The first retrospective on a fascinating protagonist of the 1970s Pattern & Decoration movement, who defied Minimalist orthodoxy with humorous multimedia explorations of domesticity and ornamentThis is the first comprehensive volume on Cynthia Carlson (born 1942), a key artist of the Pattern & Decoration group who responded to Minimalism's dominance in the 1970s. The work of this group has recently been revisited and reappraised in exhibitions and by art scholarship. A Chicagoan under the influence of the Chicago Imagists, Carlson landed in New York City in 1965 and has exhibited widely (she was included in Lucy Lippard's seminal 1971 exhibition 26 Contemporary Women Artists at the Aldrich Museum of Contemporary Art). Her interest in the domestic-as a source of shapes and as a realm of familial experiences, chores and memories-intersects with the works of contemporaries ranging from Jennifer Bartlett to Joel Shapiro and Elizabeth Murray. Carlson's utilization of architectural motifs might align at one moment with the vernacular embraced in the buildings of Venturi & Scott Brown and, at another, with the postmodern rehabilitation of Beaux-Arts ornament. Her hand-painted "wallpaper" is considered a significant contribution and influence on contemporary installation art. Carlson's artistic identity continues to morph: from room-size wallpaper and a life-size gingerbread house to unexpected shaped canvasses, architectural constructions and pet portraits. Whatever she creates, however eccentric, is high-spirited, genial and insightful.
Published in conjunction with the exhibition Imagined Fronts: The Great War and Global Media at the Los Angeles County Museum of Art, December 3, 2023-July 7, 2024.
The most comprehensive volume yet published on the work and legacy of the "forgotten star of Pop art," with previously unpublished materials and new scholarly explorationsIn the mid-1960s Marisol was lauded as the female artist of her generation and was proclaimed to be "the only girl artist with glamour" for her fashion sense and "the Latin Garbo" for her apparent exoticism, legendary beauty and famed silences. Thousands lined up to see her remarkable life-size Pop art sculptures early in her career, and her celebrity nearly overshadowed her formidable accomplishments. But this attention would fade following her temporary retreat from the art world in the late 1960s and a shift in her work's subject matter. Her 2016 obituary in the Guardian described her as "the forgotten star of Pop art."This catalog, the most comprehensive on Marisol's work ever assembled, accompanies a major traveling retrospective organized by the Buffalo AKG Art Museum (formerly the Albright-Knox Art Gallery) that reckons with the entirety of her pioneering, multifaceted, 60-year career. While celebrating her satirical and deceptively political sculptures and self-portraits that helped define the 1960s, the book's essays also examine her works that embody animal intelligence and allude to environmental precarity, testify to interpersonal violence, engage with the immigrant experience, figure postcolonial disenfranchisement and destabilize sexual norms and gender binaries. Her public sculptures and collaborations with choreographers are examined for the first time. Assessments by leading scholars affirm Marisol's radical legacy for the 21st century. These exciting reflections are presented alongside full-color reproductions of her works, a robust bibliography, an exhibition history and an illustrated chronology. Marisol (1930-2016) was born Maria Sol Escobar in Paris to a Venezuelan family. She drew continually and from a young age adopted the name Marisol. Like many of the artists who emerged in the early 1950s, Marisol was at first influenced by Abstract Expressionism, but after seeing pre-Columbian art in Mexico and New York, she began making sculpture in 1954, and soon began focusing on the totemic figures for which she is best known.
Can crochet explain the complexities of non-Euclidean geometry? How does the 1804 Jacquard loom relate to modern computing? Radical Fiber celebrates the overlap between art, science, interdisciplinary creativity and collaborative learningFor centuries, fiber arts have influenced sciences as diverse as digital technology, mathematics, neuroscience, medicine and more. Radical Fiber explores this relationship through contemporary art and historical artifacts that address five key themes: shape, machine, body, brain and community. How did the accidental discovery of synthetic mauveine dye in 1856 pave the way for modern pharmaceuticals while also generating toxic waste? Why do we respond differently to a woven photograph than a printed one? These and other questions reframe the fiber/science intersection and ask how the medium can be used to improve our world for the future. Radical Fiber features a new artwork created by amateur and professional makers around the globe: the Saratoga Springs Satellite Reef, part of the Crochet Coral Reef project by Christine and Margaret Wertheim and the Institute For Figuring. Alongside numerous unidentified artists, additional artists and creators include: Lia Cook, Brock Craft, Veronica Dry, Anna Dumitriu, Ellis Developments, Hanne Kekkonen, Kintra Fibers, Elaine Krajenke Ellison, Karen Norberg, William Henry Perkin, Helen Remick, Dario Robleto, Daniela Rosner, Samantha Shorey, John Sims, Soft Monitor (Victoria Manganiello and Julian Goldman), Daina Taimina, Cecilia Vicun?a and Carolyn Yackel.
"Known for pushing the boundaries of good taste, John Waters (born 1946) has created a canon of high-shock-value, high-entertainment movies that have cemented his position as one of the most revered and subversive auteurs in American independent cinema. Featuring misfit muses, tributes to his hometown of Baltimore and themes of fetish, obsession and celebrity culture, his renegade films--including Pink Flamingos (1972), Female Trouble (1974), Desperate Living (1977), Hairspray (1988), Serial Mom (1994) and A Dirty Shame (2004)--are irreverent, laugh-out-loud comedies that lovingly draw inspiration from William Castle, Herschell Gordon Lewis, Russ Meyer, Andy Warhol and Pier Paolo Pasolini alike."--
The only comprehensive volume on James Turrell is back in print-from early prints and light projections to his monumental Roden Crater projectThis definitive book illuminates the origins and motivations of James Turrell's incredibly diverse and exciting body of work-from his Mendota studio days to his monumental work-in-progress Roden Crater. Whether projecting shapes on a flat wall or into the corner of a gallery space, Turrell is perpetually asking us to "go inside and greet the light"-evoking his Quaker upbringing. In fact, all of Turrell's work has been influenced by his life experiences with aviation, science and psychology, and as a key player in Los Angeles' exploding art scene of the 1960s. Enhanced by thoughtful essays and an illuminating interview with the artist, this monograph explores every aspect of Turrell's career-from his early geometric light projections, prints and drawings, through his installations exploring sensory deprivation and seemingly unmodulated fields of colored light, to two-dimensional experiments with holograms. It also features an in-depth look at Roden Crater, a site-specific intervention into the landscape near Flagstaff, Arizona, which is presented through models, plans, photographs and drawings. Fans of this highly influential artist will find much to savor in this wide-ranging and beautiful book, featuring specially commissioned photography by Florian Holzherr. As an undergraduate, James Turrell (born 1943) studied psychology and mathematics, transitioning to art only at MFA level. The recipient of several prestigious awards, including Guggenheim and MacArthur fellowships, Turrell lives in Arizona.
This catalogue was published on the occasion of the exhibition, Kehinde Wiley: An Archaeology of Silence, organized by the Fine Arts Museums of San Francisco and held at de Young, San Francisco, California, March 18-October 15, 2023, Museum of Fine Arts, Houston, November 18, 2023-June 19, 2024, Pâerez Art Museum Miami, July 26, 2024-January 12, 2025, Minneapolis Institute of Art, February 22-June 22, 2025.
"Whistler: Streetscapes, Urban Change explores instances of what Whistler called his "shop game." David Park Curry's practiced eye offers us new means to understand many of Whistler's best-known works and some of his lesser-known materials. Deftly connecting the artworks to popular theater, fiction, and photography of the moment, Curry traces the artist's subtle nods toward his more reform-minded peers as they developed vocabularies to assess and confront urban renewal, gentrification, and the rise of consumer culture in the late nineteenth century"--
Artists from Nam June Paik to Arthur Jafa show how modern digital technologies have shaped the art and themes of our timeSurveying some 50 years of groundbreaking art related to digital technology and the screen, I'll Be Your Mirror examines how technologies such as home computers, smartphones and TV have affected art and life over the past five decades. It traces a trajectory stretching back to the late 1960s, a watershed moment in the rise of the screen in the home. Today, accelerated by the pandemic, our daily life is mediated through screens for work, entertainment and sociality. Artists include: Lillian Schwartz, Nam June Paik, Lynn Hershman Leeson, Andy Warhol, Gretchen Bender, Eva and Franco Mattes, Jacqueline Humphries, Cory Arcangel, Petra Cortright, Elias Sime, Rafael Lozano-Hemmer, Trevor Paglen, Hito Steyerl, Liss LaFleur, Kristin Lucas, Rick Silva, Wickerham & Lomax, Avery Singer, American Artist, Simon Denny, Skawennati, Jacolby Satterwhite, Carson Lynn, Ed Atkins, Arthur Jafa, Cao Fei and Frances Stark.
A massive panorama of Native American art from Navajo weaving to Apache basketrySpanning nearly 1,000 years of artistic creativity, this wide-ranging volume brings together 206 artworks that exemplify both exquisite aesthetics and rich cultural histories. The majority of the collection is from the American Southwest-19th-century Navajo weavings, ancestral and historical Pueblo pottery, Hopi and Zuni carved figures, and Yavapai and Apache basketry-along with art from the Pacific Northwest and the first Plains ledger drawings to enter the museums' collections. This book, which features new research and specially commissioned essays and extended captions, developed in collaboration with cultural advisors, reflects the complex and multilayered nature of the artworks in the field of Native American art. Contributions from more than 80 authors from different disciplines and cultural backgrounds, including scholars, culture-bearers, artists, collectors and museum professionals, illuminate details about the living histories of the works. With striking new photography and full-color reproductions, this is a cornerstone publication in the field of Native American art history.
Long overdue, this first comprehensive survey spans three decades of Simmons' richly layered, socially engaged artCovering 30 years of sculptures, paintings, works on paper, large-scale wall drawings, installations and site-specific works, this book presents the art of Gary Simmons, one of the most respected artists of his generation. Since the late 1980s, Simmons has played a key role in situating questions of race, class and gender identity within art discourse. He is notable for combining pop-cultural imagery with conceptual artistic strategies to expose and analyze histories of racism inscribed in US visual culture. Over the course of his career, Simmons has revealed traces of these histories in the fields of sports, cinema, literature, music, and architecture and urbanism while drawing on popular genres such as hip-hop, horror and science fiction. His approach is cool and unflinching in its interrogation of historical and cultural narratives, yet the results consistently deliver a strong emotional charge. This publication offers readers the opportunity to gain a holistic understanding of the complex, profoundly moving work of this influential artist.Gary Simmons was born in 1964 in New York City, where he was raised. Today he lives and works in Los Angeles. He received a BFA in 1988 from the School of Visual Arts, New York, and an MFA in 1990 from the California Institute of the Arts, Valencia; he also studied at Hunter College, New York. He has received numerous awards, including the Studio Museum in Harlem Joyce Alexander Wein Prize (2013), the George Gund Foundation USA Gund Fellowship (2007) and the National Endowment for the Arts Interarts Grant (1990).
The first major monograph on the visionary nature paintings of the pioneering American modernistThough Joseph Stella is primarily recognized for his dynamic Futurist-inspired paintings of New York, particularly of the Brooklyn Bridge, he was also compelled to express the powerful connection he felt to the natural world, a subject he pursued persistently throughout his career. Visionary Nature presents an overdue examination of this prolific and wide-ranging body of nature-based work. If Stella's cityscapes became symbols of a modern era, his pictures of flowers, plants, birds and trees were rooted in another, more ancient, primal and paradisaical world. Inspired by archaic and classical precedents as well as his own brand of spirituality, these lyrical and exuberant works are also his least understood. By focusing on his unique visual vocabulary and the context in which it developed, Visionary Nature reconsiders how his nature paintings relate to his career, revealing a surprising continuity between seemingly disparate subjects and exploring how these works are reflective of Stella's passionate spirituality. His close affiliation with the natural world shaped a body of work that ranged from vividly realistic to poetically transcendent and visionary in its unique expression. Joseph Stella (1877-1946) was born in Italy and moved to New York City in 1896. He belonged to avant-garde circles on both sides of the Atlantic and achieved international notoriety in the 1910s for his large-scale paintings of modern America. For the remainder of his career, he traveled widely and produced a large body of nature-themed work. He died in 1946 from heart failure.
Haring as activist and egalitarian: a fresh, accessible and dynamic look at one of New York's most exhilarating artistsLavishly illustrated with essays and reflections by cultural leaders, Keith Haring: Art Is for Everybody surveys Haring's dynamic art practice from 1978 to 1990, shining a bright light on the iconic and beloved artist known for his fluid, uniform lines, intricate compositions and repeating imagery such as the barking dog and radiant baby. Forty years after he came to prominence, Haring's art continues to garner worldwide recognition, breaking down barriers and spreading joy, while taking on complex issues that remain crucial today, from environmentalism, capitalism and the proliferation of new technologies to religion, sexuality and race. Titled after a quote from Haring's journals, Art Is for Everybody centers on the artist's activism, the emphasis he placed on community and his egalitarian approach to art and life. The volume is organized chronologically and thematically, emphasizing Haring's work made with publics in mind such as the subway drawings and murals, his collaborative practice and his unflinching belief that art is essential in making a better world. Keith Haring was born in Reading, Pennsylvania, in 1958 and arrived in New York from Pittsburgh in 1978, befriending artists including Kenny Scharf and Jean-Michel Basquiat. During the 1980s, Haring achieved international recognition and participated in numerous group and solo exhibitions. After being diagnosed with HIV in 1988, he focused his activism on the AIDS crisis. Less than two years later, Haring died of an AIDS-related illness.
A thematic introduction to the thriving Miami museum's permanent collectionSince its founding in 2014, ICA Miami has established itself as a singular voice in artistic stewardship with a collection that champions leading emerging and established artists. Fire Figure Fantasy revolves around important focal points of ICA Miami's collection. Artists working in a wide range of mediums, including McArthur Binion, Lauren Halsey, Rashid Johnson and Martine Syms, draw on conceptualist strategies to critically explore structures that perpetuate injustice. In works by Andra Ursuta, Louise Bonnet, Christina Quarles and Avery Singer, themes of identity, community, and technology are drawn out through explorations of the body, materiality and form. Works by Vivian Caccuri, Tau Lewis, Vaughn Spann and Henry Taylor contend with some of the most pressing issues of our time, while works by Hernan Bas, Tomm El-Saieh and Jared McGriff, among others, reflect the artistic production of Miami artists that the museum has long championed.
How Oppenheimer's complex artworks break down barriers between art, audience and architectureThis publication documents the four interactive artworks by New York-based artist Sarah Oppenheimer (born 1972) created for the Wellin Museum of Art at Hamilton College in the context of her greater artistic oeuvre. Printed in five color with foil stamping, with striking reproductions and contributions by Tracy L. Adler, Suzanne Keen, Sarah Oppenheimer and Seph Rodney, the book explores the artist's multifaceted approach to empathy, agency, audience and cocreation, among many other themes in her work. Oppenheimer considers the space of the museum as a site of experimentation, where visitors experience the curiosity and joy of transforming the artworks themselves. In Oppenheimer's words, "You have to enter the temporal network in order for the work to exist."
The first major monograph on Simone Leigh's multimedia explorations of community, Black feminism and the traditions and material cultures of the African diasporaA New York Times Book Review 2023 holiday gift guide pickOver the past two decades, Simone Leigh has created artwork that situates questions of Black femme-identified subjectivity at the center of contemporary art discourse. Her sculpture, video, installation and social practice explore ideas of race, beauty and community in visual and material culture. Leigh's art addresses a wide swath of historical periods, geographies and traditions, with specific references to materials across the African diaspora, as well as forms traditionally associated with African art and architecture.This publication includes substantial new scholarship addressing Leigh's work across mediums and topics. The volume, timed with the artist's first museum survey and national tour, includes contributions by her longtime collaborators, new scholars who add diverse insights and perspectives, and a conversation highlighting Leigh's voice. Additionally, generous and lushly illustrated plates feature her critically acclaimed work for the 59th Venice Biennale and works made throughout her 20-year career. A special section featuring Leigh's research images gives access to Leigh's research methodologies and encourages readers to fully engage with all aspects of Leigh's work. This monograph provides a timely opportunity to gain a holistic understanding of the complex and profoundly moving work of this groundbreaking artist. Born in Chicago in 1967, Simone Leigh received a BA in fine art with a minor in philosophy from Earlham College, Richmond, Indiana, in 1990. In 2022, Leigh represented the United States at the 59th Venice Biennale with her critically acclaimed exhibition Sovereignty. She has had solo presentations at the Kitchen, New York (2012); Creative Time, New York (2014); New Museum of Contemporary Art, New York (2016); Hammer Museum, Los Angeles (2016); and the High Line, New York (2019); among other venues. Leigh lives and works in Brooklyn.
"The objects, papers, and artifacts from Leonard Cohen's personal archive provide fresh insight into the artist's creative pursuits and the arc of his career over six decades. Aware from an early age that he was destined to make a mark on this world, Cohen preserved an expansive collection of personal letters, journals, manuscripts, sketches, and photographs. This densely illustrated book weaves together beautiful reproductions of these rarely seen documents with interviews and essays that provide greater context for the evolution of his public and private life."--Provided by publisher.
The most comprehensive survey of Weems' genre-defying oeuvre yet publishedOne of the most influential American artists working today, Carrie Mae Weems has investigated narratives around family, race, gender, sexism, class and the consequences of power for more than 40 years. Her complex oeuvre-always ahead of its time, and profoundly formative for younger generations of artists-has employed photography (for which she is best known), fabric, text, audio, digital images, installation and video. Writing in the New York Times, Holland Cotter succinctly described Weems as "a superb image maker and a moral force, focused and irrepressible."This volume, spanning four decades of work, is the most thorough survey yet published. It includes Weems' earliest series, such as Family Pictures and Stories, for which she photographed her relatives and close friends; the legendary Kitchen Table Series, in which she posed in a domestic setting; and other critically acclaimed works and series such as Ain't Jokin', Colored People, From Here I Saw What Happened and I Cried, Not Manet's Type, The Jefferson Suite, Monuments, Roaming, Museums, Constructing History (A Class Ponders the Future), Slow Fade to Black and the Obama Project, among many others. Contextualizing these pieces are essays by LaCharles Ward and Fred Moten and a chronology by Raul Muñoz. The book also includes a visual essay by Weems that presents a personal selection of her own works from the artist's perspective. The accompanying exhibition is organized by Fundación MAPFRE in collaboration with Fundación Foto Colectania, Barcelona and Württembergischer Kunstverein, Stuttgart, where the exhibition Carrie Mae Weems. The Evidence Of Things Not Seen took place from April 2 through July 10, 2022. Carrie Mae Weems (born 1953) has received numerous awards, grants and fellowships, and is represented in public and private collections around the world, including the Metropolitan Museum of Art, the Museum of Fine Arts, Houston, the Museum of Modern Art and the Museum of Contemporary Art, Los Angeles. Weems lives in Brooklyn and Syracuse, New York.
"Spanning over two centuries from around 1800 to the present day, Black American Portraits chronicles the ways in which Black Americans have used portraiture to envision themselves in their own eyes. Remembering Two Centuries of Black American Art, curated by David C. Driskell at LACMA 45 years ago, this book is a companion to the exhibition of the same name that reframes portraiture to center Black American subjects, sitters and spaces. This selection of approximately 140 works from LACMA's permanent collection highlights emancipation, scenes from the Harlem Renaissance, portraits from the Civil Rights and Black Power eras, multiculturalism of the 1990s and the spirit of Black Lives Matter. Countering a visual culture that often demonizes Blackness and fetishizes the spectacle of Black pain, these images center love, abundance, family, community and exuberance. Black American Portraits depicts Black figures in a range of mediums such as painting, drawing, prints, photography, sculpture, mixed media and time-based media. In addition to work by artists of African descent, Black American Portraits includes several works by artists of other backgrounds who have exemplified a thoughtfulness about, sensitivity toward and commitment to Black artists, communities, histories and subjects. Exhibition: Los Angeles County Museum of Art (LACMA), LA, USA (07.11.2021-17.04.2022)."--]cSource other than Library of Congress.
A visual and literary meditation juxtaposing Isaac Julien's artworks with archival images of Frederick Douglass and essays that consider his enduring legacyThis sumptuously illustrated artist's book and reader documents Lessons of the Hour (2019), the ten-screen film installation and series of related photographic artworks by the internationally acclaimed artist Isaac Julien CBE RA (born 1960), which honor the public and private life of one the most important figures in US history: Frederick Douglass. The visionary African American orator, philosopher, intellectual and self-liberated freedom fighter was born into slavery in Maryland and went on to develop a remarkable aesthetic theory through his thinking and writing on abolitionism and Black self-representation through the apparatus of photography. Isaac Julien: Lessons of the Hour - Frederick Douglass takes the reader on a journey through Douglass' life and thinking, and is a vital consideration of his political and aesthetic legacy.
Ritchie locates patterns in an unpredictable universe, with garden and flood serving as metaphors for growth and destructionRenowned New York-based interdisciplinary artist Matthew Ritchie (born 1964) seeks to visualize thought, connecting such fields as philosophy and mythology, epic poetry and science fiction, and history and physics, through installations of paintings, wall drawings, light boxes, games, sculpture, films and performance works. His works challenge social fragmentation by suggesting a unified theory of everything. Published for an exhibition at the Frist Art Museum, A Garden in the Flood examines a selection of his paintings, architectural structures, elaborate diagrams and hallucinatory video animations (which notably include a collaboration with the Grammy Award-winning Fisk Jubilee Singers). Employing "garden" and "flood" as metaphors for growth and destruction, transformation and renewal, Ritchie encourages readers to "reimagine the role art could play in whatever form of society may emerge next."
A career-spanning overview of Dupont's multimedia interrogations of surveillance culture and technological ubiquityThis definitive volume, spanning more than two decades, surveys the works and writings of New York-based artist Richard Dupont (born 1968), and their prescient bearing on a paradigm-shifting period of technological and cultural transformation.Much of Dupont's work stems from a complete digital model of his body created between 2002 and 2004 and 3D body scans obtained while participating in a US military anthropometry study. This overview reveals how Dupont's work mirrors digital technology's infiltration of our lives and the extent to which the commodification and virtualization of the body have become commonplace in our culture of "self-surveillance."Illustrations emphasize his works' physical aspect, where traditional materials and techniques such as plaster and bronze casting play a role, as do the use of experimental techniques and materials such as cast polyurethane, poured silicone, 3D-printed resins, digital scanning and the manipulation of found objects.
"Known for her daring fusion of marquetry (wood inlay) and painting, the meticulously crafted works of Alison Elizabeth Taylor are as much about seeing as they are about making. Juxtaposing the luxurious connotations of this ancient, highly refined craft with gritty images of postmillennial American life, Taylor creates a tension between surface and subject, appearance and reality. This publication traces the evolution of the artist's work from early paintings that explore space, line, color and form within the limited palette afforded by the grains and tones of natural woods, to vividly colored 'hybrids' that layer marquetry, paint, and photographic imagery, to new and increasingly complex works inspired by the resilience of the artist's urban neighborhood and community during the pandemic."--
The extraordinary journey of an "impossible" sculpture made from the negative form of an ancient Korean gateIn 2006, London-based Korean artist Do Ho Suh (born 1962) began work on a seemingly impossible project-to "make something out of nothing," casting the negative form of a traditional Korean gate in solid acrylic resin. Portal would take nearly a decade to complete, and would provide the site for fundamental developments in Suh's thinking on the role of both artist and museum in the 21st century, as well as the relationship between East and West. This volume tells the epic story of that process through those who made it possible. Through color illustrations and texts, it provides unique access to the typically veiled fabrication process: the process of scanning, modelling and constructing a nine-ton sculpture that would appear as if it was not there, a "living ghost image" cast from negative space.
In 'The Space Between', a generative period in Korean art between the traditional and the contemporary is illuminated comprehensively for the first time. After the centuries-long Joseon dynasty came 35 uninterrupted years of the Japanese colonial period (1910-45) followed by the Korean War (1950-53). During this tumultuous time, Korean artists grappled with issues such as identity and nationalism and experimented with a broad range of media. The book is organized into five categories: The Modern Encounter- foreign influences enter the country in a significant way in the late 19th and early 20th centuries; The Modern Response- how foreign methods are accepted or rejected; The Pageantry of the New Woman (Sinyeoseong) Movement- modern women's attitudes; The Modern Momentum- advances in using foreign styles; and Evolving into the Contemporary- a glimpse into the contemporary. Most notable during this period are the introductions of photography, sculpture and oils, which arrived via Japan and came to define modern art in Korea. At the same time, traditional ink painting reinvented itself: works grew larger in scale while keeping traditional landscape motifs with alterations in the use of color and composition. Artists of modern ink believed that theirs was the true future of modern art, unsullied by elements found in the West. By the end of the Korean War, the magnified status of the US made way for access to American abstract art and, indirectly, European informel. For nearly a decade, abstract expressionist and informel styles dominated Korean art. The volume concludes in the 1960s, setting the stage for contemporary art in Korea. Exhibition: Los Angeles County Museum of Art, USA (11.09.2022 - 19.02.2023).
"This is the first overview of the work of Jimmy DeSana, a pioneering yet underrecognized figure in New York's downtown art, music and film scenes during the 1970s and 1980s. The book situates DeSana's work and life within the countercultural and queer contexts in the American South as well as New York, through his involvement in mail art, punk and No Wave music and film, and artist collectives and publications. DeSana's first major project was 101 Nudes, made in Atlanta during the city's gay liberation movement. After moving to New York in 1973, DeSana became immersed in queer networks, collaborating with General Idea and Ray Johnson on zines and mail art, and documenting the genderqueer street performances of Stephen Varble. By the mid-1970s, DeSana was a fixture in New York's No Wave music and film scenes, serving as portraitist for much of the period's central figures and producing album covers for Talking Heads, James Chance and others. His book Submission, made with William S. Burroughs, humorously staged scenes out of a S&M manual that explored the body as object and the performance of desire. DeSana was also an early adopter of color photography, creating his best-known series, Suburban, in the late 1970s and early 1980s. This body of work explores relationships between gender, sexuality and consumer capitalism in often humorous, surreal ways. After DeSana became sick as a result of contracting HIV, he turned to abstraction, using experimental photographic techniques to continue to push against photographic norms."--
The overlooked yet vibrant history of Black participation in American film, from the beginning of cinema through the civil rights movementFrom the dawn of the medium onward, Black filmmakers have helped define American cinema. Black performers, producers and directors--Bert Williams, Oscar Micheaux, Herb Jeffries, Lena Horne, Dorothy Dandridge, Ruby Dee and William Greaves, to name just a few--had a vast and resounding impact. Black film artists not only developed an enduring independent tradition but also transformed mainstream Hollywood, fueled and reflected sociopolitical movements, captured Black experience in all its robust complexity, and influenced generations to come. As harrowing as it is beautiful, this history of Black cinema and its legacy is often overlooked.Regeneration accompanies a first-of-its-kind exhibition at the Academy Museum of Motion Pictures exploring seven decades of Black participation in American cinema. Amplifying this underrepresented history in colorful and striking detail, the book features an in-depth curatorial essay and scholarly case-study texts on topics such as early Black independent filmmaking, Black spectatorship during the Jim Crow era and home movies as an essential form of Black self-representation. The volume also makes meaningful connections to the present through interviews with award-winning contemporary Black filmmakers Charles Burnett, Julie Dash, Ava DuVernay, Barry Jenkins and Dawn Porter. An extensive filmography and chronology offer an essential resource for anyone interested in Black cinema, while images of contemporary visual artworks further illustrate the volume throughout.
How artists from Paul Klee and Mierle Laderman Ukeles to Faith Ringgold and Deborah Roberts have explored childhood themes of innocence, spontaneity and storytellingArtists have long been inspired by children-by their imagination, creativity and unique ways of seeing and being in the world-and have made work that depicts and involves children as collaborators, that represents or mimics their ways of drawing or telling stories, that highlights their unique cultures, and that addresses ideas of innocence and spontaneity closely associated with children. To Begin Again: Artists and Childhood surveys how artists have reflected on and contributed to notions of childhood from the early 20th century to the present. The works in To Begin Again offer distinctive viewpoints and experiences, revealing how time and place, economics and race, and representation and aesthetics fundamentally shape how we experience and understand early development. The catalog underscores that while there is no single, uniform idea of childhood, it is nevertheless the ground upon which so much of society is built, negotiated and imagined. Artists include: Ann Agee, John Ahearn, Njideka Akunyili Crosby, Francis Alÿs, Jean-Michel Basquiat, Brian Belott, Jordan Casteel, Lenka Clayton, Allan Rohan Crite, Henry Darger, Karon Davis, Robert Gober, Jay Lynn Gomez, Trenton Doyle Hancock, Duane Hanson, Mona Hatoum, Sharon Hayes, Ekua Holmes, Mary Kelly, Paul Klee, Justine Kurland, Helen Levitt, Tau Lewis, Glenn Ligon, Oscar Murillo, Rivane Neuenschwander, Berenice Olmedo, Charles Ray, Faith Ringgold, Deborah Roberts, Tim Rollins and K.O.S., Rachel Rose, Heji Shin, Sable Elyse Smith, Becky Suss, Mierle Laderman Ukeles, Cathy Wilkes and Carmen Winant.
Thirty-five years of South African artist William Kentridge's dynamic, cross-genre art, with essays by Ann McCoy, Zakes Mda, and Ed Schad, a conversation between the artist and Walter Murch, and an unpublished lecture by Kentridge. This far-reaching book presents Kentridge's dynamic art practice, which originates in charcoal drawing and expands into intersections with film, sculpture, opera and theater performances, printmaking and many other mediums. The volume is organized chronologically and thematically, emphasizing Kentridge's destabilizing of South African and global narratives through openness to uncertainty, the generative power of the artist's studio and perpetual change, all as conditions for illuminating repressed and silenced voices in historical records. An essay by curator Ed Schad is presented along with studio photography, archival material and illuminating illustrations of Kentridge's work, joining essays by globally recognized literary figures and thinkers Zakes Mda and Ann McCoy. Notably, the volume features a conversation between Kentridge and the famous film and sound editor Walter Murch, as well as a never-before-published lecture by the artist. The work of William Kentridge (born 1955) has been seen in museums and galleries around the world since the 1990s, including the Museum of Modern Art in New York, the Albertina Museum in Vienna, Musée du Louvre in Paris, Whitechapel Gallery in London, Louisiana Museum in Copenhagen, the Reina Sofia museum in Madrid, the Kunstmuseum in Basel and Zeitz MOCAA and the Norval Foundation in Cape Town. Opera productions include Mozart's The Magic Flute, Shostakovich's The Nose and Alban Berg's operas Lulu and Wozzeck. In 2016 Kentridge founded the Centre for Less Good Idea in Johannesburg, a space for responsive thinking and making through experimental, collaborative and cross-disciplinary art practices. The center hosts an ongoing program of workshops, public performances and mentorship activities.
A captivating selection of family snapshots taken from his mother's photo albums, Michael Snow's latest artist's book illuminates patterns and motifs in the passage of timeOver the past half-century, through works such as the milestone avant-garde film Wavelength (1967), Toronto-based artist Michael Snow (born 1928) has explored the nature of perception, consciousness, language and temporality. This last theme is particularly relevant to his latest artist's book, which is dedicated to the life of his adventurous mother, Marie-Antoinette Françoise Carmen Levesque Snow Roig, whose trove of family photographs provide a narrative throughline here. Snow consolidates his mother's photo albums, presenting a total of 1,500 images. In a tenderly penned foreword, he explains the simple impetus for the project: "[The photographs] are so beautiful and so historic that I wish to share them with others." While he has integrated small samples of these albums into his work before-notably figuring in his landmark catalog for the Art Gallery of Ontario in 1970, Michael Snow/A Survey-this volume provides a much larger and more unified selection. As a result, the compiled images tell a more complete biographical story-one that Snow leaves intact on the surface. He brings his own layer of interpretation to the photographs by drawing out patterns within the collection and his mother's writing. Snow creates an album that is fully his own, embracing, as art historian Martha Langford describes, a "deep understanding and surrender to form."
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