Gloria Moure

A central figure in twentieth century art, the influence of Marcel Duchamp 1887-1968 was crucial to the development os Surrealism, Dada and Conceptual Art. Brother of the artist Raymond Duchamp Villon and half brother of the painter Jacques Villon, Duchamp began to paint in 1908. In 1912, he painted the definitive version of Nude Descending a Staircase, this was shown at the Salon de la Section d Or of that same year and subsequently created great controversy at The Armony Show in New York in 1913. On this time, he had abandoned traditional painting and drawing for various experimental forms, including mechanical drawings, studies, and notations that would be incorporated in a major work, The Bride Stripped Bare by Her Bachelors, Even 1915 -1923, also known as The Large Glass). In 1914, Duchamp introduced his readymades common objects, sometimes altered, presented a sworks of art which had a revolutionary impact upon many painters and sculptors. This book edited by gloria Moure deals with his many faceted activities and the radical positions he maintained vis a vis his contemporaries, It goes on to describe and analyze his work as a whole, including his key writings and interviews.

By his own testimony, Marcel Duchamp considered painting a "means of expression, not an end in itself. One means of expression among others, and not a complete end for life at all." His legendary "Large Glass," for example, can be seen as simply the culmination or sum of numerous experiments conducted over an eight-year period. For this reason, every aspect of his oeuvre--painting, installation, writing, interviews--is of potentially equivalent interest, and any Duchamp primer needs to present his more ephemeral contributions, in aphorisms, diagrams and conversation, alongside his visual experiments. Works, Writings, Interviews does this job splendidly, exploring the artist's many-faceted activities, analyzing his work as an entirety and gathering his key interviews and writings.

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"I, too, asked myself if I could not sell something and succeed in life... Finally the idea of inventing something insincere came to me and I got to work immediately." With this statement, penned for his first solo show in April, 1964, Marcel Broodthaers (1924-1976) announced his death as a poet and birth as an artist. In fact, he was to transform the category of artist completely, purging the vocation of its medium-specific implications to pursue a unified conceptualism across media such as artist's books, prints, film, installation, sculpture and writings--" where the world of plastic arts and the world of poetry might possibly, I wouldn't say meet, but at the very frontier where they part." Broodthaers' Museum of Modern Art, Eagles Department (1968-1972) inaugurated the practice now known as institutional critique, and the linguistic foundations of his art--as well as his emphasis on printed multiples--also proved prescient for subsequent strains of Conceptual art. Edited by Gloria Moure in collaboration with the artist's estate, this momentous publication eclipses in its scope all previous Broodthaers monographs and writings collections. It gathers his early poetry, statements, critical essays both published and unpublished, open letters, interviews, preparatory notes and scripts alongside nearly 200 colour images in a massive and decisive presentation of the artists' postmedium art. Marcel Broodthaers was born in Belgium in 1924. From the late 1940s to the early 1960s he worked primarily as a poet, and was a member of the Belgian Groupe Surrealiste-revolutionnaire, which included Andre Blavier, Achille Chavee and Rene Magritte. After almost two decades of poverty, Broodthaers performed a symbolic burial of his life as a poet by embedding 50 copies of his poetry collection Pense-Bete in plaster. However, his art continued to be characterised by its emphasis on written text. Broodthaers died in 1976, on his fifty-second birthday, and is buried in Brussels beneath a tomb of his own design that features images from his allegorical repertoire, including a pipe, a wine bottle and a parrot. ILLUSTRATIONS: 195 colour

Contemporary art, both as a practitioner and as a well-respected critic and theorist. Best known for his large-scale installations incorporating mirrors--in which viewers become lost in a maze of reflections that they must navigate and interpret as they simultaneously see themselves and other viewers reflected--Graham has long examined the psychological relationship between people and architecture. This volume looks at Graham's key works and incorporates a collection of his seminal writings. A second edition, this important expanded monograph contains new material not found in the first.

Interfunktionen, an art journal which published 12 issues between 1968 and 1975 in Cologne, was founded in 1968 as a form of protest by artists who had no affinity with the critical lines that were redrawn at Documenta that year. The review was of considerable importance as a vehicle for propagating pro-European ideas and as a union between artists in Europe and the United States, irrespective of the predominating movements of the time. It contained both theoretical and practical contributions, with the intervention of creators who defined and illustrated their artistic strategies. Directly linked to the most prominent figures in the Düsseldorf Kunstacademie, such as Joseph Beuys, Jorg Immendorf and Sigmar Polke, it also boasted the involvement of the most spirited and reflexive artists of the times, from Vito Acconci and Marcel Broodthaers to Bruce Nauman and Dieter Roth. Interfunktionen, as its name indicates, was an inter-disciplinary publication, open to all artistic genres and with no restrictions as to media. This book is produced in collaboration with Fritz Heubach, the review's first editor, and depicts the experience of those years by means of original documents--some of them hitherto unpublished--artworks, and artists' writings.

Michael Snow es, sin duda, uno de los artistas vivos más importantes y una figura central en el arte norteamericano de la segunda mitad del siglo XX. Desde la recepción del “Independent Film Award

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Este volumen, concebido en torno a la apertura gradual de los archivos de Matta-Clark en el Canadian Centre for Architecture de Montreal, reúne por vez primera sus principales escritos (entre ellos, Art Cards y cuadernos) y entrevistas, así como una amplia selección de obras de referencia. Gloria Moure, conocida comisaria y editora independiente, es autora de estudios de referencia sobre Medardo Rosso y Marcel Duchamp, y ha publicado asimismo varias monografías sobra importantes artistas de los años sesenta y setenta, como Jannis Kounellis, Vito Acconci, Dan Graham o, en el caso más reciente, Sigmar Polke.

Imaginitive, subtle, bold, playful, pointed, witty, explosive, narrative, open, hermetic, mysterious, expressive, wild, ironic, joyous, cynical, ambiguous, mythologizing, and fantastical. How else to characterize Sigmar Polke's astonishing, incredibly pleasurable, and stylistically all-embracing oeuvre? Starting from the profane material of everyday culture, Polke interprets images of reality rather than reality itself, satirizes tendencies in contemporary painting, quesitons the role of the artist as author, breaks down the trivial visual worlds of media photography, and always, but always, takes off on the most magnificent flights of imagination. This publication is the most complete monograph on the artist to date, and includes a number of works never before published.

Gordon Matta-Clark is a cult figure of late twentiethcentury art. The work and words of Matta-Clark were always grounded in social or political convictions.

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