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If Andy Warhol had an Instagram account, its feed would probably look like the 3,600 gridded contact sheets he produced during the last decade of his life.
Michalis Pichler's edited anthology, Publishing Manifestos, intended to celebrate and archive ten years of the Berlin-based art book fair Miss Read, asks two central questions: what is the function of art fair catalogues and what can they be?
Between Summer 1970 and Spring 1971, advertisements appeared in Artforum, Art in America, Arts Magazine, ARTnews, and Avalanche touting exhibitions at the Jean Freeman Gallery in New York.
How does a deeply read, supremely pyrotechnic wordsmith, pioneer of cyberculturewho popularized culture jamming and first articulated the notion of Afrofuturism in his conversation with Samuel R. Delany (“Black to the Future” 1993)—scholar of glam rock, author of countless articles on gothic surrealism and natural-history gothic (see: “William Burroughs and Chilopodophobia”), and most trusted guide to zombies and the terror of clowns (see: “Dead Man Walking: What Do Zombies Mean?” 2010)—write a celebrated mainstream biography of the beloved and wildly complex Edward Gorey?