Canadian artist Micah Lexier has built an international reputation working in a variety of media, often making work with numerical themes, such as 1995's "Self-portrait as a Lucite Cube Divided Proportionally a (Red) Volume Representing Life Lived and a (Clear) Volume Representing Life to Come, Based on Statistical Life Expectancy." Over the past three decades, he has also produced a significant body of multiple materials to be distributed to viewers, including prize ribbons, printed balloons, custom-minted coins and individually numbered cards. Micah Lexier: I'm Thinking of a Number is a survey of the artist's invitations, posters, book works, T-shirts, boxed sets and other multiples produced between 1980 and 2010. It includes a multiple created by the artist for this publication--a letterpress sheet of four stickers tipped in as the final work itemized by the monograph.

Micah Lexier: I’m Thinking of a Number

Arts & Photography

Bronson, AA

History & Criticism

The Press of the Nova Scotia College of Art and Design

Negative Thoughts is AA Bronson's first major project outside of the context of General Idea, the artist collective which he co-founded with Jorge Zontal and Felix Partz. From 1986 until the deaths of Zontal and Partz in 1994, General Idea focused on addressing the AIDS crisis. The group became known for their temporary public artworks, which used existing forms of communication and distribution, such as billboards, magazines, subway posters, television, and the Internet. The exhibition documented here combines three works by General Idea along with new works of Bronson's as a meditation on the themes of life and death in the age of AIDS. This accompanying catalogue, designed both to stand on its own and to extend the exhibition to a wider audience, combines an extended memoir with approximately 50 photographs of the artist and his friends to form an autobiographical reflection on Bronson's relation to death, AIDS, and life beyond AIDS.

Aa Bronson: Negative Thoughts

Individual Artists

Museum Of Contemporary Art, Chicago

By AA Bronson. Contributions by Bill Arning.

Aa Bronson: Mirror Mirror

Arning, Bill

MIT List Visual Arts Center

Over 40 years ago, Andy Warhol promoted the concept that artists are celebrities, just as worthy of portrayal as other cultural icons. Likeness: Portraits of Artists by Other Artists begins where Warhol left off. Presenting visually striking and conceptually diverse works in a range of mediums, Likeness is the first exhibition and catalogue to propose a recent history of artists' representations of other artists--of friends, peers, and idols. While any portrait is both a document and a personal record of the relationship between the artist and his or her subject, blurring distinctions between public and private, portraits of artists further enrich the situation; they commemorate and concretize the intimate social dramas of the art world and the economies of exchange. Selected here are over 50 paintings, drawings, photographs, and works in other media, created by a loose network of artists primarily active in New York, Los Angeles, London, and Berlin during the past three decades. Included are works by David Armstrong, AA Bronson, Bruce La Bruce, Chuck Close, Tacita Dean, Sam Durant, Nan Goldin, Felix Gonzalez-Torres, Richard Hamilton, Mike Kelley, Sean Landers, Robert Mapplethorpe, Richard Misrach, Dave Muller, Paul Noble, Julian Opie, Elizabeth Peyton, Sigmar Polke, Richard Prince, Wolfgang Tillmans, James Welling, and others.

Likeness: Portraits Of Artists By Other Artists

Killian, Kevin

Robbins, David

Tillmans, Wolfgang

Dean, Tacita

Collections, Catalogs & Exhibitions

CCA Wattis/ICI, NY

This 27th issue of OnCurating is dedicated to artistic ephemera with contributions by Daniel Baumann, Michael G. Birchall, AA Bronson, Martin Jäggi, Anne Moeglin-Delcroix, Marianne Mueller, David Senior, and Barbara Preisig, Maja Wismer, Dorothee Richter (eds) Ephemera not only serve to announce an exhibition but they are also the material evidence of a performance, or the work itself in the sense of conceptual art, their classification becomes unclear, and the categories are blurred. So it is not surprising that institutional art collections have tended to avoid exhibiting such materials until recently.  Ephemeral production by artists occurred in the ‘60s and ‘70s—suddenly all formats of exhibition making, of the distribution and production of invitation cards, press releases, inserts, and other forms of artistic (self-)marketing became part of the reorganization of the art field. Ephemera, editions, and invitation cards were seen as specific interesting objects; they did not only offer a space of self-representation, they also made art available to everybody.  From its revolutionary beginnings to its acceptance as a new genre, this kind of work is endangered today. Invitation cards are vanishing; they are being replaced by email, Facebook invitations, Twitter, and other fluid digital news.  The interviews are contributed by Kunsthalle Zürich on the occasion of the exhibition They Printed It! Invitation cards, press releases, inserts and other forms of artistic (self-)marketing.

On-Curating Issue 27: Ephemera: Invitation cards, press releases, inserts and other forms of artistic (self-)marketing

Baumann, Daniel

MOEGLIN DELCROIX, Anne

Wismer, Maja

Jäggi, Martin

Birchall, Michael G.

Preisig, Barbara

Senior, David

Mueller, Marianne

CreateSpace Independent Publishing Platform

Artist-run initiatives in North America provided a space for the presentation and legitimization of experimental work and for the assertion of socially progressive and politically radical ideas and questions. In making such spaces available, artist-run initiatives have operated alternately as flash points for heated debates and controversies, as well as platforms for social understanding and remaining for their audiences. Institutions by Artists: Volume One presents a collection of texts addressing the performance and promise of contemporary global artist-run centers and initiatives within the historical contexts that saw their emergence. Texts address centers in Amman (Jordan), Brisbane (Australia), Vancouver (Canada), Zurich (Switzerland) and Tokyo (Japan), Barcelona (Spain), among others. The book is published as part of Fillip’s ongoing Folio Series which presents anthologies of new and previously published questions on international contemporary art.

Institutions by Artists: Volume One (Folio Series: C)

Camnitzer, Luis

Faguet, Michele

Fillip Editions

General Idea was founded in Toronto in 1969 by Felix Partz, Jorge Zontal and AA Bronson as a generic identity to free the artists “from the tyranny of individual genius.” Under the leadership of their fictitious muse Miss General Idea, and inspired by William Burroughs' conception of the “image virus,” the collective interrogated media image culture through now legendary projects like File magazine, as well as paintings, installations, sculptures, mail art, photographs, videos, ephemera, TV programs and even a beauty pageant. General Idea came to an end in 1994, when Partz and Zontal died of AIDS. Today General Idea can be seen to anticipate the later art collectives of the 1970s as well as aspects of Relational Aesthetics in the 1990s. This volume presents an overview of the Canadian collective's bold mingling of reality and fiction and their frequently transgressive, parodic incursions upon both art and society. It traces such prevalent themes of their oeuvre as the mystique of the artist and the creative process, glamour as a creative tool, art's relationship to media and mass culture, architecture and archaeology, sexuality and AIDS. Including newly commissioned essays and reprinted texts, this volume is richly illustrated with documents and reproductions of the most significant projects realized by General Idea between 1969 and 1994.

General Idea: A Retrospective 1969-1994

Moos, David

Ammann, Jean-Christophe

Lebovici, Élisabeth

Dompierre, Louise

JRP|Ringier

How the pioneering queer artist has reconstructed friendship and community through art in works from 2013 to 2018 A nocturnal secret ritual performed by two naked men in a hotel room in the Netherlands; a woven tent where the artist dressed as a mage encounters visitors to share their traumas; butt plugs adorned with rooster feathers; a Zen garden of mugwort: these are just a few of the works that AA Bronson (born 1946) has created in the last few years. After his General Idea partners Felix Partz and Jorge Zontal died in 1994, Bronson had to learn how to create a new community of work, friendship and love. This book emphasizes the social dimension in his work through an overview of exhibitions made between 2013 and 2018. The book is in two parts: a monographic section, with an essay and an interview with the artist, brings together the works and the exhibitions; in the second part, friends describe the artist's five years of community life.

AA Bronson: AA Bronson's House of Shame

Edition Patrick Frey

Instigated by a conversation between Jens Hoffman and artist Carsten Höller after the opening of Documenta 11, this project provocatively questions the ascent of the curator, the value of the artist as curator, the future of international exhibitions and many less easily summarized tangents. Exhibited virtually on the e-flux website, The Next Documenta Should be Curated by an Artist is really much more of a question than a statement, a question to which a dozen or so artists responded in a varied manner, including Marina Abramovic, Pawel Althamer, AA Bronson, Daniel Buren, Liam Gillick, Joseph Grigely, Alfredo Jaar, Ken Lum, John Miller and Martha Rosler. Some offered considered expository positions and formal exhibition proposals, others contributed brief wit and poetic statements. The Next Documenta Should be Curated by an Artist offers an experimental means of questioning a relevant topic through one of the most important exhibitions on the international scene.

The Next Documenta Should Be Curated By An Artist

Hoffmann, Jens

e-flux/Revolver

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