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Carole Caroompas
None
Carole Caroompas
None
Carole Caroompas
None
Creating the Future
Conceived as a challenge to long–standing conventional wisdom, Creating the Future is a work of social history/cultural criticism that examines the premise that the progress of art in Los Angeles ceased during the 1970s—after the decline of the Ferus Gallery, the scattering of its stable of artists (Robert Irwin, Ed Kienholz, Ed Moses, Ed Rusha and others), and the economic struggles throughout the decade—and didn't resume until sometime around 1984 when Mark Tansey, Alison Saar, Judy Fiskin, Carrie Mae Weems, David Salle, Manuel Ocampo, among others became stars in an exploding art market. However, this is far from the reality of the L.A. art scene in the 1970s. The passing of those f...
With Pleasure
A timely and expansive survey of a groundbreaking American art movement that overturned aesthetic hierarchies in a riot of color and ornamentation The Pattern and Decoration movement emerged in the 1970s as an embrace of long-dismissed art forms associated with the decorative. Pioneering artists such as Miriam Schapiro (1923-2015), Joyce Kozloff (b. 1942), Robert Kushner (b. 1949), and others appropriated patterns, frequently from non-Western decorative arts, to produce intricate, often dizzying or gaudy designs in media ranging from painting, sculpture, and collage to ceramics, installation art, and performance. This dazzling book showcases an astonishing array of works by more than 40 arti...
A Theory of Parody
In this major study of a flexible and multifaceted mode of expression, Linda Hutcheon looks at works of modern literature, visual art, music, film, theater, and architecture to arrive at a comprehensive assessment of what parody is and what it does. Hutcheon identifies parody as one of the major forms of modern self-reflexivity, one that marks the intersection of invention and critique and offers an important mode of coming to terms with the texts and discourses of the past. Looking at works as diverse as Tom Stoppard's Rosenkrantz and Guildenstern Are Dead, Brian de Palma's Dressed to Kill, Woody Allen's Zelig, Karlheinz Stockhausen's Hymnen, James Joyce's Ulysses, and Magritte's This Is No...
Performance Anthology
Performance art is a major contemporary art form and California is recognized internationally as a pivotal area for innovative performance art activity. This updated edition of Performance Anthology offers an extraordinary documentation of California performance art from 1970 through 1989. The anthology provides a chronicle of the literature of artists' publications, art journals, major books, and catalogues; introductions and original essays by artists and leading historians and critics of performance art in California; and photographs illustrating major works by California artists. Through the documentation of the literature, a framework is established of the artists, events, organizations and spaces that have been instrumental in launching and sustaining the performance art scene in California.
Rethinking Bakhtin
The essays in Rethinking Bakhtin: Extensions and Challenges extend Bakhtin's concepts in important new directions and challenge Bakhtin's own use of his most cherished ideas. Four sets of paired essays explore the theory of parody, the relation of de Man's poetics to Bakhtin's dialogics, Bakhtin's approach to Tolstoy and ideological literature generally, and the dangers of dialogue, not only in practice but also as an ideal.
The Way to Be
A firsthand account of the life and work of Barbara T. Smith, one of the most important yet underrecognized performance artists in the United States. For over fifty years, Barbara T. Smith has been at the forefront of artistic movements in California. Her work across many mediums explores concepts that strike at the core of human nature, including sexuality, physical and spiritual sustenance, technology, and death. In this memoir, Smith weaves together descriptive accounts of her pioneering performances with an intimate narrative of her life. The Way to Be covers the years 1931 to 1981, up to the artist’s fiftieth birthday, resulting in an exhaustive catalogue of her early work. It reveals...
