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Alternative Art, New York, 1965-1985
A sweeping history of the New York art scene during the 1960s, 1970s, and 1980s reveals a powerful "alternative" art culture that profoundly influenced the mainstream. Simultaneous. (Fine Arts)
In Part
Spanning more than three decades, In Part brings together a full spectrum of the New York-based artist, writer and activist Julie Ault's (born 1957) published texts through carefully selected extracts in a single volume. Reprinted in chronological sequence alongside a selection of full-length texts, this series of excerpts offers a timeline of Ault's continuous artistic growth, longstanding political concerns and dynamic interpersonal affinities. Beginning in the 1980s with texts written with her collaborators in Group Material, In Part highlights Ault's shift from exhibition making in the mid-1990s to include publishing and writing. Ault's dialogic practice extends to the present day through her sustained engagements and relationships with such artists as Corita Kent, Felix Gonzalez-Torres, Nancy Spero, Martin Beck, David Wojnarowicz, Liberace and Martin Wong. Lucy R. Lippard contributes an introduction.
Borne of Necessity
Essays by Carol Becker and Ron Platt. Foreword by Nancy Doll.
Show and Tell
Edited by Julie Ault. Essays by Doug Ashford, Julie Ault, Sabrina Locks, Tim Rollins.
Doug Ashford, Julie Ault, Group Material
1989 wurden die damaligen Mitglieder von Group Material – Doug Ashford, Julie Ault, Felix Gonzalez-Torres und Karen Ramspacher – von der MATRIX Gallery am Berkeley University Art Museum dazu eingeladen, sich mit dem Thema AIDS auseinanderzusetzen. Die Künstler trugen ihre Recherchen in einer nach Jahren strukturierten Übersicht über die Umstände zusammen, unter denen sich die Epidemie in eine nationale Krise gewandelt hatte. Untersucht wurden Ereignisse in den Bereichen Medizin, Politik und Statistik, Darstellungen von AIDS in den Medien und künstlerische Resonanzen. Die AIDS Timeline, die in diesem Notizbuch abgedruckt ist, informiert über die verbreitete Stigmatisierung von Menschen mit AIDS, dokumentiert den Einfluss, den Homophobie und Rassismus auf die Herausbildung der öffentlichen Ordnung ausüben und stellt dies in einem größeren gesellschaftspolitischen Zusammenhang. Doug Ashford (*1958) ist Künstler, Autor sowie assoziierter Professor an der Cooper Union for the Advancement of Science and Art in New York . Julie Ault (*1957) arbeitet als Künstlerin, Kuratorin, Herausgeberin und Autorin. Sprache: Deutsch/Englisch
Come Alive!
"Admired by Charles and Ray Eames, Buckminster Fuller and Saul Bass, Sister Corita Kent (1918-1986) was one of the most innovative and unusual pop artist of the 1960s, battling the political and religious establishments, revolutionizing graphic design and encouraging creativity of thousands of people--all while living and practicing as a Catholic nun in California. Mixing advertising slogans and poetry in her prints and commandeering nuns and students to help make ambitious installations, processions and banners, Sister Corita's work is now recognized as some of the most striking--and joyful--American art of the 60s. But, at the end of the decade and at the height of her fame and prodigious work rate, she left the convent where she had spent her adult life. Julie Ault's book ls the first to examine Corita's life and career, containing more than 90 illustrations, many reproduced for the first time, capturing the artist's use of vibrant and day-glo colors."--Page 4 of cover.
Self-organised
"Exploring one of the most influential methods of contemporary cultural production, Self-Organised takes a broad view on the matter. Artists, curators and critics discuss empirical and theoretical approaches from Europe, Africa and South and North America to how self-organisation today oscillates between the self and the group, self-imposed bureaucratisation and flexibilism, aestheticisation and activism. The contributors identify now as a crucial moment to propose ways forward for parallel initiatives and institutions alike: from de-organisation and waiting, to rupture and coexistence of aesthetics and politics. However, what they all seem to share is a refreshing search for critical platforms of citizenship, harnessing self-determination in the wake of neo-liberal mainstreaming and right-wing populism alike." --> z ov.
IMU UR2
This catalogue documents the collection of the artist Martin Wong. In numerous colour illustrations, photographs that Heinz Peter Knes took together with Danh Vo, the book depicts the interiors of the Wong Fie family residency in San Francisco filled with paintings, sculptures, and mulitfaceted objects from very specific and diverse fields of interest such as asian antiques and americana that Martin Wong followed and collected together with his parents throughout is life.0Exhibition: Galerie Buchholz, Berlin/Köln, Germany (2013). 0.
Saving Nature Under Socialism
When East Germany collapsed in 1989–1990, outside observers were shocked to learn the extent of environmental devastation that existed there. The communist dictatorship, however, had sought to confront environmental issues since at least the 1960s. Through an analysis of official and oppositional sources, Saving Nature Under Socialism complicates attitudes toward the environment in East Germany by tracing both domestic and transnational engagement with nature and pollution. The communist dictatorship limited opportunities for protest, so officials and activists looked abroad to countries such as Poland and West Germany for inspiration and support. Julia Ault outlines the evolution of environmental policy and protest in East Germany and shows how East Germans responded to local degradation as well as to an international moment of environmental reckoning in the 1970s and 1980s. The example of East Germany thus challenges and broadens our understanding of the 'greening' of post-war Europe, and illuminates a larger, central European understanding of connection across the Iron Curtain.
