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Two of Philadelphia's most famous cracked icons, The Liberty Bell and Marcel Duchamp's "The Large Glass," are perhaps rarely thought of as having anything at all to do with one another, save for the fact that they are both cracked and both situated in Philadelphia. Nevertheless, here they are, joined together in an innovative book by renowned installation artist and composer Christian Marclay. This curious volume, unusually (and thus appropriately) bound with an exposed binding, features several musical scores by Marclay, Duchamp, John Philip Sousa and others, as well as multiple pairings of images of the Bell and the Glass. Full of surprising and often humorous affinities between these wildly unrelated subjects, The Bell and the Glass is published on the occasion of the installation and performances by Marclay and the Relâche Ensemble at the Philadelphia Museum of Art in late spring 2003.

Christian Marclay is a New York-based, Swiss American artist who emerged in both the contemporary art and music scenes during the 1980s. He works across numerous visual media - sculpture, installation performance, found objects and collage - along with music and its artifacts, to create a unique, multidisciplinary art. Also a respected composer and DJ. he has collaborated with John Zorn and Elliott Sharp, among many others. In his visual works he sometimes simply evokes the memory of music, as in The Beatles (1989), a pillow crocheted out of Beatles audio tapes. Elsewhere he examines the cliched images of music-making, for example those found on LP record covers, charismatic, classical music conductors, smiling Easy Listening girls and sultry rock stars. These are then carefully sewn together to form hybrid figures echoing the splicing of the music itself (Body Mix, 1991-93).Marclay has presented his unique sound-and-vision works at the Whitney Biennial, New York, 1991 and 2002, and at the Venice Biennale, 1995 and 1999, among many other key international exhibitions. A major travelling retrospective of his work originated at teh Hammer Museum, Los Angeles, in 2003 and ended its tour at the Barbican Art Gallery, London, in 2005. The highlight is his tour de force, Video Quartet (2003), a four-screen installation largely combining Hollywood film clips associated with music, edited together with virtuoso precision.

Christian Marclay (born 1955) explores the fusion of fine art and audio cultures, transforming sounds and music into a visible, physical form through performance, collage, sculpture, installation, photography, and video. Published in a 3-volume magazine format, this exhibition catalogue aims to capture the spontaneity of his process-oriented practice. Although the structure of the magazines is intentionally loose, there are some themes that each issue addresses: the first issue historically contextualizes Marclay’s work; the second addresses his early work and discusses the performances taking place at the Whitney; and the third looks at his later work and video scores. As a whole, Christian Marclay: Festival is a thoughtful and creatively packaged document that captures how this artist’s compelling practice has evolved over time and continues to expand and develop.

Christian Marclay is a New York-based, Swiss American artist who emerged in both the contemporary art and music scenes during the 1980s. He works across numerous visual media - sculpture, installation performance, found objects and collage - along with music and its artifacts, to create a unique, multidisciplinary art. Also a respected composer and DJ. he has collaborated with John Zorn and Elliott Sharp, among many others. In his visual works he sometimes simply evokes the memory of music, as in The Beatles (1989), a pillow crocheted out of Beatles audio tapes. Elsewhere he examines the cliched images of music-making, for example those found on LP record covers, charismatic, classical music conductors, smiling Easy Listening girls and sultry rock stars. These are then carefully sewn together to form hybrid figures echoing the splicing of the music itself (Body Mix, 1991-93).Marclay has presented his unique sound-and-vision works at the Whitney Biennial, New York, 1991 and 2002, and at the Venice Biennale, 1995 and 1999, among many other key international exhibitions. A major travelling retrospective of his work originated at teh Hammer Museum, Los Angeles, in 2003 and ended its tour at the Barbican Art Gallery, London, in 2005. The highlight is his tour de force, Video Quartet (2003), a four-screen installation largely combining Hollywood film clips associated with music, edited together with virtuoso precision.

Published to mark the esteemed Fraenkel Gallery's 35th year, The Plot Thickens is an eye-opening expedition through the history of the medium, with approximately 90 wide-ranging photographs by artists as diverse as Diane Arbus, Christian Marclay, Robert Adams, Bernd & Hilla Becher, Mel Bochner, Walker Evans, Sol LeWitt, Lee Friedlander, Alec Soth, Katy Grannan, Hiroshi Sugimoto and Richard Learoyd. In the tradition of Fraenkel Gallery's award-winning anniversary publications from years past (such as Furthermore, 20Twenty and The Eye Club), The Plot Thickens includes a trove of images by unknown photographers, virtually none of which have been reproduced before. Designed by Katy Homans and printed with extraordinary fidelity, The Plot Thickens is a meditation on the inexplicable essence of the medium and an essential new publication for anyone who cares seriously about art and photography..

Published to mark the esteemed Fraenkel Gallery's 35th year, The Plot Thickens is an eye-opening expedition through the history of the medium, with approximately 90 wide-ranging photographs by artists as diverse as Diane Arbus, Christian Marclay, Robert Adams, Bernd & Hilla Becher, Mel Bochner, Walker Evans, Sol LeWitt, Lee Friedlander, Alec Soth, Katy Grannan, Hiroshi Sugimoto and Richard Learoyd. In the tradition of Fraenkel Gallery's award-winning anniversary publications from years past (such as Furthermore, 20Twenty and The Eye Club), The Plot Thickens includes a trove of images by unknown photographers, virtually none of which have been reproduced before. Designed by Katy Homans and printed with extraordinary fidelity, The Plot Thickens is a meditation on the inexplicable essence of the medium and an essential new publication for anyone who cares seriously about art and photography..