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Witness to Her Art
Foreword by Tom Eccles. Edited by Rhea Anastas, Michael Brenson. Text by Keith Piper, Kara Walker, Daniela Rossell, Mona Hatoum, Cady Noland, Jenny Holzer, Rhea Anastas, Michael Brenson, Norton Batkin, Joanna Burton, Aruna d'Souza, Pamela Franks, Janet Kraynak, David Levi Strauss, Cuauhtemoc Medina, Ann Reynolds, Hamza Walker.
THE CLIP-ON METHOD
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Theorising the Artist Interview
Reflecting on the relationship between artists and their audiences, this book examines how artists have presented themselves publicly through interviews and sought to establish a critical voice for themselves. Considering the interview as a form of cultural production, contributors explore the criteria for determining the artist interview as a distinct field of research in relation to other cultural fields. Structured in four parts, ‘History and Historiography’, ‘Subverting the Biographical Model’, ‘Interviews as Practice’ and ‘Materiality and Technology’, the book takes an interdisciplinary approach that encompasses the fields of art history, fine art, oral history, curating, media studies and museum conservation. By theorising the artist interview as a form of cultural production and embracing it as a co-constructed critical practice, this volume aims to show and encourage an approach to art history which dismantles old hierarchies in favour of valuing dialogue and collaboration. The book will be of interest to scholars working in art history, museum studies, oral history and historiography.
Slideshow
Since the 1960s, an international group of artists has embraced slide projection as a dynamic alternative to the tradition of painting, blending aspects of photography, film, and installation art. Slide Show is the first in-depth examination of how slides evolved into one of the most exciting art forms of our time. Essays by leading scholars and 200 color illustrations provide visual, historical, and critical insight into this unique medium.
The Enjoyment of Photography
In photographic works that encompass the full range of the medium's historical and current genres, styles, and techniques, but also through sculpture and writing, the Berlin- and London-based artist Josephine Pryde (born 1967 in Alnwick, Northumberland, UK) offers incisive, often ironic, and provocative commentary on the values, hierarchies, and economies subtending the field of contemporary art against the backdrop of larger societal shifts. Estranging the familiar or conversely expressing the common in a radically unforeseen manner, Pryde's ingenuous choice of subject matter, unusual formal solutions and surprising juxtapositions continue to capture international exhibition audiences.
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...
The Experience Machine
An argument that the collaborative multimedia projects produced by Stan VanDerBeek in the 1960s and 1970s anticipate contemporary new media and participatory art practices. In 1965, the experimental filmmaker Stan VanDerBeek (1927–1984) unveiled his Movie-Drome, made from the repurposed top of a grain silo. VanDerBeek envisioned Movie-Drome as the prototype for a communications system—a global network of Movie-Dromes linked to orbiting satellites that would store and transmit images. With networked two-way communication, Movie-Dromes were meant to ameliorate technology's alienating impulse. In The Experience Machine, Gloria Sutton views VanDerBeek—known mostly for his experimental anim...
Argentine, Mexican, and Guatemalan Photography
One of the important cultural responses to political and sociohistorical events in Latin America is a resurgence of urban photography, which typically blends high art and social documentary. But unlike other forms of cultural production in Latin America, photography has received relatively little sustained critical analysis. This pioneering book offers one of the first in-depth investigations of the complex and extensive history of gendered perspectives in Latin American photography through studies of works from Argentina, Mexico, and Guatemala. David William Foster examines the work of photographers ranging from the internationally acclaimed artists Graciela Iturbide, Pedro Meyer, and Marco...
Automotive Prosthetic
In the twenty-first century, we are continually confronted with the existential side of technology—the relationships between identity and the mechanizations that have become extensions of the self. Focusing on one of humanity’s most ubiquitous machines, Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art combines critical theory and new media theory to form the first philosophical analysis of the car within works of conceptual art. These works are broadly defined to encompass a wide range of creative expressions, particularly in car-based conceptual art by both older, established artists and younger, emerging artists, including Ed Ruscha, Martha Rosler, Richard P...
Trauma and Visuality in Modernity
Essays exploring the role of trauma in modern art.
