Bøger udgivet af ART GALLERY OF YORK UNIV

This book documents 80 artworks and projects by New Delhi-based Raqs Media Collective (Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta) from 2002-2012. The collective executes a wide spectrum of projects, ranging from full-scale curatorial works to discrete objects such as prints.

Aesthetics of Collaboration surveys the performances and methods of Panamanian artist Humberto Vélez, while also shedding light on a tradition of participatory practices in Latin America and the Caribbean.

From its origins in the mail art movement through to its "destruction" of The 1984 Miss General Idea Pavillion in 1977, the Canadian collective General Idea constructed a comprehensive body of work as a performative fiction. Glamour Is Theft examines this "pageantry of camp parody" through the logic of its mythic system. The book reconstructs this system from statements that were dispersed and disguised within General Idea's work and writing as a whole, including the publication FILE Magazine. In General Idea's system, there is one concept: Glamour; one operation: reversibility; one technique: cut-up; one strategy: theft; one tactic: camouflage. Following the collective's strategies, the book in turn mimics the language of structuralist and semiological publications of the 1970s while also considering the influences of Roland Barthes, William Burroughs, Guy Debord, Claude Lévi-Strauss and Marshall McLuhan on General Idea's work.

A filmmaker and installation artist based in Toronto, Oliver Husain has called his pieces "attractive traps," for the way in which they offer up an initial interpretation to the viewer which is eventually revealed to have been misleading. In a similar vein, Husain has inserted visual interruptions that interfere with the essays in this, his first monograph.

Will Munro (1975-2010) was a multimedia visual artist, DJ and community builder based in Toronto. History, Glamour, Magic fully documents his activities as an artist with emphasis on his punk DIY sculpture and installation from 1998 to the end of his life.

At once a personal narrative and an encyclopedic gathering of material, Dutch artist Mark Manders' "Self-Portrait" began its life as a building in 1986. Since then, Manders has exhibited fragments of the project, an array of created and found objects, furniture, sculpture and drawings, keeping it in constant flux, changing its order with each showing.