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The Householders
How the poet Robert Duncan and the artist Jess made the household part of their separate and collaborative creative practice. “I'm a householder,” the poet Robert Duncan once explained. “My whole idea of being able to work was to have a household.” In this book, Tara McDowell examines the household (physical and conceptual) that Duncan established with the artist Jess, beginning in 1951 when the two men exchanged marriage vows, and ending with Duncan's death in 1988. For Duncan and Jess, the household—rather than the studio, gallery, or collective—provided the support structure for their art. Indeed, McDowell argues convincingly, their work was coextensive with their household. T...
Critical Landscapes
From Francis Alÿs and Ursula Biemann to Vivan Sundaram, Allora & Calzadilla, and the Center for Urban Pedagogy, some of the most compelling artists today are engaging with the politics of land use, including the growth of the global economy, climate change, sustainability, Occupy movements, and the privatization of public space. Their work pivots around a set of evolving questions: In what ways is land, formed over the course of geological time, also contemporary and formed by the conditions of the present? How might art contribute to the expansion of spatial and environmental justice? Editors Emily Eliza Scott and Kirsten Swenson bring together a range of international voices and artworks ...
Eat Your Mind
"The first full-scale authorized biography of the pioneering experimental novelist Kathy Acker, one of the most original and controversial figures in 20th-century American literature. Kathy Acker (1947-1997) was a rare and almost inconceivable thing: a celebrity experimental writer. Twenty-five years after her death, she remains one of the most original, shocking, and controversial artists of her era. The author of visionary, transgressive novels like Blood and Guts in High School; Empire of the Senses; and Pussy, King of Pirates, Acker wrote obsessively about the treachery of love, the limitations of language, and the possibility of revolution. She was notorious for her methods-collaging to...
Nervous Systems
The contributors to Nervous Systems reassess contemporary artists' and critics' engagement with social, political, biological, and other systems as a set of complex and relational parts: an approach commonly known as systems thinking. Demonstrating the continuing relevance of systems aesthetics within contemporary art, the contributors highlight the ways that artists adopt systems thinking to address political, social, and ecological anxieties. They cover a wide range of artists and topics, from the performances of the Argentinian collective the Rosario Group and the grid drawings of Charles Gaines to the video art of Singaporean artist Charles Lim and the mapping of global logistics infrastructures by contemporary artists like Hito Steyerl and Christoph Büchel. Together, the essays offer an expanded understanding of systems aesthetics in ways that affirm its importance beyond technological applications detached from cultural contexts. Contributors. Cristina Albu, Amanda Boetzkes, Brianne Cohen, Kris Cohen, Jaimey Hamilton Faris, Christine Filippone, Johanna Gosse, Francis Halsall, Judith Rodenbeck, Dawna Schuld, Luke Skrebowski, Timothy Stott, John Tyson
Moscow Conceptualism, 1975-1985
"At a time of intense political repression during the 1970s and '80s, the Moscow conceptualists offered vital new ways of thinking for artists in the USSR. Based on extensive original research and in-depth interviews with the original artists, Nicholas demonstrates how the work of these radical, unconventional artists challenged the Soviet authorities, official doctrine, and even other colleagues in the nonconformist art world. Offering a counter-narrative to the tradition of Socialist Realism that dominates Soviet art history, this book presents fascinating evidence of the importance of individual protest and demonstrates that socially-engaged art can be a powerful weapon for change in building a better world"--
Charting space
By the late 1960s cartographic formats and spatial information had become a regular feature in many conceptual artworks. This volume offers a rich study of conceptualisms’ mapping practices that includes more expanded forms of spatial representation. The book presents twelve in-depth case studies that address artists’ engagement with matters of space at a time when space was garnering new significance in art, theory and culture. The chapters shed fresh light on an evident ‘spatial turn’ that took place from the postwar to the contemporary period, revealing how it was influenced by larger historical, social and cultural contexts. In addition to raising questions about conceptualism’s relationship to the world, the contributors illustrate how artists’ cartographies served as critical sites for formulating their politics, upsetting prevailing systems and graphing new, heterogenous spaces.
The Routledge Handbook of CoFuturisms
The Routledge Handbook of CoFuturisms delivers a new, inclusive examination of science fiction, from close analyses of single texts to large-scale movements, providing readers with decolonized models of the future, including print, media, race, gender, and social justice. This comprehensive overview of the field explores representations of possible futures arising from non-Western cultures and ethnic histories that disrupt the “imperial gaze”. In four parts, The Routledge Handbook of CoFuturisms considers the look of futures from the margins, foregrounding the issues of Indigenous groups, racial, ethnic, religious, and sexual minorities, and any people whose stakes in the global order of envisioning futures are generally constrained due to the mechanics of our contemporary world. The book extends current discussions in the area, looking at cutting-edge developments in the discipline of science fiction and diverse futurisms as a whole. Offering a dynamic mix of approaches and expansive perspectives, this volume will appeal to academics and researchers seeking to orient their own interventions into broader contexts.
Mundos Alternos
Mundos Alternos looks at science fiction in the Americas through a transcultural perspective, grounded in an understanding of "Latinidad" expressed through shared hemispheric experiences in language, culture and visual expression. If a Latin American science fiction is said to exist, the texts in this volume interrogate where that Latin America, and its science-fiction imagination, might be located. In addition to focusing on specific regions in North, Central and South America, the book's essays cross time and space, illuminating Soviet influence in Cuba, the impact of American pop culture in Mexico and the cross-pollination of European avant-garde aesthetics in Brazil. Mundos Alternos will be an indispensable resource for contemporary art curators working on Latin America, science-fiction scholars interested in visual interpretations of the genre and readers interested in science fiction, art, Latin America and the diaspora.
The Routledge Companion to African American Art History
This Companion authoritatively points to the main areas of enquiry within the subject of African American art history. The first section examines how African American art has been constructed over the course of a century of published scholarship. The second section studies how African American art is and has been taught and researched in academia. The third part focuses on how African American art has been reflected in art galleries and museums. The final section opens up understandings of what we mean when we speak of African American art. This book will be of interest to graduate students, researchers, and professors and may be used in American art, African American art, visual culture, and culture classes.
Marie Bovo, "La Danse de l'Ours"
Publié à l'occasion des expositions de Marie Bovo ± La Danse de l'ours » au FRAC Provence-Alpes-Côte d'Azur, Marseille, et ± Alger » à OSL contemporary, Oslo, en 2015. 00Un ours danse enchaîné dans une cage à Mychkine (ville de Russie), tandis que des vêtements, des objets, des tapis décrivent les mouvements énigmatiques d'un campement de Roms à Marseille. L'espace est violent. Cela tient à ce que les photographies, les films qui composent l'exposition montrent toujours des espaces entrechoqués. Les traversées photographiques de Marie Bovo narrent des ± histoires d'ailleurs », proches et lointaines qui semblent échapper à la mondialisation des flux et des échanges. Cette juste distance, bien peu sont parvenus à la trouver, ni trop loin, ni trop proche, toute l'œuvre photographique et vidéo de Marie Bovo peut se lire comme une pensée de l'altérité où le voyage ne souffre d'aucun désir d'exotisme mais résonne comme une véritable expérience de vie.
