"Annette Messager's (*1943 in Berck) series Les Tortures Volontaires (Voluntary Totures) from 1972 deals with the manifold procedures that women submit themselves to in order to look more 'beautiful.' The entire work is here presented for the first time, in orginal size and with an accompanying essay by the artist."--From publisher.

For her new project "Interdictions," Annette Messager (born 1943) has drawn a series of pictograms forbidding various acts, taken from real-life examples found on the Internet or while traveling. Through her artistic manipulation, Messager invites the viewer to reconsider these signs as social markers.

This facsimile edition collects all 19 issues of 'Art-Rite' magazine, edited by art critics Walter Robinson and Edit DeAk from 1973 to 1978. Robinson, DeAk and a third editor, Joshua Cohn, met as art history students at Columbia University, and were inspired to found the magazine by their art criticism teacher, Brian O'Doherty. 'Art-Rite', cheaply produced on newsprint, served as an important alternative to the established art magazines of the period. 'Art-Rite' ran for only five years, and published only 19 issues. But in that time the magazine featured contributions from hundreds of artists, a list that now reads like a who's-who of 1970s art: Yvonne Rainer, Gordon Matta-Clark, Alan Vega (Suicide), William Wegman, Nancy Holt, Jack Smith, Dorothea Rockburne, Robert Morris, Adrian Piper, Laurie Anderson, Carolee Schneemann and Carl Andre; critics such as Lucy Lippard contributed writing. Through its single-artist issues and its thematic issues on performance, video and artists' books, 'Art-Rite' championed the new art of its era.

The internationally acclaimed novelist Siri Hustvedt has also produced a growing body of nonfiction. She has published a book of essays on painting (Mysteries of the Rectangle) as well as an interdisciplinary investigation of a neurological disorder (The Shaking Woman or A History of My Nerves). She has given lectures on artists and theories of art at the Prado, the Metropolitan Museum of Art in New York, and the Academy of Fine Arts in Munich. In 2011, she delivered the thirty-ninth annual Freud Lecture in Vienna. Living, Thinking, Looking brings together thirty-two essays written between 2006 and 2011, in which the author culls insights from philosophy, neuroscience, psychology, psychoanalysis, and literature. The book is divided into three sections: the essays in Living draw directly from Hustvedt's life; those in Thinking explore memory, emotion, and the imagination; and the pieces in Looking are about visual art. And yet, the same questions recur throughout the collection. How do we see, remember, and feel? How do we interact with other people? What does it mean to sleep, dream, and speak? What is "the self"? Hustvedt's unique synthesis of knowledge from many fields reinvigorates the much-needed dialogue between the humanities and the sciences as it deepens our understanding of an age-old riddle: What does it mean to be human?

This extensive volume uncovers Dali’s influences, artistic development, and legacy, offering unprecedented access inside the world of the man behind the mustache. Through astute analysis of Dali’s work and how the events of his time converged with his drive to become a legend, this volume examines one of the most significant contributors to twentieth-century art. Although recognized primarily as a painter, Dali experimented with a wide range of media. This comprehensive review includes the literature, photography, film, and sculpture that influenced and was created by Dali throughout his career, from paintings such as The Persistence of Memory, to the icons of the surrealist movement such as the Mae West Lips Sofa and the Lobster Telephone, to short film collaborations with Luis Buñuel. The author offers insight into this undisputed genius, charting Dali’s progression as an artist and controversial public figure, and demonstrating his influence on contemporary artists such as Warhol, Koons, and Murakami.

Exhib: 6/15-9/3/95; Museum of Modern Art, NY 10/12/95-1/16/96; Art Institute, Chicago 2/17-5/5/96, Dist.

This book provides an in-depth account of the protests that shook France in 1968 and which served as a catalyst to a radical reconsideration of artistic practice that has shaped both art and museum exhibitions up to the present. Rebecca DeRoo examines how issues of historical and personal memory, the separation of public and private domains, and the ordinary objects of everyday life emerged as central concerns for museums and for artists, as both struggled to respond to the protests. She argues that the responses of the museums were only partially faithful to the aims of the activist movements. Museums, in fact, often misunderstood and misrepresented the work of artists that was exhibited as a means of addressing these concerns. Analyzing how museums and critics did and did not address the aims of the protests, DeRoo highlights the issues relevant to the politics of the public display of art that have been central to artistic representation, in France as well as in North America.