Author: Patricia Lee
Publisher: MIT Press
An illustrated examination of a work -- a Warhol that isn't by Warhol -- that embodies a shift in attitudes about artistic authorship and originality.
Author: David Campany
Publisher: MIT Press
Examining a work that marked the emergence of photography as an art made for the gallery wall instead of the printed page. Jeff Wall's Picture for Women (1979) marks the transition of photography as an art form from the printed page to the gallery wall. Before this, photographs—from the orthodox photographic work of Walker Evans to the Conceptual photography of Dan Graham—seemed intended for the page even when hung in a gallery. In Picture for Women, a woman looks outward, as if at the viewer; a camera occupies the center of the photograph; the photographer stands on the right. Modeled on Manet's famous painting Un bar aux Folies-Bergère, in which a barmaid seems to look directly out of the painting, observed by a man on the right, Picture for Women establishes its own art historical genealogy, claiming its rightful position within the canon. Wall's photograph is an ambitious attempt to relate the artistic and spectatorial demands of the late 1970s to a modernist pictorial art that had been too hastily rejected by Conceptualism. In this illustrated study, David Campany offers an account of Wall's move from a Conceptual approach to a reengagement with the idea of a singular (as opposed to serial) picture. He shows that Wall's decision to present his work as a large-scale back-lit transparency, together with his commitment to a singular image, amounted to a radical departure. He contrasts Wall's idea of the photograph as a tableau or “picture,” inherited from the history of painting, with the works of the “Pictures Generation” - including Richard Prince, Cindy Sherman, and Jack Goldstein—and argues that Picture for Women is inseparable from the modern fate of the picture in general
Asked to sum up her artistic pursuit, the American artist Elaine Sturtevant once replied: "I create vertigo." Since the mid-1960s, Sturtevant has been using repetition to change the way art is understood. In 1965, what seemed to be a group show by then "hot" artists (Andy Warhol, Jasper Johns, Roy Lichtenstein, George Segal, and James Rosenquist, among others) was in fact Sturtevant's first solo exhibit, every work in it created by herself. Sturtevant would continue to make her work the work of others. The subject of major museum exhibitions throughout Europe and awarded the Golden Lion for lifetime achievement at the 54th Venice Biennale, she will have a major survey at the MoMA, New York, in 2014. In Under the Sign of [sic], Bruce Hainley unpacks the work of Sturtevant, providing the first book-length monographic study of the artist in English. Hainley draws on elusive archival materials to tackle not only Sturtevant's work but also the essential problem that it poses. Hainley examines all of Sturtevant's projects in a single year (1967); uses her Gonzalez-Torres Untitled (Go-Go Dancing Platform) from 1995 as a conceptual wedge to consider contemporary art's place in the world; and, finally, digs into the most occluded part of her career, from 1971 to 1973, when she created works by Michael Heizer and Walter de Maria, and had her first solo American museum exhibit.
Author: Ruth Catlow
The blockchain is widely heralded as the new internet - another dimension in an ever-faster, ever-more-powerful interlocking of ideas, actions and values. Principally the blockchain is a ledger distributed across a large array of machines that enables digital ownership and exchange without a central administering body. Within the arts it has profound implications as both a means of organising and distributing material, and as a new subject and medium for artistic exploration. This landmark publication will bring together a diverse array of artists and researchers engaged with the blockchain, unpacking, critiquing and marking the arrival of it on the cultural landscape for a broad readership across the arts and humanities. Contributors: Cesar Escudero Andaluz, Jaya Klara Brekke, Theodoros Chiotis, Ami Clarke, Simon Denny, The Design Informatics Research Centre (Edinburgh), Max Dovey, Mat Dryhurst, Primavera De Filippi, Peter Gomes, Elias Haase, Juhee Hahm, Max Hampshire, Kimberley ter Heerdt, Holly Herndon, Helen Kaplinsky, Paul Kolling, Elli Kurus, Nikki Loef, Bjorn Magnhildoen, Rob Myers, Martin Nadal, Rachel O'Dwyer, Edward Picot, Paul Seidler, Hito Steyerl, Surfatial, Lina Theodorou, Pablo Velasco, Ben Vickers, Mark Waugh, Cecilia Wee, and Martin Zeilinger.
Author: Helen Hester
Publisher: John Wiley & Sons
In an era of accelerating technology and increasing complexity, how should we reimagine the emancipatory potential of feminism? How should gender politics be reconfigured in a world being transformed by automation, globalization and the digital revolution? These questions are addressed in this bold new book by Helen Hester, a founding member of the 'Laboria Cuboniks' collective that developed the acclaimed manifesto 'Xenofeminism: A Politics for Alienation'. Hester develops a three-part definition of xenofeminism grounded in the ideas of technomaterialism, anti-naturalism, and gender abolitionism. She elaborates these ideas in relation to assistive reproductive technologies and interrogates the relationship between reproduction and futurity, while steering clear of a problematic anti-natalism. Finally, she examines what xenofeminist technologies might look like in practice, using the history of one specific device to argue for a future-oriented gender politics that can facilitate alternative models of reproduction. Challenging and iconoclastic, this visionary book is the essential guide to one of the most exciting intellectual trends in contemporary feminism.
Cornford & Cross
Author: John Roberts
Publisher: Black Dog Publishing
A profile of the practice of Cornford and Cross, the collaboration of two UK artists Matthew Cornford and David Cross, who have carried out a number of significant context-specific projects across the UK and internationally. The work of Cornford and Cross has often emerged from living and working in cities. Their interest in urban patterns of social, political and economic organization has broadened to include engagement with power structures further afield. This book brings together for the first time the full range of encounters, actions and debates that make up their practice. Their work has been exhibited internationally in galleries in New York, Philadelphia, Rome, London and San Francisco.
Andy Warhol, Prince of Pop
Author: Jan Greenberg, Sandra Jordan
Publisher: Laurel Leaf
“IN THE FUTURE EVERYBODY will be world famous for 15 minutes.” The Campbell’s Soup Cans. The Marilyns. The Electric Chairs. The Flowers. The work created by Andy Warhol elevated everyday images to art, ensuring Warhol a fame that has far outlasted the 15 minutes he predicted for everyone else. His very name is synonymous with the 1960s American art movement known as Pop. But Warhol’s oeuvre was the sum of many parts. He not only produced iconic art that blended high and popular culture; he also made controversial films, starring his entourage of the beautiful and outrageous; he launched Interview, a slick magazine that continues to sell today; and he reveled in leading the vanguard of New York’s hipster lifestyle. The Factory, Warhol’s studio and den of social happenings, was the place to be. Who would have predicted that this eccentric boy, the Pittsburgh-bred son of Eastern European immigrants, would catapult himself into media superstardom? Warhol’s rise, from poverty to wealth, from obscurity to status as a Pop icon, is an absorbing tale—one in which the American dream of fame and fortune is played out in all of its success and its excess. No artist of the late 20th century took the pulse of his time—and ours—better than Andy Warhol. Praise for Vincent van Gogh: Portrait of an Artist: “This outstanding, well-researched biography is fascinating reading.”—School Library Journal, Starred “Readers will see not just the man but also the paintings anew.”—The Bulletin, Starred “An exceptional biography that reveals the humanity behind the myth.”—Booklist, Starred A Robert F. Sibert Honor Book An ALA Notable Book From the Hardcover edition.
Sex, or the Unbearable
Author: Lauren Berlant, Lee Edelman
Publisher: Duke University Press
Sex, or the Unbearable is a dialogue between Lauren Berlant and Lee Edelman, two of our leading theorists of sexuality, politics, and culture. In juxtaposing sex and the unbearable they don't propose that sex is unbearable, only that it unleashes unbearable contradictions that we nonetheless struggle to bear. In Berlant and Edelman's exchange, those terms invoke disturbances produced in encounters with others, ourselves, and the world, disturbances that tap into threats induced by fears of loss or rupture as well as by our hopes for repair. Through virtuoso interpretations of works of cinema, photography, critical theory, and literature, including Lydia Davis's story "Break It Down" (reprinted in full here), Berlant and Edelman explore what it means to live with negativity, with those divisions that may be irreparable. Together, they consider how such negativity affects politics, theory, and intimately felt encounters. But where their critical approaches differ, neither hesitates to voice disagreement. Their very discussion—punctuated with moments of frustration, misconstruction, anxiety, aggression, recognition, exhilaration, and inspiration—enacts both the difficulty and the potential of encounter, the subject of this unusual exchange between two eminent critics and close friends.
Author: Suparna Choudhury, Jan Slaby
Publisher: John Wiley & Sons
Critical Neuroscience: A Handbook of the Social and Cultural Contexts of Neuroscience brings together multi-disciplinary scholars from around the world to explore key social, historical and philosophical studies of neuroscience, and to analyze the socio-cultural implications of recent advances in the field. This text’s original, interdisciplinary approach explores the creative potential for engaging experimental neuroscience with social studies of neuroscience while furthering the dialogue between neuroscience and the disciplines of the social sciences and humanities. Critical Neuroscience transcends traditional skepticism, introducing novel ideas about ‘how to be critical’ in and about science.
Author: Dieter Roelstraete
An illustrated study of a work that marks the transition from minimalism to a new mode of practice encompassing conceptual art, land art, and performance art.
Author: Elena Filipovic
Publisher: MIT Press
One wintry day in 1983, alongside other street sellers in the East Village, David Hammons peddled snowballs of various sizes. He had neatly laid them out in graduated rows and spent the day acting as obliging salesman. He called the evanescent and unannounced street action Bliz-aard Ball Sale, thus inscribing it into a body of work that, from the late 1960s to the present, has used a lexicon of ephemeral actions and self-consciously "black" materials to comment on the nature of the artwork, the art world, and race in America. And although Bliz-aard Ball Sale has been frequently cited and is increasingly influential, it has long been known only through a mix of eyewitness rumors and a handful of photographs. Its details were as elusive as the artist himself; even its exact date was unrecorded. Like so much of the artist's work, it was conceived, it seems, to slip between our fingers -- to trouble the grasp of the market, as much as of history and knowability. In this engaging study, Elena Filipovic collects a vast oral history of the ephemeral action, uncovering rare images and documents, and giving us singular insight into an artist who made an art of making himself difficult to find. And through it, she reveals Bliz-aard Ball Sale to be the backbone of a radical artistic oeuvre that transforms such notions as "art," "commodity," "performance," and even "race" into categories that shift and dissolve, much like slowly melting snowballs.
Author: Marie Clayton
Publisher: Parragon Books
Author: Anna Dezeuze
Publisher: MIT Press
"Thomas Hirschhorn's Deleuze monument was conceived for 'La beauté' in Avignon in 2000. It comprised four elements: a rock inscribed with a quotation, an altar, a monumental sculpture and a library including books by and about Deleuze. Located in the Cité Champfleury, outside Avignon's historical walls, Deleuze monument embodied Hirschhorn's desire to put his work 'in a difficult situation' between reality, politics and aesthetics, and marks a significant turning point in his approach to producing and maintaining public works"--Page 4 of cover.
"Thinking Contemporary Curating is the first book to offer an in-depth analysis of the volatile territory of international curatorial practice and the thinking--or insight--that underpins it. In five essays, renowned art historian and critic Terry Smith describes how today curators take on roles far beyond exhibition making, to include reimagining museums; writing the history of curating; creating discursive platforms and undertaking social or political activism, as well as rethinking spectatorship. The catalyst for the publication was 'The Now Museum' conference that ICI produced in collaboration with the CUNY Graduate Center and the New Museum in New York in 2011. In panel discussions and lectures over 30 leading artists, art historians, curators, and museum directors, such as art historian Claire Bishop, Okwui Enwezor (Director, Haus der Kunst), Massimiliano Gioni (Associate Director and Director of Exhibitions, New Museum), Lu Jie (Director, Long March), Maria Lind (Director, Tensta Konsthall) and Terry Smith discussed the diversification of the notion of the 'museum of contemporary art, ' providing intergenerational perspectives on recent developments across Africa, the Americas, Asia, Europe, and the Middle East. This spurred a year-long journey for Smith, responding to ideas, events, and encounters in the artworld in the process of questioning what 'curating' is today, which forms the heart of this publication."--Publisher's description.
Author: Sarah Lehrer-Graiwer
Publisher: MIT Press
The artist Lee Lozano (1930--1999) began her career as a painter; her work rapidly evolved from figuration to abstraction. In the late 1960s, she created a major series of eleven monochromatic Wave paintings, her last in the medium. Despite her achievements as a painter, Lozano is best known for two acts of refusal, both of which she undertook as artworks: Untitled (General Strike Piece), begun in 1969, in which she cut herself off from the commercial art world for a time; and the so-called Boycott Piece, which began in 1971 as a month-long experiment intended to improve communication but became a permanent hiatus from speaking to or directly interacting with women. In this book, Sarah Lehrer-Graiwer examines Lozano's Dropout Piece, the culmination of her practice, her greatest experiment in art and endurance, encompassing all her withdrawals, and ending only with her burial in an unmarked grave. And yet, although Dropout Piece is among Lozano's most important works, it might not exist at all. There is no conventional artwork to be exhibited, no performance event to be documented. Lehrer-Graiwer views Dropout Piece as leveraging the artist's entire practice and embodying her creative intelligence, her radicality, and her intensity. Combining art history, analytical inquiry, and journalistic investigation, Lehrer-Graiwer examines not only Lozano's act of dropping out but also the evolution over time of Dropout Piece in the context of the artist's practice in New York and her subsequent life in Dallas.