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A Picasso Portfolio
Published on the occasion of the exhibition "Picasso: Themes and Variations" held at the Museum of Modern Art, New York, N.Y., Mar. 24-Sept. 6, 2010.
Fluxus Administration
"George Maciunas is typically associated with the famous art collective Fluxus, of which he is often thought to have been the leader. In this book, critic and art historian Colby Chamberlain wants us to question two things: first, the idea that Fluxus was a "group" in any conventional sense, and second, that Maciunas was its "leader." Instead, Chamberlain shows us how Maciunas used the paper materials of bureaucracy in his art-cards, certificates, charts, files, and plans, among others-to subvert his own status as a "figurehead" of this collective and even as a biographical entity. Each of the book's chapters situates Maciunas's artistic practice in relation to a different domain: education,...
Weathering
Weathering is atmospheric, geological, temporal, transformative. It implies exposure to the elements and processes of wearing down, disintegration, or accrued patina. Weathering can also denote the ways in which subjects and objects resist and pass through storms and adversity. This volume contemplates weathering across many fields and disciplines; its contributions examine various surfaces, environments, scales, temporalities, and vulnerabilities. What does it mean to weather or withstand? Who or what is able to pass through safely? What is lost or gained in the process?
Monumental Graffiti
What graffiti says about contemporary society, and why it demands our urgent attention as a form of civic expression. What is graffiti—vandalism, ornament, art? What if, rather than any of those things, we thought of graffiti as a monument? How would that change our understanding of graffiti, and, in turn, our understanding of monument? In Monumental Graffiti, curator and anthropologist Rafael Schacter focuses on the material, communicative, and contextual aspects of these two forms of material culture to provide a timely perspective on public art, citizenship, and the city today. He applies monument as a lens to understand graffiti and graffiti as a lens to comprehend monument, challengin...
David Hammons
The first anthology of texts on the luminary contemporary artist David Hammons. David Hammons is a collection of essays on the one of the most important living Black artists of our time, David Hammons (b. 1943). Documenting five decades of visual practice from 1982 to the present, the book features contributions from scholars, artists, and cultural workers, and includes numerous images of the artist and his work that are not widely available. Contributions include essays from cultural critics including Guy Trebay and Greg Tate; artists Coco Fusco and Glenn Ligon; and scholars such as Robert Farris Thompson, Alex Alberro, and Manthia Diawara. A star of the West Coast Black Arts Movement in th...
Sculpture at the Ends of Slavery
From abolitionist medallions to statues of bondspeople bearing broken chains, sculpture gave visual and material form to narratives about the end of slavery in the eighteenth and nineteenth centuries. Sculpture at the Ends of Slavery sheds light on the complex—and at times contradictory—place of such works as they moved through a world contoured both by the devastating economy of enslavement and by international abolitionist campaigns. By examining matters of making, circulation, display, and reception, Caitlin Meehye Beach argues that sculpture stood as a highly visible but deeply unstable site from which to interrogate the politics of slavery. With focus on works by Josiah Wedgwood, Hiram Powers, Edmonia Lewis, John Bell, and Francesco Pezzicar, Beach uncovers both the radical possibilities and the conflicting limitations of art in the pursuit of justice in racial capitalism's wake.
Wrong
Dennis Cooper is one of the most inventive and prolific artists of our time. Working in a variety of forms and media since he first exploded onto the scene in the early 1970s, he has been a punk poet, a queercore novelist, a transgressive blogger, an indie filmmaker—each successive incarnation more ingenious and surprising than the last. Cooper’s unflinching determination to probe the obscure, often violent recesses of the human psyche have seen him compared with literary outlaws like Rimbaud, Genet, and the Marquis de Sade. In this, the first book-length study of Cooper’s life and work, Diarmuid Hester shows that such comparisons hardly scratch the surface. A lively retrospective appr...
Deadpan
Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan tracks instances and meanings of deadpan—a vaudeville term meaning “dead face”—across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century doc...
American Artists Engage the Built Environment, 1960-1979
This volume reframes the development of US-American avant-garde art of the long 1960s—from minimal and pop art to land art, conceptual art, site-specific practices, and feminist art—in the context of contemporary architectural discourses. Susanneh Bieber analyzes the work of seven major artists, Donald Judd, Robert Grosvenor, Claes Oldenburg, Robert Smithson, Lawrence Weiner, Gordon Matta-Clark, and Mary Miss, who were closely associated with the formal-aesthetic innovations of the period. While these individual artists came to represent diverse movements, Bieber argues that all of them were attracted to the field of architecture—the work of architects, engineers, preservationists, lan...
Feminism and Art History Now
To what extent have developments in global politics, artworld institutions and local cultures reshaped the critical directions of feminist art historians? The significant research gathered in Feminism and Art History Now engages with the rich inheritance of feminist historiography since around 1970, and considers how to maintain the forcefulness of its critique while addressing contemporary political struggles. Taking on subjects that reflect the museological, global and materialist trajectories of 21st-century art historical scholarship, the chapters address the themes of Invisibility, Temporality, Spatiality and Storytelling. They present new research on a diversity of topics that span political movements in Italy, urban gentrification in New York, community art projects in Scotland and Canada's contemporary indigenous culture. Case studies focus on the art of Lee Krasner, The Emily Davison Lodge, Zoe Leonard, Martha Rosler, Carla Lonzi and Womanhouse. Together with a synthesising introductory essay, these case studies provide readers with a view of feminist art histories of the past, present and future.
