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Douglas Crimp is the rare art critic whose work profoundly influenced a generation of artists. He is best known for his work with the "Pictures Generation" the very name of which Crimp coined to define the work of artists like Robert Longo and Cindy Sherman who appropriated images from mass culture to carry out a subversive critique. But while his influence is widely recognized, we know little about Crimp's own formative experiences before "Pictures."Before Pictures tells the story of Crimp's life as a young gay man and art critic in New York City during the late 1960s through the turbulent 1970s. Crimp participated in all of what made the city so stimulating in that vibrant decade. The details of his professional and personal life are interwoven with this the particularly rich history of New York City at that time, producing a vivid portrait of both the critic and his adopted city. The book begins with his escape from his hometown in Idaho, and we quickly find Crimp writing criticism for ArtNews while working at the Guggenheim where, as a young curatorial assistant, he was one of the few to see Daniel Buren's Peinture-Sculpture before it was removed amid cries of institutional censorship. We also travel to the Chelsea Hotel (where Crimp helped the down-on-his-luck couturier Charles James organize his papers) through to his days as a cinephile and balletomane to the founding of the art journal October, where he remained a central figure for many years. As he was developing his reputation as a critic, he was also partaking of the New York night life, from drugs and late nights alongside the Warhol crowd at the Max's Kansas City to discos, roller-skating, and casual sex with famous (and not-so-famous) men. As AIDS began to ravage the closely linked art and gay communities, Crimp eventually turned his attention to activism dedicated to rethinking AIDS. Part biography and part cultural history, Before Pictures is a courageous account of an exceptional period in both Crimp's life and the life of New York City. At the same time, it offers a deeply personal and engaging point of entry into important issues in contemporary art.
(source: Nielsen Book Data)

• Face value
• Addendum : Eating too fast
• Mario Montez, for shame
• Addendum : Mother Camp
• Coming together to stay apart
• Spacious misfitting together
• Most beautiful
• Addendum : Boring camp
• Epilogue : Warhol's time.

"We didn't think of our movies as underground or commercial or art or porn; they were a little of all of those, but ultimately they were just 'our kind of movie.'"--Andy Warhol Andy Warhol was a remarkably prolific filmmaker, creating more than 100 movies and nearly 500 of the film portraits known as Screen Tests. And yet relatively little has been written about this body of work. Warhol withdrew his films from circulation in the early 1970s and it was only after his death in 1987 that they began to be restored and shown again. With "Our Kind of Movie" Douglas Crimp offers the first single-authored book about the full range of Andy Warhol's films in forty years--and the first since the films were put back into circulation. In six essays, Crimp examines individual films, including Blow Job, Screen Test No. 2, and Warhol's cinematic masterpiece The Chelsea Girls (perhaps the most commercially successful avant-garde film of all time), as well as groups of films related thematically or otherwise--films of seductions in confined places, films with scenarios by Ridiculous Theater playwright Ronald Tavel. Crimp argues that Warhol's films make visible new, queer forms of sociality. Crimp does not view these films as cinema-verite documents of Warhol's milieu, or as camera-abetted voyeurism, but rather as exemplifying Warhol's inventive cinema techniques, his collaborative working methods, and his superstars' unique capabilities. Thus, if Warhol makes visible new social relations, Crimp writes, that visibility is inextricable from his making a new kind of cinema. In "Our Kind of Movie" Crimp shows how Warhol's films allow us to see against the grain--to see differently and to see a different world, a world of difference.
(source: Nielsen Book Data)

• Face value
• Addendum : Eating too fast
• Mario Montez, for shame
• Addendum : Mother Camp
• Coming together to stay apart
• Spacious
• Misfitting together
• Most beautiful
• Addendum : Boring camp
• Epilogue : Warhol's time.

"We didn't think of our movies as underground or commercial or art or porn; they were a little of all of those, but ultimately they were just 'our kind of movie.'"--Andy Warhol Andy Warhol was a remarkably prolific filmmaker, creating more than 100 movies and nearly 500 of the film portraits known as Screen Tests. And yet relatively little has been written about this body of work. Warhol withdrew his films from circulation in the early 1970s and it was only after his death in 1987 that they began to be restored and shown again. With "Our Kind of Movie" Douglas Crimp offers the first single-authored book about the full range of Andy Warhol's films in forty years--and the first since the films were put back into circulation. In six essays, Crimp examines individual films, including Blow Job, Screen Test No. 2, and Warhol's cinematic masterpiece The Chelsea Girls (perhaps the most commercially successful avant-garde film of all time), as well as groups of films related thematically or otherwise--films of seductions in confined places, films with scenarios by Ridiculous Theater playwright Ronald Tavel. Crimp argues that Warhol's films make visible new, queer forms of sociality. Crimp does not view these films as cinema-verite documents of Warhol's milieu, or as camera-abetted voyeurism, but rather as exemplifying Warhol's inventive cinema techniques, his collaborative working methods, and his superstars' unique capabilities. Thus, if Warhol makes visible new social relations, Crimp writes, that visibility is inextricable from his making a new kind of cinema. In "Our Kind of Movie" Crimp shows how Warhol's films allow us to see against the grain--to see differently and to see a different world, a world of difference.
(source: Nielsen Book Data)

• Machine generated contents note: IX Acknowledgments
• 1 Melancholia and Moralism: An Introduction
• 27 AIDS: CulturalAnalysis/Cultural Activism
• 43 How To Have Promiscuity in an Epidemic
• 83 Portraits of People with AIDS
• 109 Good Ole Bad Boys
• 117 Randy Shilts's Miserable Failure
• 129 Mourning and Militancy
• 151 The Boys in My Bedroom
• 165 A Day without Gertrude
• 169 Right On, Girlfriend!
• 195 The Spectacle of Mourning
• 203 Accommodating Magic
• 221 Don't Tell
• 245 Rosa's Indulgence
• 253 De-Moralizing Representations of AIDS
• 273 Painful Pictures
• 281 Sex and Sensibility, or Sense and Sexuality
• 303 Index.

In Melancholia and Moralism, Douglas Crimp confronts the conservative gay politics that replaced the radical AIDS activism of the late 1980s and early 1990s. He shows that the cumulative losses from AIDS, including the waning of militant response, have resulted in melancholia as Freud defined it: gay men's dangerous identification with the moralistic repudiation of homosexuality by the wider society. With the 1993 march on Washington for lesbian and gay rights, it became clear that AIDS no longer determined the agenda of gay politics; it had been displaced by traditional rights issues such as gay marriage and the right to serve in the military. Journalist Andrew Sullivan, notorious for pronouncing the AIDS epidemic over, even claimed that once those few rights had been won, the gay rights movement would no longer have a reason to exist. Crimp challenges such complacency, arguing that not only is the AIDS epidemic far from over, but that its determining role in queer politics has never been greater.
(source: Nielsen Book Data)

• Photographs at the end of modernism
• on the museum's ruins
• the museum's old, the library's new subject
• the end of painting
• the photographic activity of postmodernism
• appropriating appropriation
• redefining site specificity
• this is not a museum of art
• the art of exhibition
• the postmodern museum.
• (source: Nielsen Book Data)

"On the Museum's Ruins" presents Douglas Crimp's criticism of contemporary art, its institutions, and its politics alongside photographic works by the artist Louise Lawler to create a collaborative project that is itself an example of postmodern practice at its most provocative. Taking the museum as the paradigmatic institution of artistic modernism, Crimp surveys its historical origins and current transformations, from the plans for the Berlin Museum in the 1820s to reinstallations of New York's Metropolitan Museum of Art and Museum of Modern Art in the 1980s. But it is the breakup of this modernist paradigm that is the central subject of "On the Museum's Ruins". The new paradigm of postmodernism is elaborated through analyses of art practices broadly conceived, not only the practices of artists - Robert Rauschenberg, Cindy Sherman, Marcel Broodthaers, Richard Serra, Sherrie levine, and Robert Mapplethorpe - but those of critics and curators, of international exhibitions such as Documenta and "Zeitgeist", of new or refurbished museums such as the Staatsgalerie in Stuttgart and the Martin-Gropius-Bau in Berlin.
(source: Nielsen Book Data)

Essays discuss how AIDS is being portrayed in the media, and analyze public attitudes towards homosexuals.
(source: Nielsen Book Data)

• Douglas Crimp talks with the artist about her work within a broad critical context
• Margaret Iverson explores Kelly's oeuvre using three classical yet contentious Freudian themes - fetishism, hysteria and paranoia
• Homi K. Bhabha focuses on "Gloria Patri", a work revolving around the Gulf War
• the artist's choice extracted from Julia Kristeva relates to psychoanalyses and female subjectivity - a short story by Lynne Tillman's provides a narrative counterpoint
• the artist's writing section contains not only Kelly's theoretical writings that have been central to postmodern discourse, but also previously unpublished works of fiction.
• (source: Nielsen Book Data)

This text argues that Mary Kelly's combination of texts with images and found objects has been pivotal, not only to the development of Conceptual Art, but also to 20th-century feminism. Kelly often deploys prevailing literary or scientific genres, ranging from romantic fiction to types of psychoanalytical and medical diagnosis which define women as "other", and overturns them with her own narratives and images. The book is part of a series of studies of important artists of the late-20th century. Each title offers a comprehensive survey of the artist's work, providing analyses and multiple perspectives on contemporary art and its inspiration.
(source: Nielsen Book Data)

The most widely admired paintings by Andy Warhol - and the most reviled - are his portraits. "About Face", which accompanies an exhibition organized by the Wadsworth Atheneum, presents the first overview of Warhol's portraiture to embrace all periods and media. "About face" refers both to Warhol's fascination with images of the human face and to his characteristic method of reversal. For example, Warhol reverses the portraitist's goal to capture the essence of a subject's individuality in his factory production of "Warhol portraits". His portraits are about the creation of faces (as the public masks onto which identity is projected) rather than the revealing of a "true" self. Warhol's portraits, which reveal the artificial aspects of public identity, intitiate a "democracy" of fame and beauty, where everyone has superstar potential. Nicholas Baume's essay shows how Warhol's career-long interest in the rep-representation of people, including himself, marks a radical departure from the humanist portrait tradition. In his essay on the pre-Pop shoe collages and male portraits, Richard Meyer looks at Warhol's complex and camp rethinking of gender, sexuality and portraiture throughout the 1950s. Douglas Crimp focuses on Warhol's portrait-related film "Blow Job", offering an alternative to the accepted interpretation of the underground classic as voyeuristic. The book contains a number of images published for the first time, including newly made stills from films of the 1960s and videos of the 1980s.
(source: Nielsen Book Data)

• The destruction of lower Manhattan / Danny Lyon
• From site to non-site : an introduction to Mixed use, Manhattan / Lynne Cooke
• Projects : pier 18 / Shunk-Kender
• Action around the edges / Douglas Crimp
• Styles of occupation : Manhattan in experimental film and video from the 1970s to the present / Juan A. Suárez
• Arthur Rimbaud in new York, untitled (David Wojnarowicz project) / David Wojnarowicz, Emily Roysdon
• Losing the form in darkness / David Wojnarowicz
• New York, beside itself / Johanna Burton
• The powers of removal : interventions in the name of the city / Lytle Shaw
• Housing in New York : a brief history / Glenn Ligon.

When the real estate bust of the 1970s hit New York City, artists found their own mixed uses for the city's run-down lofts, abandoned piers, vacant lots, and deserted streets, and photographers and filmmakers documented their work. Gordon Matta-Clark turned a sanitation pier into the celebrated work Day's End, and Betsy Sussler filmed its making; Harry Shunk made a photographic series from Willoughby Sharp's Projects: Pier 18 (which included work by Vito Acconci, Mel Bochner, Dan Graham, Gordon Matta-Clark, and William Wegman, among others); Cindy Sherman staged some of her Untitled Film Stills on the same city streets. Mixed Use, Manhattan documents and illustrates the most significant of these projects as well as more recent works by artists who continue to engage with the city's public, underground, and improvised spaces. The book (which accompanies a major exhibition) focuses on several important photographic series: Peter Hujar's 1976 nighttime photographs of Manhattan's West Side; Alvin Baltrop's Hudson River pier photographs from 1975-1985, most of which have never before been shown or published; David Wojnarowicz's Rimbaud in New York (1978-1979), the first of Wojnarowicz's works to be published; and several of Zoe Leonard's photographic projects from the late 1990s on. The book includes 70 color and 130 black-and-white images; a special section on visual documentation of performances and related activities, arranged by artist Louise Lawler; Glenn Ligon's text piece, Housing in New York: A Brief History, 1960-2007 (2007); "Losing the Form in Darkness, " an autobiographical story by David Wojnarowicz; and essays by prominent art historians.
(source: Nielsen Book Data)

Looking back at a career that has spanned four decades, this beautiful volume profiles over 75 projects by Charles Atlas - including works recently exhibited at Tate Modern and the 2012 Whitney Biennial. As one of the first artists to explore the possibilities of video as a genre of expression and especially through his long-lasting collaboration with Merce Cunningham, Atlas has collaborated with numerous dancers and artists to create projects that range from feature-length documentaries to shorter media works that have transformed the way performance is viewed by its audiences and the art world. In this inventive publication, Atlas's own commentary accompanies exquisite images that capture the structure and flow of his work in film, video, dance and performance. The volume also includes interviews between Atlas and a number of writers and collaborators who have played a critical role in the development and reception of his oeuvre, as well as an array of fascinating ephemera from the artist's personal archives.
(source: Nielsen Book Data)

• Zoe Leonard: The Interior Outside / Bennett Simpson
• They wanted, like Antigone, not to break the laws but to find the law / Elisabeth Lebovici
• Photopos: film, book, archive, music, sculpture / Fred Moten
• Zoe's New York / Douglas Crimp
• 945 Madison Avenue / Elisabeth Sherman
• c. 2016: Around Zoe Leonard's In The Wake / Lanka Tattersall.

From aerial landscapes to the Alaskan wilderness, American cities to natural history museums, there are few subjects that Zoe Leonard has not tackled in her 30-year career. Working primarily in photography and sculpture, Leonard consistently confronts the realities of change, love, and loss. This book brings audiences up to date on Leonard's impressive body of work and accompanies a long-awaited retrospective exhibition. It features images and examinations from every one of Leonard's major series, including her early aerial and museum photographs, her landmark works- Strange Fruit and Analogue-and her most recent works, "In the Wake." Essays in the book range from the critical to the personal, including explorations of sexual politics, immigration, and family. Breathtaking in scope and bringing together every facet of Leonard's oeuvre, this volume celebrates Leonard's unflinching eye and her intimate art.
(source: Nielsen Book Data)

• Director's foreword / Earl A. Powell III
• Boundary trouble : Navigating margin and mainstream / Lynne Cooke
• Modernism's war on terror / Darby English
• How to make a modern primitive / Richard Meyer
• Find-and-seek : Discovery narratives, Americanization, and other tales of genius in modern American folk art / Jennifer Jane Marshall
• Black folk art redux : A curatorial roundtable / Lynne Cooke, John Beardsley, Katherine Jentleson, Faheem Majeed
• Museums, oh museums / Thomas J. Lax
• Affinities in abstraction : Textiles, otherness, paintings in the 1970's / Jenni Sorkin
• Archives of femininity / Douglas Crimp
• Personal voyages / Suzanne Hudson
• Plates : c.1924 to 1943 : Folk aesthetics refigured
• c.1968 to 1992 : Commensurables and incommensurables
• c.1998 to 2013 : Determining difference differently.

Since the last century, the relationship between vanguard and self-taught artists has been defined by contradiction. The established art world has been quick to make clear distinctions between trained and untrained artists, yet at the same time it has been fascinated by outliers whom it draws selectively and intermittently into its orbits. For a new exhibition launching at the National Gallery of Art, curator Lynne Cooke explores shifting conceptualizations of the American outlier across the twentieth century, drawing on the inherent sociality of the exhibition in her installation of these works. This companion catalog, Outliers and American Vanguard Art, offers a fantastic opportunity to consider works by schooled and self-taught creators in relation to each other and defined by historical circumstance. The art works in Outliers and American Vanguard Art come from three distinct periods when the intersections between mainstream and outlier artists were most dynamic and productive, ushering in exhibitions of art based on various degrees of co-existence, inclusion, and assimilation. Works by such diverse artists as Charles Sheeler, Christina Ramberg, and Matt Mullican are set in conversation with a range of works by such self-taught artists as Horace Pippin, Janet Sobel, and Henry Darger. Cooke also examines a recent increase of radically expressive work that challenges what it means to be an outlier today. She reveals how these distinctions have been freighted with a particularly American point of view as she investigates our assumptions about creativity, artistic practice, and the role of the artist in contemporary culture. Outliers and American Vanguard Art is the most comprehensive show ever to examine outliers in dialogue with their established peers. It is sure to inspire vigorous conversation about how artists and the work they make are represented.
(source: Nielsen Book Data)