Robert Malaval

« Pourquoi montrer un artiste qui s’est suicidé en 1980 dans un lieu consacré aux artistes émergents ? » est l’une des interrogations placées en préambule du catalogue de l’exposition du Palais de Tokyo dédiée au travail de Robert Malaval. A lire les préfaciers – Nicolas Bourriaud et Jérôme Sans –, la réponse tient au fait que, pour démontrer le « dynamisme de la scène artistique française », il faut « assumer et promouvoir sa propre histoire, avant de pouvoir la partager avec le reste du mon..

Robert Malaval

“Why exhibit an artist who committed suicide in 1980 in a venue dedicate to emerging artists?” This is one of the questions asked in the preface to the catalogue accompanying the recent exhibition of Robert Malaval’s work at the Palais de Tokyo. The answer, according to the authors of the preamble, is that, in order to demonstrate the “dynamism of the French art scene”, it is necessary “to accept and promote its history, before going on to share it with the rest of the world.” The examples of..

Codeine accumulation and elimination in larvae, pupae, and imago of the blowfly Lucilia sericata and effects on its development

The aim of this study was to evaluate the reliability of insect larvae as samples for toxicological investigations. For this purpose, larvae of Lucilia sericata were reared on samples of minced pig liver treated with different concentrations of codeine: therapeutic, toxic, and potentially lethal doses. Codeine was detected in all tested larvae, confirming the reliability of these specimens for qualitative toxicology analysis. Furthermore, concentrations measured in larvae were correlated with levels in liver tissue. These observations bring new elements regarding the potential use of opiates concentrations in larvae for estimation of drug levels in human tissues. Morphine and norcodeine, two codeine metabolites, have been also detected at different concentrations depending on the concentration of codeine in pig liver and depending on the substance itself. The effects of codeine on the development of L. sericata were also investigated. Results showed that a 29-h interval bias on the evaluation of the larval stage duration calculated from the larvae weight has to be considered if codeine was present in the larvae substrate. Similarly, a 21-h interval bias on the total duration of development, from egg to imago, has to be considered if codeine was present in the larvae substrat

Morris(’s) Prints

It may seem peculiar on my part to begin my presentation with a drawing that, even as it provides a key to Morris’ oeuvre, also stands as a reminder of a painful moment in the history of the institution I work for, the Museum of Modern Art in New York. Litanies, a sheet covered with writing from 1961, is an important drawing by Robert Morris. It was part of our collection until it mysteriously disappeared during the long tour of the exhibition The Drawings of Robert Morris, organized by Thoma..

Booktrek. Selected Essays on Artists' Books (1972-2010)

"A former librarian at Chelsea School of Art in London, Phillpot became Director of the Library at the MoMA in New York in 1977, and mapped out the field of artists' books from an institutional point of view. Collaborating with Printed Matter and Franklin Furnace among other places dedicated to the medium of the book, Phillpot helped raise awareness to these objects, while giving them the necessary credentials to enter museums" -- p. [4] of cover

Adrian Piper : A Synthesis of Intuitions, 1965-2016

" Adrian Piper has consistently produced groundbreaking work that has profoundly shaped the form and content of conceptual art since the 1960s. Strongly inflected by her longstanding involvement with philosophy and yoga, her pioneering investigations into the political, social, psychological, and spiritual potential of Conceptual art have had an incalculable influence on artists working today. Published in conjunction with the most comprehensive exhibition of her work to date, this catalogue presents more than 290 artworks that encompass the full range of Piper’s mediums: works on paper, video, multimedia installation, performance, painting, sound, and photo-texts. Essays by curators and scholars examine her extensive research into altered states of consciousness; the introduction of the Mythic Being—her subversive masculine alter-ego; her media and installation works from after 1980, which reveal and challenge stereotypes of race and gender; and the global conditions that illuminate the significance of her art. " -- Publisher's website

General Idea Editions : 1967-1995

This comprehensive catalogue raisonné of the multiples of General Idea (objects, posters, books, etc.) includes two introductory essays and ten brief commentaries that survey some of the collective's production. In conversation with artist M. Kelley, Bronson claims that General Idea defined the territory between art and commerce and challenged the concept of copyright. P. Monk notes that the ascent of the multiple in General Idea’s programme marks the passage from structuralism to poststructuralism. Annotated list of works. List of ephemera and film and video works. Notes on the contributors. Bio-bibliography 11 p. Index. 21 bibl. ref

Artist-Run Spaces

"This volume was developed in collaboration with founders of important and exemplary artist-run spaces of the 1960s-1970s. It represents the first extensive research on this subject and introduces spaces such as Art Metropole in Toronto, Artpool in Budapest, Ecart in Geneva, Franklin Furnace in New York, MOCA in San Francisco, La Mamelle in San Francisco, Printed Matter in New York, Western Front in Vancouver, and Zona in Florence, whose founders include Carl Andre, John Armleder, AA Bronson, Sol LeWitt, Lucy Lippard, Tom Marioni, and Maurizio Nannucci. At a time of transition to new aesthetic approaches, these artists promoted community spirit and organizational skills, pioneering a revaluation of traditional art concepts. The book documents not only the activities of these spaces, but also maps the artistic strategies and positions that took currency during this period. It thus shows how the inner life of collective self-organization and the exchange between like-minded artist-run spaces developed dynamically." -- Site web de l'éditeur