Writings is the first collection to widely survey this singular polymath’s prolific activity as a writer. The book spans the years 1961–2012 and includes fifty-seven pieces: essays originally published in small press magazines, exhibition catalogs, anthologies, and album liner notes, along with other previously unpublished texts. Conrad writes about his own work, with substantial contributions on The Flicker, Loose Connection, Four Violins, Articulation of Boolean Algebra for Film Opticals, Early Minimalism, Yellow Movies, Slapping Pythagoras, and Music and the Mind of the World, as well as that of his peers: Tony Oursler, Jack Smith, Rhys Chatham, and Henry Flynt, among others. He devotes critical essays both to grand subjects—horology, neurolinguistics, and the historical development of Western music—and more quotidian topics, such as television advertising and camouflage. Designed by Scott Ponik.
Catalogue produced for Documenta 5, 30 June and 8 October 1972 in Kassel, Germany. The artistic director Harald Szeemann channeled many of the curatorial concepts for the exhibition into the design of the catalogue itself.
Including artists such as; Art & Language, Bernd & Hilla Becher, Hanne Darboven, Hans Haacke, Edward Kienholz, David Lamelas, Agnes Martin, Paul Thek, Franz Erhard Walther, La Monte Young, & Marian Zazeela, Richard Tuttle, Paul Sharits, Gustav Metzger, Mario Merz, Joan Jonas, Eva Hesse, Dan Graham, Joseph Cornell, Tony Conrad, Stan Brakhage, KP Brehmer, James Lee Byars, Daniel Buren, stanley brouwn, Lothar Baumgarten amongst others.
Cover designed by Ed Ruscha.
What is the role of aesthetic processes in the drawing of the boundaries between nature and culture, humans and things, the animate and inanimate? Structured around the aesthetic processes and effects of animation and mummification, Animism—a companion publication to the long-term exhibition of the same title, brings together artistic and theoretical perspectives that reflect on the boundary between subjects and objects, and the modern anxiety that accompanies the relation between “persons” and “things.”
With works by Agency, Art & Language, Christian W. Braune & Otto Fischer, Marcel Broodthaers, Paul Chan, Tony Conrad, Didier Demorcy, Walt Disney, Lili Dujourie, Jimmie Durham, Eric Duvivier, Harun Farocki, León Ferrari, Christopher Glembotzky, Victor Grippo, Brion Gysin, Luis Jacob, Ken Jacobs, Darius James, Joachim Koester, Zacharias Kunuk, Louise Lawler, Len Lye, Étienne-Jules Marey, Daria Martin, Angela Melitopoulos & Maurizio Lazzarato, Wesley Meuris, Henri Michaux, Santu Mofokeng, Vincent Monnikendam, Tom Nicholson, Otobong Nkanga, Reto Pulfer, Félix-Louis Regnault, Józef Robakowski, Natascha Sadr Haghighian, Paul Sharits, Yutaka Sone, Jan Švankmajer, David G. Tretiakoff, Rosemarie Trockel, Anne-Mie Van Kerckhoven, Dziga Vertov, Klaus Weber, Apichatpong Weerasethakul.
Design by NODE Berlin Oslo.
Mitchell Anderson, Marie Angeletti, Tenzing Barshee, Gerry Bibby, Mercedes Bunz, Stefan Burger, David Bussel, Eric D. Clark, Jay Chung, Tony Conrad, Eduardo Costa, Hans-Christian Dany, Nikola Dietrich, Levi Easterbrooks, Martin Ebner, Stephanie Fezer, Julian Göthe, Dunja Herzog, Karl Holmqvist, Stephan Janitzky, Verena Kathrein, Jakob Kolding, Chris Kraus, Veit Laurent Kurz, Quinn Latimer, Park McArthur, Robert McKenzie, Robert Meijer, Luzie Meyer, Ariane Müller, Shahryar Nashat, Viktor Neumann, Theresa Patzschke, Monika Senz, Natasha Soobramanien, Vera Tollmann, Anne Turyn, Antek Walczak, Mikhail Wassmer, Scott C. Weaver, Florian Zeyfang.
Editors: Gerry Bibby, Nikola Dietrich, Martin Ebner, Ariane Müller, Henrik Olesen. Graphic design: Dan Solbach. Cover: Martin Ebner, Shibuya/Sumida, 2017. Park McArthur for Starship, Studs, 2018. 1000 magazines pierced and bejeweled.
Published on the occasion of two exhibitions, one at Galerie Daniel Buchholz in Cologne and the other at Greene Naftali in New York, that presented a group of works by artist, filmmaker and musician Tony Conrad entitled “Yellow Movies”. Alongside an introductory note by Tony Conrad that served as a press release for the two gallery exhibitions, the book contains a new text by Diedrich Diederichsen and a comprehensive documentation of all the “Yellow Movies” still in existence. The catalogue is produced in collaboration with Galerie Daniel Buchholz and Greene Naftali.
“Yellow Movies,” is the title of a series of works in which Conrad explored the intersection of film and painting. He conceived of these works not as paintings but as films of incredibly long duration, devoid of the action or narrative typically associated with Hollywood cinema. When the works were first debuted in 1973, Conrad referred to their installation as a “screening.” To make this work, and others like it, he painted a rectangle of cheap house paint on paper and framed it with a black border. Over time the central painted rectangle will slowly yellow, much in the same way film emulsion does. This yellowing happens with or without exposure to light; it is always “screening,” as the passage of time itself actively marks its surface.
Design by Yvonne Quirmbach.