History of art Books

Book SynopsisThe relationship between John Abbot and William Swainson - who never met in person - is explored in this volume. The book also showcases, for the first time, the complete set of original, full-color illustrations discovered in 1977 in the Alexander Turnbull Library in Wellington, New Zealand.Trade Review“This beautifully illustrated work represents the 19th-century collaboration between two artist-naturalists, John Abbot (1751–c.1840) and William Swainson (1789–1855). This complete set of Abbot’s original, full-color drawings includes beetles, grasshoppers, butterflies, and moths. It should delight naturalists, artists, and historians of science.”- CHOICE;“I believe this work, by including reproductions of 104 drawings, will add substantively to the limited information available to the public about Abbot and his devotion to entomology during the early part of the ‘golden age’ of natural history.”- Gary R. Mullen, coeditor of Philip Henry Gosse’s Letters from Alabama: Chiefly Relating to Natural History;“A panoply of winged insects comes brilliantly to life in Janice Neri’s studious account of John Abbott’s never-before-published entomological drawings. Their global journey—from the tidewaters of Georgia to the windy shores of Wellington—reveals a naturalist’s world that is as interconnected as it is fragile and fleeting, like the delicate wings of a rare butterfly, observed for a moment until it flies away.”- Neil Safier, director and librarian, John Carter Brown Library;“Janice Neri’s keen eye for beautiful images that illuminate the entwinement of art and science is alive in this analysis of a much-traveled and hitherto unstudied set of watercolors. These images depict some of the most perplexing subjects of natural history—the life cycles and metamorphoses of insects, matters at the heart of the study of nature for centuries. Her sensitive historical account of the people and places that gave rise to this investigation and produced these images takes us back to a time when natural history could be a business, a mark of gentility and status, and a type of knowledge that promised an escape from such human structures. Thanks to Nummedal and Calhoun, Neri’s voice emerges loud and clear from this intelligent and informative account.”- Pamela H. Smith, author of The Business of Alchemy: Science and Culture in the Holy Roman Empire and The Body of the Artisan: Art and Experience in the Scientific Revolution

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Book SynopsisExamines the relationship between war painting and collective memory in Australia, Austria, Belgium, Canada, Croatia, France, Germany, Great Britain, New Zealand, Russia, Serbia, Turkey, and the United States. The paintings discussed vary tremendously, ranging from public murals and panoramas to works on a far more intimate scale.Trade ReviewPortraits of Remembrance is a welcome addition to scholarship on commemoration and memory of the First World War." - Pearl James, author of The New Death: American Modernism and World War ITable of Contents List of Illustrations Acknowledgments Introduction Painting, Memory, and the First World War Margaret Hutchison and Steven Trout Chapter 1. En Souvenir: Albert Herter's Le DÉpart des Poilus, at Paris-Est Mark Levitch Chapter 2. Romaine Brooks's La France CroisÉe: Allegory, Androgyny, and Appropriation Elizabeth Richards Rivenbark 000 Chapter 3. A “rush frÉnÉtique”: Representation, Memory, and Georges Scott's La Brigade Marine AmÉricaine au Bois de Belleau Steven Trout Chapter 4. An Ambivalent Patriot: Namik Ismail, the First World War, and the Politics of Remembrance in Turkey Gizem Tongo Chapter 5. Albin Egger-Lienz's Die Namenlosen 1914: Vienna Painters and the Great War Philip D. Beidler Chapter 6. Russia, Memory, and the Great War: Kuzma Petrov-Vodkin's In the Line of Fire Andrew M. Nedd Chapter 7. The Canadians Opposite Lens: Augustus John's Unfinished First World War Canadian Masterpiece Laura Brandon Chapter 8. Sacrifice, Grief, and National Memory in George Edmund Butler's Butte de Polygon Caroline Lord Chapter 9. Gatekeeper of Memory: The Australian War Memorial and Charles Bryant's HMAS Australia on the Way to Her Doom Margaret Hutchison Chapter 10. Fortunino Matania's Goodbye, Old Man Marguerite Helmers Chapter 11. James Clark's The Great Sacrifice Peter Harrington Chapter 12. Maksimilijan Vanka's Our Mothers and the Croatian Memory of the First World War Heidi A. Cook Chapter 13. Der Krieg: Otto Dix's War Triptych, Memory, and the Perception of the First World War Martin Bayer Chapter 14. From Propaganda to Remembrance: Alfred Bastien's The Panorama of the Yser Battle Sandrine Smets Afterword Jay Winter Bibliography Contributors Index

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Book SynopsisRock-art provides a record of human activity and ideology at particular sites. This text brings together 20 papers from research at sites in eastern North America. Discussions include the history, ethnography, recording methods, dating, and analysis of the subject sites and integrate these with the known archaeological data.Trade ReviewAnyone with an interest in rock-art must own this book! - F. Kent Reilly III, Southwest Texas State University

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Book SynopsisCompiling the data from early documents and public and private collections, this title remind us that the statuary should not be viewed in isolation, but rather as regional expressions of a much broader body of art, ritual, and belief. It also includes examples of southeastern Mississippian stone statuary, dating as far back as 1,000 years ago.

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Book SynopsisAvailable for the first time in English, Maroons in Guyane reviews the history of Maroon peoples in Guyane, explains how these groups differ from one another, and analyses their current situations in the bustling, multicultural world of this far-flung outpost of the French Republic.

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Book SynopsisBefore he joined the staff of Punch and designed its iconic front cover, illustrator Richard “Dicky” Doyle was a young man whose father (political caricaturist John Doyle) charged him with sending a weekly letter, even though they lived under the same roof.Trade Review“This beautifully presented book contains for the first time the complete series of fifty-three illustrated letters written to his father by Richard Doyle, the ‘precocious boy’ who would become famous for his Punch drawings […] Their reproduction here in all their elusive detail, scrupulously annotated by the editor, is both pleasurable and educative.” * Times Literary Supplement *“Across more than 300 pages of archival material, analysis, and annotation, Scott takes us back to early 1840s England via the prose and art of Doyle himself and the incisive scholarship of a standout professor of English literature and Victorian culture. The result is a triumph for the editor and his publishers and a boon for students of Victorian Studies. Great service has thus been done to a still under-appreciated artist, his world, and the remarkable dynasty of illustrators, cartoonists, satirists, and scholars, to which he belonged.…The volume helps to reaffirm what David Kunzle suggested over two decades ago (in The History of the Comic Strip, Volume 2: The Nineteenth Century): that the modern comic strip and the graphic novel originate from the unpublished work of artists like Doyle, who experimented with text and image in new and innovative ways.” * Review 19 *“In recovering the fascinating illustrated letters that Richard Doyle wrote to his father leading up to the work with Punch, Grant Scott gives us access to both the visual virtuosity and the psychological depth of one of the most brilliant and inventive of Victorian graphic artists.”“Scott’s collection of illustrated letters from the hand of Richard Doyle, the fascinating but neglected contributor to Punch magazine, are a goldmine. Accompanied by an excellent editorial apparatus, the letters provide a revealing glimpse into the lives of a Victorian family steeped in the arts in the early 1840s.”

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Book SynopsisLate nineteenth-century Britain experienced an unprecedented explosion of visual print culture and a simultaneous rise in literacy across social classes. New printing technologies facilitated quick and cheap dissemination of images—illustrated books, periodicals, cartoons, comics, and ephemera—to a mass readership.Trade Review“Drawing on the Victorians is a singularly diverse and multinational collection, a fine critical embodiment of the palimpsest trope that stands … at its conceptual core.“ * Victorian Studies *“Jones and Mitchell’s innovative and pioneering collection will establish new areas of scholarly debate. Moreover, its focus on ‘stories and poems, books and periodicals, comics, cartoons, and other ephemera’ will enrich discussions on the interplay between the production and reception of Victorian and neo-Victorian graphic texts and textual images.” * Neo-Victorian Studies *“Stunningly transnational … The editors take the notion of the palimpsest as their conceptual frame because it speaks to haunting of one text and/or image by another, a layering, they assert, that becomes particularly complex when linguistic, geographic, historical, and temporal boundaries are crossed.”“Research in Victorian and neo-Victorian visual and verbal art receives a welcome boost from this collection. Not claiming to be a definitive map or theory, it nonetheless at every point opens up new questions for debate and new topics for investigation by future critics and scholars.”“This pioneering work in illustration studies will provide a necessary starting point for future work in the field.”

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Book SynopsisFrom 1952 to 1981, South Africa's apartheid government ran an art school for the training of African art teachers at Indaleni, in what is today KwaZulu-Natal. The Art of Life in South Africa is the story of the students, teachers, art, and politics that circulated through a small school, housed in a remote former mission station. It is the story of a community that made its way through the travails of white supremacist South Africa and demonstrates how the art students and teachers made together became the art of their lives.Daniel Magaziner radically reframes apartheid-era South African history. Against the dominant narrative of apartheid oppression and black resistance, as well as recent scholarship that explores violence, criminality, and the hopeless entanglements of the apartheid state, this book focuses instead on a small group's efforts to fashion more fulfilling lives for its members and their community through the ironic medium of the apartheid-era school.There Trade Review“Daniel Magaziner tells a profoundly human story of the institutional and social constraints under which African artists operated and the different ways in which they sought to find a way to produce beauty in the midst of oppression.”“Ultimately, Magaziner reflects that approaching the history of complex and compromised communities like Ndaleni through the overarching nationalist frame of the South African liberation struggle does not allow enough space for difficult, nuanced, and fragile realities to surface.…Magaziner's carefully wrought study provides insights into the impetuses and negotiations, features and weaknesses, of a highly constrained, imbalanced, and charged setting.…The extended nature of the study does require a little stamina, but its achievement in being theoretically rich and sensitively argued more than sustains the reader. Its liberal incorporation of photographs (over a hundred), mostly of former students' artwork, not only vivifies the study, but is a valuable act of archival recuperation.” * Canadian Journal of History *“The Art of Life in South Africa is a richly suggestive and moving contribution to South African intellectual history. Weaving in a highly imaginative way the two concepts of life and art, Magaziner opens unique pathways for research in the historical sociology of the object-worlds South Africans invented, created and inhabited during the long twentieth-century. Written with extraordinary clarity and precision, this book will appeal to anyone curious about new trends in the historiography of culture.”“The Art of Life is an impressive work that is sure to become a basic text in the field of African cultural history. Ndaleni will no longer be forgotten.” * African Studies Review *“The Art of Life in South Africa contributes to a global conversation about ‘art’ and ‘craft’at the same time as it challenges neat distinctions between center and periphery, metropole and margins. Art education provides rich terrain through which the entangled relations of modernity, subjectivity, and materiality can be explored. This book is as important for students of global modernism as it is for scholars of South African art, history and politics.”“The Art of Life in South Africa is beautifully rendered, well researched, and tells an important, scarcely told story. Combining in exciting ways intellectual, cultural, and social historical approaches, Magaziner offers a meditation on what happens if we examine a past that is shaped by broader historical forces (in this case apartheid) but that cannot be reduced to them.”“In this beautifully written book, Dan Magaziner opens a small story to reveal expansive, deep questions. The Art of Life in South Africa offers an unexpected and transcendent intellectual history of African self-making and art practice.”“The Art of Life in South Africa is an astonishing book, powerfully constructed, intricately researched, and gorgeously written. From the focused study of individual lives and practices that flourished in and around the Ndaleni art school, Magaziner extends the possibilities of a more democratic form of art history.”

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Book SynopsisFrom 1952 to 1981, South Africa's apartheid government ran an art school for the training of African art teachers at Indaleni, in what is today KwaZulu-Natal. The Art of Life in South Africa is the story of the students, teachers, art, and politics that circulated through a small school, housed in a remote former mission station. It is the story of a community that made its way through the travails of white supremacist South Africa and demonstrates how the art students and teachers made together became the art of their lives.Daniel Magaziner radically reframes apartheid-era South African history. Against the dominant narrative of apartheid oppression and black resistance, as well as recent scholarship that explores violence, criminality, and the hopeless entanglements of the apartheid state, this book focuses instead on a small group's efforts to fashion more fulfilling lives for its members and their community through the ironic medium of the apartheid-era school.There Trade Review“Daniel Magaziner tells a profoundly human story of the institutional and social constraints under which African artists operated and the different ways in which they sought to find a way to produce beauty in the midst of oppression.”“Ultimately, Magaziner reflects that approaching the history of complex and compromised communities like Ndaleni through the overarching nationalist frame of the South African liberation struggle does not allow enough space for difficult, nuanced, and fragile realities to surface.…Magaziner's carefully wrought study provides insights into the impetuses and negotiations, features and weaknesses, of a highly constrained, imbalanced, and charged setting.…The extended nature of the study does require a little stamina, but its achievement in being theoretically rich and sensitively argued more than sustains the reader. Its liberal incorporation of photographs (over a hundred), mostly of former students' artwork, not only vivifies the study, but is a valuable act of archival recuperation.” * Canadian Journal of History *“The Art of Life in South Africa is a richly suggestive and moving contribution to South African intellectual history. Weaving in a highly imaginative way the two concepts of life and art, Magaziner opens unique pathways for research in the historical sociology of the object-worlds South Africans invented, created and inhabited during the long twentieth-century. Written with extraordinary clarity and precision, this book will appeal to anyone curious about new trends in the historiography of culture.”“The Art of Life is an impressive work that is sure to become a basic text in the field of African cultural history. Ndaleni will no longer be forgotten.” * African Studies Review *“The Art of Life in South Africa contributes to a global conversation about ‘art’ and ‘craft’at the same time as it challenges neat distinctions between center and periphery, metropole and margins. Art education provides rich terrain through which the entangled relations of modernity, subjectivity, and materiality can be explored. This book is as important for students of global modernism as it is for scholars of South African art, history and politics.”“The Art of Life in South Africa is beautifully rendered, well researched, and tells an important, scarcely told story. Combining in exciting ways intellectual, cultural, and social historical approaches, Magaziner offers a meditation on what happens if we examine a past that is shaped by broader historical forces (in this case apartheid) but that cannot be reduced to them.”“In this beautifully written book, Dan Magaziner opens a small story to reveal expansive, deep questions. The Art of Life in South Africa offers an unexpected and transcendent intellectual history of African self-making and art practice.”“The Art of Life in South Africa is an astonishing book, powerfully constructed, intricately researched, and gorgeously written. From the focused study of individual lives and practices that flourished in and around the Ndaleni art school, Magaziner extends the possibilities of a more democratic form of art history.”

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Book SynopsisIf modernism initially came to Africa through colonial contact, what does Ethiopia's inimitable historical conditionits independence save for five years under Italian occupationmean for its own modernist tradition? In Modernist Art in Ethiopiathe first book-length study of the topicElizabeth W. Giorgis recognizes that her home country's supposed singularity, particularly as it pertains to its history from 1900 to the present, cannot be conceived outside the broader colonial legacy. She uses the evolution of modernist art in Ethiopia to open up the intellectual, cultural, and political histories of it in a pan-African context.Giorgis explores the varied precedents of the country's political and intellectual history to understand the ways in which the import and range of visual narratives were mediated across different moments, and to reveal the conditions that account for the extraordinary dynamism of the visual arts in Ethiopia. In locating its arguments at the intersection ofTrade Review“Giorgis has assembled the archive of Ethiopian modernism that she brilliantly critiques. With deep personal knowledge, she takes us from magical healing scrolls to miniskirts, from monarchy to socialist tyranny, from Paris to Oklahoma. The details are fascinating and the artists’ works themselves extraordinary, but the real revelation is Giorgis’ understanding of the politico-cultural cross currents that converged in Ethiopia. Her presentation of them with an unflinchingly critical eye does more to celebrate Ethiopia’s singular achievements than any narrowly national story could provide.”“For scholars and students of Ethiopian and African studies, as well as those situated in the emergent field of comparative or alternative modernities, this book makes a landmark contribution. Indeed, Modernist Art in Ethiopia opens up an uncharted scholarly terrain and we ought to welcome it as an important harbinger of a new, critically minded study of Ethiopia.” * Northeast African Studies *“[This] volume places Ethiopia in a rich pan-African context by evoking how the arts, both visual and literary, can elucidate one country’s intellectual, political, and social history.” * African Studies Review *“A compelling and substantial vision of modernist Ethiopian art not as a single homogenous instantiation, but rather as a series of fascinating twists and turns from different perspectives within a variety of contexts. Overall, this dense analysis of intellectual thought as it relates to Ethiopian modernism stands out as an intellectual artistic contribution in its own right.” * International Journal of African Historical Studies *“Giorgis succeeds in giving a sense of the tumultuous reality in which these artists worked. Modernist Art in Ethiopia is a valuable scholarly introduction to 20th-century Ethiopian art history.” * CHOICE *“Modernist Art in Ethiopia is a necessary addition for libraries that hold collections in Non-Western art, postcolonial studies, or modern art…. While parts of the book are complex/theoretical, it also presents a linear historical account of modernist art in Ethiopia which can serve as an introductory text or starting point for further research.” * ARLIS/NA (Art Libraries Society of North America) *“A landmark study on Ethiopian modernism and experiences of modernity beyond the West. (Modernist Art in Ethiopia)presents a vital and under-documented history of the experience of modernity and the artistic movements surrounding Modernism, coming from a unique place that will appeal to a wide-ranging readership and is likely to become an important and treasured text.” * Africa at LSE blog (London School of Economics) *“With Modernist Art in Ethiopia, Elizabeth Wolde Giorgis writes a powerful indictment of Ethiopian exceptionalism…. Against the established, formalistic way of looking at Ethiopian artworks, Giorgis looks at visual arts and artists in the broader context of intellectual history. Hence, her five chapters contain rich analyses of novels, poetry, newspapers, and advertising, as well as an account of the relationship between artists, writers, and cultural institutions.” * Journal of Modern African Studies *“[A]n important contribution to transnational-global discussions about coloniality, decoloniality, modernity, global capital, and the political and cultural ramifications of these discourses and practices. Modernist Art in Ethiopia is as much a book on Ethiopia as it is about the world, its exclusionary configurations, and their differentiating implications. This makes this well-written and illustrated book an essential text.” * Journal of African History *“This is an indispensable text for anyone interested in the Ethiopian modern art.” * Ethiopia Observer *“Modernist Art in Ethiopia offers an incisive account of twentieth and twenty-first century art in Ethiopia. Drawing on original archival sources, and using a rigorous interdisciplinary approach, Elizabeth Wolde Giorgis reads Ethiopian modern art against the broader literary, cultural, and political contexts that have come to define Ethiopian modernity. A major achievement, Modernist Art in Ethiopia will be a touchstone for anyone interested in Ethiopian and African visual culture and intellectual history.”“Modernist Art in Ethiopia is the first critical study of Ethiopian modernism. Opening with a long-overdue critique of the Orientalist gaze that has biased writing about Ethiopian art, the book presents a provocative analysis of the social, political, intellectual, and aesthetic dynamics of Ethiopia’s tumultuous twentieth century. Giorgis masterfully weaves insights gleaned from untapped primary texts written by and about artists with reflections upon her encounters with artists who shaped the visual and literary arts of modern Ethiopia.”

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Book SynopsisBrings a maverick perspective and provocative voice to the issues of contemporary painting, gender representation, and feminist artTrade Review“Far more than a collection of random essays, Schor’s deliciously titled Wet is a cohesive and lively group of writings addressing issues central to the practice and theory of postmodern art. One is compelled to respect her passion and eloquence and to enjoy her rhetorical flair. Wet is a ‘must’ for all scholars, critics, and artists interested in the contemporary art scene.”—Amelia Jones, author of Postmodernism and the En-gendering of Marcel Duchamp“Mira Schor’s collected critical art essays are witty, insightful, incisive. As artist, writer, and magazine editor, she shows us cracks in the art world’s walls. She is up-to-date, on target. In a controversial field, she is a bold and confrontational critic.”—Nancy Spero, artist“Wet is a great read. Schor is gloriously fierce, often hilarious, and has boldly trod on powerful, or at least fashionably clad toes.” -- Erica Rand * Bookforum *“Where have all the feminists gone? Let us hope they are all putting together collections like this one by Schor, a painter, writer and teacher at the Parsons School of Design…. Feminist, artists and other keepers of our subversives fires will certainly find a home in this inspiring collection.” * Publishers Weekly *

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Book SynopsisMoving beyond views of European Romanticism as an essentially poetic development, this title strives to strengthen a critical awareness of the genres, historical institutions, and material practices that comprised the culture of the period. It focuses on six decades ranging from 1780 to 1832.Trade Review“Lessons of Romanticism offers new, creative, and stimulating material, both on the more localized front of the subject matter of the individual essays and more broadly on the wide, diverse, intertextual and intercultural landscape of Romantic studies generally. Every essay takes its subject in new directions.”—Stephen C. Behrendt, University of Nebraska–Lincoln“A richly rewarding and important body of work. This wide-ranging volume brings together the sophisticated and differing voices of contemporary critics as they seek to recover the densely particularized cultural work of Romanticism.”—Jeffrey N. Cox, Texas A&M UniversityTable of ContentsAcknowledgments ix Introduction: Reading beyond Redemption: Historicism, Irony, and the Lessons of Romanticism / Thomas Pfau 1 Varieties of Bildung in European Romanticism and Beyond Romanticism, Bildung, and the Literary Absolute / Marc Redfield 41 The Inhibitions of Democracy on Romantic Political Thought: Thoreau's Democratic Individualism / Nancy L. Rosenblum 55 Between Irony and Radicalism: The Other Way of a Romantic Education / Karen A. Weisman 76 Friendly Instruction: Coleridge and the Discipline of Sociology / Regina Hewitt 89 Keats and the Aesthetics of Critical Knowledge; or, The Ideology of Studying Romanticism at the Present Time / David S. Ferris 103 Reading Habits: Scenes of Romantic Miseducation and the Challenge of Eco-Literacy / Marlon B. Ross 126 Postmodernism, Romanticism, and John Clare / Theresa M. Kelley 157 Images and Institutions of Cultural Literacy in Romanticism The Lessons of Swedenborg; or, The Origin of William Blake's The Marriage of Heaven and Hell / Joseph Viscomi 173 Coleridge's Lessons in Translation: The "Logic" of the "Wildest Odes" / H.J. Jackson 213 Some Romantic Images in Beethoven / Maynard Solomon 225 "Lorenzo's" Liverpool and "Corinne's" Coppet: The Italianate Salon and Romantic Education / Nanora Sweet 244 Liberty, Connection, and Tyranny: The Novels of Jane Austen and the Aesthetic Movement of the Picturesque / Jill Heydt-Stevenson 261 The Royal Academy and the Annual Exhibition of the Viewing Public / C.S. Matheson 280 Romantic Psychoanalysis: Keats, Identity, and "(The Fall of) Hyperion" / Joel Faflak 304 "Their terrors came upon me tenfold": Literacy and Ghosts in John Clare's Autobiography / Richard G. Swartz 328 Gender, Sexuality, and the (Un)Romantic Canon A Lesson in Romanticism: Gendering the Soul / Susan J. Wolfson 349 What Happens When Jane Austen and Frances Burney Enter the Romantic Canon? / William Galperin 376 Domesticating Gothic: Jane Austen, Ann Radcliffe, and National Romance / Miranda J. Burgess 392 Learning What Hurts: Romanticism, Pedagogy, Violence / Adela Pinch 413 Reforming Byron's Narcissism / Steven Bruhm 429 "This Horrid Theatre of Human Sufferings": Gendering the Stages of History in Catharine Macaulay and Percy Bysshe Shelly / Greg Kucich 448 Contributors 467 Index 471

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Book SynopsisIn the 1980s - at the height of Thatcherism and in the wake of civil unrest and rioting in a number of British cities - the Black Arts Movement burst onto the British art scene with breathtaking intensity, changing the nature and perception of British culture irreversibly. This volume presents a history of that movement.Trade Review“Shades of Black is a remarkable document of creative thinking and archival importance. The editors have brought to life a decade rich in artistic experimentation and collaboration, which will shape the vision of artists and thinkers across generations and geographies.”—Homi K. Bhabha, Anne F. Rothenberg Professor of English and American Literature, Harvard University“Shades of Black is an invaluable text for anyone and everyone in diaspora studies, cultural studies, and comparative British and American studies and for historians and critics of visual art. It brings together a wide range of visual art with a superb collection of essays that set the historical and critical context for understanding one of the most vibrant moments in art history.”—Hazel V. Carby, author of Cultures in Babylon: Black Britain and African America“The explosion of creativity and the critical debates on black culture that emerged in Britain in the 1980s transformed reigning assumptions about black art around the world. This collection is an important effort to assess the work of that period and its lasting impact.”—Coco Fusco, interdisciplinary artist and Associate Professor of Visual Arts, Columbia UniversityTable of ContentsShades of Black: Assembling the 1980s / David A. Bailey, Ian Baucom, and Sonia Boyce xi Part One. Texts Assembling the 1980s: The Deluge—and After / Stuart Hall 1 The Success and Failure of the Black Arts Movement / Rasheed Araeen 21 Wait, Did I Miss Something? Some Personal Musings on the 1980s and Beyond / Keith Piper 35 Inside the Invisible: For/Getting Strategy / Lubaina Himid 41 Iconography after Identity / Kobena Mercer 49 A to Y (Entries for an Inventory of Dented "I"s) / susan pui san lok 59 On Becoming at Artist: Algerian, African, Arab, Muslim, French and Black British? A Dialogue of Visibility / Zineb Sedira in collaboration with Jawad Al-Nawab 67 CoRespondents / Young Soon Min and Allan deSouza 77 Triangular Trades: Late-Twentieth-Century "Black" Art and Transatlantic Cultural Commerce / Judith Wilson 89 Collaborative Projects: Toward a More Inclusive Practice / Dawoud Bey 103 Why Asia Now? Contemporary Asian Art and the Politics of Multiculturalism / Stan Abe 109 Choices for Black Arts in Britain over Thirty Years / Naseem Khan 115 A Case of Mistaken Identity / Gilane Tawadros 123 Color Plates 133 Part Two. The Conference Conference Papers and Speakers 166 Dialogues / Jean Fisher 167 Part Three. Time Lines Introduction / Adelaide Bannerman 199 Time Lines 210 Part Four. Recommended Readings Introduction / Leon Wainwright 307 Histories and Positions 309 Visual Practices 312 Exhibitions and Displays 314 Institutions, Policies, and Reports 316 Contributors 319 Acknowledgments 327 Index 329

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Book SynopsisA reconsideration of queer American art culture of the mid-twentieth centuryTrade Review“Between You and Me is a brilliant read that flirtatiously winks and kisses its way through the New York art world of the postwar period, turning our favorite icons inside out and back in again. It’s all in the gossip. Larry Rivers painted a ‘visual gossip column’ and was described by Frank O’Hara as a ‘demented telephone,’ but it takes a smart flirt (the best kind) like Gavin Butt to see gossip’s methodological promise. Taking gossip into his own mouthy hands, Butt slurs the studios of Rivers, Jasper Johns, and Andy Warhol with their own reckless talk: kisses turn into smacks, and winks into home runs. (Between you and me, that’s how I like it.)”—Carol Mavor, author of Becoming: The Photographs of Clementina, Viscountess Hawarden“Between You and Me is boldly original and beautifully written. Gavin Butt renders a rich (which is to say dishy) description of a queer past that might enable us to imagine a queer futurity. His book will stand as a lasting contribution to queer theory and visual cultural studies and, perhaps more importantly, serve as a political and methodological wake-up call to the discourse of art history.”—José Esteban Muñoz, coeditor of Pop Out: Queer Warhol“Queers do sing, if only in each other's ears. In his new Queer Studies book Between You and Me, art historian Gavin Butt . . . delves into the rampant gay social scene that accompanied the Pop Art era, in which so many pivotal figures were as gay as periwinkle pasta.” -- Roberto Friedman * Bay Area Reporter *“Between You and Me is a nimble book—balancing a self-consciousness about what it means to work on the most ephemeral of subjects, what it means to deploy gossip as a critical strategy, and how gossip figures in both the content and the form of art from this period. The result is a portrait of the evolution of new kinds of artistic personas, and a map for producing new methodologies for writing about them.” -- Jennifer Doyle * American Quarterly *Table of ContentsList of Illustrations ix Acknowledgments xii Introduction: Gossip: The Hardcore of Art History? 1 1. The American Artist in a World of Suspicion 23 2. Idol Gossip: Myths of Genius and the Making of Queer Worlds 51 3. The Gift of Gab: Camp Talk and the Art of Larry Rivers 74 4. Dishing on the Swish, or, the “Inning” of Andy Warhol 106 5. Bodies of Evidence: Queering Disclosure in the Art of Jasper Johns 136 Afterword: Flirting with an Ending 163 Notes 167 Bibliography 189 Index 201

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Book SynopsisThis richly illustrated history of the pin-up since its birth more than 150 years ago reveals how the development of the pin-up is intimately connected to the history of feminismTrade Review“Pin-Up Grrrls is a funny, sexy, political take on the pin-up. In this book, women flaunt their sexuality, use images of themselves to their own ends, and remake the pin-up genre in endlessly creative ways.”—Susie Bright, author of Mommy’s Little Girl: On Sex, Motherhood, Porn, and Cherry Pie“Pin-ups that women love? That they create? Yes! In her brilliantly vibrant debut book, Maria Elena Buszek gives a lucid, rich, and thorough account of a nineteenth- and twentieth-century history in which women employ the power of erotic imagery to celebrate themselves. From the writing to the reproductions, Pin-up Grrrls is eye-opening.”—Joanna Frueh, performance artist and author of Swooning Beauty: A Memoir of Pleasure“Pin-Up Grrrls is a great read, and its treatment of the evolution of iconic images of women over the last two centuries will interest students of popular media, women's studies, and feminism as well as art history.” -- Leigh Ann Wheeler * Journal of American History *“Pin-Up Grrrls is an exhaustive chronicle of the pin-up from its stage, street, and screen origins to the postmodern feminist pin-up, and its storied relationship to feminism in the United States. This book is essential reading for anyone interested in feminism, history, art history, feminist art, histories of sexuality, or popular culture.” -- Chadwick Roberts * Journal of Popular Culture *“Pin-Up Grrrls is ultimately a tale of the feminist reclamation of female sexuality as much as it is the story of the pin-up. With great historical consciousness and painstaking research—and without falling back on tired old stereotypes of pro- or antiporn feminists—Buszek stakes a thoroughly convincing claim that feminism is a political movement that has always championed women’s sexual agency and that is sure to appeal to grrrls and womyn alike.” -- Rachel Fudge * Women's Review of Books *“Buszek not only provides us with an encyclopedic historical entomology of the pin-up but participates in a potent ongoing reaction to Clement Greenberg’s Adorno-esque pre-World War II condemnation of kitsch. . . . From the slippery issues of pornutopia and female fetishism, from The Bridge Across My Pussy to queer monsters, she-devils and fierce funny feminism, there can be few books as usefully provocative as this for an undergraduate or graduate class on feminism, popular culture and art history.” -- Jonathan Zilberg * Leonardo Reviews *“Buszek takes us on an academic journey through 150 years of saucy, socially aware images and their repercussions on the mainstream. For those of us who thought that reclaiming sexuality in the name of feminism was a fairly new concept, this is a great introduction to the revolutionary beauties of the past.” -- Catherine Plato * Curve *“Buszek’s academic background in art history allows her to convincingly dispute the notion of the pin-up as merely objectifying women, and her selection of archival images is a feast for the eyes. . . . BUST readers will still no doubt devour this intergenerational exposé of how strong women asserted themselves, their whole selves—including those lovely legs, bodacious busts, and devilish derrières.” -- Amanda McCorquodale * Bust *“By revealing that feminists from all eras have celebrated their sexuality through the pin-up, Buszek leaves readers with renewed respect for female sex icons such as Bettie Page, Sandra Bernhardt, and Lydia Thompson. Pin-up Grrrls also helps put today’s newfound pop culture obsession with pin-up culture . . . in context.” -- Jessalynn Keller * Nylon *“In Pin-Up Grrrls, feminist art scholar Buszek optimistically traces the development of feminism and the assertion of female sexuality in the public sphere through a well-illustrated focus on a 150-year history of the female pin-up. . . . Through meticulous research, presented in a chronological narrative structure, Buszek demonstrates the complex interaction between the pin-up and the historical contexts in which it articulates female sexuality.” -- Hillegonda C. Rietveld * Feminist Review *“Using the pin-up as an interpretative lens for probing complicated issues of women's sexual agency, Buszek offers a fascinating and lively . . . history of the American women's movement and its engagement with popular culture. Pin-Up Grrrls features ninety-four figures, many of which appear for the first time in print and provide ample visual support for her argument. . . . Buszek has tackled an enormous subject here, and her book should interest anyone looking for an overview of historical developments in feminist thought and female representation.” -- Marlis Schweitzer * American Quarterly *“With Pin-Up Grrrls, Buszek provides a unique blend of art, cultural, and women’s histories that will engage a wide and diverse audience.” -- Rachel Epp Buller * Woman's Art Journal *Table of ContentsAcknowledgments ix Introduction: Defining/Defending the "Feminist Pin-Up" 1 1. Representing "Awarishness": The Theatrical Origins of the Feminist Pin-Up Girl 27 2. New Women for the New Century: Feminism and the Pin-Up at the Fin de Siècle 69 3. The Return of the Theatrical Feminism: Early-Twentieth-Century Pin-Ups on the State, Street, and Screen 115 4. Celebrating the "Kind of Girl Who Dominates": Film Fanzines and the Feminist Pin-Up 142 5. New Frontiers: Sex, Women, and World War II 185 6. Pop Goes the Pin-Up: New Roles and Readings in the Wake of Women's Liberation 232 7. Our Bodies/Ourselves: Pin-Ups in the Wake of Women's Liberation 268 8. From Womyn to Grrrls: The Postmodern Feminist Pin-Up 311 Conclusion/Commencement 355 Notes 365 Bibliography 403 Index 437

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Book SynopsisThe 1960s were heady years in Argentina. The isolation of the Peron era was over, the economy was doing well, and the arts were newly invigorated. This book presents an examination of the 1960s as a brief historical moment when artists, institutions, and critics organized to promote an international identity for Argentina's visual arts.Trade Review“Giunta carefully defines the polemics in transforming Buenos Aires into an internationally recognized center for artistic production and avant-garde culture. . . . Recommended.” -- L. E. Carranza * Choice *“Giunta carefully defines the polemics in transforming Buenos Aires into an internationally recognized center for artistic production and avant-garde culture. . . . Recommended.” - L. E. Carranza, Choice“Giunta has done an admirable job of organizing information from myriad sources. Her close focus on the art world reflects the paradox of Argentine identity: are Argentinians Europeans stranded in the New World or creators of a new nation? They can’t decide, and neither can the country’s artists.” - Alfred Mac Adam, ArtNews“Giunta has done an admirable job of organizing information from myriad sources. Her close focus on the art world reflects the paradox of Argentine identity: are Argentinians Europeans stranded in the New World or creators of a new nation? They can’t decide, and neither can the country’s artists.” -- Alfred Mac Adam * ARTnews *“Well written and thoroughly documented, this book is an invaluable tool for those interested in the evolution of contemporary art in Latin America (engulfed as it was in the love triangle Buenos Aires-Paris-New York). The choice of artists and images is superb. . . . Avant-Garde, Internationalism, and Politics is not just a book about history, it offers a fascinating explanation of the current state of Argentine and Latin American art in the era of globalization.” - Georgina Jiménez, Latin American Review of Books“Meticulously researched and engagingly written. . . .” -- Robin Adèle Greeley * Oxford Art Journal *“Meticulously researched and engagingly written. . . .” - Robin Adèle Greeley, Oxford Art Journal“Well written and thoroughly documented, this book is an invaluable tool for those interested in the evolution of contemporary art in Latin America (engulfed as it was in the love triangle Buenos Aires-Paris-New York). The choice of artists and images is superb. . . . Avant-Garde, Internationalism, and Politics is not just a book about history, it offers a fascinating explanation of the current state of Argentine and Latin American art in the era of globalization.” -- Georgina Jiménez * Latin American Review of Books *“Avant-Garde, Internationalism, and Politics is a precise and intelligent book. It is also profoundly original in its reconstruction of the public debate of the 1960s. Andrea Guinta has investigated the links between the artists and the revolutionary horizon, as well as those between the artists and establishment institutions. With this dual perspective, she follows in a fascinating way the processes of the internationalization of Latin American art. Her book is indispensable to understanding the political and aesthetic ideologies of the period.”—Beatriz Sarlo, author of Jorge Luis Borges: A Writer on the Edge“Andrea Giunta is one of the sharpest minds working in the post–World War II cultural field anywhere, and Avant-Garde, Internationalism, and Politics is a work of amazing breadth, originality, and complexity. It touches on many facets of U.S. cultural life as well as on the many ways a Latin American country tried to find a suitable postwar identity in a ruthless historical moment. With this book, Giunta is redefining the parameters not only of art history in Argentina but of contemporary cultural discourses in general.”—Serge Guilbaut, author of How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War“How can artists and institutions from peripheral countries participate in global conversations?Mexican muralists, Brazilian avant-gardists, and the São Paulo Biennale have done it. Yet none have done so with as sophisticated a strategy as those who remade the visual and multimedia arts scene in 1960s Buenos Aires. Offering the most thoroughly documented and innovative analysis of that period, Andrea Giunta eloquently renews Latin American art criticism.”—Néstor García Canclini“Duke University Press has performed an important service to the readers of Latin American art history and to historians in general by publishing a translation.” -- Donna J. Guy * American Historical Review *Table of ContentsList of Illustrations ix About the Series xi Preface and Acknowledgments xiii Translator’s Note xvii Abbreviations xix Introduction 1 1. Modern Art on the Margins of Peronism 25 2. Proclamations and Programs During the Revolucion Libertadora 55 3. The “New” Art Scene 91 4. The Avant-Garde as Problem 119 5. The Decentering of the Modernist Paradigm 163 6. Strategies of Internationalization 189 7. The Avant-Garde Between Art and Politics 243 Conclusions 281 Notes 291 Bibliography 373 Index 397

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Book SynopsisCalendar art appears in all manner of contexts in India: in chic elite living rooms, middle-class kitchens, urban slums, and village huts. This book examines the power that calendar art wields in Indian mass culture, arguing that its meanings derive as much from the production and circulation of the images as from their visual features.Trade Review“[A] world full of surprising diversity, economic ingenuity, and artistic acumen both from the author and her subject.” - Stefaan Van Ryssen, Leonardo“[T]here is no doubt that the author has written a most interesting, illuminative and valuable book on the calendar art of India, which is bound to serve as an authoritative source of reference to scholars and lay people alike for a long time to come.” - Singaravelu Sachithanantham, Asian Anthropology“Gods in the Bazaar is a rich and sophisticated treatment of visual culture in India. . . . Through close reading and ethnographic exploration, Jain provides a compelling account of the way in which these images permeate everyday life and animate the meaning of modernity in postcolonial India. . . . Jain makes an exemplary contribution to the scholarship on how popular art forms intertwine with quotidian practices and gain both meaning and value across communities and over time. . . . Kajri Jain’s book is replete with beautiful collection of images ranging from gods and goddesses, to divine babies, to national icons.” - Radha S. Hegde, Anthropological Quarterly“Jain is thoroughly engaged in the literatures of South Asian art history, history, and anthropology, and she makes sustained interventions in religious studies. Her book should command the attention of scholars in all of those disciplines and would be of use in both undergraduate and graduate classes studying modern South Asia. . . . [T]he strength of Jain’s account argues forcefully that an understanding of Indian visual culture is essential to an understanding of Indian public culture as a whole.” - Karin Zitzewitz, Journal of Asian Studies“Gods in the Bazaar is replete with glorious color illustrations, providing a feast for a reader’s eyes and much material for thought. . . . Jain is to be commended for her meticulous research and provocative insights, which mark this study of bazaar arts.” - Joanna Kirkpatrick, Visual Anthropology“This book is groundbreaking for modern Indian visual culture.” - Ajay Sinha, Art History“A virtuoso examination of the ‘luminous banality’ of calendar art. In mapping the moral economy of bazaar Hinduism, it provides a history of much of twentieth-century India and predicts much of what might happen in the present century.”—Christopher Pinney, author of “Photos of the Gods”: The Printed Image and Political Struggle in India“In this groundbreaking book, Kajri Jain analyzes the ‘frames of value’ surrounding the contemporary Indian genre of mass-produced prints often known as bazaar art, ‘lurid, pungent, frequently tatty’ colored images of gods displayed on calendars. Recognizing that the value of these printed images to their viewers far exceeds their literal material value or the value that we might be tempted to assign to them in artistic terms, in a rich and vivid analysis based on firsthand research in the calendar-art industry Jain deals with their many values—social, political, religious, aesthetic, historical, affective, and libidinal. Gods in the Bazaar makes a significant theoretical contribution to globalizing our notion of aesthetic experience; in the sensuous and sacred economies of calendar art, what appears to be lurid and tatty can also be moving, precious, and exciting. Jain’s deft weaving of art history, aesthetics, anthropology, and the study of popular visual culture is a tour de force and deserves a wide readership among students of all image-making traditions around the world.”—Whitney Davis, Professor of History and Theory of Ancient and Modern Art, University of California, Berkeley“Gods in the Bazaar is replete with glorious color illustrations, providing a feast for a reader’s eyes and much material for thought. . . . Jain is to be commended for her meticulous research and provocative insights, which mark this study of bazaar arts.” -- Joanna Kirkpatrick * Visual Anthropology *“Gods in the Bazaar is a rich and sophisticated treatment of visual culture in India. . . . Through close reading and ethnographic exploration, Jain provides a compelling account of the way in which these images permeate everyday life and animate the meaning of modernity in postcolonial India. . . . Jain makes an exemplary contribution to the scholarship on how popular art forms intertwine with quotidian practices and gain both meaning and value across communities and over time. . . . Kajri Jain’s book is replete with beautiful collection of images ranging from gods and goddesses, to divine babies, to national icons.” -- Radha S. Hegde * Anthropological Quarterly *“[A] world full of surprising diversity, economic ingenuity, and artistic acumen both from the author and her subject.” -- Stefaan Van Ryssen * Leonardo Reviews *“[T]here is no doubt that the author has written a most interesting, illuminative and valuable book on the calendar art of India, which is bound to serve as an authoritative source of reference to scholars and lay people alike for a long time to come.” -- Singaravelu Sachithanantham * Asian Anthropology *“Jain is thoroughly engaged in the literatures of South Asian art history, history, and anthropology, and she makes sustained interventions in religious studies. Her book should command the attention of scholars in all of those disciplines and would be of use in both undergraduate and graduate classes studying modern South Asia. . . . [T]he strength of Jain’s account argues forcefully that an understanding of Indian visual culture is essential to an understanding of Indian public culture as a whole.” -- Karin Zitzewitz * Journal of Asian Studies *Table of ContentsNotes on Style vii Acknowledgments ix Introduction: Calendar Art as an Object of Knowledge 1 Part 1. Genealogy 1. Vernacularizing Capitalism: Sivakasi and Its Circuits 31 2. When the Gods Go to Market 77 3. Naturalizing the Popular 115 Part 2. Economy 4. The Sacred Icon in the Age of the Work of Art and Mechanical Reproduction 171 5. The Circulation of Images and the Embodiment of Value 217 Part 3. Efficacy 6. The Efficacious Image and the Sacralization of Modernity 269 7. Flexing the Canon 315 Conclusion 355 Notes 375 Works Cited 409 Index 427

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Book SynopsisOffers an inquiry into how to understand, describe, and represent what it is to live in the contemporary moment. This book argues that predictions that post-modernity would emerge as a global successor to modernity have not materialized as anticipated.Trade Review“Anyone wishing to assess the state of contemporary art and its relation to institutions, politics, social movements, and indeed, the entire project of imagining and naming the world at the present moment will find this brilliant book essential and disturbing reading. It offers no grand synthesis but provides a shattered mosaic of the crucial elements that will have to be assembled by any future historian looking back on the early twenty-first century.”—W. J. T. Mitchell, author of What Do Pictures Want? The Lives and Loves of Images“This is a provocative and indeed challenging assessment of the relation between ‘art’ and ‘culture’ (in scare quotes because both concepts are questioned) in the post-post-modernist moment. The essays successfully reposition discussion in a genuinely worldwide perspective, redefine modernism on a global scale, and push avant-garde thinking in new directions.”—Hayden White, University Professor Emeritus, University of California, and Professor of Comparative Literature, Stanford University“This remarkable orchestration of voices, visualities, and political visions lays bare the antinomies and contradictions that haunt the sovereign claims of globalization. Each consummate essay is an artful reflection on the complex resistances and revisions that emanate from cultural practices that transform the aesthetic and ethical realities of embedded and embattled localities. I warmly recommend Antinomies of Art and Culture.”—Homi K. Bhabha, Anne F. Rothenberg Professor of the Humanities, Harvard UniversityTable of ContentsList of Illustrations ix Preface xiii Acknowledgments svii Introduction: The Contemporaneity Question / Terry Smith 1 Part I: The Politics of Temporality 1. Contemporaneity between Modernity and Postmodernity / Antonio Negri 23 2. A Cultural Conjuncture in India: Art into Documentary / Geeta Kapur 30 3. Some Rotten Shoots from the Seeds of Time / Rosalind Krauss 60 4. The Topology of Contemporary Art / Boris Groys 71 Part 2: Multiple Modernities 5. On the Contingency of Modernity and the Persistence of Canons / Monica Amor 83 6. Politics of Flexible Subjectivity: The Event Work of Lygia Clark / Suely Rolnik 97 7. Double Modernity, Para-Modernity / Jonathan Hay 113 8. "Particular Time, Specific Space, My Truth": Total Modernity in Chinese Contemporary Art / Gao Minglu 133 9. The Perils of Unilateral Power: Neomodernist Metaphors and the New Global Order / Sylvester Okwunodu Ogbechie 165 10. Analogue: 1998-2007 / Zoe Leonard, Introduced by Helen Molesworth 187 Part 3: Afterworlds 11. The Postcolonial Constellation: Contemporary Art in a State of Permanent Transition / Okwui Enwezor 207 12. From Emigration to E-migration: Contemporaneity and the Former Second World / Nancy Condee 235 13. Aftermath: Value and Violence in Contemporary South African Art / Colin Richards 250 14. A Case of Being "Contemporary": Conditions, Spheres, and Narratives of Contemporary Chinese Art / Wu Hung 290 Part 4: Cotemporalities 15. Emancipation or Attachments? The Different Futures of Politics / Bruno Latour 309 16. The Return of the Sixties in Contemporary Art and Criticism / James Meyer 324 17. Introduction to Info-Aesthetics / Lev Manovich 333 18. The Giftshop at the End of History / McKenzie Wark 345 19. Spatial Aesthetics: Rethinking the Contemporary / Nikos Papastergiadis 363 References 383 Contributors 413 Index 417

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Book SynopsisPresents a pioneering exploration of Asian American visual art. This title focuses on works produced during the watershed 1990s, when surging Asian immigration had significantly altered the demographic, cultural, and political contours of Asian America, and a renaissance in Asian American art and visual culture was well underway.Trade Review“Machida explains that this book is intended to contribute to a dialogue amongst artists and scholars regarding the issues of art and the Asian American Diaspora. As an academic (Associate Professor of Art History and Asian American Studies at the University of Connecticut) and an author, she contextualizes herself as an actor in this dialogue, an approach that is quite compelling. This book would be particularly appropriate for upper level discussion seminars on issues relating to historical and critical theory, as well as Asian American art. Machida’s exploration of the issues also provides a starting point for future Asian American exhibitions and food for thought for curatorship in this area.” - Heather Kline, ARLIS/NA Reviews“Unsettled Visions documents the compelling work of contemporary Asian American artists challenging and critiquing issues of racial identity and representation. . . . [A] valuable contribution to the growing area of scholarship in Asian American visual art. . . .” - Rose M. Kim, Visual Studies“This solid and remarkable volume should be essential reading for those interested in critical race theory and visual cultures, and is sure to encouragefurther study of these artists.” - Alexandra Chang, Woman’s Art Journal“Margo Machida’s Unsettled Visions suggests a refreshingly useful way to study ethnicity. . . . This book will appeal to a wide variety of scholars interested in visual, cultural, and spatial practices, Asian American and ethnic studies, visual culture, cultural studies, material culture, performance studies, and architecture.” - Arijit Sen, Journal of American Ethnic History“Unsettled Visions is an engaging and extremely significant book beyond the fact that it is the first study to examine Asian American visual productions in a systematic way. It sets a high standard and will be the model for works that follow.”—Gary Y. Okihiro, author of The Columbia Guide to Asian American History“For years, Margo Machida was practically the only person to bring Asian American artists into what were then the ‘multicultural’ debates, and the only writer/participant to cover their activities and art with a high degree of social vision and intellectual passion. With Unsettled Visions, she has produced a work of amazing breadth, positioning each artist’s work in an internationally historical, political, and theoretical context that considerably deepens my own understanding of art I have been familiar with for years.”—Lucy R. Lippard, author of Mixed Blessings: New Art in a Multicultural America“This is a foundational text for appreciating and interpreting contemporary Asian American art. It is an intelligent and intelligible work built on many years of dedicated research and original thinking. Margo Machida has obviously been inspired by deep encounters with the art emanating from this marvelously complex demographic. Unsettled Visions has set the standard for the field.”—Franklin Odo, Director, Smithsonian Asian Pacific American Program“Unsettled Visions documents the compelling work of contemporary Asian American artists challenging and critiquing issues of racial identity and representation. . . . [A] valuable contribution to the growing area of scholarship in Asian American visual art. . . .” -- Rose M. Kim * Visual Studies *“Machida explains that this book is intended to contribute to a dialogue amongst artists and scholars regarding the issues of art and the Asian American Diaspora. As an academic (Associate Professor of Art History and Asian American Studies at the University of Connecticut) and an author, she contextualizes herself as an actor in this dialogue, an approach that is quite compelling. This book would be particularly appropriate for upper level discussion seminars on issues relating to historical and critical theory, as well as Asian American art. Machida’s exploration of the issues also provides a starting point for future Asian American exhibitions and food for thought for curatorship in this area.” -- Heather Kline * ARLIS/NA Reviews *“Margo Machida’s Unsettled Visions suggests a refreshingly useful way to study ethnicity. . . . This book will appeal to a wide variety of scholars interested in visual, cultural, and spatial practices, Asian American and ethnic studies, visual culture, cultural studies, material culture, performance studies, and architecture.” -- Arijit Sen * Journal of American Ethnic History *“This solid and remarkable volume should be essential reading for those interested in critical race theory and visual cultures, and is sure to encourage further study of these artists.” -- Alexandra Chang * Woman's Art Journal *Table of ContentsList of Illustrations ix Preface xiii Acknowledgments xix Introduction: Art, Asian America, and the Social Imaginary: A Poetics of Positionality 1 1. A Play of Positionalities: Reconsidering Identification 17 2. Othering: Primitivism, Orientalism, and Stereotyping 57 3. Trauma, Social Memory, and Art 120 4. Migration, Mixing, and Place 194 Epilogue: Toward an Ongoing Dialogue 271 Notes 283 Bibliography 321 Index 353

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Book SynopsisA compilation of seminal works by Robert Morris, an artist and critic, a key figure in Minimalist sculpture, Process Art, and Earthworks.Trade Review“Have I Reasons is a complex collection of writings. The book challenges the reader on many levels . . . [and] affords an insight into the mind of an influential artist of our time.” - Brontë Coe, M/C Reviews“Morris is an extremely good writer. . . . It is written so skilfully that when the essay stops there is a feeling of disappointment similar to reading an unfinished novel. . . . Many artists and writers have written about the influence of childhood on artistic work, but this is by far the most elegant and subtle I have read. . . . This is a very rich but open book. . . . [T]his book is a must have, written by an artist whose work has contributed to some of the most significant shifts in art practice of our time.” - Edward Allington, Art Monthly“Morris has consistently been one of the most well read, articulate, and intensely self conscious artists in the last one hundred years. . . . Readers of Morris’s second volume of writings will be struck by the explicitly political viewpoint of such essays, as well as by the deft handling of philosophy and prose that graces even Morris’s more polemical writing in his old age.” - Melissa Ragain, Criticism“[Robert Morris’s] career is most remarkable. And this book provides perhaps the largest reason why; he successfully navigated his way from art making to art theory with the development of a new genre of writing.” - Ben Schacter, Consciousness, Literature, and the Arts“Have I Reasons is the authoritative text for the study of Robert Morris’s later work and for the historical reconsideration of his earlier work. Unrelentingly provocative and entertaining, the writings reflect his wonderfully quirky mind, his gift for narrative, his wide learning and curiosity, and his cool, laconic style combined with mordant outrage and irony.”—W. J. T. Mitchell, editor of Critical Inquiry and author of What Do Pictures Want?“Robert Morris is one of the most important postwar American artists. Have I Reasons is a valuable resource for an understanding and reconsideration of his work and the postwar neo-avant-garde production in which it played such a pivotal role. Compared to his seminal earlier writings, those from the 1990s and beyond collected here are more insistently autobiographical, more overtly and straightforwardly political. This transformation is one that, at least in part, reflects a transformation in his visual art.”—Branden W. Joseph, author of Random Order: Robert Rauschenberg and the Neo-Avant-Garde“Have I Reasons is a complex collection of writings. The book challenges the reader on many levels . . . [and] affords an insight into the mind of an influential artist of our time.” -- Brontë Coe * M/C Reviews *“[Robert Morris’s] career is most remarkable. And this book provides perhaps the largest reason why; he successfully navigated his way from art making to art theory with the development of a new genre of writing.” -- Ben Schacter * Consciousness, Literature and the Arts *“Morris has consistently been one of the most well read, articulate, and intensely self conscious artists in the last one hundred years. . . . Readers of Morris’s second volume of writings will be struck by the explicitly political viewpoint of such essays, as well as by the deft handling of philosophy and prose that graces even Morris’s more polemical writing in his old age.” -- Melissa Ragain * Criticism *“Morris is an extremely good writer. . . . It is written so skilfully that when the essay stops there is a feeling of disappointment similar to reading an unfinished novel. . . . Many artists and writers have written about the influence of childhood on artistic work, but this is by far the most elegant and subtle I have read. . . . This is a very rich but open book. . . . [T]his book is a must have, written by an artist whose work has contributed to some of the most significant shifts in art practice of our time.” -- Edward Allington * Art Monthly *Table of ContentsList of Illustrations vii Acknowledgments xi Introduction 1 Indiana Street (1993) 17 Writing with Davidson: Some Afterthoughts after Doing Blind Time IV: Drawing with Davidson (1993) 41 The Art of Donald Davidson (1995) 51 Steam (1995) 61 Professional Rules (1997) 63 Thinking Back about Him: On the Death of Richard Bellamy (1998) 101 Cézanne's Mountains (1998) 103 Size Matters (2000) 121 Threading the Labyrinth (2001) 137 Solecisms of Sight: Specular Speculations (2001) 148 Thoughts on Hegel's Owl (2002) 163 Maybe the Angel in Dürer (2003) 167 From a Chomskian Couch: The Imperialistic Unconscious (2003) 171 Toward an Opthalmology of the Aesthetic and an Orthopedics of Seeing (2004) 186 Notes on Less Than (2004) 203 The Birthday Boy (2004) 205 Jasper Johns: The First Decade (2005) 225 Chronology 257 Bibliography 267 Index 271

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Book SynopsisAn historical examination of the early-twentieth-century Indian Craze, a widespread interest in Native American art, that explores its importance for Native Americans, Euro Americans, and the history of modernism.Trade Review“While the experience of modernism in less urban western places was no doubt different, modernism still must have been present. Without the insights of Hutchinson's book, however, historians could not even begin to identify modernism in rural America at the turn of the twentieth century. In short, The Indian Craze is a potentially paradigm-shifting book, one that will force new discussions of who participates in the modern world and how.” - Flannery Burke, Journal of American History“The Indian Craze revives a politically charged and artistically productive era, while challenging the binarism modern/antimodern art. . . . As Hutchinson effortlessly engages with the discourse on modernity, she also mindfully reveals that Native American art in all its forms is not a subclass of America’s art history, but is, in fact, part of its continuum, which early and substantially contributed to the ‘conversation’ about what counts as American art.” - Linda M. Waggoner, Great Plains Quarterly“Hutchinson’s study demonstrates superior scholarship. It is detailed and nuanced and builds a complex and convincing argument. The Indian Craze provides a welcome and highly readable addition to the existing scholarship on this period.” - Jennifer McLerran, Journal of Arizona History“The Indian Craze is an important addition to the art histories of Native North America and the United States alike. Hutchinson convincingly argues that the Anglo art world’s interest in Native American art and culture predates World War I, a few decades earlier than has generally been considered. . . . The Indian Craze shows us the innumerable benefits of attempting the difficult reconstruction of Native voices.” - John Ott, Visual Resources“The stakes and interest of this excellent study go much beyond the limits of its specific historic topic, the sudden fashion of Native American art around 1900. . . . Hutchinson’s book will provide the reader with many valuable insights in mainly three fields. . . . First, it offers a careful and well-balanced description of what the Indian craze actually meant. . . . Second, the book is also a key contribution to a new understanding of modernism in Western art and culture. . . . Third, Indian Craze is also a major contribution to the issue of transcultural hybridization.” - Jan Baetens, Leonardo“Hutchinson’s framework of cultural contextualization makes this a dynamic look at a compelling (and under-researched) topic. Illustrated with both black and white and color plates, this book is recommended for academic and non-academic audiences interested in the topics of American art, Native art, education, racial politics, or American history. It is a book that will spark curiosity and serve as the basis for future scholarship.” - Heather Kline, ARLIS/NA Reviews“The Indian Craze is a lucid and compelling account of the entangled histories of Native and European-American aesthetic and intersubjective exchange in the formative years of American modernism. Told with deep historical understanding, it restores subjecthood and agency to Native artists too often deprived of both by the persistence of primitivizing attitudes. Such studies as Elizabeth Hutchinson’s offer a very different, insistently hybrid history of modernism, sensitive to the ethical ambiguities that reside in virtually every instance of uneven encounter between colonizer and colonized. This is a long-awaited contribution to how we understand the complex cultural negotiations attendant on the growing aesthetic value accorded to Native arts around the turn-of-the-century.”—Angela Miller, lead author of American Encounters: Art, History, and Cultural Identity“The Indian Craze is not only a delight to read; it is a major contribution to American visual cultural studies. Wearing her erudition lightly, Elizabeth Hutchinson participates in and adds appreciably to the transcultural critiques that so many of us are interested in now.”—Janet C. Berlo, co-author of Native North American Art“The Indian Craze is an important addition to the art histories of Native North America and the United States alike. Hutchinson convincingly argues that the Anglo art world’s interest in Native American art and culture predates World War I, a few decades earlier than has generally been considered. . . . The Indian Craze shows us the innumerable benefits of attempting the difficult reconstruction of Native voices.” -- John Ott * Visual Resources *“The Indian Craze revives a politically charged and artistically productive era, while challenging the binarism modern/antimodern art. . . . As Hutchinson effortlessly engages with the discourse on modernity, she also mindfully reveals that Native American art in all its forms is not a subclass of America’s art history, but is, in fact, part of its continuum, which early and substantially contributed to the ‘conversation’ about what counts as American art.” -- Linda M. Waggoner * Great Plains Quarterly *“Hutchinson’s framework of cultural contextualization makes this a dynamic look at a compelling (and under-researched) topic. Illustrated with both black and white and color plates, this book is recommended for academic and non-academic audiences interested in the topics of American art, Native art, education, racial politics, or American history. It is a book that will spark curiosity and serve as the basis for future scholarship.” -- Heather Kline * ARLIS/NA Reviews *“Hutchinson’s study demonstrates superior scholarship. It is detailed and nuanced and builds a complex and convincing argument. The Indian Craze provides a welcome and highly readable addition to the existing scholarship on this period.” -- Jennifer McLerran * Journal of Arizona History *“The stakes and interest of this excellent study go much beyond the limits of its specific historic topic, the sudden fashion of Native American art around 1900. . . . Hutchinson’s book will provide the reader with many valuable insights in mainly three fields. . . . First, it offers a careful and well-balanced description of what the Indian craze actually meant. . . . Second, the book is also a key contribution to a new understanding of modernism in Western art and culture. . . . Third, Indian Craze is also a major contribution to the issue of transcultural hybridization.” -- Jan Baetens * Leonardo Reviews *“While the experience of modernism in less urban western places was no doubt different, modernism still must have been present. Without the insights of Hutchinson's book, however, historians could not even begin to identify modernism in rural America at the turn of the twentieth century. In short, The Indian Craze is a potentially paradigm-shifting book, one that will force new discussions of who participates in the modern world and how.” -- Flannery Burke * Journal of American History *Table of ContentsList of Illustrations ix Acknowledgments xiii Introduction 1 1. Unpacking the Indian Corner 11 2. The White Man's Indian Art: Teaching Aesthetics at the Indian Schools 51 3. Playing Indian: Native American Art and Modern Aesthetics 91 4. The Indians in Käsebier's Studio 131 5. Angel DeCora's Cultural Politics 171 Epilogue 221 Notes 235 Selected Bibliography 263 Index 267

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Book SynopsisChad Elias analyzes a generation of artists working in Lebanon who interrogate Lebanon's civil war (1975–1990), showing how their appropriation and creation of images challenge divisive political discourse, give a voice to those silenced and forgotten, and provide the means to reimagine Lebanon's future.Trade Review"Sophisticated and carefully researched . . . . The significance of [Elias's] book for current Anglophone art history is its in-depth and rewarding analysis of a context outside the usual terms of reference." -- Tom Snow * Art Monthly *"Posthumous Images is a welcome contribution to the study of contemporary art from the Middle East, significant in its substantive engagements with a generation of artists in Lebanon that has been championed around the world for its theoretically sophisticated responses to a devastating conflict and its tense, inconclusive afterlives. Elias offers important provocations for further study of cultural production in Lebanon, through his identification of a tension between a ‘politics of representation’ and a ‘politics of truth’, his attention to ‘communities of witnessing’ that contest a state-imposed post-war condition of forgetting, and his analysis of the role of media technologies in circulating images of contested histories." -- Kareem Estefan * Third Text *"Elias’s erudite and thoughtful writing, self-reflexively aware of the failures of translation, offers a refreshing alternative to this starved corpus. . . . Posthumous Images generates a valuable dialogue between theory and art, whereby they complicate and complement one another." -- Foad Torshizi * Arab Studies Quarterly *"Posthumous Images is a rigorous work of scholarship that offers a timely intervention into existing discourses on lens-based media and memory. The book offers a clear and important route to thinking beyond the widely accepted inadequacies of the visual without recourse to conventional models of documentary truth." -- Kimberly Schreiber * Object *"Posthumous Images is, in sum, a brilliant book, sparkling with ambition and insight but also a couple of squibs in judgement that may be attributed more to the confidence of an exuberant intellect at work than to any lack of sensitivity." -- Ken Seigneurie * Journal of Arabic Literature *"This is a stimulating study, impressive in its writing. Because Elias builds his chapters upon a culled selection of work, there is space for him to construct his claims through elegant constellations of references to theorists rather than direct citations of historical studies. The result is a book that gives air to both its readings and possible gaps in those readings’ explanatory power." -- Anneka Lenssen * Art Journal *“Using a variety of contemporary Lebanese works of art..., Elias analyzes and illustrates how contemporary art plays a critical role in attempting to evoke the past and recreate the future under conditions of amnesia, violence, and unresolved war.... [Posthumous Images] is clearly written; its arguments are convincingly constructed and structured.” -- Elsa El Hachem-Kirby * Mashriq & Mahjar *Table of ContentsList of Illustrations ix Acknowledgments xiii Introduction 1 1. Captive Subjects: On the Geopolitics of Sex and Translation in Walid Raad's Hostage: The Bachar Tapes 27 2. Resistance, Video Martyrdom, and the Afterlife of the Lebanese Left 55 3. Latent Images, Buried Bodies: Mourning Lebanon's Disappeared 93 4. Suspended Places: The Void and the Monument in Post-Civil War Beirut 131 5. Images of Futures Past: The Lebanese Rocket Society 159 Coda. Time Bomb 177 Notes 193 Bibliography 225 Index 239

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Book SynopsisSelections of writing by the influential art critic and curator Kellie Jones reveal her role in bringing attention to the work of African American, African, Latin American, and women artists.Trade Review“EyeMinded is an impressive collection of essays by Kellie Jones, a much sought after scholar, prolific writer, and extraordinary curator whose works I have admired for many years. She began her career in the mid-1980s, uncovering and recovering African and African American artists by organizing exhibitions, writing essays, and lecturing on some of the then lesser-known artists. I believe that she was instrumental in introducing to a larger and contemporary public the works of black artists of the African diaspora, including some of the most noted artists working today.”—Deborah Willis, author of Posing Beauty: African American Images from the 1890s to the Present“Kellie Jones, supported by a remarkable family of artists and intellectuals, has provided a plethora of razor-sharp insights and creative testimonials to the greater arts and scholarly communities for years. As this important book makes amber clear, Professor Jones’ astute observations and in-depth analyses of African American art are invaluable resources to contemporary studies and, arguably, equivalent to the notable essays of art history’s earlier, admired critics and chroniclers.”—Richard J. Powell, author of Cutting a Figure: Fashioning Black Portraiture“This extraordinary collection reveals Kellie Jones as a discerning architect of the multicultural art landscape of the last few decades. Informed by her keen eye and incisive intellect, Jones’s definitive takes on artists, including Lorna Simpson, Martin Puryear, and David Hammons, make this book a must-read for anyone interested in American art from the 1980s forward. And then, on top of Jones’s own shimmering intellectual accomplishment in these pages, EyeMinded is something else as well: a conversation between an American family of arts and letters as illustrious as the Lowells or the Jameses. This book will stand apart for that reason alone, for few American families have contributed so richly to the arts, letters, and sounds of their generations as the Joneses. Here comes Dr. Kellie Jones, ‘eye-minded,’ and she’s bringing her people with her.”—Elizabeth Alexander, Yale University“EyeMinded is at the top of my summer reading list.” -- Lauren Haynes * Studio Magazine *“Kellie Jones has had a fascinating life in art. This collection of essays offers vivid glimpses into the childhood and professional experience of this noted art historian and curator. . . . Everything Kellie Jones and her brilliant family have to say on art and life is both welcome and stimulating.” -- Michele Wallace * International Review of African American Art *“Kellie Jones’ superb book, EyeMinded, traces the relationship between the visual and the social in contemporary art and, by so doing, teaches us how to see. . . . The book is a must-read for art historians and museum curators, just as for those within the field of cultural studies who aspire to an interdisciplinary approach.” -- Liana Giorgi * New York Journal of Books *“EyeMinded is compelling testimony to the ways in which Kellie Jones was able to both contribute to, and comment on, the astonishing quantum shifts in art and curatorial practices that the 1980s and 1990s gave rise to. . . . [A] major contribution to aspects of art history that too often are relegated to the periphery within both the academy and contemporary art criticism. In this regard, we have much to thank Jones for, as this volume will be an indispensable aid to students, professors, and general audiences, many of whom might not have easy access to Jones’s writings, in their original form and assorted contexts.” -- Eddie Chambers * Journal of American Studies *"Scholarly but also deeply personal, it shows the particular way Jones conceives, or reconceives, the undertaking of art history. EyeMinded was not so much written as curated, an assemblage of reviews, interviews, essays, photographs—and, most interesting of all, essays by Jones’ parents, sister and husband." -- Rand Richards Cooper * Amherst Magazine *Table of ContentsAcknowledgments ix Introduction. "Art in the Family" 1 Part One. On Diaspora 1. EyeMinded: Commentary / Amiri Baraka 37 2. Preface to a Twenty Volume Suicide Note / Amiri Baraka 41 3. A.K.A. Saartjie: The Hottentot Venus in Context (Some Reflections and a Dialogue) 1998/2004 43 4. Tracey Rose: Postapartheid Playground 69 5. (Un)Seen and Overheard: Pictures by Loran Simpson 81 6. Life's Little Necessities: Installations by Women in the 1990s 125 7. Interview with Kcho 135 8. The Structure of Myth and the Potency of Magic 145 Part Two. In Visioning 9. Seeing Through: Commentary / Hettie Jones 159 10. In the Eye of the Beholder / Hettie Jones 163 11. To/From Los Angeles with Betye Saar 165 12. Crown Jewels 177 13. Dawoud Bey: Portraits in the Theater of Desire 187 14. Pat Ward Williams: Photography and Social/Personal History 207 15. Interview with Howardena Pindell 215 16: Eye-Minded: Martin Puryear 235 17. Large As Life: Contemporary Photography 241 18. An Interview with David Hammons 247 Part Three. Making Multiculturalism 19. Excuse Me While I Kiss the Sky & Then Fly and Touch Down: Commentary / Lisa Jones 263 20. How I Invented Multiculturalism / Lisa Jones 273 21. Lost in Translation: Jean-Michel in the (Re)Mix 277 22. In the Thick of It: David Hammons and Hair Culture in the 1970s 297 23. Domestic Prayer 305 24. Critical Curators: Interview with Kellie Jones 309 25. Poets of a New Style of Speak: Cuban Artists of This Generation 317 26. In Their Own Image 329 27. Tim Rollins and K.O.S.: What's Wrong with This Picture? 341 28. Blues to the Future 343 Part Four. Abstract Truths 29. Them There Eyes: On Connections and the Visual: Commentary / Guthrie P. Ramsey Jr. 349 30. Free Jazz and the Price of Black Musical Abstraction / Guthrie P. Ramsey Jr. 353 31. To the Max: Energy and Experimentation 363 32. It's Not Enough to Say "Black is Beautiful": Abstraction at the Whitney, 1969–1974 397 33. Black West: Thoughts on Art in Los Angeles 427 34. Brothers and Sisters 459 35. Bill T. Jones 469 36. Abstract Expressionism: The Missing Link 473 37. Norman Lewis: The Black Paintings 483

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Book SynopsisProvides an overview of the broader continuum of collaborative and collective art practicesTrade Review“Like all good researchers, Kester started with a simple question, which was, ‘Why have so many artists over the past decade and a half been drawn to collaborative or collective modes of production?’ Secondary questions soon emerged. ‘What forms of knowledge do collaborative, participatory and socially engaged practices generate?’ And, adding complexity and depth, ‘How do we determine which transgressions matter in the arts?’ Kester takes us on a journey from performance photographers in Myanmar to project housing in Alabama, and along the way details, through methodology more often associated with the social sciences, how artists blend creativity with a sense of social conscience and still manage somehow to keep it visual.” - Peter Hill, Times Higher Education Supplement“Kester is a seasoned art critic with a long track record of insightful writing on the shift from public art and identity politics in the 1980s and '90s to the new phenomenon of community art in the '90s and 2000s. . . . Kester, the consummate pedagogue, shows us ideology at work by comparing different kinds of art.” - Marc James Leger, Afterimage“Tackling some of the most hotly debated subjects in art and criticism today, The One and the Many represents a decisive intervention into what we can expect to be a much longer discussion about the nature of collaboration in contemporary art.” - Sarah E.K. Smith, Reviews in Cultural Theory“The One and the Many . . . offers in-depth discussion of individual artists in relation to his vision of reparative collaboration,and attacks some of the cherished verities of current critical theory.” - Eleanor Heartney, Art in America“By pointing out that many contemporary artists’ practices already exist quite comfortably as political activism, or urban planning, or community education Kester enables the discussion to shift from why something is art to what is at stake. The book also provides a thorough and rich description of a variety of projects. . . .” - Amber Landgraff, C Magazine“Proposing nothing less than a paradigm shift in the definition of the aesthetic, Kester argues for a move beyond evaluations of visual or textual signification to considerations of the often-unforseen effects of collective interaction. . . . [T]here is a productive tension between the modest, local practices Kester focuses on and the ambitious scope of his argument.” - Sami Siegelbaum, Art Journal“The One and the Many is brilliant, innovative, and brave, offering important insight on the intersection of art and politics. It complements the growing research into situational, collaborative, ‘global’ art projects but offers something new and stimulating by considering these works in relation to a loosely Marxian understanding of labor relations and through close readings of how they actually function over time. It develops new ways of thinking that should have a huge impact on debates in the field.”—Amelia Jones, author of Self/Image: Technology, Representation, and the Contemporary Subject“In this comprehensive study, Grant H. Kester reminds us that the role of the avant-garde is always to question the nature of art’s identity and that that identity is also always in-process. Within this evolving continuum, many contemporary artists now define their work collaboratively. The One and the Many examines this phenomenon, providing the necessary philosophical, theoretical, and historical depth to position such practice as the essential art ‘work’ of the twenty-first century.”—Carol Becker, author of Thinking in Place: Art, Action, and Cultural Production “The One and the Many . . . offers in-depth discussion of individual artists in relation to his vision of reparative collaboration,and attacks some of the cherished verities of current critical theory.” -- Eleanor Heartney * Art in America *“By pointing out that many contemporary artists’ practices already exist quite comfortably as political activism, or urban planning, or community education Kester enables the discussion to shift from why something is art to what is at stake. The book also provides a thorough and rich description of a variety of projects. . . .” -- Amber Landgraff * C Magazine *“Kester is a seasoned art critic with a long track record of insightful writing on the shift from public art and identity politics in the 1980s and '90s to the new phenomenon of community art in the '90s and 2000s. . . . Kester, the consummate pedagogue, shows us ideology at work by comparing different kinds of art.” -- Marc James Leger * Afterimage *“Like all good researchers, Kester started with a simple question, which was, ‘Why have so many artists over the past decade and a half been drawn to collaborative or collective modes of production?’ Secondary questions soon emerged. ‘What forms of knowledge do collaborative, participatory and socially engaged practices generate?’ And, adding complexity and depth, ‘How do we determine which transgressions matter in the arts?’ Kester takes us on a journey from performance photographers in Myanmar to project housing in Alabama, and along the way details, through methodology more often associated with the social sciences, how artists blend creativity with a sense of social conscience and still manage somehow to keep it visual.” -- Peter Hill * Times Higher Education *“Proposing nothing less than a paradigm shift in the definition of the aesthetic, Kester argues for a move beyond evaluations of visual or textual signification to considerations of the often-unforseen effects of collective interaction. . . . [T]here is a productive tension between the modest, local practices Kester focuses on and the ambitious scope of his argument.” -- Sami Siegelbaum * Art Journal *“Tackling some of the most hotly debated subjects in art and criticism today, The One and the Many represents a decisive intervention into what we can expect to be a much longer discussion about the nature of collaboration in contemporary art.” -- Sarah E.K. Smith * Reviews in Cultural Theory *Table of ContentsAcknowledgments ix Introduction 1 1. The Semantics of Collaboration 2. Art Practice and the Intellectual Baroque Chapter 1: Autonomy, Antagonism, and the Aesthetic 19 1. From Text to Action 2. Park Fiction, Ala Plastica, and Dialogue 3. Relational Antagonism 4. The Risk of Diversity 5. Programmatic Multiplicity 6. Art Theory and the Post-structuralist Canon Chapter Two: The Genius of the Place 67 1. Lessons in Futility 2. Enclosure Acts 3. The Twelfth Seat and the Mirrored Ceiling 4. The Atelier as Workshop 5. Labor, Praxis, and Representation 6. The Divided and Incomplete Subject of Yesterday 7. Memories of Development 8. The Limits of Ethical Capitalism 9. The Art of the Locality Chapter Three: Eminent Domain: Art and Urban Space 155 1. Blindness and Insight 2. The Invention of the Public 3. The Boulevards of the Inner City 4. Park Fiction: Desire, Resistance, and Complicity 5. A Culture of Needles: Project Row Houses in Houston Notes 229 References 281 Index 295

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Book SynopsisProvides an overview of the broader continuum of collaborative and collective art practicesTrade Review“Like all good researchers, Kester started with a simple question, which was, ‘Why have so many artists over the past decade and a half been drawn to collaborative or collective modes of production?’ Secondary questions soon emerged. ‘What forms of knowledge do collaborative, participatory and socially engaged practices generate?’ And, adding complexity and depth, ‘How do we determine which transgressions matter in the arts?’ Kester takes us on a journey from performance photographers in Myanmar to project housing in Alabama, and along the way details, through methodology more often associated with the social sciences, how artists blend creativity with a sense of social conscience and still manage somehow to keep it visual.” - Peter Hill, Times Higher Education Supplement“Kester is a seasoned art critic with a long track record of insightful writing on the shift from public art and identity politics in the 1980s and '90s to the new phenomenon of community art in the '90s and 2000s. . . . Kester, the consummate pedagogue, shows us ideology at work by comparing different kinds of art.” - Marc James Leger, Afterimage“Tackling some of the most hotly debated subjects in art and criticism today, The One and the Many represents a decisive intervention into what we can expect to be a much longer discussion about the nature of collaboration in contemporary art.” - Sarah E.K. Smith, Reviews in Cultural Theory“The One and the Many . . . offers in-depth discussion of individual artists in relation to his vision of reparative collaboration,and attacks some of the cherished verities of current critical theory.” - Eleanor Heartney, Art in America“By pointing out that many contemporary artists’ practices already exist quite comfortably as political activism, or urban planning, or community education Kester enables the discussion to shift from why something is art to what is at stake. The book also provides a thorough and rich description of a variety of projects. . . .” - Amber Landgraff, C Magazine“Proposing nothing less than a paradigm shift in the definition of the aesthetic, Kester argues for a move beyond evaluations of visual or textual signification to considerations of the often-unforseen effects of collective interaction. . . . [T]here is a productive tension between the modest, local practices Kester focuses on and the ambitious scope of his argument.” - Sami Siegelbaum, Art Journal“The One and the Many is brilliant, innovative, and brave, offering important insight on the intersection of art and politics. It complements the growing research into situational, collaborative, ‘global’ art projects but offers something new and stimulating by considering these works in relation to a loosely Marxian understanding of labor relations and through close readings of how they actually function over time. It develops new ways of thinking that should have a huge impact on debates in the field.”—Amelia Jones, author of Self/Image: Technology, Representation, and the Contemporary Subject“In this comprehensive study, Grant H. Kester reminds us that the role of the avant-garde is always to question the nature of art’s identity and that that identity is also always in-process. Within this evolving continuum, many contemporary artists now define their work collaboratively. The One and the Many examines this phenomenon, providing the necessary philosophical, theoretical, and historical depth to position such practice as the essential art ‘work’ of the twenty-first century.”—Carol Becker, author of Thinking in Place: Art, Action, and Cultural Production “The One and the Many . . . offers in-depth discussion of individual artists in relation to his vision of reparative collaboration,and attacks some of the cherished verities of current critical theory.” -- Eleanor Heartney * Art in America *“By pointing out that many contemporary artists’ practices already exist quite comfortably as political activism, or urban planning, or community education Kester enables the discussion to shift from why something is art to what is at stake. The book also provides a thorough and rich description of a variety of projects. . . .” -- Amber Landgraff * C Magazine *“Kester is a seasoned art critic with a long track record of insightful writing on the shift from public art and identity politics in the 1980s and '90s to the new phenomenon of community art in the '90s and 2000s. . . . Kester, the consummate pedagogue, shows us ideology at work by comparing different kinds of art.” -- Marc James Leger * Afterimage *“Like all good researchers, Kester started with a simple question, which was, ‘Why have so many artists over the past decade and a half been drawn to collaborative or collective modes of production?’ Secondary questions soon emerged. ‘What forms of knowledge do collaborative, participatory and socially engaged practices generate?’ And, adding complexity and depth, ‘How do we determine which transgressions matter in the arts?’ Kester takes us on a journey from performance photographers in Myanmar to project housing in Alabama, and along the way details, through methodology more often associated with the social sciences, how artists blend creativity with a sense of social conscience and still manage somehow to keep it visual.” -- Peter Hill * Times Higher Education *“Proposing nothing less than a paradigm shift in the definition of the aesthetic, Kester argues for a move beyond evaluations of visual or textual signification to considerations of the often-unforseen effects of collective interaction. . . . [T]here is a productive tension between the modest, local practices Kester focuses on and the ambitious scope of his argument.” -- Sami Siegelbaum * Art Journal *“Tackling some of the most hotly debated subjects in art and criticism today, The One and the Many represents a decisive intervention into what we can expect to be a much longer discussion about the nature of collaboration in contemporary art.” -- Sarah E.K. Smith * Reviews in Cultural Theory *Table of ContentsAcknowledgments ix Introduction 1 1. The Semantics of Collaboration 2. Art Practice and the Intellectual Baroque Chapter 1: Autonomy, Antagonism, and the Aesthetic 19 1. From Text to Action 2. Park Fiction, Ala Plastica, and Dialogue 3. Relational Antagonism 4. The Risk of Diversity 5. Programmatic Multiplicity 6. Art Theory and the Post-structuralist Canon Chapter Two: The Genius of the Place 67 1. Lessons in Futility 2. Enclosure Acts 3. The Twelfth Seat and the Mirrored Ceiling 4. The Atelier as Workshop 5. Labor, Praxis, and Representation 6. The Divided and Incomplete Subject of Yesterday 7. Memories of Development 8. The Limits of Ethical Capitalism 9. The Art of the Locality Chapter Three: Eminent Domain: Art and Urban Space 155 1. Blindness and Insight 2. The Invention of the Public 3. The Boulevards of the Inner City 4. Park Fiction: Desire, Resistance, and Complicity 5. A Culture of Needles: Project Row Houses in Houston Notes 229 References 281 Index 295

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Book SynopsisWhat We Made presents a series of fifteen conversations in which contemporary artists who create activist, participatory work discuss the cooperative process. Colleagues from fields including architecture, art history, urban planning, and new media join the conversations.Trade Review“These conversations by key practitioners and thinkers are a snapshot of thinking around the emergence of social and collaborative art, which seeks to improve society and address social issues. Finkelpearl ably situates collaborative and participatory art within the chronology of American art history.” -- Toro Castaño * Library Journal *"What What We Made does, perhaps better than anything I’ve read so far about this particular kind of art, is utterly refrain from arriving at singular summaries or judgments. Instead, the conversations foreground the nuanced and complex social relations tied up in any artwork, but particularly collaborative artwork that draws on communities operating largely outside of the arts marketplace. And the projects Finkelpearl has chosen to discuss and feature by and large demonstrate real possibilities for genuine exchange across networks and communities." -- Alexis Clements * Hyperallergic *“What We Made is a good sourcebook of art that tackles politics through participation and collaboration. The author’s introduction provides a useful overview of the situation in contemporary America. . . .” -- Sally O’Reilly * Art Monthly *“What We Made brings together the stars of the social practice world Rick Lowe, Tania Bruguera, Mierle Laderman Ukeles, Harrell Fletcher, and more in conversations with urban planners, educators, and each other, to create a fluid and interdisciplinary dialogue about social practice and its complicated, beautiful and necessary implications in the world.” -- Katie Bachler * The Art Book Review *“Finkelpearl has provided his readers with a rich description of a particular, influential movement in the art museum world. This book illustrates his own commitment to social collaboration. By presenting the conversations that make up the core of this volume, he brings this aspect of the art museum world to a larger public.” -- George E. Hein * Curator *Table of ContentsPreface ix 1. Introduction The Art of Social Cooperation: An American Framework 1 2. Cooperation Goes Public Consequences of a Gesture and 100 Victoria/10,000 Tears 51 Interview: Daniel Joseph Martinez, artist, and Gregg M. Horowitz, philosophy professor Chicago Urban Ecology Action Group 76 Follow-Up Interview: Naomi Beckwith, participant 3. Museum, Education, Cooperation Memory of Surfaces 90 Interview: Ernesto Pujol, artist, and David Henry, museum educator 4. Overview Temporary Coaltions, Mobilized Communities, and Dialogue as Art 114 Interview: Grant Kester, art historian 5. Social Vision and a Cooperative Community Project Row Houses 132 Interview: Rick Lowe, artist, and Mark Stern, professor of social history and urban studies 6. Participation, Planning, and a Cooperative Film Blot Out the Sun 152 Interview: Harrell Fletcher, artist, and Ethan Seltzer, professor of urban studies and planning Ride Out the Sun 174 Follow-up Interview: Jay Dykeman, collaborator 7. Education Art Catedra Arte del Conducta 179 Interview: Tania Bruguera, artist Catedra de Conducta Follow-up Interview: Claire Bishop, art historian 8. A Political Alphabet 219 Interview: Wendy Ewald, artist, and Sondra Farganis, political scientist 9. Crossing Borders Transnational Community-Based Production, Cooperative Art, and Informal Trade Networks 240 Interview: Pedro Lasch, artist, and Teddy Cruz, architect 10. Spirituality and Cooperation Unburning Freedom Hall and The Packer School Project 269 Interview: Brett Cook, artist, and Mierle Laderman Ukeles, artist The Seer Project 301 Interview: Lee Mingwei, artist 11. Interactive Internet Communication White Glove Tracking 313 Interview: Evan Roth, artist White Glove Tracking 335 Follow-up Interview: Jonah Peretti, contagious media pioneer Conclusion: Pragmatism and Social Cooperation 343 Notes 363 Bibliography 373 Index 381

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Book SynopsisIn addition to being a renowned artist, Renée Green is also a prolific writer and a major voice in the international art world. Other Planes of There gathers for the first time a substantial collection of the work she wrote between 1981 and 2010.Trade Review“[B]y interweaving an astounding diversity of tones, modes, subjects, and genres into a single body of writing, Green reveals many of the underlying interactions and interconnections that would seem to shape our contemporary moment. In the pieces collected in the volume, Green oscillates between the poles of academic and literary ambition, combining the poetic with the analytic, the diaristic with the theoretical, the autobiographical with the systematic, the tentative with the polemical. . . . Other Planes of There offers both a critical genealogy of and a reflexive corrective to our present art-historical and political moment.” -- André Rottmann * Artforum *“Anticipating the artist’s expanded function—the various ‘turns’ of the 2000s—Green wears many hats, acting at once as a curator, archivist, events organizer, and independent distributor (a role she calls ‘free media agent’). . . . An important resource for those seeking to understand what has happened in progressive art discourse for the past twenty years. Other Planes of There also offers a model for how artists might situate their work through a critical, process-intensive writing practice.” -- Thom Donovan * BOMB *“The book is evidence of what remains an ongoing process, which continues to grow in the minds of those that read it or come to encounter Green’s work. Rooted within the fabric of every text is Green’s voice, which remains one of questioning the world, through a continual prodding and reexamination of methods of understanding, transmission, and communication.” -- Maia Nichols * Full Stop *“Complete with an extensive Publishing History, Curriculum Vitae and Index that indicate clearly the rich scope of this anthology, this certainly is a beautiful example of what thinking through and with work can lead to.” -- Edith Doove * Leonardo Reviews *Table of ContentsAcknowledgments xi Introductory Essays Other Planes, Different Phases, My Geometry, Times, Movements: Becomings Ongoings 1 Remarks on the Writings of Renee Green, by Gloria Sutton 19 Genealogies 1. Sites of Criticism: A Symposium. Practices: The Problem of Division of Cultural Labor. Statement (1992) 35 2. Discourse on Afro-American Art: The Twenties (1982) 42 3. I Won't Play Other to Your Same (1990) 53 4. What's Painting Got to Do with It? Representing Gender and Sexuality in the Age of Post-Mechanical Reproduction (1990) 57 5. From Camino Road (1994) 64 Circuits of Exchange 6. Open Letter #1: On Influence (1992) 73 7. Open Letter #2: Another Attempt (1993) 78 8. Collectors, Creators, and Shoppers (1994) 83 9. Peripatetic at "Home" (1995) 89 10. Free Agent Media / FAM (1995) 94 11. Situationist Text (2001) 99 12. Introductory Notes of a Reader and "A Contemporary Moment" (2001) 103 Encounters 13. Trading on the Margin (1991) 119 14. Democracy in Question (1991) 128 16. Spike Lee's Mix: Calculated Risks and Assorted Reckonings (1996) 141 17. Compared to What? (1998) 152 18. Notes on Humanist and Ecological Republic and Lac Mantasoa (2000) 156 19. Other Planes of There (2004) 163 20. Archives, Documents? Forms of Creation, Activism, and Use (2008) 176 21. On Kawara's Solutions to Living (2010) 191 Positions 22. "Give Me Body": Freaky Fun, Biopolitics, and Contact Zones (1995) 197 23. Dropping Science: Art and Technology Revisited 2.0 (1995) 210 24. Site-Specificity Unbound: Considering "Participatory Mobility" (1998) 225 25. Slippages (1997) 230 26. Affection Afflictions: My Alien/MySelf, or More "Reading at Work" (1998) 256 27. Survival: Ruminations on Archival Lacunae (2001) 271 28. Beyond (2006) 289 29. Place (2006) 297 Operations 30. Sites of Genealogy (1990) 309 31. VistaVision: Landscapes of Desire (1991) 312 32. Tracing Lusitania: Excerpts from an Imagined Prototype (1995) 317 33. Secret, Part 1. Practiced Places (1992-1993) 320 34. Secret, Part 2. Scenes from a Group Show: Project Unite (1993) 323 35. Inventory of Clues (1993) 335 36. Eighteen Aphoristic Statements (1994) 340 37. Collecting Well Is the Best Revenge (1995) 346 38. The Digital Import/Export Funk Office (1995) 354 39. Wavelinks Transmitted amidst "Dangerous Crossings": Reflections in 2006 (2000, 2006) 364 40. Standardized Octagonal Units for Imagined and Existing Systems (2002) 375 41. Sound Forest Folly: Intermediary Units of a Variable Number (2004) 379 42. Why Systems? (2004) 381 43. Relay (2005) 388 44. Index (From Oblivion): Paradoxes and Climates. Thought Experiments: Warm-up Notes (2005) 392 45. Climates and Paradoxes (2005) 396 46. Why Reply? (2007) 403 47. Now It Seems Like a Dream (2007) 408 48. Imagine This Wherever and Whoever You Are (2008) 411 49. Come Closer: Prelude to Endless Dreams and Water Between (2008) 419 50. Come Closer (2008) 422 51. Endless Dreams and Water Between (2009) 428 Plate Captions 453 Publishing History 463 Curriculum Vitae 469 Index 491

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Book SynopsisWritten by one of the foremost scholars of African art and featuring more than 125 color images, Postcolonial Modernism chronicles the emergence of artistic modernism in Nigeria in the heady years surrounding political independence in 1960.Trade Review“As a book that documents the trajectory of colonial and post-colonial states of visual arts in Nigeria, Okeke-Agulu’s Postcolonial Modernism is no doubt a compact scholarly work that highlights the dynamics of the past and politics of a period that could have been the Nigerian renaissance in the post-independence era.” -- Tajudeen Sowole * The Guardian (Lagos) *“Through contemporary documentation, such as the magazine Black Orpheus, which published criticism, reviews, portfolios, and well-chosen illustrations, Okeke-Agulu offers thorough formalist and analytical readings of works of art. Knowledge of Nigerian artists Aina Onabolu, Bruce Onobrakpeya, Demas Nwoko, Simon Okeke, Yusuf Grillo, El Anatsui, and Jimo Akolo, as well as those who supported and promoted their work, such as Ulli Beier and Kenneth Murray, is broadened without delving into the minutiae of biography. … Recommended. All levels of undergraduates and above.” -- M. R. Vendryes * Choice *“The book unfolds dramatically, tracing the trajectory of Nigerian history from the colonial era through the euphoric independence years to the tragic aftermath of the post-independence period. Its seven chapters constitute an engrossing page-turner and offer a cathartic crescendo which climaxes when the author invokes Mbari--ephemeral, elaborate earthen monuments to the lgbo goddess Ala in its final pages. . . . One of this text's greatest accomplishments is the way in which it calls attention to ... under-appreciated work, while carefully situating it within a larger, sociopolitical context.” -- Carol Thompson * Art Papers *“Chika Okeke-Agulu’s thoroughly researched and beautifully illustrated Postcolonial Modernism significantly advances an understanding of modern African art. …[A] major contribution to the fields of modern African art and global modernisms. For readers unfamiliar with modern Nigerian art, it serves as a comprehensive introduction. For those who study modern Nigerian and African art, the figures, movements, and artistic concerns will be largely familiar, but Okeke-Agulu examines them with unprecedented depth and complexity, while situating them within a broader global context.” -- Rebecca Wolff * CAA Reviews *"The book is an enormously valuable contribution to our understanding of Nigerian art history, both in its text and its 127 illustrations, many of which will be new to many scholars.... It is a book that belongs in the library of every scholar interested in African art history, Nigeria, modernism, and postcolonial studies." -- Jean M. Borgatti * International Journal of African Historical Studies *"With textured analyses of artworks from unpublished archives, Okeke-Agulu’s research enriches the field of art history by offering the Nigerian experience of modernism as impetus to seek out other modernisms from the Global South. Informative for scholars in the field of African studies, this book is equally legible for undergraduate and graduate courses, or even for nonspecialists who are searching for meaningful ways to rethink the existing, incomplete narratives concerning modernity and Africa." -- Joseph L. Underwood * Art Journal *"When I first picked up this handsome book, a sense of wonder swept over me.... Readers will surely take from this wonderful book a new appreciation for twentieth-century Nigerian art and its role in postcolonial modernism." -- Monica Blackmun Visonà * Art Bulletin *"Chika Okeke-Agulu’s book on art and decolonization is an extensive and highly detailed investigation of the emergence of artistic modernism in Nigeria from the late 1950s to the civil war in 1967. . . . The book is without doubt a significant contribution to the study of mid- to late twentieth-century Nigerian art. However, it is important to recognize Postcolonial Modernism has the potential to appeal not only to scholars, but also to a broader audience." -- Fred Smith * H-AfrArts, H-Net Reviews *"This book offers readers a complex study into the development of Nigerian modernism within a wider political, cultural, and artistic context of decolonization. Chika Okeke-Agulu successfully achieves a delicate balancing act, keeping the individual artists and their work at the center of this critical enquiry while also analyzing how they were connected to a wider art world context." -- Helena Cantone * African Studies Quarterly *Table of ContentsList of Illustrations ix Acknowledgments xiii Introduction. Postcolonial Modernism 1 1. Colonialism and the Educated Africans 21 2. Indirect Rule and Colonial Modernism 39 3. The Academy and the Avant-Garde 71 4. Transacting the Modern: Ulli Beier, Black Orpheus, and the Mbari International 131 5. After Zaria 183 6. Contesting the Modern: Artists' Societies and Debates on Art 227 7. Crisis in the Postcolony 259 Notes 291 Bibliography 313 Index 327

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Book SynopsisMicrogroove continues John Corbett's exploration of diverse musics, with essays, interviews, and musician profiles that focus on jazz, improvised music, contemporary classical, rock, folk, blues, post-punk, and cartoon music, as well as painting, design, dance, and poetry.Trade Review"Corbett has just published a terrific new anthology of his writing called Microgroove, the long-delayed follow-up to his 1994 book Extended Play. . . . There's a lot of great stuff in the new book—which went through multiple iterations over the years, scrapped and revisited several times—but in his introduction to a piece called 'Twenty-Seven Enthusiasms: A Spontaneous Listening Session,' Corbett expresses a major part of what makes his work so special. 'Show-and-tell was always my favorite part of school,' he writes, eventually explaining that 'you accumulate things not to own them, but to share them.' It's what he's done as a writer, a music presenter, and, in recent years, a gallerist, at Corbett vs. Dempsey." -- Peter Margasak * Chicago Reader *"One of the more interesting features of Microgroove is the inclusion of multiple pieces on some of the artists. This allows Corbett to consider them from different angles or over time, providing a fuller picture of their art in the process. That, combined with the eclectic scope of Corbett’s interests, makes of Microgroove a rich, multifaceted survey of some of the more challenging artists of the last two decades." -- Daniel Barbiero * Avant Music News *"The far-ranging scope of the 53 essays and interviews collected in these nearly 500 pages, dating from 1993 to just last year, reminds us that even within music’s commercially neglected fringes complex gradations of sub-genre exist, separating the hardcore avant-garde devotee from one who thinks they’re down because they own a copy of Space Is the Place. ... But first and foremost [Corbett] is a devotee of challenging and outré sounds, and his essays are most compelling when he dives headfirst into his chronicles with a fan’s enthusiasm and verve. ...These pieces beautifully balance serious musical scholarship and critical analysis with the kind of collar-grabbing, “give-this-a-listen” excitement that draws us all to music in the first place." -- Matt R. Lohr * JazzTimes *"Corbett, like the best kind of record store crate digger, pinpoints the association between acknowledged innovators and the achievements of lesser-known figures. . .. [T]he book’s key achievement is how Corbett’s psychiatrist-like probing questions elicit the most definitive and/or instructive statements about their art from certain musicians." -- Ken Waxman * MusicWorks *"John Corbett is a smart guy who really, really loves music, and his intelligence and enthusiasm come through in every one of the essays and articles in this volume of his collected writings.... Anyone interested in what was happening on the cutting edge of music during the years these articles appeared needs to read this anthology of John Corbett’s writing." -- Ed Hazell * ARSC Journal *"John Corbett's singular critical voice is wildly alive in his latest book, a compendium of previous writings, sober reflections, clever visuals, idiosyncratic interviews, and post-genre insights into the thriving ecology of knowledge that is the contemporary music scene. At once this is a book that takes its place alongside other distinctive voices in the pell-mell topography of recent musical criticism, from Greg Tate and Lester Bangs to Nat Hentoff and Nate Chinen, and the work of an itinerant witness bearing testimony marked by a vast respect and love for improvised musicking and musical diversity.... Microgroove is an eloquent, readable, playful testimony to the otherness of music as an allegory for creative freedom and as a generative social practice that refuses limitations." -- Daniel T. Fischlin * Journal of Popular Music Studies *Table of ContentsPreface: Tympanum of the Other Frog xv Acknowledgments xix Introduction 1 One. On The Road, Into The Cul-De-Sac Joe Harriott and Bernie McGann: Flying without Ornette 15 Michael Hurley: Jocko's Lament 21 Mayo Thompson: Genre of One 33 John Stevens: Unpopular Populists 36 Peter Brötzmann Tentet: Freeways 40 Steve Lacy: Sojourner Saxophone 49 David Grubbs: Postcards from the Edge 57 Voice Crack: From Nothing to Everything 67 Two. Exigeneses Of Creative Music Milford Graves: Pulseology 71 Out of Nowhere: Deleuze, Gräwe, Cadence 79 Carla Bley and Steve Swallow: Feeding Quarters to the Nonstop Mental Jukebox 85 Misha Mengelberg: No Simple Calculations for Life 93 Misha Mengelberg and Han Bennink: Natural Inbuilt Contrapuncto 109 Form Follows Faction? Ethnicity and Creative Music 116 Anthony Braxton: Ism vs. Is 123 Anthony Braxton: Bildungsmusik—Thoughts on Composition 171 129 Paul Lowens: Lo Our Lo 132 Clark Coolidge: The Improvised Line 136 Nathaniel Mackey: Steep Incumbencies 142 Sun Ra: From the Windy City to the Omniverse—Chicago Life as a Street Priest of D.I.Y. Jazz 153 Fred Anderson: The House That Fred Built 162 Three. Ululations And Other Vocal Stimulants Sun Ra: Queer Voice 169 Jaap Blonk: Uncommon Tongue 170 PJ Harvey: Mother's Tongue 179 Aural Sex: The Female Orgasm in Popular Sound (coauthored with Terri Kapsalis) 182 Liz Phair and Lou Barlow: On Music, Sex, TV, and Beyond 194 Liz Phair and Kim Gordon: Exile in Galville? 205 Koko Taylor: The Blue Queen Cooks 212 Brion Gysin and Steve Lacy: Nothing Is True, Everything Is Permuted 217 Four. The Horn Section Ornette Coleman: Doing Is Believing 233 Roscoe Mitchell: Citizen of Sound 244 Fred Anderson and Von Freeman: Tenacity 250 George Lewis: Interactive Imagination 258 Mats Gustafsson: MG at Half-C 264 Ken Vandermark: Six Dispatches from the Memory Bank 270 Ken Vandermark and Joe McPhee: Mutual Admiration Society 278 Peter Brötzmann and Evan Parker: Bring Something to the Table 285 Five. Track Marks Oncology of the Record Album 297 Discaholic or Vinyl Freak? Mats Gustafsson Interrogates John Corbett 301 Twenty-Seven Enthusiasms: A Spontaneous Listening Session 308 A Very Visual Kind of Music: The Cartoon Soundtrack beyond the Screen 313 R. L. Burnside and Jon Spencer: Fattening Frogs for Snake Drive 322 Before and After Punk: The Comp as Teaching Tool 331 Raymond Scott: Cradle of Electronica 336 Six. Melodic Line and Tone Color Peter Brötzmann: Graphic Equalizer 343 Albert Oehlen: Bionic Painting 347 Albert Oehlen: Mangy—A Conversation and a Playlist 352 Christopher Wool: Impropositions—Improvisation, Dub Painting 359 Christopher Wool: Into the Woods—Six Meditations on the Interdisciplinary 366 Sun Ra: An Afro-Space-Jazz Imaginary—The Printed Record of El Saturn 371 Seven. The Texture Of Refusal Helmut Lachenmann: Hellhörig, or the Intricacies of Perceptiveness 379 Guillermo Gregorio: Madi Music 387 Experimental Oriental: New Music and Other Others 391 Afterword: A Concise History of Music 417 Grooving On: Selected Listening 423 Credits 443 Index 447

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Book SynopsisThis collection categorizes aesthetic avant-garde art as art that seeks to politically transform society and argues that such art is essential for political revolution. It provides seven in-depth analyses of twentieth-century aesthetic avant-garde art movements and examines them in relation to revolutionary politics.Trade Review"At the crossroads of the aestheticization of politics and the politicization of art, a collision occurred that released the energy fueling the various avant-gardes of the 20th century. However unfulfilled their quest to revolutionize both art and life may now seem, the shock waves it set off still reverberate in our own time. Focusing on both familiar and unfamiliar avant-garde movements around the world, the provocative texts assembled by Ales Erjavec in this scintillating collection demonstrate that they may still trigger new explosions in the years to come." -- Martin Jay, coeditor of Empires of Vision: A Reader "This is a quite remarkable collection that profiles the art/politics relationship as it was concretely negotiated at key moments throughout the twentieth century. No other study enables us to look so closely to see just what the art/politics relation amounted to-or, more exactly, what was the real relationship between artistic practice and revolutionary social transformation." -- Terry Smith, author of Antinomies of Art and Culture: Modernity, Postmodernity, ContemporaneityTable of ContentsList of Illustrations vii Acknowledgments xv Introduction. Aleš Erjavec 1 1. Politics as the Art of the Impossible: The Heteronomy of Italian Futurist Art-Action / Sascha Bru 19 2. 5 X 5 = 25? The Science of Constructivism / John E. Bowlt 42 3. Convulsive Beauty: Surrealism as Aesthetic Revolution / Raymond Spiteri 80 4. Aesthetic Avant-Gardes and Revolutionary Movements from Modern Latin America / David Craven 113 5. All along the Watchtower: Aesthetic Revolution in the United States during the 1960s / Tyrus Miller 145 6. From Unitary Urbanism to the Society of the Spectacle: The Situationist Aesthetic Revolution / Raymond Spiteri 178 7. NSK: Cricial Phenomenology of the State / Miško Šuvakovic 215 Conclusion. Avant-Gardes, Revolutions, and Aesthetics / Aleš Erjavec 255 Bibliography 287 Contributors 311 Index 313

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Book SynopsisPrior to 1967 fewer than a dozen museum exhibitions had featured the work of African American artists. And by the time the civil rights movement reached the American art museum, it had already crested: the first public demonstrations to integrate museums occurred in late 1968, twenty years after the desegregation of the military and fourteen years after the Brown vs. Board of Education decision. In Mounting Frustration Susan E. Cahan investigates the strategies African American artists and museum professionals employed as they wrangled over access to and the direction of New York City''s elite museums. Drawing on numerous interviews with artists and analyses of internal museum documents, Cahan gives a detailed and at times surprising picture of the institutional and social forces that both drove and inhibited racial justice in New York''s museums. Cahan focuses on high-profile and wildly contested exhibitions that attempted to integrate African American culture Trade Review"Using a number of interviews with artists and an analysis of internal museum documents, Cahan perfectly renders the tenor of those volatile times. The elites of the art museum world are brought to task for their misguided attempts at inclusiveness and subtle (and not-so-subtle) attempts to preserve the status quo. Anyone interested in American art and society will find plenty to ponder in this thoughtful work." -- Carolyn Mulac * Booklist *"Cahan should be lauded for her meticulous investigations, starting her research in 1990, and conducting numerous interviews with the artists and administrators in question. She relays a taxonomical breadth of information that is as nauseating as it is intoxicating." -- Terence Trouillot * BOMB *(Starred Review) "This essential publication, focusing exclusively on New York City’s art museums in the wake of the civil rights movement, shines a revealing light on the artists, museum staff, and activists who were involved in the effort to force large art institutions to 'face artists’ demands for justice and equality.' . . . This thorough and unrelenting examination gives invaluable history as well as context for the present struggle to create and maintain diversity in art museums." * Publishers Weekly *"... [W]e owe Cahan a debt. American museums in the late 1960s and early '70s were suffused with the same racist assumptions and practices as other major social institutions. Many individuals within the cultural realm-curators, artists, critics, trustees and directors—acted disingenuously, even scandalously at times. While the prospect of a 'post-racial' society clearly continues to elude us in the era of Black Lives Matter, reexamining a selection of the exhibitions from a time of significant social upheaval can help us understand the ways in which we have changed, and how much further we have to go to achieve equality of opportunity and just representation." -- Steven C. Dubin * Art in America *"Mounting Frustration is likely a report more relevant than any CNN production. . . . Aside from simply telling a story, Cahan spent five years working as a senior curator and arts program director for the Collection of Eileen and Peter Norton and Peter Norton Family Foundation. There, she assisted the Nortons in their mission to support emerging black artists. She has also done more written work and service related to social inequalities in the art community." -- Zuri Ward * Blavity *"[M]eticulously researched. . . . As Mounting Frustration persuasively establishes, major museums in the US have historically done a deplorable job of representing black artists, other artists of color, and women artists, who are tokenized by ever-churning cycles of celebration and dismissal—what Cahan calls 'waves'—in part because large art institutions are not only dependent on but impregnated with the ideology of the ruling class that funds them." -- Julia Bryan-Wilson * Artforum *"Mounting Frustration comprises well-researched, elegantly crafted case studies of the museum world in New York City during the rise of the Black Power movement. Telling the stories from the perspective of someone who worked in the trenches, Cahan offers the kind of insights and perspectives available to only those who understand the inner workings of institutions. . . . this book is vital for any inquiry into US museums and how those museums continue to take shape. Her pointed and precise use of archival material makes this book not just a history but also a model for scholarly inquiry. Highly recommended. Lower-division undergraduates through faculty and professionals; general readers." -- K. P. Buick * Choice *"With an extensive bibliography and list of notes, Cahan does a thorough job of providing a detailed historical overview and analyses of the struggles African Americans faced with exhibiting their work in New York City museums. Highly recommended for students and faculty studying, and anyone interested in, museum studies, art history, and ethnic studies." -- Tina Chan * ARLIS/NA Reviews *"Mounting Frustration powerfully zeroes in on the moment museums were forced to address the neglect of artists of color, mapping artists’ ways of fighting the establishment and the ways in which artists and administrators chose to take action. . . . [W]hile critique can often read as a sermon, or laundry list, of how things should be, Cahan has instead researched and presented a chronology of museums’ misguided practices that have helped maintain the art world as a place for racially privileged elites and the methods that curators and administrators used to do so—despite heavy resistance from artists and the public since the ’60s." -- Alexandra Fowle * The Brooklyn Rail *"Mounting Frustration is a crucial read for anyone who is interested in understanding why the New York art world looks the way it does. The book also furthers an understanding of how activism and negotiation can be used to change institutions going forward." -- Isaac Kaplan * Artsy *"Cahan’s meticulously researched book makes an important contribution to understanding the strategies that the art world used to maintain prerogatives of power and position— a shameful story dispassionately and insightfully told." -- Peter M. Rutkoff * Journal of American History *"Calling on meticulous archival research alongside twenty years of individual interviews with combatants from both sides, Susan Cahan has produced a major contribution to the institutional and intellectual history of American art museums.... A must-read book for anyone who wants to understand the issues of race in the art world system, both then and now." -- Fath Davis Ruffins * Winterthur Portfolio *Table of ContentsList of Illustrations vii Acknowledgments xiii Introduction 1 1. Electronic Refractions II at the Studio Museum in Harlem 13 2. Harlem on My Mind at the Metropolitan Museum of Art 31 3. Contemporary Back Artists in America at the Whitney Museum of American Art 109 4. Romare Bearden: The Prevalence of Ritual and The Sculpture of Richard Hunt at the Museum of Modern Art 171 Epilogue 253 Notes 269 Bibliography 319 Index 335

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Book SynopsisProviding heterogeneous accounts of the intersections between the fine art world with literature, jazz, film, and theater in New York, Paris, Milan, Brazil, and Cuba between 1959 and 1960, the contributors show this period to be pivotal in the culture and politics of Western Europe and the Americas.Trade Review"Excellent. . . . Breathless Days should be considered essential reading for those seeking a deeper understanding of a fascinating range of works created in a turbulent period of twentieth-century history." -- Anthony White * RACAR *Table of ContentsAcknowledgments vii Introduction / Serge Guilbaut and John O'Brien 1 1. Cahiers du Cinéma Interview / Jean-Luc Godard 22 Part I. Cheek to Cheek in Paris and New York 2. Marcel Duchamp: The Signature Machine—Identity, Authority, Dispossession / Hadrien Laroche 31 3. The Young and the Old / Richard Leeman 60 4. Redefining the Boundaries of Culture: The French Experience of Jazz / Ludovic Tournès 82 5. A Critical Season for Alan Katz / Éric de Chassey 99 6. The Cacodylic Mind: Francis Picabia and the Neo-Avant-Garde, 1953–1963 / Tom McDonough 112 Part II. Violence, Machines, and Bodies 7. The Paradox of Time: Nouveau Réalisme's Curious "Archaeology of the Present" / Jill Carrick 129 8. To Be an "Exemplary" Machine: Tinguely's Homage to New York / Mari Dumett 152 9. Naked Lunch and the Neighbor / Clint Burnbaum 177 10. Bodybuilding or Bodycrushing? From Art to Theater: From Bodies to Corpses, a Rhizomatic Meditation on the Contemporary West / Regis Michel 191 Part III. Time Is Longer Than Any Distance 11. Action Writing/Action Reading / Luc Lang 205 12. From the Genius in the Mountain to the Party in the Dark: Art, Cinema, and Cultural Politics at the Beginning of the Cuban Revolution / Antonio Eligio (Tonel) 211 13. Disorder and Progress in Brazilian Visual Culture, 1959 / Aleca Le Blanc 234 14. That Tingling Sensation: 1959 and William Castle's The Tingler / Kjetil Radje 255 15. Atopic Atomic: Picro Manzoni's Space-Age Subtext and the "Ins and Outs" of the Modern Intellectual / Carla Benzan 275 Selected Bibliography 313 Contributors 319 Index 323

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Book SynopsisIn this set of essays that cover the period from 1992 to 2012, Kobena Mercer uses a diasporic model of criticism to analyze the cross-cultural aesthetic practice of African American and black British artists and to show how their refiguring of visual representations of blackness transform perceptions of race. Trade Review"Travel & See benefits from a retrospective gaze; Mercer’s 30-year career gives him a judicious distance on some highly charged aesthetic movements and issues.... Mercer’s volume ... does not simply collect his past writings; it forces us to see international modernism in a way that has implications for future scholarship both within and beyond the field of black diasporic art. Travel & See posits Mercer as a chronicler not only of the field of contemporary art of the Afro-modern world, but of the inextricable ties of black diasporic and modernism itself." -- Sarah Lewis * Art in America *"Travel & See is an essential addition to any art historian’s library.... With Travel & See, Mercer further establishes himself as a leading figure in the field while also modeling the type of work that still needs to be done. The volume shows how Mercer’s writing redefined contemporary art history just as much as it shows how black diaspora artists changed contemporary art." -- Uchenna Itam * Shift *"Mercer's optimistic spirit encourages the reader to dare to travel in space and time in order to see better." -- Maureen Murphy * Critique d'art *"Subtleties of thought and elegance of expression are characteristic of Mercer's writings, read avidly by those art historians who have sought insight into Black British Cultural Studies, increasingly influential over the last thirty years. Mercer's essays offer a welcome contrast to art‐historical scholarship aimed at the specialist, and also to criticism on the contemporary arts of the African and Asian diasporas." -- Amna Malik * Art History *Table of ContentsList of Illustrations ix Acknowledgments xiii Introduction 1 Part I. Art's Critique of Representation 37 1. The Fragile Inheritors 39 2. Busy in the Ruins of Wretched Phantasia 50 Part II. Differential Proliferations 87 3. Marronage of the Wandering Eye: Keith Piper 89 4. Mortal Coil: Eros and Diaspora in the Photographs of Rotimi Fani-Kayode 97 5. Avid Iconographies: Isaac Julien 129 6. Art That Is Ethnic is Inverted Commas: Yinka Shonibare 147 Part III. Global Modernities 155 7. Home from Home: Portraits from Places in Between 157 8. African Photography in Contemporary Visual Culture 170 9. Ethnicity and Internationality: New British Art and Diaspora-Based Blackness 186 10. Documenta 11 207 Part IV. Detours and Returns 215 11. A Sociography of Diaspora 217 12. Diaspora Aesthetics and Visual Culture 227 13. Art History after Globalization: Formations of the Colonial Modern 248 14. The Cross-Cultural and the Contemporary 262 Part V. Journeying 277 15. Postcolonial Trauerspiel: Black Audio Film Collective 279 16. Archive and Dépaysement in the Art of Renée Green 294 17. Kerry James Marshall: The Painter of Afro-Modern Life 310 18. Hew Locke's Postcolonial Baroque 321 Bibliography 347 Index 357

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Book SynopsisThe eminent critic, historian, and former member of the Art & Language collective Terry Smith explores the artistic, philosophical, political, and geographical dimensions of conceptual art and conceptualism while offering a theory of contemporary art.Trade Review"Terry Smith writes about the history of Conceptual Art as its participant and observer-and his book produces a stereoscopic image of the movement that is fascinating and persuasive. According to Smith, Conceptual Art has transformed itself into the global conceptualism that is still contemporary. This book should be read by everybody who has become tired of the simplistic opposition between global and local and looks for the ways to overcome it." -- Boris Groys, author of In the Flow "Scholars, critics, artists, and students concerned with the legacy of conceptual art in the present-particularly those focused on its development as a kind of global lingua franca for contemporary art-will welcome the publication of this tremendous book." -- Blake Stimson, author of Citizen WarholTable of ContentsList of Illustrations ix Acknowledgments xiii Introduction: A Theory of Conceptualism / Robert Bailey 1 1. Art and Art and Language 37 2. The Tasks of Translation: Art & Language in Australia and New Zealand, 1975-76 57 3. A Conversation about Conceptual Art, Subjectivity, and the Post-Partum Document 85 4. Peripheries in Motion: Conceptualism and Conceptual Art in Australia and New Zealand 99 5. One and Three Ideas: Conceptualism Before, During, and After Conceptual Art 127 Index 145

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Book SynopsisPresenting two decades of work by Abigail Solomon-Godeau, Photography after Photographyis an inquiry into the circuits of power that shape photographic practice, criticism, and historiography. As the boundaries that separate photography from other forms of artistic production are increasingly fluid, Solomon-Godeau, a pioneering feminist and politically engaged critic, argues that the relationships between photography, culture, gender, and power demand renewed attention. In her analyses of the photographic production of Cindy Sherman, Robert Mapplethorpe, Susan Meiselas, Francesca Woodman, and others, Solomon-Godeau refigures the disciplinary object of photography by considering these practices through an examination of the determinations of genre and gender as these shape the relations between photographers, their images, and their viewers. Among her subjects are the 2006 Abu Ghraib prison photographs and the Cold War-era exhibition The Family of Man, insofar as thesTrade Review"Solomon-Godeau shines when applying deconstructive feminist analysis to broader questions of representation in visual culture, and the market forces that collude to elevate an artist’s reputation to master status." -- Wendy Vogel * Camera Austria *"With its refusal to separate photography from power and patronage, Abigail Solomon-Godeau's Photography After Photography arrives at an auspicious moment.. . . Bringing a wealth of information to bear on photographic meaning, Solomon-Godeau explores her topics in historical context. In doing so, she demonstrates that the way many photographs are understood today has little to do with the circumstance of their creation, or the manner in which they were originally distributed and viewed." -- Dore Bowen * Art in America *"While Solomon-Godeau’s overarching goal is to offer a feminist critique of the art world — particularly of critical discourse around art — in some of her essays she also discusses topics that fall outside this lens, such as the role of desire in photography and images of torture. In this sense, the anthology reflects the range of Solomon-Godeau’s practice and interest as an art critic and scholar." -- Ela Bittencourt * Hyperallergic *"Solomon-Godeau’s essays are lucid and make for captivating reading. . . . It is fitting for Solomon-Godeau to present a collection that spans such a broad range of topics in a manner that is cohesive, challenging, and attentive to photography’s complex formal and cultural history." -- Will Carroll * ASAP/Journal *Table of ContentsList of Illustrations vii Preface. May the Bridges We Burn Light the Way / Sarah Parsons ix Introduction 1 1. Inside/Out (1995) 10 2. Written on the Body (1997) 27 3. The Family of Man: Refurbishing Humanism for a Postmodern Age (2004) 43 4. Torture at Abu Ghraib: In and Out of the Media (2007) 61 5. Harry Callahan: Gender, Genre, and Street Photography (2007) 77 6. Caught Looking: Susan Meiselas's Carnival Strippers (2008) 94 7. Framing Landscape Photography (2010) 107 8. The Ghosts of Documentary (2012) 123 9. Inventing Vivian Maier: Categories, Careers, and Commerce (2013) 141 10. Robert Mapplethorpe: Whitewashed and Polished (2014) 156 11. Body Double (2014) 171 12. The Coming of Age: Cindy Sherman, Feminism, and Art History (2014) 189 Notes 207 Bibliography 237 Index 249

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Book SynopsisThis issue examines the legacy of Nazi-looted art in light of the 2012 discovery of the famous Hildebrand Gurlitt collection of stolen artwork in Germany. When the German government declassified the case almost two years later, the resulting scandal raised fundamental questions about the role of art dealers in the Third Reich, the mechanics of the Nazi black market for artwork, the shortcomings of postwar denazification, the failure of courts and governments to adjudicate stolen artwork claims, and the unwillingness of museums to determine the provenance of thousands of looted pieces of art. The contributors to this issue explore the continuities of art dealerships and auction houses from the Nazi period to the Federal Republic and take stock of the present political and cultural debate over the handling of this artwork. Special topic contributors. Konstantin Akinsha, Meike Hoffmann, Andreas Huyssen, Lawrence M. Kaye, Olaf Peters, Jonathan Petropoulos, Anson Rabinbach, Avinoam Shale

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Book SynopsisExamining the cultural and gender politics of Chinese contemporary art at the turn of the twenty-first century, Sasha Su-Ling Welland shows how artists, curators, officials, and urban planners negotiated the meanings of the avant-garde, built new cultural institutions, wrote new histories of Chinese art, and imagined new, more gender-inclusive worlds.Trade Review"Drawing on her own ethnographic fieldwork, Welland investigates the power dynamics (traditional versus modern, male versus female) that played out in China as the role of experimental art was negotiated and new cultural institutions were erected." * Art in America *"For all readers, including non-specialists, Welland should succeed in making lost lives and camouflaged histories visible and palpable. The limpid prose, theoretically informed structure and expanded multimedia materials available on the book’s accompanying website would make it a captivating textbook for an advanced undergraduate course or a stimulating methodological text for graduate seminars. Marking a major contribution to the field, this is a masterful, thought-provoking and luminous text." -- Ros Holmes * Journal of Gender Studies *"A much welcome addition not only to the expanding scholarship on contemporary Chinese art, but also to Chinese feminist art, and gender studies." -- Meiqin Wang * The China Quarterly *"Experimental Beijing is a complex book that demands close reading not only by scholars interested in gender issues in art, but also those who wish for a multi-dimensional picture of the worlds of Chinese contemporary art." -- Doris Sung * China Perspectives *“Through interviews and communications on other occasions with a broad range of people, including artists, curators, officials, and urban planners, Welland shows convincingly the particular world of those almost forgotten artists and their creative strivings. … In so doing she creates a space for dialogue and cultural encounter in the text, averts the reader from the trap of translation and situates them in this admirably detailed account of the Chinese contemporary art world.” -- Siying Duan & Jun Zeng * Visual Anthropology *“Experimental Beijing is excellent at revealing the complex complicity between Chinese contemporary art and the new Chinese market economy and the heavy price that is paid by Chinese women artists for it.” -- Chris Berry * Asia Pacific Journal of Anthropology *"Situated at the intersection of art history, anthropology, and gender studies, Experimental Beijing enacts incisive interventions in histories of Chinese contemporary art, global contemporary art, and feminist art.… Engagingly written with fluid and lyrical prose." -- Peggy Wang * The Art Bulletin *Table of ContentsNote on the Digital Companion ix Illustrations xi Acknowledgments xv Prologue. Worldly Fables 1 Introduction. Chinese Contemporary Art in the Expanded Field 7 Part I. Art Worldings 1. Xianfeng Beijing 43 2. Showcase Beijing 79 Part II. Zones of Encounter 3. The Besieged City 111 4. The Hinterlands of Feminist Art 135 Part III. Feminist Sight Lines 5. Red Detachment 179 6. Opening the Great Wall 206 7. Camoflaged Histories 236 Epilogue. Recursive Worldly Fables 265 Notes 275 Bibliography 305 Index 323

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Book SynopsisJessica L. Horton explores how the artists of the American Indian Movement (AIM) generation remapped the spatial, temporal, and material coordinates of modernity by placing colonialism's displacement of indigenous people, objects, and worldviews at the center of their work.Trade Review"Horton’s study is scholarship as advocacy and a significant contribution to the ongoing discussion about how to develop a truly global perspective in the study of contemporary art.... This is a scholarly book with the usual apparatus and takes into account a range of theoretical approaches but is written clearly enough to offer something to serious general readers." -- Andrea Kirsh * Artblog *"At last an art book that recognizes Native American art as mainstream, and takes it seriously and interprets it with the same care and scrutiny given to art created by white people.... The research behind Art for an Undivided Earth is deep and reaches not only into Native roots but also across the ocean to European influences. The plentiful color illustrations enhance the points Horton makes, and the narrative is thorough and well written.... Essential. Upper-division undergraduates through faculty and professionals." -- A. Wirkkala * Choice *"The book is well-illustrated, with color plates focusing on the main artworks discussed. The author has clearly done extensive research, in some cases communicating with the artists themselves, and compiled a very thorough bibliography. The index to the book is also thoughtful, providing nuances for broad topics. In all, this book is a worthwhile read." -- Amy Lazet * ARLIS/NA Reviews *"The book ... comes alive through the author’s creative reinterpretation of the art, along with the author’s cogent primary data consisting of participant observation and interviews.... A widespread interdisciplinary audience ... likely will find plenty of insights in this interesting book." -- Tim Kubal * American Indian Culture and Research Journal *“Horton offers a model of contemporary art scholarship that is informed not only by wide-ranging critical theory but also of the historical traditions of Native American art. It adheres to the highest standards of scholarship while also engaging a constructive and hopeful intercultural dialogue.” -- Ruth Phillips * European Journal of American Culture *"Jessica L. Horton’s book is a carefully and lovingly collected archive of stories, images, and histories that draw one closer to the artists discussed." -- Lindsay Nixon * Art Journal *“Art For An Undivided Earth is perhaps the most involved and in-depth study of Native Modernism to date. . . . Horton’s work is a valuable resource for advanced undergraduates through professional-level academics, but is a required read for anyone pursuing Native American scholarship in museum studies, archival studies, and art history, or any other discipline which calls for a deeper investment than the identitarian/ethnographic approach which too often reigns supreme.” -- Anthony Ballas * InVisible Culture *Table of ContentsList of Illustrations ix Acknowledgments xiii Introduction 1 1. The Word for World and the Word for History Are the Same: Jimmie Durham, the American Indian Movement, and Spatial Thinking 16 2. Now That We Are Christians We Dance for Ceremony: James Luna, Performing Props, and Sacred Space 61 3. They Sent Me Way Out in the Foreign Country and Told Me to Forget It: Fred Kabotie, Dance Memories, and the 1932 U.S. Pavilion of the Venice Biennale 94 4. Dance Is the One Activity That I Know Of When Virtual Strangers Can Embrace: Kay WalkingStick, Creative Kinship, and Art History's Tangled Legs 123 5. They Advanced to the Portraits of Their Friends and Offered Them Their Hands: Robert Houle, Ojibwa Tableaux Vivants, and Transcultural Materialism 152 Epilogue: Traveligng with Stones 184 Notes 197 Bibliography 249 Index 283

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Book SynopsisJessica L. Horton explores how the artists of the American Indian Movement (AIM) generation remapped the spatial, temporal, and material coordinates of modernity by placing colonialism's displacement of indigenous people, objects, and worldviews at the center of their work.Trade Review"Horton’s study is scholarship as advocacy and a significant contribution to the ongoing discussion about how to develop a truly global perspective in the study of contemporary art.... This is a scholarly book with the usual apparatus and takes into account a range of theoretical approaches but is written clearly enough to offer something to serious general readers." -- Andrea Kirsh * Artblog *"At last an art book that recognizes Native American art as mainstream, and takes it seriously and interprets it with the same care and scrutiny given to art created by white people.... The research behind Art for an Undivided Earth is deep and reaches not only into Native roots but also across the ocean to European influences. The plentiful color illustrations enhance the points Horton makes, and the narrative is thorough and well written.... Essential. Upper-division undergraduates through faculty and professionals." -- A. Wirkkala * Choice *"The book is well-illustrated, with color plates focusing on the main artworks discussed. The author has clearly done extensive research, in some cases communicating with the artists themselves, and compiled a very thorough bibliography. The index to the book is also thoughtful, providing nuances for broad topics. In all, this book is a worthwhile read." -- Amy Lazet * ARLIS/NA Reviews *"The book ... comes alive through the author’s creative reinterpretation of the art, along with the author’s cogent primary data consisting of participant observation and interviews.... A widespread interdisciplinary audience ... likely will find plenty of insights in this interesting book." -- Tim Kubal * American Indian Culture and Research Journal *“Horton offers a model of contemporary art scholarship that is informed not only by wide-ranging critical theory but also of the historical traditions of Native American art. It adheres to the highest standards of scholarship while also engaging a constructive and hopeful intercultural dialogue.” -- Ruth Phillips * European Journal of American Culture *"Jessica L. Horton’s book is a carefully and lovingly collected archive of stories, images, and histories that draw one closer to the artists discussed." -- Lindsay Nixon * Art Journal *“Art For An Undivided Earth is perhaps the most involved and in-depth study of Native Modernism to date. . . . Horton’s work is a valuable resource for advanced undergraduates through professional-level academics, but is a required read for anyone pursuing Native American scholarship in museum studies, archival studies, and art history, or any other discipline which calls for a deeper investment than the identitarian/ethnographic approach which too often reigns supreme.” -- Anthony Ballas * InVisible Culture *Table of ContentsList of Illustrations ix Acknowledgments xiii Introduction 1 1. The Word for World and the Word for History Are the Same: Jimmie Durham, the American Indian Movement, and Spatial Thinking 16 2. Now That We Are Christians We Dance for Ceremony: James Luna, Performing Props, and Sacred Space 61 3. They Sent Me Way Out in the Foreign Country and Told Me to Forget It: Fred Kabotie, Dance Memories, and the 1932 U.S. Pavilion of the Venice Biennale 94 4. Dance Is the One Activity That I Know Of When Virtual Strangers Can Embrace: Kay WalkingStick, Creative Kinship, and Art History's Tangled Legs 123 5. They Advanced to the Portraits of Their Friends and Offered Them Their Hands: Robert Houle, Ojibwa Tableaux Vivants, and Transcultural Materialism 152 Epilogue: Traveligng with Stones 184 Notes 197 Bibliography 249 Index 283

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Book SynopsisPaul Rabinow continues his explorations of "a philosophic anthropology of the contemporary" by examining the work of German painter Gerhard Richter. Defining the contemporary as a moving ratio in which the modern becomes historical, Rabinow uses Richter's work to illustrate how meaning is created within the contemporary.Trade Review"Sometimes the keenest observations on an overly familiar phenomena come from outside the family. So it is with Paul Rabinow's lively, risky intervention in the clan of prestigious art theorists and critics who have created the reception of Gerhard Richter, one of the most famous artists in the world today. Rabinow contests the prevailing cliches that underwrite Richter's canonization, employing an anthropological perspective to untangle the artist's experiments with form in the twilit afterlife of modernism." -- W. J. T. Mitchell, author of Image Science: Iconology, Visual Culture, and Media Aesthetics "The virtual meeting of Gerhard Richter and Paul Rabinow opens up utterly new scholarly and discursive vistas into the nature of the contemporary. Offering a highly sophisticated and innovative anthropological framework to discuss the work of a prominent contemporary artist, Rabinow's innovative and exquisite book makes a compelling and necessary attempt to productively tie the arts and art criticism with the human sciences." -- Amir Eshel, author of Futurity: Contemporary Literature and the Quest for the PastTable of ContentsIntroduction. Form and Birkenau 1 1. Object: The Contemporary 15 2. Constellations: Writing and Imaging Strife 33 3. Assembling: Abet and Facilitate 65 4. Composition: Technē and Pathos 95 5. Contemporary Consolations: Unconsoled 125 6. Restive Endings 141 Notes 147 Bibliography 159

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Book SynopsisAnalyses artistic works across disciplines with a focus on the city of Buenos Aires as a playground of modernity.

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