Individual artists, art monographs Books

Book SynopsisTable of ContentsList of Illustrations, Preface and Acknowledgments, Introduction: Positionality, Performance, and Participation, 1. Visceral Beginnings, 2. Embodied Networks, 3. The Urban Stage, 4. Convergences, 5. We Make the City, the City Makes Us, 6. Turning Point, 7. Teens and Violence, Conclusion: Spaces Between, Still (Inter)Acting, Chronology of Suzanne Lacy, Notes, Bibliography, Index

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Book SynopsisTable of ContentsList of Illustrations, Introduction: Drawing on Art and Artists, 1. Critiques of the Ocular: Duchamp and Paris Dada, 2. The Spectacle of Film: Duchamp and Dada Experiments, 3. Endgame Strategies: Art, Chess, and Creativity, 4. Pointing Fingers: Dalí’s Homage to Duchamp, 5. The Apparatus of Spectatorship: Duchamp, Matta-Clark, and Wilson, Concluding Remarks: Mirrorical Returns, Notes, Index

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Book SynopsisTrade Review"It had been Nauman’s genius to have reversed Minimalism’s conception of sculpture, from a phenomenological idealism to a post-utopian subjectivity in which the conditions of surveillance, control and exertion are recognized as central in defining experience in the present. And Janet Kraynak’s brilliant study is the first to have given Nauman’s aesthetic ambitions an adequately theorized interpretive apparatus." —Benjamin H.D. Buchloh, Harvard University"Nauman Reiterated is cogent and original, based on extensive and unique primary research, and theorized in a distinct, coherent, and compelling way. Janet Kraynak, a recognized expert on Nauman’s work, deftly navigates the discourses of academic scholarship and the gallery/art-world, using a nuanced and detailed set of sources." —Liz Kotz, author of Words to be Looked At: Language in 1960s ArtTable of ContentsContentsAcknowledgmentsIntroduction: To Reiterate Nauman1. Dangerous Variations2. The Failure to Communicate3. The World Is Heard Differently: On Sound and a New Culture of Recording4. The Screen Is Empty: Nauman Performs the Recorded Image5. Dependent ParticipationEpilogue: Interactivity to What Ends?NotesIndex

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Book SynopsisThe first book analyzing the artistic production and critical reception of Kara Walker, a young African-American artist whose controversial work deals with unsettling themes of racism.Trade Review“Seeing the Unspeakable is an extremely important work. Gwendolyn DuBois Shaw is the first writer to place this controversial young artist’s work firmly in an art historical perspective. She combines careful scrutiny of the art’s formal traits with wide-ranging iconographic analysis, canny theoretical interpretation, and a revelatory examination of the work’s critical reception. The result is an extraordinary piece of scholarship.”—Judith Wilson, University of California, Irvine“It is not easy to write a scholarly work on a living artist whose talent for generating controversy at times obscures her formidable creative talent. However, Gwendolyn DuBois Shaw has done it, with remarkable intelligence and style. She brilliantly contextualizes Kara Walker’s work in terms of art history and African American history in a book that will be of tremendous value to scholars across many disciplines.”—Henry Louis Gates Jr., Harvard UniversityTable of ContentsList of Illustrations vii Acknowledgments xi Introduction 1 1. Tracing Race and Representation 11 2. The “Rememory” of Slavery 37 3. The Lactation of John Brown 67 4. Censorship and Reception 103 5. Final Cut 125 Conclusion 153 Notes 157 Index 187

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Book SynopsisIncludes sixteen colour photographs; images from Joanna in the Desert, a 2006 collaboration between Frueh and the photographer Jill O'Bryan; and several photographs of Frueh performing.Trade Review“Clairvoyance (For Those In The Desert) is an artful, insightful, and important collection of performance texts by artist and scholar Joanna Frueh. Indeed, Clairvoyance could be considered an essential primer for feminists.” -- Joanna Chlebus * Feminist Review blog *“Clairvoyance couples the strength of her words and the stage direction, to give the reader quite a vivid look into the life of this exceptional artist.” -- Jenna V. Loceff * Curve *“[A] a beautiful and very pink 400-page tome that looks great on a coffee table. . . . Clairvoyance is a great place to start learning about not just 20th-century performance art, but also about one of the more intriguing and unheralded performance artists of our time.” -- Jarret Keene * Tucson Weekly *Table of ContentsAcknowledgments ix Nota Bena xv Fucking Hot: An Introduction / Jill O'Brien 4 Joanna Frueh's Writing The Concupiscent Critic (1979) 51 BRUMAS (1982) Lyrics and text by Joanna Frueh, music by Thomas Hochheiser 57 Justifiable Anger (1982–83) ) Lyrics and text by Joanna Frueh, music by Thomas Hochheiser 76 Dual Conception (1983) Written by Joanna Frueh for a piece to be performed by Frueh and Thomas Kochheiser 93 Solar Shores (1984) ) Lyrics and text by Joanna Frueh, music by Thomas Hochheiser 108 A Few Erotic Faculties (1985–86) 121 Clairvoyance (For Those in The Desert) (1985–86) ) Lyrics and text by Joanna Frueh, music by Thomas Hochheiser 152 Breathing (1988) A Proposal for a Performance by Joanna Frueh and Russell Dudley, written by Frueh 168 Vermilion (1988) 169 Mouth Piece (1989) 180 Amazing Grace (1990) Written and Performed by Joanna Frueh and Russell Dudley 209 Pythia (1994) 225 Dressing Aphrodite (1997) 251 Sade, My Sweet, My Truffle; or, Giving a Fuck (1999) 278 The Aesthetics of Orgasm (2002) 287 Voyaging to Cythera (2003) 312 The Performance of Pink (2003) 319 Ambrosia (2004) 326 Shaking out the Dead: An Afterword by Joanna Frueh 337 Joanna Frueh Performance Chronology (1979—2005) 353 Key Readings from Joanna Frueh's Childhood to the Present 363

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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 epistolary history of the international avant-garde of happenings, Fluxus, and performance and conceptual art emerges from decades of correspondence between Carolee Schneemann and other artists and intellectuals.Trade Review“Correspondence Course is a book at once combative and communal, aesthetic and feminist. Schneeman chronicles a life dedicated to uncompromised artistic exploration of her own assumptions, as well as those of others, all in the name of conceptual progress.” - Trinie Dalton, Bookforum“One realizes in reading this hefty collection just how stealthily [Stiles] has made her way through the culture of her times, how she has maintained a brilliant dwelling for her creative process and psychic space, and steered a course based entirely on her own unique direction. Correspondence Course offers an ingenious view into a cultural life that does not fit neatly into the history books, if it’s there at all.” - Stephen Motika, Bomb“[A]n amazing look into the heart, soul, and psyche of a trend setting artist.” - Gypsey Elaine Teague, ARLIS/NA Reviews“A thick book of exuberant and extensive correspondence is a wonderful rarity in this era of tweets, emoticons, and Facebook updates. . . . [T]his selection provides an engaging historical document of a major segment of the American avant-garde in the last half of the 20th century. . . . Throughout her correspondence, Schneemann has the remarkable quality of being both unfailingly giving and fiercely honest.” - Kim Levin, ARTNews“Correspondence Course is many things: it is a book that encompasses an impressive amount of historical data that is of immense use to anyresearcher of late 20th-century art. It is also an archive of an extraordinary life during a time of tremendous changes in society and technology. Finally, it is a gripping story, at times difficult to put down—not your typical art historicalbook—and a tremendous achievement on the part of the editor, the artist and the publisher.” - Kathy Battista, Art Monthly“An accidental record of the way friends, enemies, the art world and ideas all crowd into an artist’s work can be found in Correspondence Course. . . . What a fascinating cacophony it is. . . . It is unusual to be given access to this kind of archive during the central figure’s lifetime. . . .” - Barry Schwabsky, The Nation“Kristine Stiles’s subtitle, An Epistolary History of Carolee Schneemann and Her Circle, suggests that like the correspondence of Virginia Woolf and the Bloomsbury Group, these letters will afford a privileged insight into the cultural milieu in which they were written. The first section in the book, focused on 1956–1968, may have the most historical éclat, but Schneemann’s letters are great throughout the forty-three years the book covers, and Stiles performed a careful and attentive scholarly treatment of them. This book is another brick in the edifice of modern art.”—Thomas McEvilley, author of The Triumph of Anti-Art: Conceptual and Performance Art in the Formation of Post-Modernism“Not only a revelatory stroll in Carolee Schneemann’s teeming archive, Correspondence Course demonstrates that letters, no less than canvases or installations, are works of art. An exquisitely dense meditation on address, Schneemann’s revelatory letters and Kristine Stiles’s deft critical framing perform a radical reconception of art history itself. At once deeply personal and profoundly philosophical, Correspondence Course illuminates and complicates pretty much every notion I have had about the past fifty years of avant-garde art. A brilliant, breathtaking, stunning book.”—Peggy Phelan, Stanford University“Correspondence Course is a book at once combative and communal, aesthetic and feminist. Schneeman chronicles a life dedicated to uncompromised artistic exploration of her own assumptions, as well as those of others, all in the name of conceptual progress.” -- Trinie Dalton * Bookforum *“Correspondence Course is many things: it is a book that encompasses an impressive amount of historical data that is of immense use to any researcher of late 20th-century art. It is also an archive of an extraordinary life during a time of tremendous changes in society and technology. Finally, it is a gripping story, at times difficult to put down—not your typical art historical book—and a tremendous achievement on the part of the editor, the artist and the publisher.” -- Kathy Battista * Art Monthly *“[A]n amazing look into the heart, soul, and psyche of a trend setting artist.” -- Gypsey Elaine Teague * ARLIS/NA Reviews *“A thick book of exuberant and extensive correspondence is a wonderful rarity in this era of tweets, emoticons, and Facebook updates. . . . [T]his selection provides an engaging historical document of a major segment of the American avant-garde in the last half of the 20th century. . . . Throughout her correspondence, Schneemann has the remarkable quality of being both unfailingly giving and fiercely honest.” -- Kim Levin * ARTNews *“An accidental record of the way friends, enemies, the art world and ideas all crowd into an artist’s work can be found in Correspondence Course. . . . What a fascinating cacophony it is. . . . It is unusual to be given access to this kind of archive during the central figure’s lifetime. . . .” -- Barry Schwabsky * The Nation *“One realizes in reading this hefty collection just how stealthily [Stiles] has made her way through the culture of her times, how she has maintained a brilliant dwelling for her creative process and psychic space, and steered a course based entirely on her own unique direction. Correspondence Course offers an ingenious view into a cultural life that does not fit neatly into the history books, if it’s there at all.” -- Stephen Motika * Bomb *Table of ContentsList of Illustrations vii Preface xi Acknowledgments xxi Introduction xxv The Letters 1956–1968 3 1969–1975 142 1976–1986 269 1987–1999 382 Index 491

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Book SynopsisA collection of essays exploring Thomas Kinkades career, his artistic production, and its impact on contemporary art as part of the broader history of American visual culture.Trade Review“At last, a thoughtful book on Thomas Kinkade. This is much more than a case of visual studies replacing art history with social and economic analyses: the contributors wrestle with value, quality, irony, self-reflexivity, aesthetics, taste, complexity, class, religion, nostalgia, and kitsch. Despite what several authors argue or hope, this excellent book implies Kinkade is very much a part of contemporary fine art: he troubles the discourses of art history, art theory, and visual studies in just the way an exemplary artist should.”—James Elkins, author of On the Strange Place of Religion in Contemporary Art“This excellent anthology is a significant contribution to scholarship at the interstices of art practice, art theory, and popular culture. It is an erudite book that brings together diverse approaches to Thomas Kinkade’s work and ‘culture,’ yet maintains a surprisingly even quality of thought and writing.”—Maria Elena Buszek, author of Pin-Up Grrrls: Feminism, Sexuality, Popular Culture“[A] wide-ranging, incisive interpretation of one of the most popular yet polarizing artists of our time. Whatever you may know or think about Kinkade, this book will press you to consider his work and the significance of its popularity in new ways.” -- Michael Clapper * AHAA Reviews *“Edited by art historian Alexis L. Boylan and published by a major university press, this book challenges Kinkade’s exclusion from the art world’s rarefied discourses. In so doing, it surely counts as something of an event. . . . Perhaps the primary benefit of this book lies in the skill with which it teases out the vagaries of the art world’s love-hate affair with its own significant Other: mass culture.” -- Joachim Pissarro and David Carrier * Artforum *“This collection illuminates controversial currents in the contemporary art world and consumer culture. Though focused on a single artist, the debates over what constitutes art in a postmodern world, where art ends and commerce begins, the ubiquity of branding and marketing; and the social politics of cultural production and consumption transcend Kinkade’s work and can be used to analyse other developments in contemporary society.” -- Judith R. Halasz * Visual Studies *“Whether you love or hate ‘the painter of light,’ this collection of essays will both affirm your view and challenge it. . . . Readable yet scholarly, this book bridges the same sectors Kinkade’s work does, and is deserving of a broad audience. Highly recommended. Lower-level undergraduates and above; general readers.” -- E. K. Mix * Choice *Table of ContentsIllustrations vii Acknowledgments ix Introduction / Alexis L. Boylan 1 Thomas Kinkade and the History of Protestant Visual Culture in America / David Morgan 29 Painter of the Right: Thomas Kinkade's Political Art / Micki McElya 54 God in the Retails: Thomas Kinkade and Market Piety / Seth Feman 81 Brand-Name Living from the Painter of Light / Karal Ann Marling 107 Purchasing Paradise: Nostalgic Longing and the Painter of Light / Andrea Wolk Rager 124 Repetition, Exclusion, and the Urbanism of Nostalgia: The Architecture of Thomas Kinkade / Christopher E. M. Pearson 143 "A Temple Next Door": The Thomas Kinkade Museum and Cultural Center / Julia Alderson 165 Thomas Kinkade's Heaven on Earth / Jeffrey Vallance 191 Manufacturing "Masterpieces" for the Market: Thomas Kinkade and the Rhetoric of High Art / Monica Kjellman-Chapin 206 Art Ethics: Thomas Kinkade and Contemporary Art / Anna Brzyski 238 Bibliography 259 Contributors 275 Index 277

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Book SynopsisThis in-depth analysis of Adrian Pipers art locates her groundbreaking work at the nexus of Conceptual and feminist art of the late 1960s and 1970s.Trade Review“Adrian Piper: Race, Gender, and Embodiment is an important book. John P. Bowles has much to say not only about Piper’s own artistic journey but also about how scholars have chosen to read the avant-garde creative production of the 1960s and 1970s, and whether or not one can ever escape the ‘burden of the flesh’ when one creates or interprets works of art.”—Gwendolyn DuBois Shaw, author of Seeing the Unspeakable: The Art of Kara Walker“John P. Bowles’s Adrian Piper: Race, Gender, and Embodiment is a groundbreaking, meticulously researched, and beautifully written text that challenges its readers to understand Adrian Piper’s early work in provocative new ways. Bowles forces us to re-evaluate our understanding of the histories of Conceptualism, Minimalism, feminism, and their intersections with the visual practices of African American artists.”—Steven Nelson, University of California, Los Angeles“An amount of scholarship and personal acquaintance makes this book an informative read that leaves one wanting to know more about Piper’s exemplary approach to the question of what it might mean to make political art.” -- Maria Walsh * Art Monthly *“Bowles’s Adrian Piper: Race, Gender and Embodiment offers a detailed view of an artist dealing with the contingency of identity. . . . The inclusion of more than a decade of personal communication between Bowles and Piper make this a particularly fascinating study.” -- Jordana Moore Saggese * CAA Reviews *“While there is much written about Piper, there are few volumes dedicated exclusively to such a complete investigation of her artistic career. It is a great addition to contemporary art scholarship, and is therefore recommended for any academic or research library that supports such pursuits.” -- Melanie Emerson * ARLIS/NA Reviews *“With a well-organized index and bibliography, this monograph will be useful for specialists in contemporary African American art. An examination of Piper ’s sophisticated work and writing would make a challenging graduate seminar for students of art history or ethnic/women’s studies.” -- Stacy E. Schultz * Woman's Art Journal *“By locating Piper’s art within various political, aesthetic, and philosophical contexts, this final chapter realizes some of the book’s best qualities by providing the reader with an understanding of the artwork’s political, historical, and aesthetic complexities without depriving the artist of her own. Moreover, Bowles’ multidisciplinary approach advances an engagement with an artist who undoubtedly should be listened to more.” -- Sarah Jane Cervenak * Women & Performance *"[B]y placing Piper in a critical relationship to feminist and Black Arts practices and insisting on the importance of her Minimalist and Conceptual strategies, Bowles highlights the ways in which her work makes crucial connections between canonical 1960s and 1970s discourses. He thus positions his text to radically revise the field’s understanding of Piper’s overall project, as well as the importance of her early work." -- Megan Driscoll * Art Journal *Table of ContentsIllustrations vii Acknowledgments xi Introduction: Adrian Piper's Performance of Race and the Moral Question of Racism 1 Section I, 1965–1970The Paradox of the Black Woman Conceptual Artist 1. Contingent and Universal: Adrian Piper and the Minimalist Ideal 33 2. Hypothesis: Modernism and the Woman Artist's Studio 69 Section II, 1970–1975Personal Politics and Performance Art 3. May 1970: Art and Activism 125 4. Catalysis: Feminist Art and Experience 162 5. Food for the Spirit: Transcendence and Desire 205 6. "Acting Like a Man": The Mythic Being and Black Feminism 229 Conclusion: The Mythic Being and the Aesthetics of Direct Address 257 Notes 263 Bibliography 299 Index 319

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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 SynopsisIn this first book-length study of contemporary Native American artist Edgar Heap of Birds, Bill Anthes analyzes Heap of Bird's art and politics in relation to Native American history, spirituality, and culture, the international art scene, and how his art critiques the subjugation of Native Americans.Trade Review"Edgar Heap of Birds is a productive step toward disavowing the distinction between 'native' and 'contemporary' experiences." -- Maggie Wander * AlterNative *"Anthes organizes Heap of Birds’s public art and gallery work into four thematic chapters—'Land,' 'Words,' 'Histories,' and 'Generations'—building an argument that each series contributes to a broad project of asserting indigenous sovereignty and renewing indigenous community. In so doing, Anthes shows the inherently Native world view that motivates the artist’s work without compromising its contemporaneity. Highly recommended. Upper-division undergraduates through faculty; general readers." -- E. Hutchinson * Choice *"Anthes is painstaking . . . in his grounding of Heap of Birds's art in Indigenous perspectives on colonial and post-colonial North America and in his documentation of the complex historical intersections marked by his many site-specific works. . . . Heap of Birds's work remains intensely relevant as elucidations of Native American history written as Native Americans know it." -- Emily E. Auger * Canadian Journal of Native Studies *"Generously illustrated with around a hundred images, most in color, Anthes’s study is a must for anyone interested in political art, contemporary art, and Indigenous studies. In fact, it is the best single study of Heap of Birds to date." -- Dean Rader * Journal of American Studies *"Anthes’s richly illustrated text begins to take to heart Heap of Birds’s challenge to the writing of history, illuminating the moments in which the artworks themselves write their own histories. . . . The book models itself after Heap of Birds’s own practice, using meticulous research and wit to gesture to the power of the symbolic and unearth the voices that history has attempted to suppress." -- Jessica Landau * Native American and Indigenous Studies *Table of ContentsList of Illustrations ix Acknowledgments xiii Introduction 1 1. Land 29 2. Words 67 3. Histories 117 4. Generations 163 Notes 181 Bibliography 195 Index 201

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Book SynopsisIn this book leading Chinese experts review the life, career, and artistic development of the pioneering Chinese artist Zhang Hongtu, whose diverse works speak to China's past and present, the relationship between Asia and the West, and canonical Western art.Table of ContentsAcknowledgments 7 Foreword 10 1. The Displaced Artist Sees Things for Us: Zhang Hongtu and the Art of Convergence / Jerome Silbergeld 13 2. Wall, Gate, Hole: Three Recurrent Motifs in Zhang Hongtu's Art / Wu Hung 37 3. Zhang's Contemporary Cubism / Michael FitzGerald 56 4. The Man in the Moon: A Conversation with Zhang Hongtu / Eugenie Tsai 72 5. "A Hundred Ways to Learn" about Zhang Hongtu / Morgan Perkins 83 6. Restoring the Aura: Julia F. Andrews and Kuiyi Shen 101 7. Zhang Hongtu: Playing with Power / Alexandra Chang 114 8. Zhang Hontu's Fashionable Turn / Thuy Linh Nguyen Tu 130 9. Pop, Politics, and Painting / Lilly Wei 138 10. Zhang Hongtu's Queens / Tom Finkelpearl 155 11. What's Next for Us? Zhang Hongtu's Environmental Shan Shui / Luchia Meihua Lee 160 Plates 175 Autobiography 313 Selected Bibliography 323 Guide to Traditional and Simplified Chinese Characters 335 Credits 337

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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 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 SynopsisPaul Nagel tells the full story of George Caleb Bingham (1811-1879), one of America's greatest 19th-century painters. While Nagel assesses Bingham's artistic achievements, he also portrays another and very important part of the artist's career - his service as a statesman and political leader in Missouri.

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Book SynopsisProvides the first historical study of Georgia O'Keeffe's complex involvement with, and influence on, US feminism from the 1910s to the 1970s. Utilizing understudied sources, Linda Grasso shows how and why feminism and O'Keeffe are inextricably connected in popular culture and scholarship.Trade ReviewIn this engaging and provocative study, Linda M. Grasso positions Georgia O'Keeffe's identity and art making, her lived experiences and social/political allegiances, within the larger historical context of contested feminist politics in twentieth-century America. Combining a deeply researched discussion of the complexities of feminist movements in the US with biographical information drawn from an impressive array of primary sources, Grasso opens new possibilities for understanding and evaluating O'Keeffe's continuing but conflicted relationship with varied aspects of American feminist experience."" - Helen Langa, author of Radical Art: Printmaking and the Left in 1930s New York""Offers a fresh look at Georgia O'Keeffe and the multiple ways that feminism shaped her art, artistic identity, and career. Drawing from rich primary sources, including fan letters to O'Keeffe and media coverage of the artist, Linda M. Grasso demythologizes O'Keeffe's self-representation as a gender-transcendent great American modernist and gives us a picture of O'Keeffe's art as political and intricately connected to the feminist movements that shaped modernism and twentieth-century American culture."" - Donna Cassidy, author of Marsden Hartley: Race, Region, and Nation

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Book SynopsisOver the years, William Kentridge has built a world-wide reputation as a contemporary artist, known for his series of ten animated films created from drawings. This book include features that connects with smartphones and tablets. It brings a collaboration using the pages of the 1906 Cash Book of the East Rand Proprietary Mines Corporation.

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Book SynopsisDoris Ulmann, one of the foremost photographers in the United States in the 1930s, disappeared from public awareness until the 1970s. She is best known for her quintessentially American pictures of the rural South. A prolific creator, she died before many of her last images could be printed. The latest addition to the acclaimed In Focus series present fifty-five pictures by Ulmann from the Museum's collection. Judith Keller, associate curator of photographs, wrote the extensive accompanying captions and participated, along with William Clift, David Featherstone, Charles Hagen, Weston Naef, Ron Pen, and Susan Millar Williams, in a colloquium on Ulmann and her work. The volume includes an edited transcript of their discussion and a chronological overview of Ulman's life.

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Book SynopsisThis volume is devoted to the smaller and more unusually-shaped works of Carleton E. Watkins, many of which have not been published before. The book also contains an overview of his life, and an edited transcript of a colloquium on his career.

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Book SynopsisArising from the proceedings of two symposia, this text is composed of contributions by scholars who examine the social, intellectual and historical contexts of the work of the Italian Renaissance artist Giovanni di Lutero, who used the name Dosso.

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Book SynopsisIn eight decades photographer Manuel Alvarez Bravo created works of art that display an array of styles and themes. This volume contains 50 images with extended commentaries on each by Robert Tejada, a curator and critic. There is also a transcript of a symposium on Manuel Alvarez Bravo.

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Book SynopsisChronically associates artistic maturity either with transcendence, degeneration, or irrelevance. This volume looks to the non-representational arts of music, abstract painting and sculpture, and architecture for fresh insight into the juncture of aesthetics and mortality.

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Book SynopsisIt is often assumed that reading about the lives of artists enhances our understanding of their work. This book contains a collection of essays, by a number of respected art historians that attempt to address this relationship by looking at the life and works of such artists as Andy Warhol, Bob Dylan, Van Gogh, Cezanne, and Leonardo da Vinci.

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Book SynopsisSeeks to familiarize American audiences with Nicolas Lancret(1690-1743), a master of the genre of fete galante, who was a revered painter in his own time, rivalling his contemporaries Antoine Watteau and Francois Boucher, and a favourite of crowned heads across Europe.

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Book SynopsisDutch sculptor Adriaen de Vries (1556-1626) spent much of his life working for the most discerning royal courts of the age. A master of composition and technique, De Vries was relatively unknown until the J Paul Getty Museum's exhibition in 1999. This volume that presents the results of the technical study of 25 bronzes from the exhibition.

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Book SynopsisIn an era of intense religious conflict in Europe, the Ceremonies et costumes religieuses de tous les peoples du monde (1723-37), written by Jean Frederic Bernard, set a new agenda for thinking about faith and provided a lasting visual template for representing the world's religions. The authors approach this work from a variety of angles.

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Book SynopsisTakes readers on a visual tour of fourteen Rembrandt paintings held in collections across Southern California. This title provides biographical information about the Master artist, and also looks at how and why so many important works ended up in this one location.

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Book SynopsisTrade ReviewNarratively powerful (aligned with a history of visual arts storytellers like Adrian Piper and Edward Kienholz), visually compelling, and ethically just, Pepón Osorio stands as a transitional figure bridging museum installation and field-based social practices. He is, in fact, one of the first American figures in this field to focus a deeply implicated, and sympathetic, eye on the lives of the so-called others—the immigrants, the violated, and the working class—in ways that are comprehensible to people from all walks of life. I admire his work intensely, and I can think of no one better equipped to tell his story than Jennifer González.—Suzanne Lacy, Chair, MFA Public Practice at Otis College of Art and DesignIn Pepón Osorio author Jennifer González seamlessly weaves together the artist’s biography with his interventions in the fields of performance, installation, and public art. More than a monograph on a leading artist, this book reveals a sustained, collaborative practice that joins art and politics, museum and casita. Here Osorio’s work excavates and destabilizes the sedimented layers of New York City as a global art center: its Caribbean communities become central, Latino cultures cut in and out of African American traditions, the South Bronx repurposes Hollywood’s melodramas, and the barbershop substitutes for the university as the place to debate sexuality and gender roles.—Esther Gabara, author of Errant Modernism: The Ethos of Photography in Mexico and Brazil Pepón Osorio provides an in-depth study of one of the leading installation artists working in the United States. Based in meaningful community collaboration, Osorio's installations employ ubiquitous material culture to explore how communities and individuals negotiate the legacy of colonialism and continued marginalization. The conceptual depth of his work finds its match in Jennifer González, who teases out the many layers of Osorio’s practice from his earliest stage-prop sculptures. Thoughtful and revealing, Pepón Osorio is a must read for scholars interested Latino, Puerto Rican, and installation art.—E. Carmen Ramos, Curator for Latino Art, Smithsonian American Art Museum

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Book SynopsisAccompanies the first comprehensive exhibition of artwork by Xu Beihong shown outside Asia

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Book SynopsisThe exhibition "Space/Sight/Self" was designed to study the role of portraiture in contemporary art as a nexus of three issues - identity, vision and place. This catalogue documents the exhibition and helps to facilitate viewers' reflections and responses about the spaces, sights and selves.

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Book SynopsisFocusing on the handmade and performative aspects of history and material culture, this title re-stages, refigures, and replays the role of traditional crafts in large-scale installations that reconsider the construction of collective memory and identity.

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Book SynopsisThe first monograph on the work of the American painter Arthur Osver (1912-2006), this publication explores Osver's entire oeuvre, from early urban realism to decades of engagement with abstraction. His long and productive career took him from Chicago to New York to Europe and back, interweaving with the art of his time, and his paintings have been collected and exhibited all over the world. Nevertheless, he remained firmly rooted in the American Midwest, settling in St. Louis to teach and paint from 1960 until his death in 2006. Beautifully designed and printed, this book includes 80 full-color plates of Osver's work throughout his life as well as an illustrated biography and selections from an interview with the artist from the Smithsonian Archives of American Art.

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Book SynopsisProposes a fresh assessment of the artist, firmly re-establishing his place as a national figure in the canon of American painting

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Book SynopsisThis catalogue was published on the occasion of Varda Caivano's exhibition The Density of the Actions, February 22April 19, 2015 at the Renaissance Society at the University of Chicago. The book features texts by Barry Schwabsky, Paula van den Bosch, Terry R. Myers, Peter St John, Georges Perec, and Solveig Øvstebø, as well as 43 color and 6 black and white images of Caivano's paintings and the Renaissance Society installation.

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Book SynopsisThe volume chronicles how in their poetic skirmishes they sharpened and shaped each other's work - Garcia Lorca defending his verses of absence and elegy and his love of tradition while Dali argued for his theories of "Clarity" and "Holy Objectivity" and the unsettling logic of Surrealism.

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Book SynopsisThe Uncommon Denominatorpresents a spectrum of aesthetic eloquence and technical mastery in the ceramic arts.Hirsch has achieved professional recognition both as a ceramic artist and teacher.The Uncommon Denominator: A Tribute to Richard Hirsch presents a spectrum of aesthetic eloquence and technical mastery in the ceramic arts. Originally published to coincide with a traveling exhibition, this catalog celebrates the career of Hirsch through the work of a selection of his alumni. He has achieved professional recognition both as a ceramic artist and teacher. During his teaching career, which has spanned over thirty years, he has been a faculty member of two prominent craft programs: the Program in Artisanry at Boston University, and currently, the School for American Crafts at Rochester Institute of Technology. Many of Hirsch's former students have established their own outstanding careers in the contemporary ceramics field. Represented in The Uncommon Denominator are notable examples of the renaissance in utilitarian pottery, continued interest in the vessel aesthetic, and the investigation of both figurative and abstract sculpture.

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Book SynopsisEssays explore Henri's familiarity with Irish subjects and culture prior to his first trip to Ireland, and focus on the striking portraits that he created during his Irish sojourns

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Book SynopsisAnalyzes the circus and related spectacles in fin-de-siecle Paris, and how they were interpreted by print arts of the era

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Book SynopsisIdol Structures accompanies an exhibition at the DePaul Art Museum of recent photographs and sculptures by Chicago-based artist Matt Siber, whose work explores the systems of corporate and mass-media communication that permeate the urban landscape. Instead of focusing on the information itself, Siber emphasizes the physical infrastructure of these systems. Photographs of the narrow edges of signs, sculptures of billboard ads hanging so loosely that their text is obscured in the folds, and other unique treatments of promotional materials distort and subvert the intended messages. The artist's deconstruction of such commercial efforts reveals an element of communication meant to remain invisible and subservient to image, text, and graphics. By highlighting the everyday objects used to persuade and influence, Siber's art undermines these communication systems' ability to do precisely what they were intended to do.

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