Autumn 2018 Reading List For Art

Pablo PIcasso. Guernica. 1937. Oil on canvas. 349.3x776.6cm. Image courtesy of Museo Reina Sofia, Madrid. Autumn reading list.
Image courtesy of Museo Reina Sofia, Madrid
Pablo Picasso. Guernica. 1937. Oil on canvas. 349.3x776.6cm.
With the new art season gearing up, here is our pick of fresh tomes to reinvigorate your art senses

social-forms-a-short-history-of-political-art

Social Forms: A Short History of Political Art

By Christian Viveros-Fauné
Published by David Zwirner Books

Critic, curator and writer Viveros-Fauné surveys 50 artworks and artists at the frontline of political resistance. From Francisco de Goya's The Disasters of War (1810–20) and David Hammons' In the Hood (1993) to Picasso’s Guernica (1937) and Jenny Holzer’s Truisms (1977-79), these artworks represent the strongest calls to political action in modernity, providing the context of the artwork and the artist’s background. It also explores the ensuing historical impact of each work, whether proving enough to subvert power structures, or challenging society’s status quo. While highlighting the connection between art and the real world, this publication veers away from acting a definitive history of political art, rather offering a compelling resource to how artists over the past 150 years have handled, challenged and interpreted shifting systems of politics, conflict, consumerism, inequality, and technology.

Available 23 October 2018


huguette-caland-everything-takes-the-shape-of-a-person-1970

Huguette Caland: Everything Takes the Shape of a Person, 1970–78
Edited by Aram Moshayedi
Published by Skira

Considered the first comprehensive dive into the early works of the Lebanese painter, this book explores the erotic and humorous undertones of Huguette Caland in her practice between 1970 and 1979. With a particular emphasis on the works on paper that depict female forms, Caland has only in recent years been fully appreciated in the Middle Eastern region for her avant-garde approach to more risqué themes and imagery. With an essay by established regional art critic Kaelen Wilson-Goldie covering Caland’s progress as she shifted from Beirut to Paris, a text from Negar Azimi discussing the implications of her ground-breaking abstract artworks, and a transcription of a conversation between the artist and Hanan Al-Shaykh held in 1974 for Télé Liban presented for the first time in English, this publication provides substantial insight into Caland’s practice.


John Akomfrah, New Museum

John Akomfrah
Edited by Gary Carrion-Murayari, Massimiliano Gioni
Texts by Tina Campt, T.J. Demos, Okwui Enwezor, Aram Moshayedi, Srivinas Aditya Mopadevi, Diana Nawi, Zoe Whitley. Interview by Gary Carrion-Murayari
Published by New Museum

Complementing the New Museum solo exhibition of renowned artist John Akomfrah, this tome is the first monographic survey of the artist. Tracing his moving image and film works since the 1980s, John Akomfrah explores his impact on the understanding and perception of the culture of the black diaspora. It also delves into how Akomfrah finds new languages for film, representation and narrative, addressing the concept of the Black Atlantic and philosophical undercurrents in his work. Among several contributing writers are texts by Zoe Whitley and Aram Moshayedi cover his early work in the Black Audio Film Collective; Tina Campt’s discusses sonic resonances in The Unfinished Conversation (2012); and writings by T.J. Demos and Okwui Enwezor, which look at Vertigo Sea (2015).


Akram Zaatari, AIF

Against Photography, an annotated history of the Arab Image Foundation
Co-edited with MACBA
Published by Kaph Books

Lebanese artist and Arab Image Foundation co-founder Akram Zaatari has a body of work that consists of videos, books and photographic installation that tackle political resistance, the lives of former militants, the circulation of images in conflict, and narratives that have been lost, discovered or delayed. Acknowledged for helping form the formal, intellectual and institutional infrastructure of Beirut’s contemporary art scene, his endeavours have seen the archiving and study of photography, as well as research into Arab imagery and its preservation. This publication covers his efforts and practice since 1995, focusing on ‘photographic formations’—what the artist considers enigmatic objects that contain traces of their histories that accompany people through time. Exploring the changing perception of these remnants, Against Photography also highlights the effects of natural, social and political environments.

BY

Pablo PIcasso. Guernica. 1937. Oil on canvas. 349.3x776.6cm. Image courtesy of Museo Reina Sofia, Madrid. Autumn reading list.
Image courtesy of Museo Reina Sofia, Madrid
Pablo Picasso. Guernica. 1937. Oil on canvas. 349.3x776.6cm.