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My Cocaine Museum
In this book, a make-believe cocaine museum becomes a vantage point from which to assess the lives of Afro-Colombian gold miners drawn into the dangerous world of cocaine production in the rain forest of Colombia's Pacific Coast. Although modeled on the famous Gold Museum in Colombia's central bank, the Banco de la República, Taussig's museum is also a parody aimed at the museum's failure to acknowledge the African slaves who mined the country's wealth for almost four hundred years. Combining natural history with political history in a filmic, montage style, Taussig deploys the show-and-tell modality of a museum to engage with the inner life of heat, rain, stone, and swamp, no less than with the life of gold and cocaine. This effort to find a poetry of words becoming things is brought to a head by the explosive qualities of those sublime fetishes of evil beauty, gold and cocaine. At its core, Taussig's museum is about the lure of forbidden things, charged substances that transgress moral codes, the distinctions we use to make sense of the world, and above all the conventional way we write stories.
Historical Turns
Historical Turns reassesses Weimar cinema in light of the "crisis of historicism" widely diagnosed by German philosophers in the early twentieth century. Through bold new analyses of five legendary works of German silent cinema—The Cabinet of Dr. Caligari, Destiny, Rhythm 21, The Holy Mountain, and Metropolis—Nicholas Baer argues that films of the Weimar Republic lent vivid expression to the crisis of historical thinking. With their experiments in cinematic form and style, these modernist films revealed the capacity of the medium to engage with fundamental questions about the philosophy of history. Reconstructing the debates over historicism that unfolded during the initial decades of moving-image culture, Historical Turns proposes a more reflexive mode of historiography and expands the field of film and media philosophy. The book excavates a rich archive of ideas that illuminate our own moment of rapid media transformation and political, economic, and environmental crises around the globe.
Screen Nazis
From the late 1930s to the early twenty-first century, European and American filmmakers have displayed an enduring fascination with Nazi leaders, rituals, and symbols, making scores of films from Confessions of a Nazi Spy (1939) and Watch on the Rhine (1943) through Des Teufels General (The Devil’s General, 1955) and Pasqualino settebellezze (Seven Beauties, 1975), up to Der Untergang (Downfall, 2004), Inglourious Basterds (2009), and beyond. Probing the emotional sources and effects of this fascination, Sabine Hake looks at the historical relationship between film and fascism and its far-reaching implications for mass culture, media society, and political life. In confronting the specter ...
Turks, Jews, and Other Germans in Contemporary Art
The first book to examine multicultural visual art in Germany, discussing more than thirty contemporary artists and arguing for a cosmopolitan Germanness. With Turks, Jews, and Other Germans in Contemporary Art, Peter Chametzky presents a view of visual culture in Germany that leaves behind the usual suspects--those artists who dominate discussions of contemporary German art, including Gerhard Richter, Anselm Kiefer, and Rosemarie Trockel--and instead turns to those artists not as well known outside Germany, including Maziar Moradi, Hito Steyerl, and Tanya Ury. In this first book-length examination of Germany's multicultural art scene, Chametzky explores the work of more than thirty German a...
First Exposures
An exact date for the invention of photography is evasive. Scientists and amateurs alike were working on a variety of photographic processes for much of the early nineteenth century. Thus most historians refer to the year 1839 as the “first” year of photography, not because the sensational new medium was invented then, but because that is the year it was introduced to the world. After more than 175 years, and for the first time in English, First Exposures: Writings from the Beginning of Photography brings together more than 130 primary sources from that very year—1839—subdivided into ten chapters and accompanied by fifty-three images of significant visual and historical importance. T...
Doubt
In an age where art history’s questions are now expected to receive answers, Richard Shiff presents a challenging alternative - embracing doubt as a critical tool and asking how particular histories of art have come to be.
The Implied Author
This book addresses itself to the concept of the implied author, which has been the cause of controversy in cultural studies for some fifty years. The opening chapters examine the introduction of the concept in Wayne C. Booth’s "Rhetoric of Fiction" and the discussion of the concept in narratology and in the theory and practice of interpretation. The final chapter develops proposals for clarifying or replacing the concept.
The Schirn Ring - Peter Halley
Already 30 years ago, Peter Halley (*1953) was far ahead of his time. With his 'Prison' and 'Cell' paintings, he manifested the reasoning, interdependencies and organizational forms of the artwork and the social space. Since the 1980s, Peter Halley examines in his geometrical abstract painting and site-specific installations the spatial as well as communication and organizational structures that dominate everyday life. In today's world, where our lives are influenced and modified by algorithms of the digital industry and by the surface appeal of the media world, we find ourselves, as it were, amidst a Halley-ian composition. In an installation exclusively developed for the free accessible Ro...
Konfigurationen des Erhabenen
Das Buch ist der Wiederentdeckung des Erhabenen– der neben dem Schönen wichtigsten ästhetischen Kategorie des 18. Jahrhunderts– in zeitgenössischer Literatur gewidmet. Aufgezeigt wird, inwiefern bei Handke, Ransmayr, Strauß und Schrott von einer Poetik des Erhabenen gesprochen werden kann und wie sich diese zu den Theorien von Kant, Schiller, Jean-François Lyotard, Martin Seel u.a. positioniert.
Queer Curating - Zum Moment kuratorischer Störung
Dieses Buch ist für alle, die mutig genug sind, sich selbst und das Zeigen von Kunst zu stören. Beatrice Miersch entwirft radikal-relationale Alternativen zu zeitgenössischen Ausstellungspraktiken. Um sich der gesellschaftlichen Verantwortung im Rahmen des Ausstellens von Kunst zu stellen, erprobt sie queer-feministische, kulturwissenschaftliche und selbstreflektierende Methoden in der Praxis und Theorie des Kuratierens. Momente kuratorischer Störung werden zu produktiv-schöpferischen Momenten der Unterbrechung, mit denen sie reflektierte, offene, engagierte und vulnerable Perspektiven auf das Ausstellen eröffnet und tradierte Strukturen durchbricht.
