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Karyn Olivier: Everything That's Alive Moves
Multimedia reveries on the power and rhetoric of public monuments and the persistence of the political past This publication documents the first solo museum exhibition of Philadelphia-based sculptor Karyn Olivier (born 1968), focusing on recent trajectories of her investigation into scale and public memory, particularly as activated for monuments and memorials. After several years developing a number of public commissions, and a year's study in Rome, Olivier revisited a handful of recent works alongside her first forays into video and sound, to consider the conflicted histories and unresolved spaces monuments too often shadow. Organized by the Institute of Contemporary Art, University of Pennsylvania, the exhibition traveled to the University at Buffalo Art Galleries. Exhibition images from the venues are accompanied by the full narrative text for Oliver's first video; an overview essay from ICA Daniel and Brett Sundheim Chief Curator Anthony Elms; UB Art Galleries curator Liz Park's in-depth consideration of Moving the Obelisk; and a critical assessment by art historian Andrianna Campbell-LaFleur.
The Failures of Public Art and Participation
This collection of original essays takes a multi-disciplinary approach to explore the theme of failure through the broad spectrum of public art and social practice. The anthology brings together practicing artists, curators, activists, art writers, administrators, planners, and educators from around the world to offer differing perspectives on the many facets of failure in commissioning, planning, producing, evaluating, and engaging communities in the continually evolving field of art in the public realm. As such, this book offers a survey of currently unexplored and interconnected thinking, and provides a much-needed critical voice to the commissioning of public and participatory arts. The volume includes case studies from the UK, the US, China, Cuba, and Denmark, as well as discussions of digital public art collections. The Failures of Public Art and Participation will be of interest for students and scholars of visual arts, design and architecture interested in how art in the public realm fits within social and political contexts.
The Art Life
"A collection of solicited and selected texts that address the philosophical and practical issues that affect art-making and the marketplace"--P. [4] of cover.
A to Z of Caribbean Art
A to Z of Caribbean Art is a visual overview of Caribbean art, from the beginning of the 20th century to now, and serves as a resource of information on some of the greatest artists of the region. Sequenced alphabetically, it mixes genres including drawing, painting, sculpture, photography, installation and performance. Each artist is represented by a page that shows a definitive work along with related specs, biographical details and a short text on their oeuvre. The artists come from the English-, Dutch-, French- and Spanish-speaking Caribbean; they include Hurvin Anderson, Sybil Atteck, Frank Bowling, Carlisle Chang, Renee Cox, Blue Curry, Annalee Davis, Peter Doig, John Dunkley, Embah, Joscelyn Gardner, Marlon Griffith, Nadia Huggins, Remy Jungerman, Wifredo Lam, Donald Locke, Hew Locke, Edna Manley, Tirzo Martha, Peter Minshall, Petrona Morrison, Chris Ofili, Karyn Olivier, Marcel Pinas, Sheena Rose, Jasmine Thomas-Girvan, Stacey Tyrell, Nari Ward, Barrington Watson and Aubrey Williams.
Studio
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Monument Lab
How to Build a Monument / Paul M. Farber -- Memorializing Philadelphia as a Place of Crisis and Boundless Hope / Ken Lum -- Public Practice / Jane Golden -- Tania Bruguera, Monument to New Immigrants -- Mel Chin, Two Me -- Kara Crombie, Sample Philly -- The Art of the Proposal: Reading the Monument Lab Open Data Set / Laurie Allen.
The Christianization of Knowledge in Late Antiquity
Bringing together ancient scholarly works and the manuscripts which carry them, this study presents a new way to answer the old question 'What does it mean for Rome to become Christian?'. It demonstrates that imperial Christianity changed not just what people believe, but how people think.
The Oxford Handbook of Sound Art
Sound art has long been resistant to its own definition. Emerging from a liminal space between movements of thought and practice in the twentieth century, sound art has often been described in terms of the things that it is understood to have left behind: a space between music, fine art, and performance. The Oxford Handbook of Sound Art surveys the practices, politics, and emerging frameworks of thought that now define this previously amorphous area of study. Throughout the Handbook, artists and thinkers explore the uses of sound in contemporary arts practice. Imbued with global perspectives, chapters are organized in six overarching themes of Space, Time, Things, Fabric, Senses and Relationality. Each theme represents a key area of development in the visual arts and music during the second half of the twentieth century from which sound art emerged. By offering a set of thematic frameworks through which to understand these themes, this Handbook situates constellations of disparate thought and practice into recognized centers of activity.
Contemporary
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Free Speech
In America we like to think we live in a land of liberty, where everyone can say whatever they want. Throughout our history, however, we have also been quick to censor people who offend or frighten us. We talk a good game about freedom of speech, then we turn around and deny it to others. In this brief but bracing book, historian Jonathan Zimmerman and Pulitzer Prize-winning cartoonist Signe Wilkinson tell the story of free speech in America: who established it, who has denounced it, and who has risen to its defense. They also make the case for why we should care about it today, when free speech is once again under attack.Across the political spectrum, Americans have demanded the suppression of ideas and images that allegedly threaten our nation. But the biggest danger to America comes not from speech but from censorship, which prevents us fromfreely governing ourselves. Free speech allows us to criticize our leaders. It lets us consume the art, film, and literature we prefer. And, perhaps most importantly, it allows minorities to challenge the oppression they suffer. While any of us are censored, none of us are free.
