Open Daily: 10am - 10pm | Alley door pickup 10am - 7pm 3038 Hennepin Ave Minneapolis, MN
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  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
Mud Physics: Theoretical Writings

Mud Physics: Theoretical Writings

Marten, Helen

Paperback

Series: Sternberg Press / Institut Für Kunstkritik

PhilosophyArt Criticism & TheoryIndividual Artists

Publisher Price: $24.95

PREORDER - Expected ship date December 1, 2026

ISBN10: 1915609852
ISBN13: 9781915609854
Publisher: Sternberg Press
Published: Dec 1 2026
Pages: 240
Weight: 0.81
Language: English
Critical writings that index the material and linguistic problems of making art.

Approximation, models, collage and inlay; dust, vectors, animals, snow, blood, and diagrams: compiled in this volume for the first time, the selected writings of Helen Marten probe the critical spaces between image and language, material subject and conceptual idea. Working across sculpture, painting, drawing, writing, and video, Marten has emerged as one of the leading voices of her generation. Driven by both informational logics and emotional heat, her work compels a peculiar engagement with language--its wounding or wailing power, its sly metamorphosis, its seduction. Mud Physics explores this submerged side of materiality where dark intent lies, questioning the linguistic framework of theoretical doubt as the place where mistakes are embraced to become generative.

Marten envisages the artist to be like a busy dog, sticking its nose into the indexes of social or technological space and shuffling things about, coaxing or relegating artifacts to the peripheries like an aggravating archaeologist. This iterative flexibility holds great appeal but also a certain danger--to find exposed and sticky the granular indecency of material, its mechanistic hierarchies, its feral stink of policy or corruption. Exploring theories of the mercantile and the digital, her writing examines craft as syntax and touch as a rejection of heteronormativity; instead, pleasure in material promiscuity is felt as a fundamental itch.

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