Mierle Laderman Ukeles (b. 1939) is a maintenance artist. Since 1969, the year she wrote Manifesto for Maintenance Art, 1969!, later published in the pages of Artforum, she has devoted her practice to demystifying the invisible labor that undergirds society.
On what may have been the last cold night of a bone-chilling winter, a horde of eager art viewers filled Artists Spaces Tribeca basement. The occasion was the opening of the German artist Hito Steyerls first New York survey, and in the dark room Steyerl delivered Duty-Free Art, (2015) a complex but cogent lecture on the post-nation-state museum.
The digital and its potential are at the heart of Thanks to Apple, Amazon, and the Mall at Klaus von Nichtssagend Gallery. Curated by critic Brian Droitcour, the show is an extension of the gallerys digital publishing venture, Klaus_eBooks.
Bradley Eros’s newest show at Microscope Gallery continues the artist’s long-standing interest in cinematic essence. While the search for it might seem futile, Eros’s cogent attempt emphasizes multiplicity and collaboration, and thus downplays the need for a singular conclusion.
In the wake of postmodernism, the rubric and practice of history seem, if not worse for wear, then perhaps passé and definitively something to be critical of. Surely, with the availability of a whole trove of the alternative practices, it would seem as if traditional historical analysis is becoming increasingly expendable as a necessary framework for interacting with and understanding the past; that it itself, as a colloquial saying goes, might be history.
It is not insignificant that Lucy Lippards latest book begins with the word I. While it is structurally one of the simplest words in the English language, with Lippards voice it speaks beyond monosyllabic clarity and points to the radicality at the heart of her criticism, demonstrating the reformist potential of Undermining in the process.
Printed Matter is an art world institution in the best sense of the word. Founded in 1976 to support the then-fledgling medium of artists books, the organization has since become a mainstay of all things art and publishing. Historically linked to artistic figures such as Carl Andre, Sol LeWitt, and Lucy Lippard and now responsible for the ever-growing Art Book Fairs in New York and Los Angeles, Printed Matter has been symbiotically involved in the artistic, political, and social movements alongside which it has developed.
Founded in 2006 by James Hoff and Miriam Katzeff, Primary Information is one of the most exciting voices in contemporary arts publishing. Working with historical and contemporary material, the range of their projects testifies to the continued relevance and future prospects of the genre they champion.
To mark the end of the year, the Rail’s Art Books editors, Ben Gottlieb, Maya Harakawa, and Greg Lindquist, each selected three notable books from the past year to share with our readers.
The catalogue of the current Greater New York at MoMA PS1’s features notable departures from the exhibition’s traditional parameters. Co-organized by a team of four curators and engaging with work across a span of multiple decades, the exhibition is a refreshing take on what art in New York City is today.