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Will Munro
By the time Will Munro died in 2010 at the age of thirty-five, he was already a legend in Toronto. He was known principally for his dance clubs, especially Vaseline, later renamed Vazaleen, which began in 2000. But to the art community, Will Munro was always an artist, and all his activities stemmed from being so. “Will Munro: History, Glamour, Magic” fully documents his activities as an artist with emphasis on his exhibitions and artworks from 1998 on. Munro brought a queer punk DIY aesthetic to his artwork, which could never be separated from his music interests. His role as a DJ and promoter is represented here by a generous selection of posters promoting his music venues. This book is a fitting tribute to Munro as a vibrant artist, community builder, and queer pedagogue.00Exhibition: Art Gallery York University, Toronto, Canada (11.1.-11.3.2014).
Nature's Wild
In Nature's Wild, Andil Gosine engages with questions of humanism, queer theory, and animality to examine and revise understandings of queer desire in the Caribbean. Surveying colonial law, visual art practices, and contemporary activism, Gosine shows how the very concept of homosexuality in the Caribbean (and in the Americas more broadly) has been overdetermined by a colonially influenced human/animal divide. Gosine refutes this presupposed binary and embraces animality through a series of case studies: a homoerotic game called puhngah, the institution of gender-based dress codes in Guyana, and efforts toward the decriminalization of sodomy in Trinidad and Tobago—including the work of famed activist Colin Robinson, paintings of human animality by Guadeloupean artist Kelly Sinnapah Mary, and Gosine's own artistic practice. In so doing, he troubles the ways in which individual and collective anxieties about “wild natures” have shaped the existence of Caribbean people while calling for a reassessment of what political liberation might look like. Duke University Press Scholars of Color First Book Award recipient
Mark Manders
At once a personal narrative and an encyclopedic gathering of material, Dutch artist Mark Manders' "Self-Portrait" began its life as a building in 1986. Since then, Manders has exhibited fragments of the project, an array of created and found objects, furniture, sculpture and drawings, keeping it in constant flux, changing its order with each showing.
Dr. Strangelove Dr. Strangelove
Pending
Art Gallery Theorems and Algorithms
Art gallery theorems and algorithms are so called because they relate to problems involving the visibility of geometrical shapes and their internal surfaces. This book explores generalizations and specializations in these areas. Among the presentations are recently discovered theorems on orthogonal polygons, polygons with holes, exterior visibility, visibility graphs, and visibility in three dimensions. The author formulates many open problems and offers several conjectures, providing arguments which may be followed by anyone familiar with basic graph theory and algorithms. This work may be applied to robotics and artificial intelligence as well as other fields, and will be especially useful to computer scientists working with computational and combinatorial geometry.
Spirit Hunter
The book ranges widely through frontier myth, American foreign policy, technology, war, film history, psychoanalytic theory (Nicholas Abraham and Maria Torok's cryptonymy), and philosophy (Jacques Derrida and Emmanuel Levinas), as it weaves art analysis into the troubled history of a social artifact. As Blake tells his story purely through images issuing as haunting from the architecture of Winchester house, Spirit Hunter pursues its speculation on the secrets Sarah Winchester shielded through her fabled mansion into the image itself to question whether she was hostage to her haunting or to national myth.
On the Basis of Art
A tribute to the impressive roster of women artists who have graduated from Yale University Celebrating the 150th anniversary of the first women students at Yale, who came to study at the Yale School of the Fine Arts (now Yale School of Art) when it opened in 1869, and the 50th anniversary of undergraduate coeducation at the University, this volume honors the accomplishments of women artist-graduates of Yale. More than 80 artists--including Rina Banerjee, Janet Fish, Audrey Flack, Eva Hesse, Maya Lin, Howardena Pindell, Sylvia Plimack Mangold, and Mickalene Thomas--are represented with works drawn exclusively from the Yale University Art Gallery. Essays and timelines detail related milestones such as the appointment of art historian Anne Coffin Hanson as the first woman to be hired as a full, tenured professor on campus and Mimi Gardner Gates as the first female director of the Gallery. Amid the rise of feminist movements--from women's suffrage to the #MeToo movement of today--this book asserts the crucial role women have played in pushing creative boundaries at Yale, and in the art world at large.
The Yorkshire Tea Ceremony
The remarkable collection of the UK's most prolific collector of postwar British studio pottery. In the latter half of the twentieth century, "professional Yorkshireman" W. A. Ismay (1910-2001) amassed over 3,600 pieces by more than 500 potters. Surrounded by his family of pots, he lived in a tiny terraced house in Wakefield, Yorkshire, and left his collection and its associated archive to the city of York upon his death. This eclectic group of works contains objects created by many of the most significant potters working in the United Kingdom, including Lucie Rie, Hans Coper, Bernard Leach, and Michael Cardew, as well as lesser-known makers. With new academic research into this little-studi...
Odyssey of Culture
This book is the first case study on Wenda Gu that systematically investigates the cultural and artistic context of his life and works, examining selected images of his artwork spanning from the late 1970s to the early 21st century. It is the first monograph to provide a comprehensive and profound study of a Chinese contemporary artist. In the 1980s, the School of Hermeneutics attempted to launch a discursive revolution. Vanguard artists believed that the visual art revolution was an integral part of the critique of culture because it tended to subvert and rebuild the cultural tradition at a discursive level. This book, using a case study on Wenda Gu as representative of Chinese avant-garde, investigates the centrality of culture in art, providing readers with insights on the origin, rationale and methodology of Chinese contemporary art.
