ON ART & VINYL
BROKEN MUSIC
Block, Ursula, and Michael Glasmeier. Broken Music:
Artists’ Recordworks. Berlin: Berliner Künstlerprogramm des DAAD, 1989.
278 pages, softcover, black-and-white and color illustrations, 26 × 21 cm, with a flexi disc by Milan Knížák As a curator and dealer, Block is one of the leading author-ities on the subject and was the proprietor of the Berlin artists’ record store Gelbe Musik. She is married to curator and publisher René Block.
The book is a compendium of artists’ record works, many of which are illustrated. The publication in-cludes a chronology, a bibliography, and a flexi disc record by the Czech Fluxus artist (and important figure of altered records in art) Milan Knížák.
AUDIO ARTS
Furlong, William. Audio Arts: Discourse and Practice in Contemporary Art. London: Academy Edition, 1994.
144 pages, paperback, black-and-white and color illustrations, 22.2 × 28.6 cm
Audio Arts, the invention of two artists, William Furlong and Barry Barker, began in 1973 as the first art magazine to be published on audio cassette and is now a reference source on contemporary art of the last twenty years. This volume features interviews, discussions, artwork documentation, reportage, archive recordings and artist collaborations with Audio Arts.
AUDIO ARTS MAGAZINE ON CASSETTE
Furlong, William. Audio Arts Magazine on Cassette:
Original Recordings of Contemporary Art. London: Audio Arts, 2001.
80 pages, paperback, black-and-white illustrations, 26 × 18.4 cm
The catalog details the activities of Audio Arts from 1973 to 2001 with cassette volume one to volume nineteen of Audio Arts, as well as other publications and soundworks.
VINYL
Schraenen, Guy. Vinyl: Records and Covers by Artists, A Survey. Barcelona: Museu D’Art Contemporani;
Bremen: Neues Museum Weserburg, 2005.
268 pages, paperback, black-and-white and color illustrations, 27.5 × 19.5 cm
As creative talents began to design record sleeves, the standard 30 × 30 cm album cover came to be an espe-cially attractive object. Now vinyl has an almost mythic character and real historical value. Vinyl is a detailed cat-alog of the collection held by the Archive for Small Press and Communication in the Neues Museum Weserburg in Bremen, which includes not only records and CDs but also books, posters, and other objects. After the whole collec-tion was acquired in 2018, the Research Platform of the Center for Artist Publications started publishing parts of the sound collection online: http://forschung-kuenstler-publikationen.de
In 2010 the Guy Schraenen’s collection was shown at the Maison Rouge, Paris.
THE RECORD
Schoonmaker, Trevor. The Record: Contemporary Art and Vinyl. Durham, NC: Duke University Museum of Art, 2010.
216 pages, paperback, color illustrations, 26.7 × 26.4 cm The Record is the catalog accompanying the exhibition The Record: Contemporary Art and Vinyl, curated by Trevor Schoonmaker at the Nasher Museum of Art at Duke University in 2010 – 2011. The exhibition explored the cul-ture of vinyl records in the history of contemporary art.
The Record features rarely exhibited work and recent and newly commissioned pieces by thirty-three artists from around the world. These artists have taken vinyl records as their subject or medium, producing sound work, sculpture, installation, drawing, painting, photography, video, and performance.
RECORDS BY ARTISTS
Maffei, Giorgio. Records By Artists: 1958–1990.
Ravenna: Viaindustriae/Danilo Montanari, 2013.
286 pages, paperback, black-and-white and color illustrations, Italian/English, 16 × 23 cm
The catalog to an exhibition curated by Giorgio Maffei at the Biblioteca Universitaria, Bologna, during Artelibro 2013 explores diverse artistic experiences using sound and audio storage media since around 1960. Central to the in-terdisciplinary context of the dematerialization of the work of art, visual, literary, performance and other artists have increasingly experimented with the record and sound as a vehicle for investigating the possibilities of verbal and non-verbal expression, considerations of the body and avant-garde tendencies. Hundreds of examples are pre-sented in this impressively researched and carefully doc-umented and illustrated book.
CAN YOU HEAR ME?
Spampinato, Francesco. Can You Hear Me? Music Labels by Visual Artists. Eindhoven: Onomatopee, 2015.
168 pages, paperback, full-color and duotone illustrations, 15.8 × 11.1 cm
Survey on record labels run by visual artists, spanning 1980 to 2015, the publication zooms in on twenty-five record labels from Europe, the United States and Mexico.
VISUAL VINYL
SCHUNCK* (Lene ter Haar, Cynthia Jordens) et al.
Visual Vinyl. Dortmund: Verlag Kettler, 2017.
232 pages, hardcover, black-and-white and color illustrations, 22 × 22 cm
Catalog documenting the exhibition Visual Vinyl, a show with discs from the collection of Jan van Toorn, curated by Harry Prenger in 2015 – 2016 at SCHUNCK*, Heerlen, the Netherlands.
ART & VINYL
Fraenkel, Jeffrey, and Antoine de Beaupré. Art & Vinyl:
A Visual Record. San Francisco: Fraenkel Gallery; Paris:
Editions Antoine de Beaupré, 2018.
472 pages, hardcover, color illustrations, 27.5 × 27.5 cm Art & Vinyl includes works by artists as disparate and wide-ranging as Ed Ruscha, Marlene Dumas, Cy Twombly, Yoko Ono, Jean-Michel Basquiat, Barbara Kruger, Robert Rauschenberg, Sol LeWitt, Sophie Calle and Andy Warhol.
It includes all forms: artistic sounds, concept discs, cov-ers made by visual artists for rock, pop and jazz albums or directly modified discs like Gerhard Richter’s oil painting made directly on a recording of Glenn Gould’s interpreta-tion of Bach’s Goldberg Variainterpreta-tions.
Art & Vinyl has been assembled over the course of nearly a decade by curator and collector Antoine de Beaupré, author of Total Records and founder of the book-store and gallery Librairie 213 in Paris.
This book was published as part of the research project A-sides. It is accompanied by a series of A-sides vinyl records (www.a-sides.ch) produced by HEAD – Genève and activeRat.
Published by
Editions Clinamen and HEAD – Genève Editors
Laurent Schmid and Roxane Bovet, with John Armleder, Francis Baudevin, Mathieu Copeland, Jonathan Frigeri and Stéphane Kropf
AMI — Adeline Senn, Martin Maeder Print Manuscripts and Archives Division, The New York Public Library;
p. 62: © Christian Marclay, Photo © Hannah van den Wijngaard, Courtesy White Cube
We have sought to contact all the rights holders of the images reproduced in this book. If, despite our vigilance, there are any remarks or errors, they will inevitably be corrected in the next edition.
Acknowledgements
Jean-Pierre Greff, director, HEAD – Genève;
Anthony Masure, Head of Research and Development, HEAD – Genève, and Anne-Catherine Sutermeister, former Head of Research and Development, HEAD – Genève; Alexis Georgacopoulos, director, ECAL; Davide Fornari, Head of Research and Development, ECAL.
All the artists and contributors who have helped us find hidden and forgotten stories and records, in particular Yann Chateigné (HEAD – Genève).
The disc Je d’Eau by Hannah Weinberger was co-produced with the Centre d’Art Contemporain Genève and kindly supported by Société Générale. Our thanks go to Andrea Bellini, director of the Centre, Marie Debat, assistant to the director, and the team of the CAC.
A-sides (scientific collaboration):
Laurent Schmid (project leader, HEAD – Genève), Mathieu Copeland, John Armleder, Francis Baudevin and Stéphane Kropf (ECAL), Roxane Bovet and Jonathan Frigeri (HEAD – Genève) A-sides is a research project led by HEAD – Genève, with the participation
© 2020, the authors, Clinamen, HEAD – Genève
ISBN 978-2-9701103-6-1