Art September 2014 i i

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Ray Johnson - The Paper Snake Siglio 2014 ISBN 9781938221033 Acqn 23289 Hb 27x22cm 48pp 48col ills £24.50 Long out of print and unavailable to wider audiences, The Paper Snake is an essential work in Ray Johnson’s oeuvre and the second title published by Dick Higgins’ Something Else Press, in 1965. Johnson describes the book as "all my writings, rubbings, plays, things that I had mailed to [Higgins] or brought to him in cardboard boxes or shoved under his door, or left in his sink, or whatever, over a period of years." A vertiginous, mind-bending artist’s book, The Paper Snake was far ahead of its time. In his essay "The Hatching of the Paper Snake," Higgins says: "I was fascinated by the way that the small works which Ray Johnson used to send through the mail seemed so rooted in their moment and their context and yet somehow they seemed to acquire new and larger meaning as time went along ... Since a book is a more permanent body than a mailing piece or even than our own physical ones, I could not help wondering what it would be like to make a new body for Johnson’s ideas as a sort of love letter or time capsule for the future." A collection of letters, little plays, tid-bits, collages and drawings, The Paper Snake connects disparate elements to unbed fixed relationships and forge new systems of meaning by means of scissors, paste and the American postal system.

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Not Nothing - Selected Writings By Ray Johnson 1954-1994 Siglio 2014 ISBN 9781938221040 Acqn 23290 Hb 23x31cm 256pp 210ills 50col £31.95 Ray Johnson (1927–1995) blurred the boundaries of life and art, of authorship and intimacy. Correspondence is the defining character of all of Johnson’s work, particularly his mail art. Intended to be read, to be received, to be corresponded with, his letters (usually both image and textual in character) were folded and delivered to an individual reader, to be opened and read, again and again. Johnson's correspondence includes letter to friends William S. Wilson, Dick Higgins, Richard Lippold, Toby Spiselman, Joseph Cornell, Yoko Ono, Nam June Paik, Robert Motherwell, Eleanor Antin, Germaine Green, Lynda Benglis, Arakawa and Madeline Gins, Christo, Billy Name, Jim Rosenquist and Albert M. Fine, among many others. The subjects of his correspondence ranged from the New York avant-garde (Cage, Johns, de Kooning, Duchamp) to filmmakers such as John Waters, philosophers such as Jacques Derrida and writers such as Gertrude Stein and Marianne Moore. This collection of more than 200 selected letters and writings--most of which are previously unpublished--opens a new view into the sprawling, multiplicitous nature of Johnson’s art, revealing not only how he created relationships, glyphs and puzzles in connecting words, phrases, people and ideas, but also something about the elusive Johnson himself. In a 1995 article in The New York Times, Roberta Smith wrote: "Make room for Ray Johnson, whose place in history has been only vaguely defined. Johnson’s beguiling, challenging art has an exquisite clarity and emotional intensity that makes it much more than simply a remarkable mirror of its time, although it is that, too."

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Harland Miller - Overcoming Optimism Ingleby Gallery 2012 ISBN 9780956669230 Acqn 24171 Hb 24x32cm 72pp 40ills 38col £25 For Harland Miller’s first exhibition in Scotland, Ingleby Gallery presents a group of new paintings alongside a selected survey of the artist’s work across several years. Common to all of these paintings is a basic structure of shape borrowed from decades of Penguin paperbacks: a motif that automatically suggests a very British kind of nostalgia, but which Miller turns back on itself with invented titles that prove the dictum that you can’t judge a book, or a painting at least, by its cover. The book includes a specially-commissioned essay by Michael Bracewell and the transcript of an interview between Miller and the writer, broadcaster and art historian Tim Marlow. The publication also includes excellent colour reproductions of Miller’s paintings.

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Alison Watt and Don Paterson - Hiding in Full View Ingleby Gallery 2011 ISBN 9780956669216 Acqn 24172 Hb 23x17cm 56pp 11ills £15 A 56-page hardback book by Alison Watt and Don Paterson published by Ingleby Gallery to coincide with Watt’s 2011 solo exhibition of the same name. The book features a sequence of 14 one-line poems by Don Paterson as well as beautiful reproductions of Alison Watt’s paintings from 2011.

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James Hugonin Ingleby Gallery 2010 ISBN 9780956669209 Acqn 24174 Hb 21x26cm 68pp 26col ills £25 For the past 22 years James Hugonin has made just one painting each year. From his studio in the Cheviot Hills, in the Border country between England and Scotland, Hugonin works constantly on these intense evocations of colour and light, comprised of thousands of tiny coloured marks fluctuating across the painting’s surface. Not surprisingly, exhibitions of his work are rare, so for the artist’s 60th birthday Ingleby Gallery presented a survey of his six most recent paintings, alongside two early works that first began this remarkable series over twenty years ago. This beautifully illustrated publication includes an essay The Nature of Colour by Richard Davey.

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Callum Innes - I look to you Ingleby Gallery 2009 ISBN 9780955348969 Acqn 24179 Hb 26x31cm 72pp 31col ills £25 Over the past 20 years, Edinburgh born Callum Innes has emerged as one of the leading abstract painters of his generation, making work which stands defiantly against the tide of the quick fix that has dominated the sensibility of so many of his contemporaries. Innes was short-listed for the Turner Prize in 1995, won the prestigious NatWest Prize for Painting in 1998, and in 2002 was awarded the Jerwood Prize for Painting. Most of his paintings are made by “un-painting” as well as painting: A language that he has made his own; oil paint is applied in layers and dissolved away with turpentine, forming something quietly and unexpectedly beautiful. His exhibition for the Edinburgh Art Festival will include the first showing of a body of new paintings which take a very simple form; a painting in two halves, divided vertically down the centre of the canvas, with layers of coloured pigments coated over black and dissolved away to leave only a trace of colour. They are amongst his most elemental and powerful paintings to date. Includes essays from Emilie E.S. Gordenker, Director of Mauritshuis, the Dutch Royal Collection and Richard Ingleby, Director of Ingleby Gallery.

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Sean Scully – Iona Ingleby Gallery 2010 ISBN 9780955348990 Acqn 24180 Hb 26x25cm 70pp 43ills 42col £35 Published to accompany Sean Scully’s Ingleby Gallery exhibition, this extensively illustrated exhibition catalogue includes essays by Sean Scully and Ingleby Gallery Director, Richard Ingleby. An exceptional exhibition of paintings and photographs by one of the world’s leading painters. The centrepiece of this show will be Scully’s giant triptych Iona; painted in the artist’s studio in New York in 2004-2006 and shown here for the first time in the UK.

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Gary Fabian Miller - Year One Ingleby Gallery 2007 ISBN 9780955348921 Acqn 24181 Hb 25x34cm 126pp 88col ills £30 Year One presents a major new body of work by Garry Fabian Miller. This unique book charts a year of artistic experiment and explores Fabian Miller’s continuing interest in the nature and possibilities of light both as medium and subject. Since 1984 Fabian Miller has explored the bounds of making photographic images without a camera to create essentially abstract works that look back to the earliest photographic experiments of the nineteenth century, and which confirm his position as one of the most inventive and forward-thinking artists working with photography today. Year One contains an introductory essay by Edmund de Waal.

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Richard Forster, Colm Toibin - Fast & Slow Time Ingleby Gallery 2011 ISBN 9780860830917 Acqn 24173 Hb 17x25cm 127pp 52ills £15 Published to celebrate Richard Forster’s major solo exhibition at the Middlesborough Institute for Modern Art in 2011. This publication features excellent reproductions of the 52 drawings that Forster has made over the past calendar year as well as a short story by acclaimed writer Colm Tóibín.

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J.M.W. Turner - Le Petit Musee. 32 Postcards Seigensha Art Publishing 2013 ISBN 9784861524141 Acqn 24175 Pb 11x15cm 32pp 32col ills £12.50

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John Everett Milais - Le Petit Musee 32 Postcards Seigensha Art Publishing 2013 ISBN 9784861524158 Acqn 24176 Pb 11x15cm 32pp 32col ills £12.50

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John William Waterhouse - Le Petit Musee 32 Postcards Seigensha Art Publishing 2013 ISBN 9784861524219 Acqn 24177 Pb 11x15cm 32pp 32col ills £12.50

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Dante Gabriel Rossetti - Le Petit Musee 32 Postcards Seigensha Art Publishing 2013 ISBN 9784861524226 Acqn 24178 Pb 11x15cm 32pp 32col ills £12.50

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Amarnath Ravva - American Canyon Kaya Press 2013 ISBN 9781885030160 Acqn 22567 Pb 15x18cm 180pp 120col ills £16.95 Blending myth with interviews and first-person narrative, California-based writer Amarnath Ravva’s American Canyon uses prose, documentary footage and still photos to recount the fragmented and ever-evolving story of one person’s apprehension of the ghosts of history. Written from a series of video notes taken over a period of ten years, this narrative of a son’s love for his mother and the ritual he performs for her takes us from California to Rameswaram, the southern tip of the Indian peninsula. It is a meditation on the moments in history that placed him in front of a small bright fire, a lament for the continual loss of those who, by remembering, let us know who we are. Ravva’s American Canyon has been described by poet and author Kevin Killian as “a complex reworking of memoir form, using the tools of poetry re-melted, as in Vulcan’s forge, to slash away at the ghosts and ghouls of conventional prose usage. The new journalism, Ravva-style, stimulates the nerve endings with its alternately lush and spare renditions of some spectacular settings...” Ravva has given readings and performed at LACMA, Machine Project, the MAK Center at the Schindler House, New Langton Arts, the Hammer Museum, USC, Pomona, CalArts and the Sorbonne.

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Simon Starling – Metamorphology Museum Of Contemporary Art Chicago 2014 ISBN 9781938922350 Acqn 23345 Pb 21x26cm 96pp 70col ills £24.95 British conceptual artist Simon Starling (born 1967) interrogates the histories of art and science, as well as other subjects such as economic and environmental issues, through a wide variety of media including film, installation and photography. Published for his first survey exhibition at a major American museum, Simon Starling: Metamorphology highlights a fundamental principle of Starling’s practice: an almost alchemistic conception of the transformative potential of art, or of transformation as art. The Turner Prize–winning artist’s working method constitutes recycling, both literally and figuratively: repurposing existing materials for new, artistic aims; retelling existing stories to produce new historical insights; linking, looping and remaking. This catalogue accompanies an exhibition organized by the Museum of Contemporary Art Chicago in tandem with the Arts Club of Chicago, and features essays by MCA Chicago senior curator Dieter Roelstraete, Arts Club of Chicago executive director Janine Mileaf in collaboration with Simon Starling, and Tate Modern curator Mark Godfrey.

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Izhar Patkin - The Wandering Veil Tel Aviv Museum 2014 ISBN 9789655390483 Acqn 23364 Hb 24x31cm 240pp 136ills 125col £24.50 The Wandering Veil provides a comprehensive survey of the work of the New York–based Israeli artist Izhar Patkin (born 1955). Published for an exhibition which traveled from the Tel Aviv Museum of Art and The Open Museum, Tefen to MASS MoCA, it focuses on works of the past decade, including Patkin’s series of mural-size "veil" paintings on tulle, inspired by the work of the late Kashmiri-American poet Agha Shahid Ali and its themes of memory, loss and exile. Arranged thematically, this book contains 125 color plates and includes examples of key works from the 1980s and 1990s. It also features interviews with the artist by David Ross and the late critic Herbert Muschamp, plus texts by authors from a range of disciplines, including curators, poets, art and architecture critics, a literary scholar, a psychoanalyst and a theologian.

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Len Lye - Motion Sketch The Drawing Center 2014 ISBN 9780942324853 Acqn 23378 Pb 15x23cm 100pp 60ills 30col £12.50 The career of Len Lye (1901–1980) was marked by a lifelong fascination with movement and an aspiration to compose motion; the movement of the drawing hand was an important touchstone for works in various media. In New York, Lye is now well known for his animated experimental films. In the 1920s, however, Lya began to make what he termed "motion sketches"--abstract drawings that attempted to render the movement of his subjects, rather than their appearance. Motion Sketch reintroduces Lye’s multidimensional practice specifically in relation to drawing. Lye’s kinesthetic approach to drawing--related to Surrealist automatism and anticipating aspects of Abstract Expressionism--also informed his practice in painting, photography, film and sculpture. Not limited to works on paper, this publication instead reveals how Lye’s concept of "doodling" underpinned his approach to much of his work.

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Zheng Chongbin - Impulse, Matter, Form Ink Studio 2014 ISBN 9780615864532 Acqn 23406 Hb 23x27cm 192pp 185ills 120col £43.95 This publication is part of a series of monographs from the Beijing-based gallery Ink Studio, featuring significant contemporary artists who work with Chinese brush and ink. Impulse, Matter, Form presents Chinese artist Zheng Chongbin (born 1961), whose work synthesizes Chinese and Western explorations in calligraphy and gesture.

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The Archive as a Productive Space of Conflict Sternberg Press 2014 ISBN 9781934105863 Acqn 22674 Pb 15x22cm 500pp 300ills 270col £22.50 Contributions by Stuart Bailey, Bassam El Baroni, Thomas Bayrle, Jeremy Beaudry, Beatrice von Bismarck, Beatriz Colomina, Céline Condorelli, Mathieu Copeland, Dexter Sinister, Joseph Grima, Nav Haq, Sandi Hilal, Nikolaus Hirsch, Thomas Jefferson, Christoph Keller, Alexander Kluge, Joachim Koester, Armin Linke, Julia Moritz, Rabih Mroué, Hans Ulrich Obrist, Seth Price, Walid Raad, Alice Rawsthorn, Patricia Reed, David Reinfurt, Claire de Ribaupierre, Eyal Weizman, et al. The applied research project and publication The Archive as a Productive Space of Conflict deals with archival practice and its spatial repercussions. Inquiring whether any accumulation and organization of knowledge is productive—to the effect that it generates a narrative and/or history—the project focuses specifically on archives becoming productive due to their spatial framework. Consequently, the project debates the conflicts that arise when the topological and architectural structure of archives overcome existing models of reservoirs and storage units. The project interrogates whether archives necessarily need to be exposed to spatial permanence, and, if so, what design framework has to be applied in order for those components to be able to take on more than a singular form of existence.

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In The Holocene Sternberg Press 2014 ISBN 9783943365528 Acqn 24144 Pb 12x20cm 380pp 100col ills £22.50 Contributions by Berenice Abbott, Leonor Antunes, Marcel Broodthaers, Roger Callois, Hanne Darboven and Lucy R. Lippard, Eric Duyckaerts, Max Frisch, Frederich Froebel, Joao Maria Gusmao and Pedro Paiva, Florian Hecker and Quintin Meillasoux, Alfred Jarry, On Kawara, John Latham, Sol LeWitt, F. T. Marinetti, Daria Martin, Mario Merz, Helen Mirra, Man Ray, Ben Rivers and Mark von Schlegell, Pamela Rosenkranz and Erik Wysocan, Robert Smithson, Paul Valéry, Iannis Xenakis In the Holocene is based on a 2012 group exhibition of the same name at the MIT List Visual Arts Center that explored art as a speculative science, investigating principles more commonly associated with scientific or mathematical thought. Through the work of an intergenerational group of artists, the exhibition and book propose that art acts as an investigative and experimental form of inquiry, addressing or amending what is explained through traditional scientific or mathematical means: entropy, matter, time (cosmic, geological), energy, topology, mimicry, perception, consciousness, et cetera. Sometimes employing scientific methodologies or the epistemology of science, other times investigating phenomena not restricted to any scientific discipline, art can be seen as a form of inquiry into the physical and natural world. In this sense, both art and science share an interest in knowledge, realism, and observable phenomena, yet are subject to different logics, principles of reasoning, and conclusions. Works by Berenice Abbott, John Baldessari, Rosa Barba, Robert Barry, Uta Barth, Joseph Beuys, Alighiero Boetti, Carol Bove, Marcel Broodthaers, Matthew Buckingham, Hanne Darboven, Thea Djordjadze, Aurélien Froment, Terry Fox, Laurent Grasso, João Maria Gusmão and Pedro Paiva, Rashid Johnson, Kitty Kraus, Germaine Kruip, Daria Martin, John McCracken, Trevor Paglen, Man Ray, Ben Rivers, Pamela Rosenkranz, Robert Smithson, Hiroshi Sugimoto, Georges Vantongerloo, Lawrence Weiner

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Art And The F Word - Reflections On The Browning Of Europe Sternberg Press 2014 ISBN 9783956790744 Acqn 24199 Pb 12x19cm 352pp 60ills £15.95 Contributions by Lawrence Abu Hamdan, Petra Bauer & Sofia Wiberg, Barnabás Bencsik, Boris Buden, Maria Lind and Tensta konsthall, Jelena Vesić, What, How & for Whom/WHW From 2012 to 2014 a series of contemporary art exhibitions, events, and participatory forums organized by Galerija Nova, Tensta konsthall, and Grazer Kunstverein comprised the project “Beginning as Well as We Can (How Do We Talk about Fascism?).” Focusing on the startling increase of nationalism across Europe—made palpable in manifestations of fascist tendencies and the cult of heritage—the project points to the possibility and power of art to imagine futures that are not irrevocably determined by the present, but are invested with struggles fought here and now. Art and the F Word: Reflections on the Browning of Europe, edited by curator Maria Lind and the collective What, How & for Whom/WHW, continues the debate with contributions by cultural critics, curators, and artists, which articulate resistant and constructive possibilities of social and artistic production—investigating the language of politics and philosophy and also popular vocabularies, social contexts, media, science, and aesthetics. The exhibitions featured here, which form an essential part of the overall project, test the potential of aesthetic experience to question reality and upset the ideological complacency and political resignation that lead to a loss of control over the direction of social transformation.

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Hou Chien Cheng – Brown Art Paper Editions 2014 ISBN 9789490800222 Acqn 24093 Pb 11x18cm 140pp 24ills £10.50 "In June 2004, I was officially declared by the government of Belgium a vreemdeling - a stranger, an alien, a foreigner. I remember when I was in the fifth grade, we were encouraged to share with the class what we wanted to become when we grow up. Though it seemed like a simple question, we took our time. So by the end of the lesson, we had produced a long list of "occupations" - a baseball player, a comic drawer, a scientist, a businessman or a journalist. It kept going on and on. Anything children at that age could think of, we possibly wrote them all down. On the day I became a foreigner I tried to recall the list, and foreigner was not on it. I guess none of us thought of becoming one. For my residency at Be-Part, I have decided to work on a novel, or rather, a form of a novel. To me, as a visual artist, it is a stretched reality, translated from visual memories, that lives on paper. Brown is a work of fiction and at the same time an autobiographical collage that depicts a potential future self. Despite the immigrant background, Brown is not about racism. It's about how people define and call a place home, and how people struggle when they're socially disabled. If you are away from home, if you are going to be away from home, if you had been away from home, then Brown is a book for you." -- Hou Chien Cheng

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Art Or Sound Progetto Prada Arte 2014 ISBN 9788887029567 Acqn 23865 Pb 21x28cm 520pp 146col ills £59 Introduction by Germano Celant. Text by Jo Applin, Luciano Chessa, Christoph Cox, Geeta Dayal, Patrick Feaster, Christoph E. Hänggi, Bart Hopkin, Douglas Kahn, Alan Licht, Andrea Lissoni, Noel Lobley, Deirdre Loughridge, Simone Menegoi, Holly Rogers, Jonathan Sterne, David Toop, John Tresch, Eric de Visscher, Rob Young. Preface by Miuccia Prada, Patrizio Bertelli. Contributions by Chiara Costa, Mario Mainetti. Art or Sound examines the rich overlap and areas of ambiguity between musical instruments and works of art. Looking at examples spanning the seventeenth century to the present, this gorgeously produced book, with its thick vinyl cover, offers a fascinating reinterpretation of the musical instrument and the ways in which it can become a sculptural-visual entity (and vice versa). It opens with instruments made from precious materials in the seventeenth century, eighteenth-century musical automata by Pierre Jaquet-Droz and various customized instruments from the Victorian and early modern eras. Research in the field of synesthesia is presented along with works from the historical avant-gardes, such as Luigi Russolo's celebrated Intonarumori (1913). Also included are scores by John Cage, works by Robert Morris and Nam June Paik, sound installations such as Robert Rauschenberg's Oracle (1962–65) and Laurie Anderson's Handphone Table (1978). Examples of artistic appropriations of musical instruments (by the likes of Arman, Richard Artschwager and Joseph Beuys) and hybrid instruments by Ken Butler and William T. Wiley are considered alongside the more recent research of artists such as Christian Marclay, Janet Cardiff, Martin Creed and Doug Aitken, and a younger generation, represented by Anri Sala, Athanasios Argianas, Haroon Mirza, Ruth Ewan and Maywa Denki, among others. Esteemed writers, musicians and scholars such as Christoph Cox, Douglas Kahn, Alan Licht, David Toop and Rob Young contribute contextualizing essays.

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Antony Gormley – MEET Galleri Andresson Sandstrom 2014 ISBN 9789198198102 Acqn 24114 Hb 15x22cm 128pp 62col ills £27.50 In a career spanning nearly 40 years, Antony Gormley (b. 1950) has developed the potential opened up by sculpture in the 1970s through a critical engagement with both his own body and those of others in a way that confronts fundamental questions of where human being stands in relation to nature and the cosmos. MEET is based on an architectural language where the cube functions as the basic element. Dispersed tactically throughout the gallery spaces as a series of alternating singular and paired interventions, the sculptures invite circumnavigation and are catalysts for a choreography of movement.

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Gilbert & George - Scapegoating. Pictures For London White Cube 2014 ISBN 9781906072896 Acqn 24182 Pb 30x24cm 120pp 88ills 85col £12.50 For nearly five decades the art of Gilbert & George has created a visceral and epic depiction of modern urban existence. At its centre are always the artists themselves, who have dedicated their adult lives to their calling as ‘Living Sculptures’ – witness participants within the moral and vividly atmospheric world of their vision, as it is revealed in their art. The ‘SCAPEGOATING PICTURES’ unflinchingly describe the volatile, tense, accelerated and mysterious reality of our increasingly technological, multi-faith and multi-cultural world. It is a world in which paranoia, fundamentalism, surveillance, religion, accusation and victim-hood become moral shades of the city’s temper. Gilbert & George take their place in these ‘SCAPEGOATING PICTURES’ as shattered and spirit-like forms – at times masked, at times as grotesquely capering skeletons, at times dead-eyed and impassive. These ‘SCAPEGOATING PICTURES’ consolidate and advance the art of Gilbert & George as a view of modern humanity that is at once libertarian and free-thinking, opposed to bigotry of all forms and dedicated to secular realism. Dominating the SCAPEGOATING PICTURES, becoming almost the imagistic signature of this new group of pictures, are images of the sinister bomb shaped canisters used to contain nitrous oxide, also known as ‘whippets’ and ‘hippy crack’ — recreationally inhaled to induce euphoria, hallucinations and uncontrollable laughter. Gathered by the artists on their early morning walks from the side streets and back alleys that surround their home, the presence of these canisters, mimicking that of ‘bombs’ pervades the mood of the SCAPEGOATING PICTURES to infer terrorism, warfare and a stark industrial brutality. Text by Michael Bracewell.

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Everything Falls Faster Than An Anvil Pace London 2014 ISBN 9781909406117 Acqn 24197 Pb 19x23cm 30pp 15col ills £15 A group exhibition that explores the influence of the cartoon on contemporary art. Curated by CHEWDAY’S, the exhibition features work from emerging artists; Catharine Ahearn, Alistair Frost, Ella Kruglyanskaya, Tala Madani, Yoan Mudry, Marlie Mul, Oliver Osborne, Torbjørn Rødland and Peter Wächtler, in dialogue with established contemporary art figures such as Carl Ostendarp, Philip Guston and John Wesley, as well as Pace artists Yoshitomo Nara, Claes Oldenburg and Paul Thek.

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Prabhavathi Meppayil - Nine Seventeen Pace London 2014 ISBN 9781909406094 Acqn 24198 Hb 20x26cm 102pp 46ills 30col £30 Born and raised in Bangalore, India, where she continues to work, Meppayil revisits the motifs and problematics of Modernism and Minimalism via Indian artisanal practices and techniques. Her untitled paintings feature copper and gold wires embedded in heavily gessoed surfaces, and fields of marks left with goldsmith’s tools, most notably the thinnam, traditionally used to incise ornamental patterns in bangles. In rich dialogue with Pace’s 54-year celebration of post-war abstraction, Meppayil’s subtle play of luminous lines and almost imperceptible indentations call to mind the pared-down visual language of Agnes Martin. Her reinterpretation of such minimalist trademarks as the grid and serial repetition also recall Sol LeWitt, whilst her dedication to surface and pure monochromy evoke Robert Ryman. Meppayil’s work however retains small flaws and the unmistakable traces of the artist’s hand, inflecting minimalist formulas with a profoundly sensual and transcendent dimension, specific to her setting and artisanal methods. Texts by Tamara Corm, Peter Benson Miller, Deepak Ananth and Benjamin H.D. Buchloh

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Art September 2014 i i