Art Monsters: On Beauty and Excess

“Chatto & Windus has acquired an “explosive” non-fiction book, dubbed part cultural history, part feminist manifesto and part memoir, from The Wylie Agency.

Clara Farmer, publishing director at Chatto & Windus, has acquired, on proposal, world all-language rights to Art Monsters: On Beauty and Excess by Lauren Elkin, from Alba Ziegler- Bailey at The Wylie Agency. 

Art Monsters is an explosive reflection on the lives of creative women and the necessity of transgression. In the old days an ‘art monster’ was a man attended to by an ‘angel in the house’ so that he could concentrate solely on artistic concerns. But what happens when the angel is also an art monster herself – how do these women occupy both roles, fearlessly?” said the publisher. “Lauren Elkin’s riveting new book looks at women in culture – in art, literature, music and fashion – and how so often they are found wanting, either for failing to live up to impossible expectations, or for exceeding them so radically that they become ‘too much’. But this monstrousness can create its own power. From riot grrrl to Pussy Riot, from Louise Bourgeois to Audre Lorde, Art Monsters is a celebration of women making art that aims to provoke, that delights in all that is crass, grotesque, too big and too loud.”

Full manuscript to be delivered early 2020. US rights have been sold to FSG; German and Korean deals have also been secured. ” via thebookseller.

Susan Sontag. #art-monsters

[ArtForum] Hannah Black and Philippe van Parijs discuss Universal Basic Income

From ArtForum, April 2020:

HB: For newcomers, could you give a brief introduction to UBI? 

Philippe van Parijs: A UBI—short for universal or unconditional basic income—is an income paid at regular intervals to all members of a community on an individual basis, without means-testing or work conditions.

[…]

In this extraordinary era of crisis, isn’t it possible to envisage far more generous UBI measures than previously imagined?

When the economy is struggling, there is, by definition, less room for generosity than when it is thriving. But, as happened with the Great Depression and World War II, a crisis can trigger imagination and boldness. The result can be an institutional setup better equipped to forestall future crises or make them less disruptive. Earlier crises produced our welfare states and the European Union. This one could lead to the introduction of an unconditional basic income.

[…]

A UBI can be described as a “social dividend,” an equal dividend paid to all members of a society as equal joint owners of all its means of production. For this reason, its introduction and expansion amounts to making an economic regime more socialist…

[…]

Is there any way that UBI could represent a way out of capitalism, rather than a way to maintain it? 

Because the distinction between capitalism and socialism covers a continuum, there is no “way out of capitalism,” but there are many ways in which our economic regime could be made less capitalist. Because a UBI amounts to collectivizing—as a “social dividend”—part of the profits of the economy, it makes the economy less capitalist.

But socialism is no more an aim in itself than capitalism is. For Marx, a socialist revolution was necessary not because it would make society more just but because it would make the economy more efficient. The maximal development of the productive forces is needed to bring about as soon as possible a situation in which people would contribute voluntarily according to their capacities and consume free of charge according to their needs. A UBI consists precisely in approximating this situation without waiting for a socialist revolution: The higher the income is, the more everyone’s needs will be covered unconditionally and the more people will produce what is needed without being forced to do so.

[…]

I strongly believe in the importance of working out, proposing, and subjecting to a critical discussion what I call realistic utopias. These are not wild dreams of a better world. They are specific proposals for more or less radical reforms that are resolutely “utopian” in the sense of not being politically achievable here and now. But they are “realistic” in the sense that they take people as they are—not as we wish they were—or as freedom-respecting institutions could plausibly make them. What drives the search for such realistic utopias is the indignation with some aspects of our capitalist societies, even those undeniably made less unjust by a strong regulation of the market and the development of a welfare state: avoidable misery, humiliation, unjustifiable inequality within and between countries, consumerism, oppressive work relations, environmental degradation, etc. The challenge is to design economic institutions that reduce these evils as much as possible, but without just dreaming them: by taking seriously the strongest objections that can be made to them from whatever discipline.

Divola

R01F30, 1996-97
Archival digital black & white pigment print
34 x 24 inches, 64 x 44 inches
galleryluisotti.com
installation view at Los Angeles County Museum of Art, 2013 via mousse.

John Divola, “As Far as I Could Get” “As Far As I Could Get” is the first over-arching presentation of Divola’s work and is a collaborative project led by the Santa Barbara Museum of Art (SBMA), shown simultaneously at SBMA, the Los Angeles County Museum of Art (LACMA), and the Pomona College Museum of Art (PCMA) in the fall of 2013.

R03F03, 1996-97
Archival digital black & white pigment print
34 x 24 inches, 64 x 44 inches
R02F03, 1996-97
Archival digital black & white pigment print
34 x 24 inches, 64 x 44 inches
R02F33, 1996-97
Archival digital black & white pigment print
34 x 24 inches, 64 x 44 inches
installation view John Divola: As Far As I Could Get, 2013
officebaroque.com
installation view John Divola: As Far As I Could Get, 2013
officebaroque.com

February 2020, edition of 800, hardcover, 20x24cm, 80 pages
Designed by Federico Carpani. Text/Interview by David Campany (essay, 2006).

via skinnerboox.

Divola’s website.

Moments of life that slowly unfolds its intimacy with the world –Roy DeCarava

Light Break, exhibition in 2019 at David Zwirner

David Zwirner is pleased to present concurrent exhibitions of photographs by Roy DeCarava (1919–2009) at two of its New York locations: 34 East 69th Street and 533 West 19th Street. This will be the gallery’s first presentation of the artist’s work since announcing exclusive representation of the Estate of Roy DeCarava in 2018. The exhibitions will be accompanied by a new catalogue, copublished by First Print Press and David Zwirner Books, featuring an essay by art historian Sherry Turner DeCarava. (Dates : September 5—October 26, 2019)

The pictures capture a moment of life that slowly unfolds its intimacy with the world—the strong, youthful beauty of a Mississippi freedom marcher, the nature of trees … all rendered through a translucency of surface with palpable detail recorded in the darkest areas.

Turner DeCarava notes in her catalogue essay.

Roy DeCarava
Wall Street, morning, 1960
Silver gelatin print
Print: 14 x 11 inches (35.6 x 27.9 cm) Framed: 20 3/8 x 16 3/8 inches (51.8 x 41.6 cm)

© The Estate of Roy DeCarava 2019. All Rights Reserved.
Roy DeCarava
Swan, 1998
Silver gelatin print
Print: 11 x 14 inches (27.9 x 35.6 cm) Framed: 16 3/8 x 20 3/8 inches (41.6 x 51.8 cm)

© The Estate of Roy DeCarava 2019. All Rights Reserved.
Roy DeCarava
Figure, 1967
Silver gelatin print
Print: 11 x 14 inches (27.9 x 35.6 cm) Framed: 16 3/8 x 20 3/8 inches (41.6 x 51.8 cm)

© The Estate of Roy DeCarava 2019. All Rights Reserved.
Roy DeCarava
Ellington session break, 1954
Silver gelatin print
Print: 11 x 14 inches (27.9 x 35.6 cm) Framed: 16 3/8 x 20 3/8 inches (41.6 x 51.8 cm)

© The Estate of Roy DeCarava 2019. All Rights Reserved.
Roy DeCarava
Curved branch, 1994
Silver gelatin print
Print: 11 x 14 inches (27.9 x 35.6 cm) Framed: 16 3/8 x 20 3/8 inches (41.6 x 51.8 cm)

© The Estate of Roy DeCarava 2019. All Rights Reserved.
Roy DeCarava
Grass, 1991
Silver gelatin print
Print: 11 x 14 inches (27.9 x 35.6 cm) Framed: 16 3/8 x 20 3/8 inches (41.6 x 51.8 cm)

© The Estate of Roy DeCarava 2019. All Rights Reserved.
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Pictures For Elmhurst

A Print Sale Fundraiser for Elmhurst Hospital in NYC.

96 New York Photographers. All Prints $150. All Proceeds to Elmhurst Hospital.

UPDATE: 187 Photographers. $370,000 raised so far (041520).

April 10–20 only

Pictures For Elmhurst is organized by a small group of New Yorkers working in the creative industry.

https://images.squarespace-cdn.com/content/v1/5e8820d9015cf00438b1001c/1587006671810-ZJVNLS7KLU3CXI9S53KN/ke17ZwdGBToddI8pDm48kN9baTuwshFm5kxAhrO-ldt7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z5QHyNOqBUUEtDDsRWrJLTmTqyr0YSX1lQOSnWxEpwDIvabiuMKez-sru_2XVnc41l3INU1LX0eJSd9mM5wGmhp/Sara_VanDerBeek.jpg?format=750w
Sara VanDerBeek
Roman Woman XXXX, 2020
https://images.squarespace-cdn.com/content/v1/5e8820d9015cf00438b1001c/1586363443041-9M6HFIEKMIHQX23XFE32/ke17ZwdGBToddI8pDm48kFrlwsXgbUUDDp50B6zuumUUqsxRUqqbr1mOJYKfIPR7LoDQ9mXPOjoJoqy81S2I8PaoYXhp6HxIwZIk7-Mi3Tsic-L2IOPH3Dwrhl-Ne3Z2oG26AUg3RkMe4JYlF0i3p3Eqlr2cIXvZR75YeKpGF8ukL3r1G49e-3ZnDLNRdB_t/Mary_Manning.jpg?format=750w
Mary Manning, Rhubarb
https://images.squarespace-cdn.com/content/v1/5e8820d9015cf00438b1001c/1586482264849-WMX16RUWBHPC3HCMU6N4/ke17ZwdGBToddI8pDm48kPKwPd9CFIoXu3_QusPku9h7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z5QHyNOqBUUEtDDsRWrJLTmW5SZw0zY0wEgct1jJcv4nM9RIuFrZVNU0GyBNmW5PLKvaveM8SzGLI05oTB72npY/Samantha_Casolari.jpg?format=750w
Samantha Casolari, Ashley, 2016
Sam_Rock.jpg
Sam Rock, Let Distance Be Your Measure Of Love
Tyler_Mitchell.jpg
Tyler Mitchell, Untitled (Kite), 2019
Justin_Leveritt.jpg
Justin Leveritt, Tokyo: Image 004
Hart_Leshkina.jpg
Hart Lëshkina, Self Portrait with a Glass #1
Chad_Moore.jpg
Chad Moore, Ibiza Night Sky
Bryan_Liston.jpg
Bryan Liston, Delaney Anderson, Austin, TX 2019