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The Future Is Present
A critical history of the pioneering art and technology group Mobile Image and their prescient work in communications, networking, and information systems. In The Future Is Present, Philip Glahn and Cary Levine tell the fascinating history of the visionary art group Mobile Image—founded by Kit Galloway and Sherrie Rabinowitz in 1977—which appropriated emerging technologies, from satellites to electronic message platforms. Based in Los Angeles, this under-studied collective worked amid urban crisis, a techno-boom, consolidating media power, and ascendant neoliberal politics. Mobile Image challenged fundamental conventions of the public sphere, democracy, communication, and political parti...
Pay for Your Pleasures
Focuses on work by the three artists from the 1970s through the 1990s. Examines their participation in subcultural music scenes and discovers a common political strategy which lead them to create strange and unseemly imates that test the limites of art, gender roles, sex, acceptable behavior, poor taste, and the gag reflex.
The Tale of Mark Levine
As his plane touches down in Fort-de-France, Martinique, Mark Levine, thirty-five, single, professor of law at New York University, resident of the Manhattans Upper West Side, modern orthodox Jew, semi-famous novelist, cynical judge of other people, malcontent, nonconformist, and closet drunk decides to kill his ex-fiances mother. He has ten days to plan it. Instead, on the accidental getaway with old pal Raphael TaharJerusalem police officer, buddy from university days past and obnoxious master of fornicationMark Levine meets 'Monica', an exquisite dancer who sports that Club Caribe tag. The mystical fog that wraps her inspires Mark to write his first fresh work in three years. On his final...
Slant Steps
Slant Steps explores the vital role of the semi-periphery—artistic communities working between the provinces and the metropole. Premised on the collective fascination with the found object Slant Step, the book details a history of encounters among artists, filmmakers, critics, and others operating in and out of the Bay Area during the long 1960s. They revised the terms of the counterculture, the appeal of consumer goods, and the surfaces and materials of industrial design and contemporary sculpture. Whether extending to international exchanges or shrinking to local coteries, these circles helped develop process, funk, and conceptual art as they forged new directions for the art world and its members. Yet when these groups degraded their own works alongside those of their rivals, they made their political and aesthetic commitments difficult to decipher, reorganizing the ties between the visual arts and the New Left. Merging sociologies of art with the tradition of social art history, Jacob Stewart-Halevy uncovers the oblique perspectives and values of the semi-periphery, revealing its enduring impact upon contemporary art, above all in the field of pedagogy.
If the Face Had Wheels
KEYNOTE: Offering the first comprehensive look at one of the most exciting young artist working today, this book presents a decade-long survey of Dana Schutz's work. Dana Schutz plumbs the depths of humour and horror, fantasy and reality in her colourful, expressive paintings. This exhibition catalogue features paintings and drawings created by Schutz since 2001. Each of her wildly inventive series is represented, beginning with Frank as a Proboscis Monkey, which wittily depicts the last man on earth, to her current Verb paintings, in which a woman attempts to perform three incongruous activities at once. Schutz's commentary on twenty-first-century politics, celebrity, religion and mores is ...
Beyond the Aesthetic and the Anti-Aesthetic
Each of the five volumes in the Stone Art Theory Institutes series, and the seminars on which they are based, brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This fourth volume in the series, Beyond the Aesthetic and the Anti-Aesthetic, focuses on questions revolving around the concepts of the aesthetic, the anti-aesthetic, and the political. The book is about the fact that now, almost thirty years after Hal Foster defined the anti-aesthetic, there is still no viable alternative to the dichotomy between ...
Aaron Copland's Appalachian Spring
A commission and its context -- The creation of a dance piece -- Appalachian spring performed -- Americana between war and peace -- An American icon
Africa in the American Imagination
In the American world, the presence of African culture is sometimes fully embodied and sometimes leaves only a trace. Africa in the American Imagination: Popular Culture, Racialized Identities, and African Visual Culture explores this presence, examining Mattel's world of Barbie, the 1996 Sports Illustrated swimsuit issue, and Disney World, each of which repackages African visual culture for consumers. Because these cultural icons permeate American life, they represent the broader U.S. culture and its relationship to African culture. This study integrates approaches from art history and visual culture studies with those from culture, race, and popular culture studies to analyze this intercha...
2048
Creating an enforceable international guarantee of basic human rights Outlines the basics of a universally acceptable agreement Shows what everyone can do to make this agreement a reality In 1948 the United Nations General Assembly adopted the Universal Declaration of Human Rights, a deeply inspiring document that has been translated into over 300 languages and dialects. But because its provisions are not enforceable, its promise has not been fulfilled. Human rights violations continue in every corner of the globe, the cause of countless individual tragedies as well as large-scale disasters like war, poverty and environmental ruin. It’s time to take the next step. 2048 sets out a visionary...
Permission to Laugh
Permission to Laugh explores the work of three generations of German artists who, beginning in the 1960s, turned to jokes and wit in an effort to confront complex questions regarding German politics and history. Gregory H. Williams highlights six of them—Martin Kippenberger, Isa Genzken, Rosemarie Trockel, Albert Oehlen, Georg Herold, and Werner Büttner—who came of age in the mid-1970s in the art scenes of West Berlin, Cologne, and Hamburg. Williams argues that each employed a distinctive brand of humor that responded to the period of political apathy that followed a decade of intense political ferment in West Germany. Situating these artists between the politically motivated art of 196...
