Lukas & Sternberg Press, Continuous Projects, Arto Lindsay, Kunstverein Braunschweig Press, Charley, Fat Magazine, Afterall, B.Read/Baltic, Utopia Station at E-Flux

Josef Strau, Photo+ Dead Cities Dead Poems

The Greene Naftali Gallery is pleased to announce the opening of the fall season with In The Public Domain. This celebration of small scale artists’ projects and art presses features books, CDs, videos, posters, and art journals, not as supplements to the rarified art market, but rather as an intrinsic part of the intellectual and creative pursuits which fuel that market. By making these affordable, but rare materials available, it reverses the scale of economy in the gallery and expands the participation of exchange.

Among the many projects presented, a highlighted feature is the books published by Caroline Schneider at Lukas & Sternberg Press. A series of small artists’ books including Isa Genzken, DeRijke/DeRooij, and the curator/writer Nicolas Bourriaud, are accompanied by a large beautiful cloth-bound book on the much-touted artist, Kai Althoff. The newest release is Sex, Art, and the Dow Jones by French theorist, Jean-Charles Massera. This is the first English translation of Massera’s book.

Continuous Projects, an artist collaborative organized by Wade Guyton, Seth Price and Bettina Funcke, will feature their photocopy version of an Avalanche issue which was initially published in 1970. Other projects include Ali Subotnick, Massimiliano Gioni, and Maurizio Cattelan’s Charley, the video UV (Ultra Violence) by Ara Peterson (formerly of Forcefield), Josephine Meckseper’s FAT Magazine, and a selection of CD’s by the celebrated underground musician and downtown impresario Arto Lindsay.

Alongside In the Public Domain, there will be two smaller exhibits in the gallery. Jim Drain and Ara Peterson’s Kaleidoscope, a highlight from the summer show Regarding Amy, continues. In addition, there will be a photo essay by Josef Strau entitled “Photo +.” Taken on a summer holiday in Sicily, these digitally manipulated photographs are a meditation on the sites of Greek and Roman architectural ruins. Strau’s continued interest in Nazi Germany’s obsession with these idealized cultures, particularly as demonstrated in the architecture of the 1940s, is subtly referenced in these strange pastorals. They also suggest a current cultural yearning and perhaps naive nostalgia for an authentic and simpler past.