Revenge publishing? A new genre? Or has it been around since writers first put pen to paper? Isn’t all writing to some degree a means to avenge an oversight or a rejection, intending to set the record straight? A number of pieces in this collection which were commissioned, accepted, and paid for, never appeared for one reason or another, whether devious or common: books don’t always cross the finish line. Years go by. Patience evaporates. Corrected Proofs aims to seek remedy. In addition to previously unpublished pieces, a number of essays and interviews were written specially for this collection: on Lutz Bacher and Charles Ray, with Arnold J. Kemp. There are heroes and villains, from the assassins John Wilkes Booth and Lee Harvey Oswald, to Felix Gonzalez-Torres, Cady Noland and Steven Parrino. Here the reader encounters usual suspects in unexpected context—Marcel Duchamp, Ed Ruscha and Andy Warhol—and artists recently rediscovered—Bob Smith and Stephen Varble—alongside Lee Lozano, the January 6 insurrection, and The Fall.
A two-volume book edited by Cady Noland and Rhea Anastas, THE CLIP-ON METHOD contains writing by Cady Noland, sociological essays selected by the artist, and a considerable amount of exhibition photography from the 1980s to the present. Designed by Cady Noland. Typesetting, layout, and print production by Will Holder.
Produced on the occasion of the exhibition Status of Sculpture, curated by Bernard Brunon at Espace lyonnais d’art contemporain, 1990. Including the artists Jennifer Bolande, Robert Gober, Tishan Hsu, Jon Kessler, Christian Marclay, Patty Martori, Cady Noland, Laurie Parsons, Nancy Shaver, and Dustin Shuler.
*Please note this publication is secondhand and has some traces of previous ownership.
Produced on the occasion of the exhibition No, Not That One It’s Not A Chair at Galerie 1900 2000, Paris, 1 January, 2000.
Curated by Elein Fleiss and featuring John M. Armleder, Richard Artschwager, Alan Belcher, Guillaume Bill, Marie Bourget, Philippe Cazal, Bill Culbert, Nancy Dwyer, Rainer Ganahl, Dominique Gonzalez-Foerster, Thomas Grünfeld, Edward Kienholz, Bertrand Lavier, Louise Lawler, Ken Lum, Cady Noland, Jean-Luc Vilmouth.
*Please note this publication is secondhand and has some traces of previous ownership.
Taking its title from the Elaine May’s 1987 film Ishtar, this group exhibition curated by Los Angeles-based critic Bruce Hainley touches on many of the same interests and dichotomies: a comedy that is political and analytical at the same time; an abstraction but also a representation; and a cultural production outside of much discourse. The catalogue traces the attempt to create an informed dialogue for artwork that evades easy classifications and readymade discussions of abstraction vs. representation. Featured artists include: Brian Calvin, Samara Caughey, Lecia Dole-Recio, Trisha Donnelly, Vincent Fecteau, Richard Hawkins, Larry Johnson, Patrick Hill, Cady Noland, Sturtevant.
An A6 arts quarterly, distributed free in book shops and art galleries globally.
- Cover: Camille Paglia photographed by Heji Shin
- Hell Ain’t a Bad Place to be by Charles Asprey
- Camille Paglia On Alcohol and the National Minimum Drinking Age Act
- Camille Paglia On Kenneth Clark’s The Nude (1956)
- Daniel Pflumm: Hallo TV
- The Figures of Ain Ghazal
- Sacha Craddock on Alberto Savinio
- Arabic Typography: Lara Assouad’s Alphabet
- Alfred Kubin at The Lenbachhaus, Munich
- Cady Noland: An everyday hardware of brutality. As told by Kirsty Bell
- Picpus flea logo: Christian Flamm