Exhibitions

Percent-for-Art Program

Publications/Exhibition Catalogues
2006-2010
2001-2005
1996-2000
1991-1995
1986-1990
1980-1985

Artists' Web Projects
AA Bronson
Matthew Ritchie
Matts Leiderstam

Global Conceptualism: Points of Origin, 1950s-1980s
No Longer Available at the List Visual Arts Center. Please contact the Queens Museum of Art [http://www.queensmuseum.org/shop/catalogues.htm].

2000, Queens Museum of Art, New York

Edited by the curators, with an introduction by cultural historian Stephen Bann and essays by exhibition curators László Beke, Okwui Enwezor, Gao Minglu, Claude Gintz, Apinan Poshyananda, Mari Carmen Ramírez, Terry Smith, Reiko Tomii with Chiba Shigeo, Margarita Tupitsyn, Sung Wan-kyung, and Peter Wollen. Fully illustrated.

$35. (paper)
279 pp., color

Experiments in the Everyday: Allan Kaprow and Robert Watts-Events, Objects, Documents
No Longer Available at the List Visual Arts Center. Please contact the Miriam & IRA D. Wallach Art Gallery [http://www.columbia.edu/cu/wallach/htm/publications.html#5].

2000,Columbia University Press, New York

The catalogue places in art historical context the work of these two 1960s visual/performance art avant-guardists which continues to exert a profound influence on artists working today. With essays by Benjamin H.D. Buchloh, professor of art history, Columbia University and Barnard College, and Judith F. Rodenbeck, a Ph.D. candidate at Columbia University and an interview with Allan Kaprow.

$30. (paper)
155 pp., black and white

Luca Buvoli: FLYING-Practical Training for Beginners

2000, MIT List Visual Arts Center

An artist's book, in the shape of a wing, produced in an edition of 1500 to accompany the premiere of Buvoli's animated film, FLYING&emdash;Practical Training for Beginners at the List Visual Arts Center. The aerodynamically-designed book houses within it , encased in plastic pockets, a flip book and an instructional manual. which allow the reader to re-experience the "33-step method" for flying.

$20. (paper/plastic)
instruction book 164 pp., full color
flip book 74 pp., black and white

LoCurto/Outcault: selfportrait.map

2000, Lyman Allyn Museum of Art at Connecticut College,
MIT List Visual Arts Center, University of Washington Press

A full-color catalogue documenting collaborative team Lilla LoCurto and Bill Outcault's new group of work, in the form of large-scale photographs, based on digital mappings of their bodies. With essays by Helaine Posner, exhibition curator, and David Gelernter, a professor of computer science, Yale University, who is also an artist and writer.

$20. (paper)
63 pp., color

Jane and Louise Wilson
OUT OF PRINT

2000, Serpentine Gallery, London

A full-color catalogue covering four of the Wilsons' recent video installation works: Stasi City (1997), Gamma (1999), Parliament (1999), and Las Vegas, Graveyard Time (1999). The book contains an essay by New Yorker art critic Peter Schjeldahl plus a dialogue between the Wilsons and Lisa Corrin, curator, Serpentine Gallery.

$25. (paper)

María Magdalena Campos-Pons: Meanwhile, The Girls Were Playing

1999, List Visual Arts Center

A full-color catalogue which documents Campos-Pons' video/sculptural installation work created for the MIT List Visual Arts Center. With an essay by Michael D. Harris, Assistant Professor of African and African-American Art, University of North Carolina at Chapel hill and exhibition organizer Jennifer Riddell

$10 (paper)

A Unique American Vision: Paintings by Gregory Gillespie
OUT OF PRINT

1999, Georgia Museum of Art, University of Georgia, Athens

A full-color catalogue of a 20-year retrospective exhibition organized by the Georgia Museum of Art, site of one of Gillespie's first solo exhibitions in 1970. With an essay by Carl Belz, director emeritus, Rose Art Museum, Brandeis University, and interview conducted by Donald Keyes, exhibition curator, Georgia Museum of Art.

$22 (paper)
No longer available through the List Center. Please contact the Georgia Museum of Art to purchase.

Eve Andrée Laramée: A Permutational Unfolding

1999, MIT List Visual Arts Center

A full-color catalogue of Laramée's Spring 1999 installation created for the MIT List Visual Arts Center which explores a web-like matrix of associations with digital technology, reaching back to Jacquard's 1801 loom and into connections with politics, history, the decorative arts, music, and the biological world, all of which offered an impetus to or models for thedevelopment of computing and the internet. With essays by Jonathan Crary, Columbia University; Barbara Maria Stafford, University of Chicago, Jessica Riskin, MIT, and exhibition curator Jennifer Riddell.
$20 (paper)

Alfredo Jaar: Lament of the Images
OUT OF PRINT

1999, MIT List Visual Arts Center

A full-color catalogue of Jaar's "Rwanda Projects," a series of photography and text-based work generated from the artist's his in Rwanda in 1994 where he traveled to collect the testimonies of survivors of the genocide there. Presented at the List Visual Arts Center during Winter 1999. With an essay by exhibition guest curator Debra Bricker Balken.
$19 (paper)

Lewis deSoto: Recital

1998, MIT List Visual Arts Center

Lewis deSoto's installation, Recital, 1998, was a poignant tribute to a marriage. Through an innovative use of technology, deSoto sensitively fused the distinct talents of Dr. Hideomi Tuge, a brain pathologist, and Dr. Tuge's wife, Chiyo, a composer and pianist. The inspiration for Recital came to deSoto by the chance discovery of a book by Dr. Tuge entitled The Atlas of the Brain of a Pianist, which is a posthumous mapping of Chiyo Tuge's brain by Dr. Tuge. For the installation, a grand piano was placed in a stage-like setting in front of a theater curtain. Despite the absence of a pianist, eerie strains of Chiyo's music flowed from the piano, conveying a powerful sense of loss. Dr. Tuge's atlas is in place where sheet music normally would have been, its pages turned by an automatic page-turner. deSoto stated, "While the book projects sensibilities that are commonly labeled scientific and objective, the relationship between husband and wife, devotion and loss, science and art are implicated as the installation connects the image of the brain (creativity) with the experience of the music (memory)." A brochure documenting deSoto's Fall 1998 installation Recital with an essay by exhibition curator Jennifer L. Riddell.
$3 (paper)

Matthias Mansen: About the House
OUT OF PRINT

1998, Kunsthalle Recklinghausen

A full-color catalogue of work made by German woodcut artist Matthias Mansen while he was living in New York from 1989-1992. The work, About the House, which was shown only in the U.S. at the MIT List Visual Arts Center, is of monumental scale, and depicts an everday, domestic interior, with people going about their tasks and rituals. Unfolding in a cinematic fashion, the viewer "walks" through the house that Mansen creates. The catalogue is illustrated by the artist with original woodblock prints bound into the book.
112 pp., color illustrations, ISBN # 3-87909-535-3
$35. (Hardcover)

1998, MIT Press

This catalogue will expand upon the themes explored in the exhibition of the same name, originating at the List Art Center in April 1998 and travelling to the Miami Art Museum and San Francisco Museum of Modern Art through 1998 and 1999. The exhibition explores the relevance of the Surrealist aesthetic to women artists from the 1930s and intervening generations to its continued relevance to contemporary artists. The contributors reexamine art historical assumptions about gender, identity, and intergenerational legacies within modernist and postmodernist frameworks. Questions raised include: how did women in both groups draw from their experiences of gender and sexuality? What do contemporary artistic practices involving the use of body images owe to the earlier examples of both female and male Surrealists? What is the relationship between self-image and self-knowledge? Essays by Dawn Ades, Whitney Chadwick, Salomon Grimberg, Katy Kline, Helaine Posner, Susan Rubin Suleiman, Dickran Tashjian. Edited by Whitney Chadwick, author of Myth in Surrealist Painting (1980) and Women Artists and the Surrealist Movement (1985)

ISBN # 0-262-53157-5
258 pp., color plates, b/w ills.,
$35. (paper)

Francesc Torres: The Repository of Absent Flesh

1998, MIT List Visual Arts Center

In "The Repository of Absent Flesh," Francesc Torres converted a warehouse for the display of found objects, such as a camera, a motorcycle, aand the model of the human brain. As visitors would pass, a light came on and a recorded voice narrated the brief story of each object. All told, 20 stories mingle into an aesthetic overture concerning tragedy and triumph in human life.A full-color catalogue which documents Torres' Winter 1998 installation created at the List Visual Arts Center. Includes an essay by art historian Arthur Danto, as well as the full texts of each of the 20 stories pivotal to the installation.
$20 (cloth)

Jill Reynolds: The Shape of Breath

1997, MIT List Visual Arts Center

This catalogue fully documents Reynolds' Winter 1997 exhibition The Shape of Breath. As artist-in-residence, Reynolds completed the installation on site in the List Visual Arts Center's Bakalar gallery, where visitors could observe the artist at work as she individually blew by hand more than 10,000 glass bubbles. The stems of each delicate bubble were then inserted into a curved, backlit wall within the darkened gallery, transforming it into a simulacrum of a night sky. In her work, Reynolds seeks poetic metaphors for communication and language, and ways for making tangible and forcefully present the ways in which human presence is inextricably linked to the landscape and universe around us. With essays by Katy Kline, LVAC director and Steven Pinker, Director of the MIT Center for Cognitive Neuroscience.
20 pp., full color illustrations, ISBN # 0-938437-55-0
$7. (paper)

1997, MIT List Visual Arts Center

The artists represented in this exhibition, Bill Beirne, Niels Bonde, Diller + Scofidio, Laura Kurgan, Richard Lowenberg, Steve Mann, and Julia Scher, insert their work within an ecology of surveillance data and images, disrupting the flow in order to draw attention to the ideological dimensions of the pressing desire within our culture to identify, show, quantify, and regulate. Their work at times replicates the more traditional forms of surveillance, such as video and photography; or alternatively, investigates the dematerialized forms of monitoring becoming increasingly prevalent which may map our movements, activities, associates, and lifestyles. The projects and installations reflect upon and problemmatize a function of contemporary life that has become so ubiquitous and familiar, yet still may prompt an inchoate sense of threat -- to privacy, to democracy, to the individual. Paradoxically, the insertion of the technologies of surveillance into our daily lives may also offer subversive or socially efficacious potential that has not yet been recognized. With artists' statements, b/w reproductions, essays by Timothy Druckrey and exhibition organizer Jennifer Riddell.
48 pp.
$10. (paper)

Recovering Lost Fictions: Caravaggio's Musicians
OUT OF PRINT

1997, MIT List Visual Arts Center

The catalogue Recovering Lost Fictions both documents and supports the eponymous installation/collaboration between contemporary artists Kathleen Gilje and Joseph Grigely shown at the List Visual Arts Center during Fall 1997. The installation explored the ways in which art is reconfigured by the institutional processes devoted to its study by examining a remarkable, recently restored second version of Caravaggio's masterpiece The Musicians, the fully authenticated version of which is in the collection of the Metropolitan Museum of Art. The exhibition examined the restoration, and subsequent attribution of the second, as yet unauthenicated version, recently restored in New York by Gilje. The purpose is to show how one painting has more than one history, and how the processes of conservation and art criticism contribute towards the construction of these histories.

The catalogue itself, a carefully researched and documented study, explores the relationship between the two versions of The Musicians in the context of Caravaggio's social and cultural milieu. Modeled after the National Gallery of Art, Washington D.C., exhibition brochures focusing on a single work, the catalogue offers images of both versions of The Musicians as well as X-rays made during the restoration that reveal that the artist had initially painted, then painted over, an extraordinary incident among the three musicians. With an essay by Joseph Grigely.
13pp., color reproductions
$2. (paper)

Kay Rosen: Short Stories/Tall Tales
OUT OF PRINT

1997, MIT List Visual Arts Center

While the adage, pictures are worth a thousand words, points to the endless interpretive and descriptive possibilities offered by visual representations, the specificity of language and words themselves are generally thought to offer more incisive meanings. Kay Rosen upsets this order by using language as the subject of her paintings, turning words themselves into pictorial images that explore the vicissitudes of language. The work asks viewers to explore the ways meanings are read, derived, and decoded from language by using puns, repetitions, abrogating conventional grammatical rules, and examining the graphical properties of words themselves. With a text by exhibition organizer Jennifer Riddell.
30 pp., nine hand silk-screened images of Rosen's recent work.
$15. (paper)

J.C. Grigely & Co.: Ordinary Conversations

1996, MIT List Visual Arts Center

Joseph Grigely was artist-in-residence at the MIT List Visual Arts Center during the Fall of 1996 and created an installation entitled Ordinary Conversations. Grigely, who became deaf as a result of a childhood accident often askes people to write down what they are saying when he is unable to read their lips due to speech idiosyncrasies. For the past several years, Grigely has incorporated these conversations into his art, creating wall pieces and table-top tableaux or still lifes of the notes and scraps generated from exchanges with gallery visitors over the course of his projects. His work explores the differences between speech and writing, reading and listening. The catalogue for the LVAC exhibition takes the form of an artist's book, which Grigely conceives of as a "catalogue" of some of the conversations he has had, and includes reproductions of some of the more interesting, wry, and telling notes people have written to him.
32pp., b/w illus. ISBN 0-938437-53-4
$3. (paper)

19 Projects: Artists-in-Residence at the MIT List Visual Arts Center

1996, MIT List Visual Arts Center

This beautifully designed catalog documents the projects undertaken between 1985 and 1993 as part of the LVAC's Artist-In-Residence program. Over the course of ten years, nineteen artists came to the List Visual Arts Center for periods of time ranging from two weeks to several months and were invited to make a new work and to push their research and creativity in new directions. Liberated from its conventional definition of mute display container, the List Center gallery was reconceived to become an active hybrid of studio, laboratory, library or staging area. The catalog includes brief introductory essays and an in-depth interview with each artist in addition to photo documentation and biographical information. Artists include Victor Burgin, Betye Saar, Marina Abramovic, Ann Hamilton, May Sun and Robert Cumming.
224 pp., color & b/w illus., bio and biblio, ISBN 0-938437-51-8, LC 95-47172
$25. (paper)

Face-to-Face: Recent Abstract Painting

1996, MIT List Visual Arts Center

Much recent art has involved overt social and political topics and has included text or recognizeable, often media-based imagery. How is looking at a painting without immediate external refernce a different experience for the viewer? While this exhibition makes no claim for comprehensivity, the variety of strategies employed by the ten participating artists demonstrate the vitality and relevance of abstraction as it approaches its centennial. Artists: Fandra Chang, April Hankins, Prudencio Irazabal, Shirley Kaneda, Byron Kim, David Ortins, Fabian Marcaccio, Dona Nelson, Jo Ann Rothschild, Sandy Walker. Essay by Katy Kline. Artist entries by curators Katy Kline, Ron Platt and Helaine Posner.
32 pp., 10 color reproductions, artist bios and biblios. ISBN 0-938437-52-6
$10. (paper)