Rosemarie Trockel
Rosemarie Trockel often plays with materials and everyday objects to critique gender stereotypes and contemporary society. Her knitted paintings questioned the pre-conceived notions of craft, the women’s role in society, the commodification of art and production. Her multi-disciplinary practice puts an emphasis on symbols, language and material, and often has undercurrents of humour or irony. I like that Trockel’s work finds a tension between the past and present, often incorporating tradition and contemporary culture to ask questions and look to the future.
Sofie Dawo
Much like Lenore Tawney, Sofie Dawo was concerned with bringing the two-dimensional weave into the three-dimensional space. She saw her work as being an acknowledgement of a material’s potential, the artist processes to convert it to object, and to make its intention clear. This feels very true to my own practice, where I’m acknowledging the material as something more, and then undertaking a very specific, deliberate process in order to explore those ideas. Incorporating metals and nylon cords, as well as other materials uncommon in weaving, and this combination of materials becomes, as Dawo describes it, as active in the pictorial frame.
Beili Liu
Beili Liu explores cultural memory and otherness, through material and process-driven installations, using common place objects and accumulated labours. These repetitive actions often express ideas of healing and hope through cultural narratives and identities. ‘The Mending Project’ is a performance and installation, comprising of a single woman sat at a table, hand stitching scraps of fabric that have been cut and hand-delivered by visitors of the work. The ‘mended’ fabric grows steadily as the exhibition continues, whilst the scissors that hang from the ceiling maintain a threatening presence whilst suggestive of the hands who have delivered the cut scraps of fabric, and a suspended sense of ‘happening’.
Margarita Cabrera
Margarita Cabrera’s work explores the decline of Mexican crafts, and the rise of industry at the US-Mexico border. Replicating everyday objects that are made cheaply in maquiladoras (the factories at the border), and using thread and vinyl instead of the hard plastics typical in the items. The exposed, messy threads explore the vulnerability and precarity of the workers in this factories, through poor working environments, and the often soft, pastel colours allude to the often exploited women who work there.
‘Along with the harmful plastic production undertaken in such factories, textile manufacturing (evoked by her use of cloth and thread) involves labor-intensive work, requiring minute repetitive motions and diligent attention to detail that can lead to bodily injury: eyestrain, neck problems, wrist and joint aches, shooting pains in fingers and forearms, damage (including thread of amputation) from malfunctioning machinery, and a multitude of punishing other conditions in which workers are views as expendable.’ (p.264, Fray by Julia Bryan-Wilson)
Alexandre da Cunha
Alexandre da Cunha is interested in the readymade as something that lives within the threshold of functional object and aesthetic object, and the cultural histories that are loaded in these items. In his Bust series, da Cunha uses mops, that he then turns upside down and casts in concrete, with died strands of wool that hang down, alluding to traditional bust sculptures, and the concrete base takes on the role of plinth. Using a low-valued object like a mop, da Cunha asks us to consider the poorly paid labour of domestic and janitorial work, and how objects like these are universal and instantly recognisable.
Veronica Ryan
Veronica Ryan works with cast natural objects such as seeds and fruit stones/skins, alongside crocheted or sewn fabrics, to explore the heritage of Montserrat, and its culture prefacing Europeans arriving. Through her exploration into materiality, space and scale, Ryan is able to find the points of conflict and interplay within the work – ‘revelation and concealment, container and contained, absence and presence’ - creating compelling and inquisitive sculptural arrangements. Ryan has often also worked with stacking materials, interested in how individual components come together to make a whole, which is a interesting concept to me as I’ve often been concerned with how the individual nature of craft juxtaposes the mass of industry.
Françoise Grossen
Françoise Grossen’s forms are inspired by both the body and insects, all giving a sense of something living whilst appearing to be static – as if frozen in a moment of time. All the work is built up from knotting and braiding rope, the simplicity of which gives the sculptures a cleanness in their design, enticing the viewer in to consider the detail of the rope itself, as a material. Much of the work uses the ceiling and floor, giving them either a floating sense or a grounding, which I think changes the sculptures from light-weight, floaty object, so a heavy, dense creature: always relating to living organisms in either forms.
Sheila Hicks
Sheila Hicks has tested the limits of textiles work, and pushed the material into monumental scale, using its flexible and playful properties to create a new textiles language. Hicks was interested in creating her new processes and methodologies, whilst always paying tribute to the traditions of craft that proceeded her; having travelled extensively and learnt skills from different cultures. Colour plays an important role in Hicks’ work – where she has often opted for vibrant, contemporary colours, creating large fields of colour, giving her installations a compositional feel – suggesting a painterly concern.
Giovanni Anselmo
Part of the Arte Povera movement, Giovanni Anselmo was concerned with the energy and tension trapped within materials, and he sees work as a living entity, that breathes and transforms itself, often re-using his older work. Incorporating nature, the finite and the indefinite, he asks us to consider ourselves within the natural order of the world and material – often describing humans as a detail in a larger picture.
Jannis Kounellis
Jannis Kounellis explores the tensions in opposing materials, both physically and culturally. His work appears as authentic; attempting to arrive at the truth of the material through considered arrangements, compositions and forms. Kounellis saw the gallery as a breathing entity, and his work would challenge traditional expectations of art within the gallery. His materials included found furniture, live animals, smoke and dust, coffee, coal, burlap sacks, knives and scissors, as well as paint, metal and wood. Arte Povera, of which Kounellis was a leading figure, was directly influenced by the rise of industry in Northern Italy as well as a continued globalised society that saw the coming together of cultures more than ever. Kounellis didn’t shy away from expression and abstraction, and relics of memory and nostalgia recur throughout the works.
Eva Hesse
Eva Hesse embraces chance, mistakes, precarity and transformation in her work, embracing ambiguity and uncertainty in the soft sculptural forms she creates. Using materials that aren’t associated with one thing or another – that don’t contain many of their own associations - Hesse incorporates latex, paper pulp, glue, dirt, aluminium, felt and chicken wire in her sculptures. The results are ephemeral and temporal, and appear organic and slightly gross, but delicate and fragile.
Anthony Caro
Anthony Caro works with steels to create abstract sculptures that have a relationship with the ground, and that create new spaces (positive and negative) in the environments in which it’s exhibited. He creates a new language within sculpture, developing new interiors, new angles, and new boundaries, all loaded with the idea of potential, and what could be, through balance and an interdependency between the lines/shapes in his work.
Richard Deacon
Richard Deacon’s organic/mechanical forms have always fascinated me; in both the craftsmanship and the way the forms undermine the materials from which they are made. His larger work often feels like a microscopic view of a much smaller part of a machine, but the way the sculptures twist, curve, undulate and fold opposes the very materials from which they are made up – pristine woods and metals. The language of materials is key to Deacon’s practice, and how sculpture translates from drawing to object.
Mike Nelson
Mike Nelson creates installations and environments using debris and detritus that are hauntingly devoid of human presence. He sees the materials he works with as rich with memory and experiences from their previous lives, and as relics of a previous time, as well as a suggestion of what’s to come. His work sometimes appear as labyrinths, and there’s an element of discovery for the visitor, and visitors imbue their own associations, memory and visual connections onto the work, making it a unique experience for everyone who interacts with it.
Lynda Benglis
Lynda Benglis’ work also adheres to the ideas of Anti Form – whereby material is, in some way, in control of its own application and moves outside of the boundaries or rules that it has typically been confined to. Bengalis has painted with wax, poured latex, and cast aluminium. Much of the appearance of her work embraces ideas of natural forms and surfaces, and have the appearance of growing, in stark contrast to the materials they’re made of. She’s described much of her sculptures as ‘the frozen gesture’ which gives the sense of it being a fleeting moment.
Rachel Whiteread
Rachel Whiteread often casts what can’t be seen – giving the interiors of buildings and objects a heavy, weighted presence. Much of her work appeals to the three material states of air, liquid and solid; by filling empty spaces with liquid that hardens and becomes an object in its own right. Once solid, there’s no longer room for movement, and have a sense that they are now spaces that can no longer be inhabited. What then becomes engrained in the cast surface is the histories, traces and memories of the space in which it has filled.
Oren Pinhassi
Oren Pinhassi sculptures intersect the public and private, that engage to the human figure within the natural and built environments. Viewing architecture as structures that divide bodies, Panhassi asks us to consider our own fears and desires. The tall, thin sculptures replicate motifs of things that divide space, like in banks, bathroom stalls and shower curtains. Underpinning the work is a sense of eroticism and intimacy that comes with breaking down the barriers between bodies. Pinhassi uses plaster and sand, which have an absorbent quality and on the surface appear to crumble but are actually solid.
Reena Kallat
Reena Kallat used electricity wires that she braided together to create Siamese Trees (2018-19), which looked like human lungs made up of the image of two trees; trees that are national symbols of neighbouring countries that have had conflict or border disputes of some kind. The Ratch-yra palm is the combination of Thailand’s ratchaphruek and Cambodia’s palm, Man-yan is the culmination of Bangladesh’s mango tree and India’s banyan, and Pine-iscus brings together South Korea’s hibiscus and North Korea’s pine. Depicting lungs, synonymous with giving and sustaining life, combined with the cables that suggest the movement of energy gives the work vibrancy, but the use of barbed wire imagery suggests the barriers people face due to these clashes. The work feels hopeful though; projecting a future where the two will hopefully come together and become interdependent.
Daniel Steegmann Mangrańe
In his 2019 work, 'Living Thoughts', Daniel Steegmann Mangrańe made work in response to Mata Atlântica in Brazil - an endangered area of biodiversity – and the economic, ecologic, social, historic and geographic pressures that exist. The work explores how environments can be portrayed and experienced, and confronts Western perceptions of nature and ecologies across the globe. The beautifully crafted glass branches that that housed the soil and roots of plants and that hang, suspended, in the gallery, asks us to think about the materiality of the manmade and the natural, and how we navigate that.
Claire Pentecost
Claire Pentecost explores the boundary between the natural and the artificial, and question the value systems of these materials. In ‘soil-erg’, Pentecost cast living soil into the shape of gold ingots, which would crumble and due to its weight was intentionally difficult to move. By doing so, she places value back on the land and questions the precarity of the financial systems in place today.
Alice Channer
Alice Channer explores hierarchies of art, consumer culture, object, and the human body through material, and manufacturing versus the hand-made. Channer finds a relationship between industry and the hand-made through the role of the human hand. Her sculptures often reference the human body and methods of production by carving, stretching, rolling and stitching; using a myriad of digital and crafted techniques. In her rock and fabric works, Channer digitally prints the details of rocks onto fabric that she then systematically pleats, a processes commonly used in the creation of garments. The finish of these give the appearance of skin or scales, and becomes organic in its repetitions.
Robert Rohm
Robert Rohm was interested in bringing together idea, process and material. His rope reliefs appeal to three key gestures: stretching the rope, cutting the rope, piling the rope. He’s interested in gravity’s role in these stages, often using nails and gravity to inform the rope relief’s sculptures. Chance is also important to Rohm’s work, where he allows the rope to shift and move in their own way with limited interference from the artist. Rohm has often discarded or re-used his rope sculptures, and the short life-cycle of the work reflects to the usability of the rope as a functional material.
Willem De Rooij
Willem De Rooij’s woven works reference their own structure, as lines of hand-woven threads are displayed on a stretcher. The appearance is as if it were a kind of gradient painting, but instead the surface, both in its construction and materially, is really more like a canvas. De Rooij’s materials, process and colour choices, in their simplicity, are loaded with the history of the labour that came before it. ‘Blue’ and ‘Black’ have also been shown accompanied by the wax prints ‘Blue’ and ‘Black’, which used Indonesia techniques appropriated by the Dutch and sold to West Africa: ‘the titles can be read as terms formerly used for West Africans (“blacks”) and for the populace of the Dutch East Indies (“blues”) […] de Rooij takes this polarity as a structure for thinking about current conditions of referentiality.’ ('Materials at an Exhibition' by Rike Frank, in Textiles: Open Letter, p.30)
Faith Wilding
Faith Wilding is concerned with the body against the backdrop of its socio-political histories. She was one of the artists pioneering craft in the sphere of contemporary art in the ‘70s. In her Crocheted Environment, the threads are crocheted into organic forms that are designed to encompass the viewer in the new environment; a womb-like structure. As a feminist, Wilding was interested in exploring the domestic and social roles of women in society, and led the ‘By Our Own Hands’ movement from California in the 1770s.
Jagoda Buić
Jagoda Buić creates large, heavy, monumental sculptures made as tapestries, but using thick, rough materials such as sisal rope, wool, and goats-hair rope. Their appearance is closer aligned to architecture, such as walls, pillars, arches and doorways, and therefore subverts our usual association of tapestry as something decorative and to adorn walls. Coming from Croatia, Buić’s work has clear ties to the medieval architecture in towns such as Dubrovnik and Split, and she attempts to capture the folk traditions of the area through her work.
Josh Faught
Josh Faught brings together traditional craft and kitsch, pop culture, referencing domesticity and the everyday through ideas of gender and nostalgia. Faught’s particular use of materials, both the organic dyes used to colour raw materials, and modern, synthetic materials, such as nail varnish and spray paint, pulling together tradition and contemporary and kitsch. I think his practice speaks of hauntology as well as gender and value. ‘I’m very interested in locating this place where flamboyant decoration and political urgency exist in an ambivalent haze or malaise. My work in the stairwell is dyed in weld flowers, another dye used at the turn of the twentieth century that ranges from electric yellow to gold to sickly green. In terms of language in the works, I’ll be pulling from everything from Halloween decorations to fake food props to greeting cards.’ (Publication: Tanya Zimbardo in conversation with Josh Faught)
Sheila Pepe
Sheila Pepe uses commercial yarns that she displays in expansive, tangled installations that utilise every part of the exhibiting space, deliberately taking up as much space as possible as a ‘political act’. She criticises the white cube space as being exclusive; excluding women and queer artists. She uses fibre as an adjustable, adaptable, and flexible material that can be moulded and re-arranged to suit new spaces and environments. Using the gallery as a social space, her networks of knots and lines are seen as visual metaphors to different kind of social networks and systems, and ways in which we connect.
Aurèlia Muñoz
Aurèlia Muñoz saw working with the hands as an extension of the mind – an activation – and a way of re-connecting with the senses. She was interested in moving tapestry out of the decorative arts space, and into the sculptural space, and would create open and habitable spaces through the integration of architecture and nature; responding and reacting to the tensions of the body in space.
Pino Pascali
Pino Pascali, part of the arte povera movement, was interested in creating essential structures and basic forms that he presented in a monumental way. He was interested in ephemeral materials and critiqued much of the American cultural phenomena that was entering Italy in the 60s. Pascali’s braided steel wool works, such as La Trappola (The Trap) and Il Ponte (The Bridge), create weighted, gridded structures that spread out across the gallery.
‘What I do is the opposite of technology, as inquiry, the opposite of logic and science.’ (Pino Pascali, quoted in Tecniche e materiali in 1968)
Guiseppe Penone
Guiseppe Penone’s practice explores the relationship between nature and humanity, through materials and forms synonymous with growth, breathing, aging and circulating. Rooted in the arte povera movement, much of his practice originally used photography and wood to create these moments and interactions. In later life, though, Penone expanded his materials to metals, like bronzes, and stone, often creating work that blurs the border between the natural and the modified. He has often simplified the tree form into sculptural, minimal forms, investigating the truth of the material and the core of the object.
Marisa Merz
Marisa Merz material sensibility was true to the Arte Povera movement in which she was part of – bringing together opposing, everyday materials to create simultaneously simple yet complex forms that appeal to a moment in time when there was a shift in consumer activity, large-scale industry, and the mundane. In ‘Untitled (Living Sculpture)’ Merz arranged aluminium ventilation tubes, first displaying them in her home, and then repeatedly rearranging and installing them in different spaces, responding to the different environments. Despite the shiny, functional forms, the work becomes a free-flowing, organic form that has the appearance of moving and growing. Merz didn’t distinguish between home spaces and work spaces, and the adaptability of her work stays true to this notion.
Alexander Calder
Alexander Calder created kinetic sculptures, often using thin lengths of wire and thin sheets of metal in abstract shapes; where everything was considered, calculated, balanced and precise. All Calder’s sculptures consider weight and air, and how the two attract and oppose one another. The use of thin long wires that link blocks of colour and shape creates a delicate tension, and there was also a simplicity to the construction of his work – using elegant solutions to keep the focus on the seamlessness of the sculptures. He liked the idea of sculpture being a suspended, moving form, as opposed to something reliant on the ground. His practice seems embedded in drawing traditions; his straddles 2-dimensional sculptures or 3-dimensional drawings, especially in the way they shift and change as you move around them (or as they move themselves).
Carl Andre
Carl Andre’s practice combined drawing and sculpture, exploring geometric forms using industrial, ready-made materials and repeated forms. As part of the Minimalism movement, Andre would use basic shapes and forms, like square, line and cube, and was concerned with both the positive and negative spaces created in the arrangement of these shapes. His sculptures are modular and have an important relationship with viewer and physical space – testing the boundaries of these spaces, especially in relation to the wall and floor of the room. He saw his work as embedded in both a philosophical and artistic practice.
Robert Morris
Robert Morris was part of the Anti Form movement, which saw the creation of minimalist sculptures that were created in response to the qualities of the materials themselves. They saw this as an instinctive, organic way to work with materials, and a way of staying true to the material itself, and relinquishing control from the artist. In this sense, the work gives itself to its environment and environmental controls, like the walls and floor on which it rests and fundamental forces, such as gravity. Morris’ felt work saw him investigate the material by repeatedly altering and displaying it in various arrangements that highlight its simple characteristics. By cutting, folding, hanging and laying the material, he allowed the felt to be what it was, whilst shifting it into a new space.
El Anatsui
El Anatsui’s undulating works, made from discarded objects – like bottle caps – to think about objects of trade, export and consumption in an increasingly globalised society, and asks us to question the lived experience of people in Africa who have to deal with material as a matter of necessity over want. The work questions our value systems and material hierarchies. The shiny appearance, synonymous with value or wealth, is subverted when up close. Anatsui employs the labour-intensive and difficult task of stitching the materials together with metal wire, which gives the work a strength and force.
'I saw the bottle caps as relating to the history of Africa in the sense that when the earliest group of Europeans came to trade, they brought along rum originally from the West Indies that then went to Europe and finally to Africa as three legs of the triangular trip…The drink caps that I use are not made in Europe; they are all made in Nigeria, but they symbolize bringing together the histories of these two continents.’ (El Anatsui in Art News)
Manish Nai
Manish Nai draws on his own family’s history as jute traders to inform his use of material, having grown up surrounded by the fabric and understanding its qualities. The production of cloth in India has been extensive, and jute fabric in particular was known as a cheap, accessible material that was commonplace, but is now more typically used in construction. Nai’s process often involves compressing the fabric under pressure, and re-forming it into solid lengths, to represent the hierarchical and cultural pressures within India that is felt by both the individual and society as a whole. The work is always presented in multiples. This uniformity of the constituent parts of the work suggests the ability for these ideas to transcend place – becoming universal.
Oscar Tuazon
Oscar Tuazon presents spaces that are physically imposing and that people can engage with. With roots in minimalism, conceptualism and architecture, Tuazon typically uses traditional materials of wood, concrete and steel. He has taken inspiration from huts, pipelines, and other functional spaces that somehow map human activity and movement. When talking about his pipeline work, Tuazon said: ‘That infrastructure, complex as it is, connects people and spaces across vast distances […] by thinking about pipelines, you start to understand the hydrogeology of a place — you can draw a map of water. All that water is public space. It belongs to all of us, so we better get to know it.’ (in conversation with Olivier Zahm for Purple Magazine)
Simryn Gill
Malaysian artist, Simryn Gill, documents the plastics and fabrics that get washed up on the shores of Port Dickson and become tangled with the Mangrove trees along the coast. Mangrove trees are a crucial part of the ecosystem in Malaysia – providing protection from tsunamis, their roots provide shelter for fish, and they sequester ten times as much carbon as trees inland. The washed up materials highlight the harmful effects of the globalised capitalist structure on areas of South East Asia, especially in Port Dickson, which was once a colonial port, and is now over-developed and close to offshore oil refineries.
Marjolijn Dijkman
That What Makes Us Human by Marjolijn Dijkman is a bronze cast of a human hand, holding the replica of the Canyon Diablo meteorite that hit Earth 50,000 years ago. It is placed in the hand as if a tool, or as if an offering in the outstretched hand. Dijkman thinks about the destructive capabilities of humans in the pursuit of progress, development and technological advancement.
‘For the artist this represented a conjuncture with the evolutionary path from early humans to modern times, with the progressive development of consciousness, technologies and ambition now expanding to aspirations to conqur, colonize and extract even the cosmos’. (p.230-231 Art and Climate Change)
Kira Frejie
Kira Freije creates scenes that depict religious and medieval imagers combined with sci-fi and dystopic imagery. With undertones of violence and destruction, the installation brings transform the figurative into functional, mechanical structures, creating hybrid objects that people that interact playfully together.
‘Freije succinctly evokes the contradiction that has plagued humanity since its inception: that even under the constant and imminent threat of annihilation and apocalypse, we seek love and companionship above all.’ (Meteorites press release at The Approach)
Leonor Autunes
Leonor Autunes breaks down formal principles of design and abstraction by utilising craft traditions and processes. Particularly interested in the grid, Autunes studies and replicates architectural features from buildings that she visits regularly according to the body’s experience and movement. Autunes makes sure that all her work is carefully and considerately related to each of the sites in which they are exhibited.
Sheela Gowda
Sheela Gowda often chooses materials for their ritualistic and historic properties related to her birthplace of India. Behold (2009), as shown at the Tate Modern, displayed thousands of meters of hand-woven human hair, tangled with car bumpers that act as hand-rails, and was displayed at the 53rd Venice Biennale in an old rape factory, referencing the Bangalore tradition of tying woven hair to car bumpers in a ritualistic act for safety. Darkroom (2006) utilised used tar drums from construction sites, and were arranged to create a fort , evoking styles of grandeur, juxtaposing the appearance of cheap, rusted metals. These contradictions are key to Gowda’s work, both attracting and repelling, confining and limiting, secure and oppressive, inspiration and restraining, and industrious and destructive. For me, it is in these points of conflict within the work that real life becomes apparent, appealing to a human nature that is ever shifting, with emotion, need, want and consciousness in a constant state of flux.
Archive of Artists
[here I have written about the aspects of their practice that interests me]
Selected reading
Arte Povera
2014
Carolyn Christov-Bakargiev
published by Phaidon Press
Sculpture unlimited
2012
Edited by Eva Grubinger and Jorg Heiser
published by Sternberg Press
Materiality
(Documents on Contemporary Art)
2015
Petra Lange-Berndt
published by The MIT Press
on behalf of Whitechapel Gallery
The Nature and Art of Workmanship
2007
David Pye
published by Herbert Press
Rural
(Documents on Contemporary Art)
2019
Myvillages
published by The MIT Press
on behalf of Whitechapel Gallery
File Note 140
2022
Jessie Darling
published by Camden Arts Centre
Louis Bourgeois: The Fabric Works2002)
2010
Germano Celant
published by Skira
Echoes in the Darkness
(Writings and Interviews 1966-2002)
2002
Jannis Kounellis
published by Trolley Books
Systems
(Documents on Contemporary Art)
2018
Tanya Harrod
published by The MIT Press
on behalf of Whitechapel Gallery
Craft
(Documents on Contemporary Art)
2018
Tanya Harrod
published by The MIT Press
on behalf of Whitechapel Gallery
Anselm Kiefer Studios
2013
Danièle Cohn
, translated by David Radzinowicz
published by Thames and Hudson Ltd
Anni Albers: On Weaving
2017
by Anni Albers
published by Princeton University Press
(revisd edition)
Fiber: Sculpture 1960-present
2014
Jenelle Porter
published by Prestel
Sculpture unlimited 2
2015
Edited by Eva Grubinger and Jorg Heiser
published by Sternberg Press
Feminist City
2021
Leslie Kern
published by Verso
Art in the Anthropocene
Encounters Among Aesthetics, Politics, Environments and Epistemologies
2015
edited by Heather Davis & Etienne Turpinllis
published by Open Humanities Press
Textures of the Anthropocene:
Grain, Vapor, Ray
2015
by Katrin Klingan, Ashkan Sepahvand, Christoph Rosol
published by The MIT Press
All Art is Ecological
2021
Timothy Morton
published by Penguin
The Studio
(Documents on Contemporary Art)
2012
Jens Hoffmann
published by The MIT Press
on behalf of Whitechapel Gallery
140 Artists' Ideas for Planet Earth
2022
Edited by Hans Ulrich Obrist, Kostas Stasinopoulos
published by Penguin
Textiles: Open Letter
2015
Rilke Frank and Grant Watson
published by Sternberg Press
Vibrant Matter:
A Political Ecology of Thingsy
Jane Bennett
2010
published by Duke University Press
The Object of Labour:
art, cloth, and cultural production
2007
edited by Joan Livingstone and John Ploof
published by Mass
Fray Art and Textile Politics
by Julia Bryan-Wilson
2017
published by The University of Chicago Press,
Situation
(Documents on Contemporary Art)
2009
Claire Doherty
published by The MIT Press
on behalf of Whitechapel Gallery
To See Stars over Mountains
Vlatka Horvat
2021
published by Peer Gallery
Vibrant Matter:
A Political Ecology of Thingsy
Jane Bennett
2010
published by Duke University Press