Taking its title from Harald Szeemann's landmark show, Live in Your Head re-examines the artistic legacy of the 1960s and 70s and attempts to clarify the points of origin of a formative generation in British art. An essential guide to the period, being the first since the 1970s to focus specifically on conceptual and experimental art in Britain. Featuring a double-page spread on each of the 64 participating artists, this catalogue also includes artists' statements and portraits, reproductions of numerous works, biographic and bibliographical information. In addition, Live in Your Head includes a lively and illustrated chronology of social and cultural events between 1965-1975, and essays by Michael Archer, Rosetta Brooks and co-curators, Andrea Tarsia and Clive Phillpot.

LIVE IN YOUR HEAD: CONCEPT AND EXPERIMENT IN BRITAIN 1965-1975 /ANGLAIS

Arts & Photography

PHILLPOT CLIVE/TARSI

History & Criticism

WHITECHAPEL GAL

FRANCISCO TOLEDO /ANGLAIS

LAMPERT, Catherine

Individual Artists

Centennial exhibition catalog (1901-2001).

THE WHITECHAPEL ART GALLERY CENTENARY REVIEW /ANGLAIS

LAMPERT CATHERINE/BR

Gillick is renowned for his brightly coloured Plexiglas and aluminium installations that mediate the visual languages of architecture, design and sculpture. The Wood Way is a sequence of propositions about the built world and the political ethics surrounding it. The structures refer to an evolving urban landscape, which is subject to negotiation, renovation and a continual state of change. The exhibition title is derived from the German word 'Holzweg' and refers to deliberately or mistakenly taking the wrong route and ending up in the woods. In the context of the exhibition this literally refers to the complex system of exposed wooden panels in which the work is situated and reflects the duality of Gillick's scepticism and excitement for the built environment and how we operate within it. [Born in 1964, Gillick studied at Goldsmith's College and progressed to exhibitions across Europe and the USA. As a writer and curator, Gillick has collaborated with artists, writers, architects and designers. Recent UK projects include a commission for Tate Britain and a solo exhibition at the Arnolfini in 2000. He currently lives in London and New York.]

LIAM GILLICK: THE WOOD WAY /ANGLAIS

BLAZWICK IWONA/BIRNB

TOBIAS REHBERGER: PRIVATE MATTERS /ANGLAIS

Spira, Anthony

Part of the acclaimed 'Documents of Contemporary Art' series of anthologies. This title explores the desire to move viewers out of the role of passive observers and into the role of producers. Participation begins with writings that provide a theoretical framework for relational art, with essays by Umberto Eco, Roland Barthes, Peter Bürger, Jean-Luc Nancy, Edouard Glissant, Félix Guattari, as well as the first translation into English of Jacques Rancière's influential 'Problems and Transformations in Critical Art'. This anthology also includes central writings by such artists as Lygia Clark and Hélio Oiticica, Joseph Beuys, Felix Gonzalez-Torres, Thomas Hirschhorn, Rirkrit Tiravanija, and features recent critical and curatorial debates, with discussions by Lars Bang Larsen, Nicolas Bourriaud, Hal Foster and Hans-Ulrich Obrist.

PARTICIPATION /ANGLAIS (DOCUMENTS OF CO)

Bishop, Claire

The significance of the archive in modernity and in contemporary art; writings by Sigmund Freud, Michel Foucault, Hal Foster, and others, and essays on the archival practice of such artists as Gerhard Richter, Christian Boltanski, Renée Green, and The Atlas Group.In the modern era, the archive -- official or personal -- has become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and ensuing conflicts, the emergence of the postcolonial era, and the fall of communism have each provoked a reconsideration of the authority given the archive -- no longer viewed as a neutral, transparent site of record but as a contested subject and medium in itself.This volume surveys the full diversity of our transformed theoretical and critical notions of the archive -- as idea and as physical presence -- from Freud's "mystic writing pad" to Derrida's "archive fever"; from Christian Boltanski's first autobiographical explorations of archival material in the 1960s to the practice of artists as various as Susan Hiller, Ilya Kabakov, Thomas Hirshhorn, Renée Green, and The Atlas Group in the present.Not for sale in the UK and Europe.

THE ARCHIVE /ANGLAIS (DOCUMENTS OF CO)

Merewether, Charles

This anthology surveys the rich history of relationships between the moving and the still image in photography and film, tracing their ever-changing dialogue since early modernism. Manifestations of the cinematic in photography and of the photographic in cinema have been a springboard for the work of many of the most influential contemporary artists. Their work is contextualized here alongside the work of leading photographers and filmmakers from Muybridge and Eisenstein to the present. Contributors include Roland Barthes, Jean Baudrillard, Raymond Bellour, Anton Giulio Bragaglia, Victor Burgin, Henri Cartier-Bresson, Catherine David, Thierry de Duve, Gilles Deleuze, Philip-Lorca diCorcia, Philippe Dubois, Regis Durand, Sergei Eisenstein, Mike Figgis, Hollis Frampton, Susanne Gaensheimer, Nan Goldin, Chris Marker, Christian Metz, Laura Mulvey, Laszlo Moholy-Nagy, Beaumont Newhall, Uriel Orlow, Pier Paolo Pasolini, Constance Penley, Richard Prince, Steve Reich, Carlo Rim, Raul Ruiz, Susan Sontag, Blake Stimson, Michael Tarantino, Agnes Varda, Jeff Wall, Andy Warhol and Peter Wollen.

THE CINEMATIC /ANGLAIS (DOCUMENTS OF CO)

Campany, David

Photography & Video

DESIGN AND ART /ANGLAIS (DOCUMENTS OF CO)

Coles, Alex

This collection of writings examines the pervasive and influential role of "the Gothic" in contemporary visual culture. The contemporary Gothic in art is informed as much by the stock themes of the eighteenth- and nineteenth-century Gothic novel as it is by more recent permutations of the Gothic in horror film theory, Lacanian psychoanalysis, and Goth subcultures. This reader from London's Whitechapel Gallery brings together artists as different as Matthew Barney, Gregor Schneider, Louise Bourgeois, and Douglas Gordon; its intent is not to use "the Gothic" to group together dissimilar artists but rather to shed light on a particular understanding of their practice. Anthony Vidler looks at ideas of the uncanny to explore Rachel Whiteread's House, and Jeff Wall uses the motif of vampirism to analyze fellow artist Dan Graham's Kammerspell; Hal Foster considers Robert Gober's recent work--laden with Christian symbolism, criticism of America as a nexus of power, and fragmented bodies--as an updated American Gothic, and Kobena Mercer examines the Gothic's depiction of the Other in relation to Michael Jackson's pop video Thriller.

THE GOTHIC /ANGLAIS (DOCUMENTS OF CO)

Williams, Gilda

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