Search results for ""author karen kelly""

Our time at the wheel is done. Driving will become illegal, as human drivers will be demonstrably more dangerous than cars that pilot themselves. Is this an impossible future, or a revolution just around the corner?Sam Schwartz, America's most celebrated transportation guru, describes in this book the revolution in self-driving cars. The ramifications will be dramatic, and the transition will be far from seamless. It will overturn the job market for the one in seven Americans who work in the trucking industry. It will cause us to grapple with new ethical dilemmas-if a car will hit a person or a building, endangering the lives of its passengers, who will decide what it does? It will further erode our privacy, since the vehicle can relay our location at any moment. And, like every other computer-controlled device, it can be vulnerable to hacking.Right now, every major car maker here and abroad is working on bringing autonomous vehicles to consumers. The fleets are getting ready to roll and nothing will ever be the same, and this book shows us what the future has in store.

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Taking William Cordova's (born 1971) exhibition ankaylli: spatial and ideological terrain at Marfa Contemporary as a point of departure, this publication highlights the way the artist (who was born in Lima and is based in Miami) layers referents and histories across cultures. Bringing together a constellation of Cordova's artworks in a wide variety of medium—sculptures, collages, Polaroids, a video, objects around town, a free newspaper and a website—in which Pre-Columbian traditions, modern art and architecture, and spiritualism overlap, the exhibition stages these objects in the fitting home of Marfa, a town equally known for Native American history, minimalism and star-gazing. This book includes references to all three: stepped pyramid patterns, geometric concrete forms and symbols of the cosmos.

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This book documents a year-long exhibition entitled Knots + Surfaces, at Dia Center for the Arts from January 2001 through January 2002, in which Diana Thater presented a large-scale, multiprojection video installation specifically designed to interact with the open architectural space of Dia's third-floor gallery. A charged environment, combining layered projections with a wall of clustered monitors, becomes a metaphorical charting of multidimensional space. Referring to a recent mathematical hypothesis that correlates a complex, six-dimesional spatial model to a map of a honey bee's dance, Thater expands her abiding concern with the intersection of nature and culture. Along with an introduction to both her work and the exhibition by Lynne Cooke, the book will include an essay on Thater's work by Akira Lippit.

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It is essential that businesses know how to communicate quickly, often preemptively, and effectively to survive—and at a cost that is far lower than comparable marketing and ad campaigns. The first book by the owner of a top 50 PR agency, For Immediate Release, Ronn Torossian reveals how public relations can do just that—while also defining brands; helping companies and individuals court the press or avoid it; growing business without alienating loyal customers; resolving crises quickly; and improving first page results on the most powerful search engine in the world (Google).For Immediate Release will show you how to: Frame the debate and control the conversation Use new and old media in tandem to find your audiences and create highly personal, relevant impressions tailored for them Promote the interests of your brand or business; deter or potentially stop what is not in your interest Build on great press, and avoid or minimize bad press Ensure the first thing people see about your business or brand during an Internet search is exactly what you want them to see Handle a crisis in the most effective and efficient mannerSee the positive difference effective PR makes through compelling case studies—Louis Vuitton, Fubu, BP, Toyota, Philip Stein, Zappos, and interviews with experts including Dr. Keith Ablow, political strategists Frank Luntz, Roger Stone and Hank Sheinkopf, and many others—and your own business.

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If there’s anyone who can prevent a bar or restaurant from going belly up, it’s Jon Taffer. Widely considered the greatest authority in the food and beverage, hotel, and hospitality industries, he has turned around countless bars and restaurants. Raise the Bar distills the secrets to running a successful enterprise with Reaction Management, a strategy and philosophy Taffer developed and uses in his business. It works whether you’re running a storefront operation or a web-based company, whether you’re manufacturing widgets or providing a service. Raise the Bar is the definitive manual on transforming a bar or restaurant with actionable, proven strategies for immediate impact.

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Leaving fingerprints and tool marks behind, a São Paulo artist evokes the cycles of the cosmos This volume takes an expansive view of the bold and influential practice of Brazilian artist Erika Verzutti (born 1971), surveying more than 60 pieces made over the past 15 years. In Verzutti’s art, moons recur as symbols of renewal and the multiple phases that a person or entity can pass through. Her work presents novel modes of perception by orbiting outside set systems of being—zooming out, in a telescopic sense, to the point where the relations we take so seriously here on Earth can be rethought. Vibrant illustrations of individual works and installation views of New Moons, the artist’s first US museum survey, highlight how her approaches to display and presentation reveal such relationships. Presenting original scholarship on the art historical and theoretical aspects of Verzutti’s practice as well as the artist’s own writing, this book offers insights on the inspiration and multifaceted ideas at play across her work.

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In 1914, Marcel Duchamp purchased a bottle rack, called it a sculpture, put his name to it and the “readymade” artwork was born. It Is What It Is. Or Is It? considers the legacy of the readymade in contemporary artistic practice as the form approaches its 100th anniversary and attempts to recuperate the radicality of Duchamp’s foundational gesture. Taking stock of the readymade’s simple materiality and its economy of means, this catalogue includes work by 18 artists working in a variety of media from sculpture to photography, painting, video and installation-based works. It Is What It Is. Or Is It? includes works by Ellen Altfest, Fayçal Baghriche, Bill Bollinger, William Cordova, Latifa Echakhch, Daphne Fitzpatrick, Claire Fontaine, Felix Gonzalez-Torres, Rachel Hecker, Jamie Isenstein, Luis Jacob, Patrick Killoran, Jirí Kovanda, Klara Lidén, Catherine Murphy and Pratchaya Phinthong.

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A long-overdue appreciation of the influential sculpture of Liz Larner and its radically adventurous formal and conceptual vocabulary Los Angeles–based sculptor and installation artist Liz Larner (born 1960) was originally a photographer: in some of her earliest projects, she documented the volatility of bacterial cultures in petri dishes. However, she soon realized that she was more compelled by the dishes themselves and how they presented questions about what an art object can entail. Since then, she has continued to pursue her interest in formal unpredictability through a focus on sculpture and architectural space. Composed of a diverse variety of materials, her sculptures frequently function as optical illusions that seem to bend the space around them. Sometimes rigidly technical in their geometry and at other times soft-edged and amorphous, Larner’s sculptures are striking both for their fluctuation of form and for their representation of spatial politics. Repositioning her enduring formal and material concerns alongside her relationship to a feminist sculptural position, this monograph offers an opportunity to consider Larner’s artistic project within today’s expanded discourses of embodiment, gender and posthumanism, and to recalibrate our understanding of it in relation to male-dominated Postminimalism and installation art, which have often underpinned Larner’s critical reception. Poet Ariana Reines, cultural critic and theorist Catherine Liu, and curators Connie Butler and Mary Ceruti consider the physical properties and sociopolitical implications of the materials present in Larner’s work, which range from ceramic to steel chain to surgical gauze to human hair.

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Colorful explosions of “bad objects”: the eccentric constructions of two American artists generations apart This volume brings together the paintings and drawings of Elizabeth Murray (1940–2007) and the work of New York–based sculptor Jessi Reaves (born 1986). Despite the generations that separate Murray and Reaves, this publication highlights each artist’s lyrical, playful and rigorous engagements with the decorative, domestic and bodily. Published to accompany an exhibition at the Contemporary Arts Museum Houston, Wild Life explores Murray and Reaves’ often ambiguous conceptions of the body and the home, wherein both body and home are continuously coming together and falling apart. This book features a newly commissioned conversation between Reaves and Johanna Fateman as well as a reprint of a historical interview between Murray and Kate Horsfield, which together chart the two artists’ irreverent plays with color and form, high and low cultural references, and notions of masculinity and femininity.

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Documentation and testimony from Da Corte's 2020 reinvention of a classic 1960s happening In early March 2020, on the cusp of the COVID-19 shutdown, an audience gathered to witness a reinvention of Allan Kaprow’s happening, Chicken, by Philadelphia-based artist Alex Da Corte (born 1980). Performed at the site of Kaprow’s original—the Gershman Y at the University of the Arts in Philadelphia—Da Corte’s first live performance reimagined Kaprow’s chaotic event, which had been orchestrated in 1962 under the auspices of the first Pop art exhibition on the East Coast. While the focus of activity for the performers of Kaprow’s Chicken involved the hawking of live and boiled chickens and their eggs, Da Corte’s performers frantically peddled exquisite yellow orbs made from a variety of materials that represented the moon. Including sketches and reproductions of the objects and costumes constructed for Da Corte’s revision, as well as performance images, scripts, essays and personal accounts reflecting on the event’s impact and significance over the ensuing year, this publication becomes a living document of a moment in time.

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Chronicling an epic multimedia project 10 years in the making, A.K. Burns’ first monograph grapples with climate change, community and sociopolitical agency Deploying science fiction, material feminism, eco-anarchism, queer theory and technoscience, New York–based artist A.K. Burns (born 1975) explores the fraught relationships between humanity and nature in an epic multimedia work, Negative Space (2015–23). This nonlinear allegory provokes questions about marginalized bodies, environmental fragility and technology. Developed as a cycle of four video installations, Negative Space imagines new relationships to the spaces we occupy and the impact of our bodies in these spaces through imagery, research and critical and creative writings. Set in a speculative present, the tetralogy envisions a new materialist cosmology wherein hierarchical relations are transformed.

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An exploration of the nature of visibility through a series of camera obscuras paired with silver gelatin prints of the sun In the two related bodies of work that form this volume’s centerpiece, New York–based photographer Zoe Leonard (born 1961) poses fundamental questions about the medium of photography and the nature of sight. In a series of large-scale installations, the artist employed the principle of the camera obscura, pairing it with gelatin silver photographs of the sun. The image in Leonard’s room-size camera obscuras is immersive and continuous, shifting constantly in response to the fleeting light of the outside world and unraveling in the surrounding space to come into its full vibrancy. Leonard’s camera obscuras have been sited in cities in Europe and the United States, from Venice and London to New York and Marfa. This title explores this body of work through photographs that document these installations in five international cities.

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Technological evolution and obsolescence on Earth and in outer space, in a new project by artist Julia Christensen This volume documents an ongoing investigation by artist Julia Christensen (born 1976) into how our relentless "upgrade culture"—the perceived notion that we need to constantly upgrade our electronics to remain relevant—fundamentally impacts our experience of time. In a personal narrative interspersed with related interdisciplinary artwork and conversations with experts from different fields (other artists, archivists, academics), Christensen takes readers along a path from the international "e-waste" industry to institutional archives, eventually leading her to NASA's Jet Propulsion Laboratory (JPL). At JPL, Christensen began a dialog with a group of exo-planetary scientists, engineers and machine learning experts to develop long-lived space mission concepts that include an update of the Voyager spacecrafts’ 1977 "Golden Record," to be embedded on a hypothetical future interstellar spacecraft. She and the scientists are designing an artwork generated by an extraterrestrial system that tells a distinctly new story of life on Earth. In taking on this challenge, Christensen—a female pioneer redefining the intersection of art, technology, and outer space—must envision an artwork for an evolving, autonomously-upgrading spaceship headed toward a potentially habitable planet in another star system. Her years-long investigation into upgrade culture leads to design concepts that potentially transcend technological obsolescence altogether.

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Since 1992, the Dia Center for the Arts has presented the Robert Lehman Lectures on Contemporary Art—an example of Dia's ongoing commitment to cross-disciplinary critical discourse. This fourth volume of collected theoretical and critical essays focuses on Dia's exhibitions from 2001 through 2002, with contributions by Alexander Alberro, Jan Avgikos, Colin Gardner, Dave Hickey, Rosalind Krauss, Miwon Kwon, Ulrich Loock, Richard Shiff and Dirk Snauwaert. These writers analyze the work of internationally recognized artists such as Roni Horn, Alfred Jensen, Bruce Nauman, Max Neuhaus, Panamarenko, Jorge Pardo, Gerhard Richter, Bridget Riley, Diana Thater and Gilberto Zorio.

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