For years, noted writer Laurence A. Rickels often found himself compared to novelist Philip K. Dick—though in fact Rickels had never read any of the science fiction writer’s work. When he finally read his first Philip K. Dick novel, while researching for his recent book The Devil Notebooks, it prompted a prolonged immersion in Dick’s writing as well as a recognition of Rickels’s own long-documented intellectual pursuits. The result of this engagement is I Think I Am: Philip K. Dick, a profound thought experiment that charts the wide relevance of the pulp sci-fi author and paranoid visionary. I Think I Am: Philip K. Dick explores the science fiction author’s meditations on psychic reality and psychosis, Christian mysticism, Eastern religion, and modern spiritualism. Covering all of Dick’s science fiction, Rickels corrects the lack of scholarly interest in the legendary Californian author and, ultimately, makes a compelling case for the philosophical and psychoanalytic significance of Philip K. Dick’s popular and influential science fiction.
Introduction
and#160;and#160;and#160;and#160;and#160; Paul Foss
Reviews:
Section 1 andndash;
Mike Kelley andndash; Gagosian Gallery, Beverly Hills CA
and#160;and#160;and#160;and#160;and#160; Tom Allen andndash; Richard Telles Fine Art, Los Angeles
and#160;and#160;and#160;and#160;and#160; Katy Crowe andndash; Los Angeles Harbor College Gallery, Wilmington
and#160;and#160;and#160;and#160;and#160; Misericordia andndash; PRISM, Los Angeles
Roberto Cuoghi andndash; Hammer Museum, Los Angeles
and#160;and#160;and#160;and#160;and#160; Liza Ryan andndash; William Griffin Gallery, Santa Monica CA
and#160;and#160;and#160;and#160;and#160; Das Institut andndash; Kandouml;lnischer Kunstverein, Germany
and#160;and#160;and#160;and#160;and#160; Gerard Byrne andndash; The Renaissance Society, Chicago
and#160;and#160;and#160;and#160;and#160; Subodh Gupta andndash; Hauser and Wirth Outdoor Sculpture, London
and#160;and#160;and#160;and#160;and#160; Robert Mapplethorpe andndash; Alison Jacques Gallery, London
and#160;and#160;and#160;and#160;and#160; Philippe Parreno andndash; Serpentine Gallery, London
Ed Ruscha andndash; Modern Art Museum of Fort Worth, TX
Charlotte Posenenske andndash; John Hansard Gallery, Southampton, UK
and#160;and#160;and#160;and#160;and#160; Rivane Neuenschwander andndash; Kemper Art Museum, St. Louis
and#160;and#160;and#160;and#160;and#160; Elizabeth Peyton andndash; Kemper Art Museum, St. Louis
and#160;and#160;and#160;and#160;and#160; Mark Bradford andndash; ICA, Boston
and#160;and#160;and#160;and#160;and#160; Simon Dybbroe Mandoslash;ller andndash; University of Michigan Museum of Art, Ann Arbor
and#160;and#160;and#160;and#160;and#160; Sue De Beer andndash; Marianne Boesky Gallery, New York
and#160;and#160;and#160;and#160;and#160; K8 Hardy andndash; Reena Spauldings Fine Art, New York
Nancy Holt andndash; Miriam and Ira D. Wallach Art Gallery, Columbia University NY
and#160;and#160;and#160;and#160;and#160; Mary Hrbacek andndash; CREON Gallery, New York
and#160;and#160;and#160;and#160;and#160; Malevich and the American Legacy andndash; Gagosian Gallery, New York
and#160;and#160;and#160;and#160;and#160; Mark Morrisroe andndash; Artists Space, New York
and#160;and#160;and#160;and#160;and#160; Rob Pruitt andndash; Union Square, New York
and#160;and#160;and#160;and#160;and#160; All Insignificant Things Must Disappear andndash; Trinity Museum, New York
and#160;and#160;and#160;and#160;and#160; Roxana Pandeacute;rez-Mandeacute;ndez andndash; Pennsylvania Academy of Fine Arts, Pittsburg
and#160;and#160;and#160;and#160;and#160; Thomas Glassford andndash; Sicardi Gallery, Houston
Section 2 andndash;
Stephen Prina andndash; Secession, Vienna
Cyprien Gaillard andndash; KW Institute for Contemporary Art, Berlin
Andrea Zittel andndash; Regen Projects, Los Angeles
and#160;and#160;and#160;and#160;and#160; Florian Slotawa andndash; Sies + Handouml;ke Galerie, D?sseldorf
and#160;and#160;and#160;and#160;and#160; Xu Bing andndash; British Museum, London
and#160;and#160;and#160;and#160;and#160; Ancestors of Congo Square andndash; New Orleans Museum of Art, LA
and#160;and#160;and#160;and#160;and#160; Gabriel Orozco andndash; Tate Modern, London
Mark Rothko andndash; Whitechapel Gallery, London
and#160;and#160;and#160;and#160;and#160; Ai Weiwei andndash; Central Park, New York
and#160;and#160;and#160;and#160;and#160; Xavier Cha andndash; Whitney Museum of American Art, New York
David Altmejd andndash; Andrea Rosen Gallery, New York
and#160;and#160;and#160;and#160;and#160; EXPRESS+LOCAL andndash; Queens College Art Center, New York
and#160;and#160;and#160;and#160;and#160; Per Kirkeby andndash; Michael Werner, New York
Boris Lurie andndash; Chelsea Art Museum, New York
and#160;and#160;and#160;and#160;and#160; Yigal Ozeri andndash; Mike Weiss Gallery, New York
and#160;and#160;and#160;and#160;and#160; Michail Sailstorfer andndash; Modern Art Oxford, UK
Ryan Trecartin andndash; MoMA P.S.1, Long Island City NY
Martha Wilson andndash; P.P.O.W., New York
Allora and Calzadilla andndash; U.S. Pavilion, Venice
Adolph Gottlieb andndash; Peggy Guggenheim Collection, Venice
Piero Golia andndash; Gagosian Gallery, Beverly Hills CA
and#160;and#160;and#160;and#160;and#160; Monkey Spoon andndash; Kim Foster Gallery, New York
Section 3 andndash;
Matthew Ritchie, LandM Arts, Los Angeles/Schwarzenbergplatz, Vienna
John Chamberlain, Solomon R. Guggenheim Museum, New York
Laurel Nakadate and James Franco, Abrons Art Center, New York
Kate Gilmore, The Pace Gallery, New York
Carsten Handouml;ller, The New Museum, New York
Margeaux Walter, Winston Wandauml;chter Fine Art, New York
Rita Ackermann, Ludwig Museum, Budapest
Venues:
Section 1 andndash;
Takashi Murakami, by Edward Rubin
Section 2 andndash;
The 54th Venice Biennale, by Simon Rees
Profiles:
Section 1 andndash;
Alexis Rockman, by Elaine A. King
Guillermo Kuitca, by Aneta Georgievska-Shine
Vito Acconci, by Karlyn de Jongh and Peter Lodermeyer
Laura Owens, by Otino Corsano
Paul Thek, by Robert McKenzie
Section 2 andndash;
Alex McLeod, by Lisa Paul Streitfield
Alexander Calder, by Mike Rogers
Section 3 andndash;
Graham Gillmore, by Otino Corsano
Adrian Goycoolea, by Brian Willems
Hermann Nitsch, by Karlyn de Jongh
Cyprien Gaillard, by Timothandeacute;e CHaillou
Features:
Section 1 andndash;
Unmanning Grant Wood, by Sue Taylor
Cannibal Holocaust, by Paul Foss
The Future Lies Ahead, by Benjamin Bennett
Section 2 andndash;
Museum Report: Marlene McCarty Goes to War, by Viola Timm
The Podium and the Plinth, by Timothandeacute;e Chaillou
Seeing the Unspeakable, by Allen S. Weiss
Section 3 andndash;
andldquo;Surface Truthsandrdquo; and Surface Tensions, by David Carrier
Immaculate Reception, by Wolf Kittler
In Advance of a Culinary Review, by Allen S. Weiss
iProtest, or Psycho Goes Viral, by Daniel McGrath
Night at the Museum, by Paul Foss
Essays:
Section 1 andndash;
Enter the Void, by Paul Foss
Do Impresarios Dream of 3D Cinema?, by Martin Rosenstock
Trampling Images: Buddhist Art in a World Art History, by David Carrier
Section 2 andndash;
Carving the Genre: andldquo;Feastandrdquo; and the Marrow of Gore, by Martin Rosenstock
Nanny and the Professor, by Harry J. Weil
The Body in the Trunk, by Paul Foss
Meditations on a Chinese Ancestor Portrait, by David Carrier
Section 3 andndash;
Magni-Fire: On Ulrike Ottingerandrsquo;s andldquo;Under Snowandrdquo;, by Laurence A. Rickels
Unspoken Commodities in the Art of the Americas, by Natasha Staller
The Shadow of Shadows, by Allen S. Weiss
Passages:
Section 1 andndash;
Suzanne Doppelt, by Nicholas Alexander Hayes
Duchamp Delayed, by Sue Spaid
Section 2 andndash;
John Currin, by David Carrier
Section 3 andndash;
The Case of California, by Desiree Dandrsquo;Alessandro
Vocational Poetics, by Isaac Linder
Postmortem:
Alexander McQueen, by Lisa Paul Streitfield