Jutta Koether's translucent color fields, expressive brushstrokes and female subjects--as well as her use of poetry, art history and Mylar--can make her seem like a feminist answer to the Cologne art scene, a counterpart to artists like Martin Kippenberger, Sigmar Polke and Albert Oehlen. In fact, she is a central contemporary painter in her own right, as well as a performance artist, a musician and a critic. She collaborates musically with Sonic Youth's Kim Gordon and Television's Tom Verlaine, contributes regularly to "Artforum" and the respected German culture magazine "Spex," and teaches in Bard College's MFA program--and has recently shown her work at Reema Spaulings Fine Art and Thomas Erben Gallery in New York. Koether's work, which the "New York Times" has called "vibrant" and "intriguing," was a standout in the 2006 Whitney Biennial. This look back documents the artist's oeuvre from the mid-80s forward, with an extensive selection of images.

"Her Noise is a season of exhibitions, performances and screenings that maps the activity of international artists whose practice involves the use of sound as a medium. This catalogue forms an invaluable resource, highlighting the often overlooked contribution of women artists to the development of genres as disparate as Fluxus, performance art, punk and sound-based installation."--BOOK JACKET.

Art historian Wagner looks at the imagery and careers of three important figures in the history of twentieth-century art: Eva Hesse, Lee Krasner, and Georgia O'Keeffe, relating their work to three decisive moments in the history of American modernism: the avant-garde of the 1920s, the New York School of the 1940s and 1950s, and the modernist redefinition undertaken in the 1960s. Their artistic contributions were invaluable, Wagner demonstrates, as well as hard-won. She also shows that the fact that these artists were women--the main element linking the three--is as much the index of difference among their art and experience as it is a passkey to what they share.--From publisher description.

Concept store is a bi-annual journal, published by Arnolfini, focusing on critical issues of contemporary art and their relationship to wider cultural, social and political contexts. While Concept Store reflects upon ideas explored within Arnolfini's artistic programme as well as future research projects, it is intended to be a critical platform in its own right, operating as a discursive space for commissioned texts, artists' contributions, interviews and other experimental forms.

A new look at the dynamic relationship between performance and painting since 1950, showing how performance art has challenged and energised the medium of painting for successive generations

In this compact but highly original publication, artist John Walter identifies a 'shonky' tendency in art that has previously gone under the radar, bringing into focus artworks that are hand-made but not well crafted, that push the boundaries of good taste and orderliness. Walter illustrates his theory with examples of awkward, funny, exuberant art from across the past forty years, ranging from sculpture and performance to painting and architecture. Novelists Zoë Strachan and Louise Welsh broaden this exploration of the shonky into the world of literature in their 'Letter from Monkswood', while in 'The Shonky Factor' Walter assesses a list of artists for their shonkiness levels.