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CHANGE AGENTS READING LIST — A – Paris-LA
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CHANGE AGENTS READING LIST — A

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On the occasion of the publication of PARIS LA 17—CHANGE AGENTS (2021–2022): An intermittent, open-ended, alphabetical Reading List, expanding on the artists, works, and concepts raised in the print issue.

 

Pacita Abad — A Passion to Paint: The Colorful World of Pacita Abad. By Jack Garrity. Singapore: Pacita Abad Books, 2005.

Lida Abdul — Lida Abdul. Turin: Hopefulmonster, 2009.

Elizabeth Abel and Emily K. Abel The Signs Reader: Women, Gender and Scholarship. Edited by Abel and Abel. Chicago: University of Chicago Press, 1993.

Nina Chanel Abney — Royal Flush. Edited by Marshall N. Price. Durham, NC: Nasher Museum of Art at Duke University, 2017.

Marina Abramović — Writings 1960–2014. Cologne: Walther König, 2018.

Tomma Abts — Tomma Abts. Edited by James Rondeau and Lekha Hileman Waitoller. Chicago: Art Institute of Chicago, 2018.

Carla Accardi — Carla Accardi. Edited by Germano Celant. Milan: Charta, 2001.

— Interview by Achille Bonito Oliva (2005). In Encyclopaedia of the Word: Artist Dialogues 1968–2008. Milan: Skira, 2010.

— Contexts. Edited by Maria Grazia Messina and Anna Maria Montaldo. Milan: Electa, 2020.

Kathy Acker — Hannibal Lecter, My Father. Edited by Sylvère Lotringer. Los Angeles: Semiotext(e), 1991.

Acker. By Douglas A. Martin. Brooklyn: Nightboat Books, 2017.

After Kathy Acker. By Chris Kraus. South Pasadena, CA: Semiotext(e), 2017.

Philosophy for Spiders: On the Low Theory of Kathy Acker. By McKenzie Wark. Durham, NC: Duke University Press, 2021.

— “Acker Enterprise: McKenzie Wark in Conversation with Matias Viegener.” PARIS LA 17 (2021–2022).

Kathy Acker and McKenzie Wark — I’m Very Into You: Correspondence 1995–1996. Edited by Matias Viegener. South Pasadena, CA: Semiotext(e), 2015.

Parveen Adams and Elizabeth Cowie — The Woman in Question: m/f. Cambridge, MA: MIT Press, 1990.

Kemi Adeyemi — “The Practice of Slowness: Black Queer Women and the Right to the City.” GLQ 25, no. 4 (October 2019).

Ruth Adler Schnee — Modern Designs for Living. Edited by Andrew Blauvelt and Ian Gabriel Wilson. Bloomfield Hills, MI: Cranbrook Art Museum, 2020.

Etel Adnan Sitt Marie Rose. Translated by Georgina Kleege. Sausalito, CA: Post-Apollo Press, 1982.

The Arab Apocalypse. Sausalito, CA: Post-Apollo Press, 1989.

— “On Perception: Etel Adnan’s Visual Art.” By Simone Fattal. In Etel Adnan: Critical Essays on the Arab-American Writer and Artist. Edited by Lisa Suhair Majaj and Amal Amireh. Jefferson, NC: McFarland & Company, 2002.

 — Shifting the Silence. Brooklyn: Nightboat Books, 2020.

Leporellos. Paris: Galerie Lelong, 2020.

Etel Adnan, Simone Fattal and Bob Wilson — Garden of Memory. Edited by Mouna Mekouar. London: Koenig, 2018.

Hilma af Klint — The Complete Catalogue Raisonné. Edited by Kurt Almqvist and Daniel Birnbaum. Stockholm: Bokförlaget Stolpe, 2021.

Hilma af Klint: A Biography. By Julia Voss. Translated by Anne Posten. Chicago: University of Chicago Press, 2022.

Laura Aguilar — “The Plush View: Makeshift Sexualities and Laura Aguilar’s Forbidden Archives.” By Macarena Gómez-Barris. In Axis Mundo: Queer Networks in Chicano L.A. Los Angeles: ONE National Gay & Lesbian Archives at the USC Libraries; Munich: DelMonico / Prestel, 2017.

Chantal Akerman — Interview by Élisabeth Lebovici. Mousse 31 (December-January, 2011–2012).

My Mother Laughs. Translated by Corina Copp. Brooklyn: Song Cave, 2019.

Nothing Happens: Chantel Akerman’s Hyperrealist Everyday. By Ivone Margulies. Durham, NC: Duke University Press, 1996.

— “Beside Chantal Akerman’s NOW.” Special issue, Moving Image Review & Art Journal 8, nos. 1–2 (2019).

Njideka Akunyili Crosby — Predecessors. Edited by Ian Berry and Steven Matijcio. Cincinnati: Contemporary Arts Center, 2019.

Anni Albers — Anni Albers. Edited by Ann Coxon, Briony Fer, and Maria Müller-Schareck. London: Tate; New Haven, CT: Yale University Press, 2018.

Viv Albertine — To Throw Away Unopened. London: Faber and Faber, 2018.

Lita Albuquerque — Stellar Axis: New York: Skira Rizzoli, 2014.

Laura Aldridge — Things That Soak You. Milan: Mousse Publishing, 2021.

Neda Al-Hilali — Selected Works: 1968–1985. Los Angeles: Los Angeles Municipal Art Gallery, 1985.

Theodora Allen — Saturnine. Edited by Stephanie Cristello. Geneva: Motto Books, 2021.

Patricia Allmer — Intersections: Women Artists, Surrealism, Modernism. Edited by Allmer. Manchester: Manchester University Press, 2016.

Hilton Als — Alice Neel, Uptown. New York: David Zwirner; London: Victoria Miro, 2017.

Susanne Altmann, Katarina Lozo, and Hilke Wagner — The Medea Insurrection: Radical Women Artists Behind the Iron Curtain. Edited by Altmann, Lozo, and Wagner. Cologne: Walther König, 2019.

Maria Alyokhina — Riot Days. New York: Metropolitan Books, 2017.

Ruby Onyinyechi AmanzeHow To Be Enough. Text by Mario Diacono. Milan: Mousse Publishing, 2021.

Ruby Onyinyechi Amanze and Wura-Natasha Ogunji — “Just a Note: Artist to Artist.” Bomb 149 (Fall 2019).

Emma Amos — Color Odyssey. Edited by Shawnya Harris. Athens: Georgia Museum of Art, 2021.

Rhea Anastas and Michael Brenson — Witness to Her Art. Edited by Anastas and Brenson. Annandale-on-Hudson, NY: Bard College, 2006.

Laurie Anderson — All the Things I Lost in the Flood. New York: Rizzoli Electa, 2018.

Andrea Andersson — Hinge Pictures: Eight Women Artists Occupy the Third Dimension. Edited by Andersson, essay by Alex Klein. Catskill, NY: Siglio, 2018.

Carina Seth Andersson — Work. Stockholm: The Studio, 2022.

Mamma Andersson — Memory Banks. Edited by Kevin Moore. Bologna: Damiani, 2018.

The Lost Paradise. Text by Karl Ove Knausgård. New York: David Zwirner Books, 2021.

Eleanor Antin — Multiple Occupancy: Eleanor Antin’s “Selves.”  Edited by Emily Liebert. New York: Miriam and Ira D. Wallach Art Gallery, Columbia University Press, 2014.

Janine Antoni, Anna Halprin, and Stephen Petronio — Ally. Edited by Adrian Heathfield. Philadelphia: Fabric Workshop and Museum; Munich: Hirmer, 2017.

Leonor Antunes — A seam, a surface, a hinge, or a knot. Edited by João Ribas. Berlin: Sternberg Press, 2019.

Leonor Antunes, Silvia Bächli, Toba Khedoori, Susan Philipsz, and Rachel Whiteread — Resonating Spaces. Text by Theodora Vischer. Berlin: Hatje Cantz, 2020.

Ida Applebroog — Angry Birds of America. Vienna: Verlag für Moderne Kunst, 2019.

Diane Arbus — Revelations. New York: Random House, 2003.

Documents. Edited by Max Rosenberg. Texts by Vince Aletti, Hilton Als, Doon Arbus, Carol Armstrong, A. D. Coleman, Holland Cotter, Jacob Deschin, Jason Farago, Jeffrey Fraenkel, Germaine Greer, Hilton Kramer, Arthur Lubow, Janet Malcolm, Francine Prose, Sukhdev Sandhu, Peter Schjeldahl, Adrian Searle, Susan Sontag, Lynne Tillman, Colm Tóibín, Lucas Zwirner, etc. New York: David Zwirner Books; San Francisco: Fraenkel Gallery, 2022.

Penny Arcade — Bad Reputation: Performances, Essays, Interviews. Los Angeles: Semiotext(e), 2009.

Elise Archias — The Concrete Body: Yvonne Rainer, Carolee Schneemann, Vito Acconci. New Haven, CT: Yale University Press, 2016.

Pia Arke — Pia Arke. Edited by Lærke Rydal Jørgensen and Anders Kold. Humlebæk, Denmark: Louisiana Museum of Art, 2022.

Carol Armstrong and Catherine de Zegher — Women Artists at the Millennium. Edited by Armstrong and de Zegher. Cambridge, MA: MIT Press, 2006.

Eve Arnold, Abigail Heyman, and Susan Meiselas — Unretouched Women: Femmes à l’oeuvre, femmes à l’épreuve. Edited by Clara Bouveresse. Arles: Actes Sud, 2019.

Ruth Asawa — Ruth Asawa. New York: David Zwirner, 2018.

 — Ruth Asawa: Life’s Work. Edited by Tamara H. Schenkenberg. St. Louis: Pulitzer Arts Foundation; New Haven, CT: Yale University Press, 2019.

Oreet Ashery — How We Die Is How We Live Only More So. Milan: Mousse Publishing, 2020.

Tauba Auerbach — S v Z. Edited by Joseph Becker and Jenny Gheith. San Francisco: San Francisco Museum of Modern Art; New York, D.A.P., 2020.

Julie Ault — In Part: Writings by Julie Ault. Edited by Ault and Nicolas Linnert. Brooklyn: Dancing Foxes Press; Cologne: Galerie Buchholz, 2017.

Alice Aycock — Sculpture and Projects. By Robert Hobbs. Cambridge, MA: MIT Press, 2005.

Helène Aylon Whatever is Contained Must Be Released: My Jewish Orthodox Girlhood, My Life as a Feminist Artist. New York: The Feminist Press, 2012.

Belkis Ayón — Nkame. Catalogue Raisonné. Edited by Cristina Vives. Madrid: Turner, 2010.

Behind the Veil of a Myth. By Cristina Vives. Houston: Station Museum of Contemporary Art, 2018.

 

 

From top: Leonor Antunes, Discrepancies with M.G., 2011, brass, nylon rope, cork, rubber, installation view, Museo Experimental el Eco, Mexico City, 2011, image © Leonor Antunes, courtesy of the artist and kurimanzutto; Julie Ault, In Part: Writings by Julie Ault (2017), image courtesy and © Dancing Foxes Press and Galerie Buchholz.

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