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Pippa Garner's Better Living Catalog, originally published in 1982, takes the form of a mail order catalog featuring clever and whimsical inventions that parody consumer goods while simultaneously critiquing America's obsession with ingenuity, efficiency, leisure, and comfort. These works, which were made as prototypes and photographed for the publication, take the form of improbable accessories, clothing, footwear, home appliances, and office gadgets. For example, the "Reactiononometer," a portable wristband, instantly measures social success, while the "Digital Diet Loafers" display the wearer's weight with every step. If the "Munch-o-Matic" reduces deskwork interruptions by flinging a snack right into the user's mouth, other items promise financial solvency (the controlled cash flow "Autowallet"), sustainable waste management, or mess-free companionship (the "Pet-a-Vision" TV console). The artist asserts that all of the products in the book are "absolute necessities for contemporary survival." The Better Living Catalog was a pop hit when it was published, earning Garner spots on nighttime TV talk shows and attention from magazines like Vogue and Rolling Stone. In a meme-filled culture, the works still resonate today, finding their analog in widely-circulating consumer products, and - in the case of the "High Heel Skates" - even appearing unattributed in the runway collection of a major luxury fashion brand. A few years after the Better Living Catalog was published, Garner began her gender transition, which she has characterized as an artistic project that draws conceptual parallels to the altered consumer goods she has continued to create since the 1970s. The artist's practice has always been about hacking - gender hacking, she stated, was "an excellent premise for maverick conceptual art and diametrically opposed to anything I'd ever done." Many of the prototypes Garner created for the publication were repurposed or recycled, making this previously rare gem of an artist book one of the artist's few works to now be widely available.

Garner, Pippa --- Art --- mail order catalogs --- art [discipline] --- humor --- social criticism --- gender [sociological concept] --- Americana --- Artists' books --- Commercial catalogs --- Commercial products in art --- Inventions --- Mail-order business --- Humor

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Ce livre révolutionnaire, accompagnant une grande exposition au Hirshhorn, raconte l'histoire de l'évolution de la scène artistique new-yorkaise dans les années 1980, d'une contre-culture de bricolage dans l'East Village à une activité de galerie légitime à Soho. Coïncidant avec la montée de l'image moderne et l'avènement de l'ère de l'information, l'accent mis par les artistes sur les commodités et la consommation commença comme satire mais devint beaucoup plus complexe : les marchandises et les phénomènes associés, comme la publicité et des relations personnelles dans des «tout nouveaux» types de peinture, de sculpture, de photographie, d'installation et de performance. Dans un livre plein de surprises visuelles, les essais nouvellement commandés apportent un éclairage nouveau sur cette période charnière : le commissaire Gianni Jetzer fournit un aperçu complet, tandis que Leah Pires éclaire des collaborations conceptuelles moins connues, et Bob Nickas un témoin oculaire de la scène de la galerie East Village. Ces textes, accompagnés d'une chronologie illustrée, apportent un nouveau témoignage du moment où des artistes contemporains tels que Felix González-Torres, Peter Halley, Jeff Koons, Barbara Kruger, Sherrie Levine, Richard Prince et Cindy Sherman ont saisi le ballon d'Andy Warhol et a couru avec lui, en changeant les règles du jeu pour toujours. (d'après l'éditeur) This groundbreaking book, accompanying a major exhibition at the Hirshhorn, tells the story of the evolution of New York's downtown art scene in the 1980s' from a DIY counterculture in the East Village to a legitimate gallery business in SoHo. Coinciding with the rise of modern branding and the onset of the information age, artists' focus on commodities and consumerism began as satire but came to be much more complex: commodities and associated phenomena, such as advertising, now served as vessels for ideas, politics, and personal relationships in 'brand-new' types of painting, sculpture, photography, installation, and performance. In a book full of visual surprises, newly commissioned essays shed new light on this pivotal period: curator Gianni Jetzer provides a comprehensive overview, while Leah Pires illuminates lesser-known conceptual collaborations, and Bob Nickas offers an eyewitness account of the East Village gallery scene. These texts, together with an illustrated chronology, provide a fresh account of the moment at which contemporary artists such as Felix González-Torres, Peter Halley, Jeff Koons, Barbara Kruger, Sherrie Levine, Richard Prince, and Cindy Sherman grabbed the ball from Andy Warhol and ran with it, changing the rules of the game forever

Art --- political art --- identity --- Conceptual --- branding --- information --- Postmodern --- anno 1980-1989 --- New York City --- Marques de commerce --- Art, American --- Appropriation (Art) --- Commercial products in art --- Popular culture in art --- Nineteen eighties --- Art and society --- Branding (Marketing) --- Art américain --- Produits commerciaux dans l'art --- Culture populaire dans l'art --- Années quatre-vingt (Vingtième siècle) --- Art et société --- Stratégie de marque --- Thèmes, motifs. --- Dans l'art. --- Exhibitions. --- History --- Social aspects --- Expositions. --- Histoire --- Aspect social --- General Idea --- New York (State) --- General Idea (Firm) --- New York City [New York]