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artist's books NOLAND, CADY

CADY NOLAND, The Clip-on Method, 2021 [artist’s book, 2 volumes]

CADY NOLAND, The Clip-on Method, 2021
each 28 x 21,5 x 2,2 cm
offset, Mylar dust covers
2 volumes, 288 pp. and 304 pp.
published by Cady Noland, Rhea Anastas and Robert Snowden, USA
inv.CNol 231-232


photos: K. van Gelder

This book of Cady Noland has two volumes and could easily be considered as a follow up of ‘No Land’ (2018), an unauthorized collection of writings about Cady Noland and images of her work together with reproductions of magazine and catalogue clippings; a piracy publication it seems. However, the content of ‘The Clip-on Method’ is obviously documented with the aim to put emphasis on more verbal critical statements about ethical aspects in recent history of the United States, such as racism, dubious goals in politics and industry, use and abuse of scientific knowledge, manipulations of power. That makes this book more than just a collection of images of works by Cady Noland, and together with the 2-3 white pages notably inserted here and there in both volumes makes this publication an artist’s book. It is used by the artist as a means to make a point, opposite to mere documenting art works.
The second volume contains a text “Notes for 1989 Show” published in Balcon no. 4 written by Cady Noland, next to photos of works.

In a book report by Jason Pickleman in Chicago Gallery News a lucid and precise analysis is made of the two volumes of ‘The Clip-on Method’. Really an enlighting loose text.
KvG

Ref.
Book report, by Jason Pickleman, Chicago Gallery News, 16 May 2022.

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NOLAND, CADY printed matter

CADY NOLAND, No Land, 2018 [book]

CADY NOLAND, No Land, 2018
28.7 x 20.8 cm
ink hand stamped book + envelope
Lümbeck binding, SC, 124 pp.
here 2nd and extended edition 2018
mint condition
published by Anonymous, London, UK
extremely rare
Collection K. van Gelder, Amsterdam

The book “No land” was first published in 2011. This is a second and extended edition. It has been archived by The Archive is Limited, in spite of its unauthorised publication. The book consists of a peculiar compilation of ‘found’ reproductions of all sorts. The notion ‘found’ ought to be understood as trying to circumvent the artist’s strict control over the use and dissemination of her images, texts and works.
A hand stamped couver and envelope, and its cheap printing give it the looks of an artist’s book. In fact, it is a full colour chronological compendium of art reproductions taken from magazines, press clippings and exhibition catalogues. The title page of this book reads “Art reproductions of Cady Noland’s work 1989 – 2006”, as if it concerns an institutional catalogue. Instead art reproductions have been reproduced. There is no colophon or name of publisher that authorises this publication.