Jan Tumlir

Andy Coolquitt makes objects and environments that exist in symbiosis with human relationships. During the 1990s, his life and work revolved around an expansive studio/artist commune/performance space/living sculpture/party place on the east side of Austin, Texas, where he continues to live, work, and host events. Intrigued by social contracts, Coolquitt creates artwork that facilitates conversation and interaction, augmenting the energy and frictions generated by individuals forming a community. He chooses materials that show the wear and tear of practical use, and, over the years, he has refined an artistic practice based on the collection, study, and reuse of things scavenged from the streets around him. Since his 2008 solo exhibition iight in New York City, Coolquitt’s work has gained a wide national and international audience.Andy Coolquitt is the first comprehensive monograph on the artist’s work. Published in conjunction with a solo museum exhibition at Blaffer Art Museum, this volume displays the full range of Coolquitt’s work over the past twenty-five years, including images of site-specific installations that no longer exist. Accompanying the color plates are an introduction and chronology of the artist’s work by exhibition curator Rachel Hooper, an essay tracing Coolquitt’s connections to other contemporary artists and designers by Frieze magazine senior editor Dan Fox, an in-depth exploration of Coolquitt’s concepts and process by art writer Jan Tumlir, an interview with Coolquitt by director and chief curator of White Columns Matthew Higgs, and Coolquitt’s biography and bibliography.

What is slime? We are well acquainted with its qualities in conjunction with certain things from which we tend to recoil but to which we are also at times fervently attracted. Despite being everywhere, slime is a surprisingly unexamined cultural phenomenon. File Under: Slime collates a cultural history of "slime" and "sliminess," with particular emphasis on precedents in pop-culture, contemporary art, ecology, science fiction, literature, critical theory, and cinema. The appearance of slime in such films as The Blob, Ghostbusters, and Poltergeist are diligently and humorously analyzed, commercial and graphic design precedents are incorporated, and the work of such artists as Lynda Benglis, Cindy Sherman, Robert Smithson, Sterling Ruby, and Jason Rhoades are connected within a broad mesh of corollary examples emphasizing the dynamic and elastic visual signification of slime. Alongside a multitude of visual references, File Under: Slime is supplemented with literary and theoretical references from such writers as Jean Paul Sartre, Julia Kristeva, Mike Kelley, Rosalind Krauss, Laura Mulvey, Georges Bataille, and others.

Visual artist Joan van Barneveld processes deep romantic longings within popular culture. In the absence of people, artist articulates the cultural landscape through a condensed black veil, which creates the stage for a longed for, introverted grandeur. His earlier work energised the poetics of grunge culture, but in recent series it has evidenced a deeper longing for an essential horizon. In Into Longing, Vast Rock, he creates ‘blackened’ pictures of popular spheres, devoid of people, that allow for a more reality-based motive and open up for wider narration as diptychs and triptychs. His oeuvre is represented together with insightful texts by LA critic Jan Tumlir, Dutch philosopher Rene Gabriels and Onomatopee director Freek Lomme, who address aspects of landscape, rock’s intensity and romanticism in pop, leaving a sourcebook – a bible – for the identification of longing. Beautifully designed and published by official Perimeter pals Onomatopee (Eindhoven).