A member of the Gutai group since 1966, Sadaharu Horio (born 1939) is also considered a pioneer in modern Kobe performance art. This new publication gathers a broad array of images of Horio’s numerous, influential performances and artworks from the 1960s to the present.

Sadaharu Horio

Arts & Photography

History & Criticism

AsaMER

Rebels Rebel looks at the history of AIDS activism undertaken by various artistic collectives in New York between 1979 and 1989. Among these once-controversial, now-legendary collectives were Gran Fury (who scandalized the 1990 Venice Biennale with their billboards juxtaposing the pope and his anti-contraception stance with a two-foot high penis), the Silence = Death Project (who appropriated and inverted the Nazis' pink triangle), Gang and DIVA TV. These collectives addressed concrete social problems using unconventional media, and in doing so helped to shift the public and political perception of the AIDS crisis. Collating a wealth of materials and perspectives, from graphic design to art works, and from sociopolitical to art-historical reflections, Rebel Rebels is an important and thorough examination of a rare overlap between art and activism during a time of heightened conservativism in America. It includes a full-color poster.

Rebels Rebel: AIDS, Art and Activism in New York, 1979-1989

Collections, Catalogs & Exhibitions

Norio Imai (born 1946) joined the Gutai movement in 1965, becoming their youngest member. This handsome overview surveys his austere, minimalistic work in sculpture, installation, film, video, photography and performance, with abundant archival documentation.

Norio Imai

As perhaps the preeminent international feminist director and curator of her generation, Catherine de Zegher has made some of the most significant exhibitions of women artists of the past 25 years, most famously the groundbreaking and seminal exhibition Inside the Visible (1996). She has worked with and written about many of the greatest artists of the period, in particular helping to establish the reputations of many who have defined contemporary art in a new and wider interpretation. This publication gathers together some of the key essays de Zegher has written on women artists over the past 20 years: Hilma af Klint, Bracha L. Ettinger, Ellen Gallagher, Gego, Monika Grzymala, Mona Hatoum, Eva Hesse, Cristina Iglesias, Ann Veronica Janssens, Emma Kunz, Anna Maria Maiolino, Agnes Martin, Julie Mehretu, Avis Newman, Martha Rosler, Ranji Shettar, Nancy Spero, Joëlle Tuerlinckx, Ria Verhaeghe and Cecilia Vicuña. These essays trace a significant turning point in the perception of women artists of the past 100 years, and together form a crucial text for understanding ways in which art made by women has shaped the wide field of art and culture today. Serious and engaging, many of the essays have helped establish the long-overdue recognition of several of their subjects. De Zegher’s writing contains vivid and profound insights into works and lives of extraordinary intensity.

Women's Work. Is Never Done

At once artist, composer, poet, editor, photographer, curator, gallerist and collector, Edouard Léon Théodore Mesens (1903–1971) was a formidably prolific and visible presence in European Dada and Surrealism. A close friend to Tristan Tzara, Theo van Doesburg and Erik Satie, Mesens orchestrated René Magritte’s international breakthrough and introduced the Surrealist movement to the United Kingdom, thus forging links between the Belgian, British and French branches of the movement. His collages and artworks, with their vacated spaces and odd geometries, recall the early work of de Chirico or the Dada collages of Raoul Hausmann. This superbly produced volume is the first substantial monograph on Mesens, who has long been a cult figure and object of intrigue (thanks in part to George Melly’s account of his ménage-a-trois with Mesens and his wife, in his autobiographical writings). Mesens’ art and life provide a crucial piece of the Surrealist puzzle.

The Star Alphabet of E.L.T. Mesens: Dada & Surrealism in Brussels, Paris & London

This first monograph on Tsuyoshi Maekawa (born 1936), one of the last surviving members of the Gutai art group, includes archival images and documents of the Gutai period from the Ashiya City Museum of Art and History, and a previously unpublished interview with Maekawa conducted by Gutai expert Koichi Kawasaki.

Tsuyoshi Maekawa

The First World War began on July 28, 1914, 100 years ago, and lasted until November 11, 1918. From the start, photography and film played decisive roles in the media and governmental presentation of this unprecedentedly global conflict. Shooting Range: Photography &amp; The Great War draws on a selection of magnificent private archives to show how this then relatively new technology was used for a variety of propaganda purposes. Reproducing a massive wealth of archival postcards, newspaper and magazine features, photo albums, commemorative images and amateur photographs from all sides of the conflict, it looks at the ways in which battlefields were staged for media images, the strict protocols on photography at the Front, and the obviation of these restrictions by private soldiers. The result is a fascinating tale of tensions between power and powerlessness, between the visible and the hidden, between public representation and historical document.

Shooting Range: Photography & The Great War

Deslé, Rein

Pas, Johan

Photography & Video

This massive publication, initiated by the ZERO foundation in Düsseldorf, presents the result of several years of collaboration by an international group of scholars composed of art historians from Belgium, Germany, Italy, the Netherlands and Switzerland. The texts are based on extensive research in various archives in Europe and the United States that has brought to light unpublished material. They reflect the cooperation of the ZERO foundation with other institutions, foundations and private archives. Formed at the beginning of the 1960s, the ZERO group was an international network of like-minded artists from Europe, Japan and North and South America that included among its ranks such artists as Lucio Fontana, Yves Klein, Yayoi Kusama, Piero Manzoni, Almir Mavignier, Jan Schoonhoven and Jesús Rafael Soto.

The Artist as Curator: Collaborative Initiatives in the International Zero Movement 1957-1967

Pörschmann, Dirk

Pola, Francesca

Melissen, Antoon

Schmitt, Ulrike

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