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The Annotated Reader
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Post-Butt
OH MY GOD, LOOK AT HeR BUTT! Post-Butt ponders the virality of images in our mediated society. More rounded, it is a case study around the image of female butts, booties, and behinds and their influence in media, society, and art. The butt has become the protagonist of mass-mediated cullture. One can say that it is the democratic sex organ par excellence. The phenomenon of bootyfication exists in many contexts, as varied as the exploitation of the body in colonialism to 90s hip-hop culture. Post-Butt goes through different periods in time to analyze the political meaning behind the obsession with the image of the female buttocks and to discuss the role of the booty in varied cultural expressions such as film, Internet art, music videos, dance, and plastic surgery. Deep inside, Post-butt aims to reflect on how our society is conditioned by viral images that do not only exist in the digital context, but also have deep consequences on our physical world. featuring images of eminem, nicki Minaj, Guy Debord, Beyonce, Kara Walker, Josefine Baker, and Kim Kardashian, among many more bootyful others!
Exercises in Seating
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The 71F Advantage
Includes a foreword by Major General David A. Rubenstein. From the editor: "71F, or "71 Foxtrot," is the AOC (area of concentration) code assigned by the U.S. Army to the specialty of Research Psychology. Qualifying as an Army research psychologist requires, first of all, a Ph.D. from a research (not clinical) intensive graduate psychology program. Due to their advanced education, research psychologists receive a direct commission as Army officers in the Medical Service Corps at the rank of captain. In terms of numbers, the 71F AOC is a small one, with only 25 to 30 officers serving in any given year. However, the 71F impact is much bigger than this small cadre suggests. Army research psycho...
Conceptual Art
This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the conceptual art movement. Compared to other avant-garde movements that emerged in the 1960s, conceptual art has received relatively little serious attention by art historians and critics of the past twenty-five years—in part because of the difficult, intellectual nature of the art. This lack of attention is particularly striking given the tremendous influence of conceptual art on the art of the last fifteen years, on critical discussion surrounding postmodernism, and on the use of theory by artists, curators, critics, and historians. This landmark anthology collect...
Poems that Do Not Go Together
Jimmie Durham (born 1940) is a Cherokee poet, sculptor, essayist and a visual artist who has been making and exhibiting work since 1963. The cultural and political uses of material, objects and space have been central to his practice, and his career has deftly bridged the space between art and activism. His collected poems, Columbus Day, was published by West End Press in 1983. Beautifully produced, Poems That Do Not Go Together is the second part of his collected poems, containing 41 pieces written between 1966 and 2012. Full of puns, jokes, sad stories, political outrage and bitter reflections on the plight of Natives, it elucidates the animating energies behind Durham's half-century-long career with clarity and volume.
Kiss My Genders
Kiss My Genders celebrates the work of more than 20 international artists whose practices explore and engage with gender fluidity, as well as non-binary, trans and intersex identities.Featuring works from the late 1960s and early 1970s through to the present, and focusing on artists who draw on their own experiences to create content and forms that challenge accepted or stable definitions of gender.Working across painting, immersive installations, sculpture, text, photography and film, many of these artists treat the body as a sculpture, and in doing so open up new possibilities for gender, beauty, and representations of the human form.This publication includes texts from writers, theorists,...
History Rising
History Rising is an engaging study of museum display. Viewers and participants are invited to reconsider their view of history by looking at the mechanisms museums put in place to create a sense of order and hierarchy within their collections. By distancing museum objects from their support structures History Rising forms a critique of the assumptions that are made about how things are positioned, who chooses to display them, and how the social, political and aesthetic choices that are made in the process dictate the language of display. Dijkman's newly produced sculptures propose strange and fantastical juxtapositions, alleviate objects from the weight of history and create links with modernism, the heritage industry and the aesthetics of sci-fi.
