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Sculpture and the Vitrine
Vitrines and glass cabinets are familiar apparatuses that have in large part defined modern modes of display and visibility, both within and beyond the museum. They separate objects from their contexts, group them with other objects, both similar and dissimilar, and often serve to reinforce their intrinsic or aesthetic values. The vitrine has much in common with the picture frame, the plinth and the gallery, but it has not yet received the kind of detailed art historical and theoretical discussion that has been brought to these other modes of formal display. The twelve contributions to this volume examine some of the points of origin of the vitrine and the various relations it brokers with s...
Invisible Colors
In one of his sparkling aphorisms on the end of 'optical' art, Marcel Duchamp suggested that the title of an artwork was an 'invisible color'. John Welchman now offers the first critical history of how and why modern artworks receive their titles. He shows that titles were seldom produced and can rarely be understood outside of the institutional parameters that made them visible - exhibitions, criticism, catalogues, and even national politics.
Art After Appropriation
Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subj...
Foul Perfection
Critical writings and commentary by the Los Angeles based artist Mike Kelley. The work of artist Mike Kelley (b. 1954) embraces performance, installation, drawing, painting, video, and sculpture. Drawing distinctively on high art and vernacular traditions, including historical research, popular culture, and psychology, Kelley came to prominence in the 1980s with a series of sculptures composed of craft materials. His recent work offers dialogues with architecture and with repressed memory syndrome, and a sustained inquiry into his own aesthetic and social history. The subjects on which Kelley has written are as varied as his artistic media. They include the work of fellow artists, sound, car...
John Welchman
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Royal Book Lodge
After more than 30 years of activity by the Royal Book Lodge (RBL), renowned art historian John C. Welchman provides the first study of this project that generated a loose network of international artists. He examines the history and artistic practices of RBL?s collaborations, which produced a variety of intermedial experiments around the artist?s books, including photography, ceramics, writing, and publications. Against the backdrop of the diverse cultural and political geographies of those involved, narratives of migration and travels around the world ? some artistically inspired ? unfold in the volume. Welchman takes up central themes of RBL, such as biographical construction, fiction, an...
Mike Kelley
In a survey of Californian-based artist Mike Kelly, the author of this volume discusses with the artist his various aesthetic and symbolic strategies in both the American and In European contexts. Kelly's work is considered in the context of his anti-art predecessors since Dada and chronicles all of Kelly's work, from his earliest performances in the late 1970s to his large sculptural installations in the 1990s.
The Jurist
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Institutional Critique and After
« Institutional critique and after explores the history and contemporary reassessment of the Institutional Critique movement lauched in the late 1960s, redeveloped in the 1980s, and vigorously reoriented in recent years to address issues such as globalization. In this publication, the histories, theories, diverse locations, and different kinds of institutional alternative space are investigated, looking at traditional forms of art but also at installation, performance, new media practices, and cultural activism. Its central questions turn on the critical potential of art (and institutions) and whether–and if so how–they can stimulate social or political change. »--
On the Beyond
Der neue Band aus der Reihe "Art and Architecture in Discussion" prasentiert zwei international bekannte Kunstler aus Los Angeles. Die Konversation zwischen Mike Kelley und Jim Shaw ist ausgerichtet am gemeinsamen, starken Interesse am Transzendenten, Spirituellen oder auch am Jenseitigen. Mike Kelley arbeitet seit den 1970er Jahren an diesen Themen. Jim Shaws Arbeiten dazu begannen 1992 und fuhrten zur Erfindung eines kompletten Religionssystems. Das Gesprach leitet John Welchman, Kunsthistoriker und Kenner der Arbeiten Mike Kelleys und Jim Shaws."
