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A two-decade survey conceived as an inventory of materialsThis volume collects two decades of work by Brooklyn-based artist Sara Greenberger Rafferty (born 1978), known for her material transformation of photographs and use of comedy as artistic strategy. The book is organized by material sensibilities around paper, plastic, glass, metal, fabric scraps and "garbage." Studio Visit reconfigures the format of a monograph, sharing roughly 20 years of artwork through intimate studio documentation, sketches, notes and other ephemera. This chronology is punctuated by full-color case studies of major works in photography, sculpture and installation. With image descriptions by art historian Kate Nesin, Studio Visit also includes new writing by Kristan Kennedy and Oscar Bedford, as well as reprinted texts by poet Lisa Robertson, media scholar Shannon Mattern and more. Studio Visit surveys Sara Greenberger Rafferty's cultural commentary through dynamic and conceptually rigorous art.

The first full-length monograph of Houston-based visual artist Jamal Cyrus (born 1973), this publication features an overview of Cyrus' practice of cobbling modern artifacts that trace the evolution of Black identity as it migrates across the African Diaspora, Middle Passage, jazz age and civil rights movements from the 1960s to now. Published to accompany Cyrus' first career survey exhibition at the Blaffer Art Museum, the catalog includes materially diverse and conceptually charged textile-based pieces, assemblages, performances, installations, paintings and works on paper produced in the past two decades, including his ongoing Pride Records installation series. Together, these multidisciplinary artworks demonstrate Cyrus' commemoration, translation and reactivation of sociopolitical struggles in African American history forging a revised chronicle of histories, hybridity and redemption. Exhibition: Blaffer Art Museum, Houston, USA (05.06.-19.09.2021).

With a rich, immersive design, this clothbound monograph reveals the fault lines of race, colonialism and empire that haunt the presentBorrowing its title from Herodotus' fifth-century work, this publication documents a cycle of three works collectively titled The Histories, by artist David Hartt (born 1967). Focusing on the Americas and the Caribbean during the 19th century, Hartt explores real and imagined landscapes informed by the work of Martin Johnson Heade, Robert S. Duncanson, Michel-Jean Cazabon and Frederic Church. His contemporary interpretations use video, tapestry and sculpture alongside musical collaborations with Girma Yifrashewa, Van Dyke Parks and Stefan Betke. The first work, Le Mancenillier, sited in the Frank Lloyd Wright-designed Beth Sholom Synagogue, was filmed and photographed in Haiti and New Orleans. The second, Old Black Joe, in Trinidad and Ohio, and the final work, Crépuscule, commissioned by the Philadelphia Museum of Art, was made in Jamaica and Newfoundland. The Histories reveals the complex entanglement of peoples and cultures as place is explored.

Celebrating an artistic and intellectual friendshipThis book encompasses a broad range of conversations between Jan Tumlir and Jorge Pardo, which span a period of 20 years, beginning in 1999. Cuban-born, Mexico-based artist Jorge Pardo (born 1963) explores the intersection of contemporary painting, design, sculpture and architecture. Employing a broad palette of vibrant colors, eclectic patterns, and natural and industrial materials, Pardo's works range from murals to home furnishings to collages to larger-than-life fabrications. Here in conversation with art writer, teacher and curator Jan Tumlir (born 1962), he discusses contemporary art, design, publishing and music. The conversations also connect to the varied contexts of Los Angeles and Merida, Mexico, where they took place. The result is a story of a unique intellectual friendship that has helped define both of their thinking and practice.

Matt Keegan interviews artists and commissions writing to reassess the 1990s as the moment when the Democratic Party abandoned its New Deal values and swung to the rightIn the wake of the Trump election, artist Matt Keegan (born 1976) began investigating the Democratic Party's shifts over recent decades. In the late '80s, members of the Democratic Leadership Council successfully moved the party's platform to the right by including a pro-business, pro-military, interventionist agenda, and downplaying social infrastructure as a calculated break from its New Deal-era foundation. This shift led to Bill Clinton's consecutive terms. 1996 captures this pivotal time in American politics and society through the experience of artists who completed their undergraduate studies in that year and voted for Clinton, and others who were born in 1996 and voted for the first time in 2016. Essays focus on cultural and ideological shifts from that time, such as the 1994 Crime Bill, 1996 Immigration Act, the Telecommunications Act, the start of Fox News and beyond.

"Ant Farm, the conceptual architectural practice turned art collaborative, is known for such distinctive works as House of the Century (1971-73), Cadillac Ranch (1974), and The Eternal Frame (1975). -- Of equal notoriety is Media Burn, Ant Farm's legendary 1975 performance, in which a radically customized Cadillac was driven through a wall of burning television sets. Media Burn: Ant Farm and the Making of an Image is a vibrant assessment of the complex set of cultural references and art-making strategies informing this collision of twentieth-century icons. -- Author Steve Seid (Berkeley Art Museum and Pacific Film Archive) probes the little-known critical backstory of this bold performance (and resulting video work) and its irreverent effort to mount a subversive critique of media hegemony while reimagining the core meaning of performance itself. -- Media Burn: Ant Farm and the Making of an Image examines car culture, image proliferation, and radical architectural practice, and offers a close read of Media Burn's numerous texts, speeches, ephemera, and artifacts."--Provided by publisher

On Californian artist-filmmaker Margaret Honda's sculptural reprise of a Renaissance oddityThis volume documents Frog, a five-foot-long anatomical frog sculpture by Los Angeles-based experimental filmmaker and artist Margaret Honda (born 1961), inspired by the gargantuan frog in Bramantino's Madonna delle Torri (1520).

The Pragmatism in the History of Art traces the questions that modern art history has used to make sense of the changes overtaking both art and life. The questions combine with case studies as a story unfolds: the work of Meyer Schapiro, Henri Focillon, Alexander Dorner, George Kubler, Robert Herbert, T. J. Clark and Linda Nochlin is scrutinized; the philosophy of Michel Foucault and Gilles Deleuze and the films of Chris Marker and Jean-Luc Godard show distinctly pragmatic effects; artists discussed include Vincent Van Gogh, Isamu Noguchi, Lawrence Weiner and Gordon Matta-Clark. The relevance of this material for the art and art-writing of our own time becomes increasingly clear.

Peele's celebrated screenplay combines horror and dark humor to reveal the terrifying realities of being Black in America.

In 1967, for her first museum retrospective, Nevelson was given carte blanche to transform the Rose Art Museum at Brandeis University into an all-encompassing, theatrical environment for her sculpture. This edition includes previously unpublished exhibition layouts (annotated by Nevelson), installation photographs, and texts that place this show in the context of her career.

Globalization, technology, and politics have altered the definition and expectations of citizenship and the right to place. 'Dimensions of Citizenship' documents contributions from the seven firms selected to represent the United States in the 2018 Venice Architecture Biennale. This paperback volume profiles and illustrates each of the US Pavilion contributions and contextualizes them in terms of scale. Drawing inspiration from the Eames? Power of Ten, 'Dimensions of Citizenship' will provide a view of belonging across seven stages starting with the individual (Citizen), then the collective (Civic, Region, Nation), and expanding to include all phases of contemporary society, real and projected (Globe, Network, Cosmos). Additional essays by Ingrid Burrington, Ana Marâia Leâon, and Nicholas de Monchaux, among others will offer essential and enquiring responses to these themes. Exhibition: US Pavilion, Venice Architecture Biennale, Italy (16.05.-25.11.2018).-- Adapted from information provided by publisher.

Midnight: The Tempest Essays, the second book in Molly Nesbit's 'Pre-Occupations' series, returns the question of pragmatism to the everyday critical practice of the art historian working in the late 20th century. These essays take their cues from the work of specific artists and writers, beginning in the late 1960s, a time when critical commentary found itself in a political and philosophical crisis. Illustrated case studies on Eugáene Atget, Marcel Duchamp, Jean-Luc Godard, Cindy Sherman, Louise Lawler, Rachel Whiteread, Gabriel Orozco, Rirkrit Tiravanija, Lawrence Weiner, Nancy Spero, Rem Koolhaas, Martha Rosler, Gerhard Richter, Matthew Barney and Richard Serra, among others, continue the legacy of a pragmatism that has endured while debates over postmodernism and French philosophy raged.

Building upon the 2017 Ballroom Marfa exhibition Strange Attractor organized by sound artist and curator Gryphon Rue, this book brings together an interdisciplinary group of artists and practitioners to investigate the chaos, connections and interpretations that narrate everyday experiences. Strange Attractor includes artworks from Lawrence Abu Hamdan, Thomas Ashcraft, Robert Buck, Alexander Calder, Beatrice Gibson, Phillipa Horan, Channa Horwitz, Lucky Dragons (Luke Fishbeck and Sara Rara), Mark Lombardi, Herbert Matter, Haroon Mirza, Elias Sime, and Douglas Ross, as well as conversations between tropical ecologist Merlin Sheldrake, novelist Chloe Aridjis, and economic sociologist, Juan Pablo Pardo-Guerra, as well as texts by media art historian, Douglas Kahn, and poet, Bernadette Mayer, among others.

The first monograph for Los Angeles-based artist Pearson documents nearly 15 years of monochromatic photographs, sculptures, and multimedia works. The book highlights his studio and includes artist's reflections and a curatorial essay tracing his varied cultural influences--including music and the culture of Southern California.rnia.

A toolkit for visual literacy in the 21st century, A New Program for Graphic Design presents three courses--Typography, Gestalt and Interface--that provide the foundation of this edition.s edition.

Beloved by collectors and scholars alike, Leiber's beautiful bookseller catalogs shaped the canon of publications. The pioneering San Francisco art dealer, collector, and gallerist who specialized in the dematerialized art practices of the 1960s and 1970s and the ephemera and documentation spawned by conceptual art and other postwar movements, produced a series of 52 iconic catalogs between 1992 and 2010.