Issue 111 Libraries includes features by Adam Lauder on Performing the Library; Jen Hutton on Dexter Sinister; David Senior on the Whole Earth Catalogue; Randy Lee Cutler on Reading; Pandora Syperek on ILLUMINnations: the 54th Venice Biennale; Jenifer Papararo on Frances Stark: I’ve Had it and a Half at The Hammer Museum, and an artist project by Read-in. Issue 111 also includes reviews of: Rabih Mroué: The Inhabitants of Images at Prefix ICA; Song Dong: Waste Not at the Vancouver Art Gallery; Gina Badger: Mongrels at Issue Project Room; Adel Abdessemed: The Future of Décor at OCAD Professional Gallery; Chris Curreri: Something Something at University of Toronto Art Centre; The Birds and the Bees at Oakville Galleries; The Domestic Queens Project at FOFA Gallery, Concordia, and Wim Botha: All Around at Galerie Jette Rudolf. Also included is a review by the 2011 C New Critics Competition winner Kari Cwynar on Models for Taking Part at Presentation House Gallery.

The inaugural volume from Oslo Editions, Contra Mundum I-VII, documents a series of talks held at the Mandrake in Los Angeles on the theme of “contra mundum” or “against the world.” Taking its cue from Evelyn Waugh’s novel Brideshead Revisited, Contra Mundum posits the world-making potential of (anti)sociality as a subject position and the value of a notion of collectivity grounded in “association without relation.” So doing, the book considers a diverse range of topics, including the furniture of Donald Judd, Private Issue New Age music, animal subjectivity, misanthropy and the trope of self-banishment in Shakespeare, apocalypticism and the zombie film, pirates from Blackbeard to Somalia, and the post-punk vocalist Mark E. Smith. Featuring contributions from artists Rupert Deese, Elad Lassry, Anthony Pearson, and Frances Stark, and critics Aaron Kunin, Matthew Taylor Raffety, and Evan Calder Williams.

Artforum 500 Words.

This book brings together many of Stark’s texts for the first time, including essays on artists and text pieces. Stark’s writing is not specifically sited in visual art, but is rooted in the condition of contemporary life, encountering along the way literary tradition, music and philosophy. These provide the backbone to much of her thinking, as do the problems faced by being both an artist and writer today. These themes are presented through a pseudo-autobiographical style that frequently presents itself as poetic musings, creating meandering, off-centred texts that are often humorous and at the same time highly readable.

This book also includes facsimiles of “The Unspeakable Compromise of the Portable Work of Art” as well as specially designed pages by Stark, making this anthology a fascinating insight into the artist’s practice. Includes a forward by Matthew Higgs.

The Los Angeles-based artist and art writer Frances Stark has gathered an international cult following for her prolific prose and her smart, honest and intimate artwork. This engaging artist’s book is conceived as a companion piece to Stark’s Collected Writings 1993–2003, fashioning itself as a graphic counterpart that draws from the artist’s paintings, collages, drawings, videos, poetry and more, from 1993 to the present. Through provocative and diaristic text notes printed alongside Stark’s sometimes humorous, often self-scrutinizing images, The Collected Works addresses the paradox of reproducing visual art that is essentially non-photogenic by nature — because of its tactility, detail or scale. The book formally addresses how verbiage flows in and out of the work(s), and leaves no space for the legitimizing language of the critic or curator. Neither a typical catalogue nor monograph, it pushes for a third form, a new art work constructed from existing pieces.

This exhibition catalogue disguised as an artist’s book presents recent work by the Los Angeles artist, writer and all-around favorite, Frances Stark. Taking as her starting point the novel Ferdydurke by the esteemed Polish author Witold Gombrowicz, Stark explores two key aspects of the novel, according to Andras Palffy, President of the esteemed Viennese exhibition space, Secession — “the individual’s right to uncertainty or immaturity and all possible forms of masquerade” and “deception towards one’s environment.” Whereas Gombrowicz took on the sinister political developments of 1930s Poland, Stark aptly and humorously attacks the hierarchies, systems and pigeon holes of the contemporary commercial art world. Of special note are the very effective optical illusions embedded in the images reproduced here.