A gorgeously produced exploration of feminist perspectives in the portraiture of a leading Italian Pop painter 
Giosetta Fioroni (born 1932) is considered one of the most important figures in postwar Italian painting. Her work is commonly associated with the Scuola di Piazza del Popolo group in Rome (which also included Mario Schifano, Tano Festa and Franco Angeli), as well as with the advent of Pop art in Italy. Yet Fioroni’s practice differs from those of her contemporaries and from Pop as it came to be understood in the English-speaking world. The divergences are most pronounced in her persistent exploration of femininity, rooted in both her personal experiences and her interpretation of the category in popular culture. Giosetta Fioroni: Alter Ego is the first publication to focus on feminist perspectives in the work of Fioroni. It includes an exclusive interview with the artist conducted by Hans Ulrich Obrist and an essay by Anna Dumont on the subject of gendered looking in Fioroni’s portraits of women.

Giosetta Fioroni: Alter Ego

Arts & Photography

Fioroni, Giosetta

Individual Artists

Ridinghouse/Luxembourg + Co., London

An original history of nonconsensual collaboration between artists, from Francis Picabia to Maurizio Cattelan 
From cannibalistic acts of modification or alteration of another’s work to the hijacking of authorship through the addition of a signature, to occasions when the identities of artists or their creations are confused, this innovative history traces acts of artistic modification from Dada to the present. 
Whether examining a drawing by Pablo Picasso signed as Henri Matisse, or a coffee table executed by Martin Kippenberger using a painting by Gerhard Richter as its surface, Bad Manners raises questions about the nature of artistic authorship, standards of collegial etiquette, plagiarism and ownership. 
Bad Manners is thoroughly and unmistakably an endeavor by British art provocateur Jake Chapman, and features a conversation between the artist and curator Yuval Etgar. 
Artists include: Jean (Hans) Arp, Enrico Baj, Jean-Michel Basquiat, Paul Cezanne, Jake and Dinos Chapman, Marcel Duchamp, Wade Guyton, Richard Hamilton, David Hammons, Keith Haring, Georg Herold, Martin Kippenberger, Sherrie Levine, René Magritte, Man Ray, Édouard Manet, Francis Picabia, Pablo Picasso, Richard Prince, Robert Rauschenberg, Cindy Sherman, Jean Tinguely and Francesco Vezzoli.

Bad Manners: On the Creative Potential of Modifying Other Artists’ Work

Chapman, Jake

Etgar, Yuval

History & Criticism

Joan Miró: Feet on the Ground, Eyes on the Stars: Works from 1924 to 1936

The first monograph on the overlooked American modernist whose delicate geometric abstractions made brilliant and innovative use of string 
Balance, motion, suspension and tension form the guiding principles of the work of Sue Fuller (1914–2006), one of the most innovative artists in the field of geometric abstraction in the postwar United States. Initially a prominent figure in Stanley William Hayter’s famous New York print workshop Atelier 17, Fuller developed an interest in geometric abstraction in the mid-1940s, which led her to adopt string as a tool to create three-dimensional compositions in a range of colors and varying densities across a light framing structure. Fuller is also known for her use of unconventional materials sourced from industrial sectors, including fishing lines and synthetic surfaces such as Lucite, which conserve the compositions’ delicate tension and vivid color schemes in pristine condition to this day. Sue Fuller: Into the Composition is the first monographic study of Fuller’s work and includes contributions by art historians Alex J. Taylor and Christina Weyl.

Sue Fuller: Into the Composition

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Books by Ridinghouse/Luxembourg + Co., London