &lsquo;artist of Sunday&rsquo;, an artist of leisure and forgetting about the time&mdash;the state Groys considers not only pleasurable but also dangerous, reminding us of many woes that politicians and thinkers have associated with it.&nbsp;</p>
<p>Olga Chernisheva's video installations, slowly unfolding and often with little action, seem to capture the very essence of the medium and its aesthetics by blending the motion of film and the stillness of traditional painting.&nbsp;</p>
<p>Some of Chernisheva&rsquo;s videos of the 1990s, with newly added comments that are closer to digressions than descriptions, are featured in <i>Towards the Source</i>. Chernisheva&rsquo;s project for the exhibition was inspired by the 1990s correspondence between collector Leonid Talochkin and artist Lev Snegirev from Garage Archive Collection. <i>M.&nbsp;K.</i>&nbsp;</p>
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<h2 class="text__nomargin">Вадим Фишкин. Орбита С [Vadim Fishkin. Orbit S]</h2>
<p class="text__small text__muted">XL.TXT. М.: XL Галерея, 1993-2008. &mdash; 262 с.</p>
<p>Kirill Savchenkov's project for the exhibition at Garage builds on his earlier project <i>Horizon Community</i>. The work features a selection of materials on &lsquo;survival techniques developed by micro-communities in paradoxical environments&rsquo;, that may be relevant for the society in the contemporary situation, presented on stands.&nbsp;</p>
<p>Vadim Fishkin&rsquo;s project <i>Orbit S</i>, exhibited at XL Gallery in 1994 and documented in this catalogue, was one of many inspirations behind Savchenkov's <i>Horizon Community</i>. The book features a text by Fishkin and an essay by artist Yuri Leiderman inspired by the metaphor of &lsquo;Livingstones in Africa&rsquo;, which was introduced by Andrei Monastyrsky in his <i>Dictionary of Moscow Conceptualism</i> and described &lsquo;the self-identification and the worldview of Conceptualist artists in Russia.&rsquo;</p>
<p>A &lsquo;Livingstone in Africa&rsquo; is someone sent to live amongst indigenous tribes far from his homeland. He is surrounded by indigenous people but exists &lsquo;outside&rsquo; of the society he&rsquo;s living in. &lsquo;The metaphor describes the following situation,&rsquo; Savchenkov explains. &lsquo;I&rsquo;m part of the system, yet I&rsquo;m outside of it. I am here and there at the same time, &lt;&hellip;&gt; I take part in the same rites and relations, but I fill them with different meanings.&rsquo;</p>
<p>&lsquo;Living outside&rsquo;, or <i>vnyenakhodimost</i>, is one of the central concepts in the book by Aleksei Yurchak that Savchenkov often refers to, and which has been included in one of our previous <a href="/en/library/new-acquisitions-staff-picks" target="_blank">overviews</a>.</p>
<p>Savchenkov's elaborate projects mix science with literature and artists&rsquo; texts with theory. In many ways, they are similar to Vadim Fishkin&rsquo;s works, which the artist himself describes as &lsquo;autonomous structures&rsquo; that emerge from his &lsquo;attempts to design a global machine.&rsquo;</p>
<p>&lsquo;If you don&rsquo;t feel anything as you pass by this stand,&rsquo; the writing on one of the works says, &lsquo;you are not being tricked. That&rsquo;s what <i>vnyenakhodimost</i> should feel like.&rsquo; <i>V. L.</i></p>
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<h2 class="text__nomargin">Trekhprudny Lane. Moskva 1991-1993</h2>
<p class="text__small text__muted">Rolfstorp: Hong Kong Press, 2000. &mdash; 64.</p>
<p>This catalogue takes us back to the Moscow of 1991&ndash;1993, where Tryokhprudny Lane Studios emerged and became famous. Although the people behind Tryokhprudny described it as a non-art (as well as non-commercial, unconventional and independent) gallery, it was among the places that shaped the art scene and the critique of the 1990s. Published in Swedish and English, to a Russian reader this bilingual edition might appear as yet another Tryokhprudny art project commenting on the idea of passive spectatorship. Thirty-six projects, selected for the catalogue by art historian and curator Ekaterina Degot, include some of the most ironic and provocative exhibitions and actions that happened at the gallery: works commenting on Rembrandt, Duchamp and Manzoni; rebellious projects subverting Soviet archetypes; a wedding banquet and empty fridges; a currency exchange and rivers of vodka. Unlike many other galleries, whose policies are determined by curators, Tryokhprudny&rsquo;s exhibitions plan was devised by a group of artists&mdash;Konstantin Reunov, Valery Koshlyakov, Pavel Aksyonov, Vladimir Dubossarsky, Ilya Kitup, Viktor Kasyanov, Alexander Kharchenko and Alexander Sigutin&mdash;even if Avdey Ter-Oganyan was considered the leader. Those were the early days of the Moscow artistic community, whose activity, as Ekaterina Degot argues, soon went beyond artistic experiments. Having created a Western-style artist-run space, several creators sharing the studios at Tryokhprudny were organising performances, making installations and interactive actions that allowed for&mdash;or required audience participation. Their postmodernist gestures and energies anticipated the art of today. For the exhibition <i>Toward the Source</i>, Vladimir Logutov made a series of coloured works on paper based on an exhibition view of Avdey Ter-Oganyan&rsquo;s <i>For Abstraction</i>. The paradox of the archive, which can never preserve the event in its fullness, has become one of the central themes in Logutov&rsquo;s work. <i>M. Sh.&nbsp;</i></p>
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</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Monastirsky.jpg" alt="" width="204" height="281" /></header>
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<h2 class="text__nomargin">Андрей Монастырский. Дневник 1981 &ndash; 1984<br />[Andrei Monastyrsky. Diary 1981 &ndash; 1984]</h2>
<p class="text__small text__muted">Вологда: Библиотека московского концептуализма Германа Титова, 2014. &mdash; 334 c.</p>
<p>As the title suggests, the book is a diary by one of the most remarkable representatives of Moscow Conceptualism, but an ironic reader might treat it as an album, or a collection of poetry. Ideas and passages from this book later evolved into Monastyrsky&rsquo;s novel <i>Kashirskoye Highway</i> about a young man driven mad by religion.&nbsp;</p>
<p>The book will be useful to academics writing on Moscow Conceptualism as well as to the general reader interested in Monastyrsky and his practice. With the artist&rsquo;s first diary, dating back to 1965, exhibited in <i>Towards the Source</i>, this book offers an opportunity to trace the development of his ideas in the years that followed. <i>Yu. Yu.</i></p>
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</section>

Overview of publications for the exhibition Toward the Source