Bøger af Gregg Bordowitz

An intimate, urgent and riotous account of masculinity, whiteness, queerness and belief in AmericaIn winter 2018, Gregg Bordowitz performed a three-part lecture series at the New Museum as part of Trigger: Gender as a Tool and a Weapon. Each evening, he explored an avatar of masculinity that was formative to him as he came of age as an outer-borough child of Jewish immigrants, then as an artist-activist in Manhattan at the dawn of the AIDS crisis: the rock star, the rabbi and the comedian. He merged personal and political history, ribald humor and social criticism, performer and persona.Some Styles of Masculinity is a self-portrait and an essay on upheaval and plague, based on transcripts of the eponymous series, which Bordowitz has reimagined for the page. He asserts that gender can't be separated from ethnicity, sexuality, class or nationality, and he connects these aspects of himself through personal anecdotes as well as reflections on whiteness, diaspora, comedy and Jewish mysticism. Some Styles of Masculinity evokes David Antin's "talk poems," Maggie Nelson's "autotheory," David France's How to Survive a Plague and Wayne Koestenbaum's casually erudite criticism. This book is a winding, intimate, urgent, freewheeling account of thinking and enduring in difficult times.Gregg Bordowitz (born 1964) is the author of Glenn Ligon: Untitled (I Am a Man) (2018), General Idea: Imagevirus (Afterall Books, 2010) and The AIDS Crisis Is Ridiculous and Other Writings, 1986-2003 (2004). He was an early participant in ACT UP (AIDS Coalition to Unleash Power), where he cofounded several video collectives.

One of the most significant artists to emerge in the late 1980s and early 1990s, Felix Gonzalez-Torres's reduced formal vocabulary, conceptual rigor, and evocative use of everyday materials resonates with meaning that is at once specific and mutable, rigorous and generous, poetic and political.Featuring several key bodies of work from throughout the artist's career, this publication showcases a series of distinct installations at David Zwirner in New York in 2017. The interplay with the specific architecture of the gallery and the way works are installed is highlighted throughout the catalogue, with images that explore the poetics of how space and work influence each other. Together, in their radical openness to interventions of site, audience, and context, the works on view challenge perceived notions of what constitutes an exhibition space, a public, an artwork itself. Despite the resolute abstraction of much of his work, Gonzalez-Torres worked with familiar materials, from his iconic candy spill works and his evocative light string pieces, but also including mirrors, clocks, and curtains. His work activates the architecture of the various spaces, the physicality of the viewer, the past and present, continuously maintaining its relevance. Opening with details of the exhibition and images of visitors in the spaces, the publication walks the reader through each piece. New text by David Breslin explores the variety of works included here while contextualizing Gonzalez-Torres's contribution to art history.