Book Description
âDon’t start an art collective until you read this book.â âGuerrilla Girls
âEver since Web 2.0 with its wikis, blogs and social networks the art of collaboration is back on the agenda. Collectivism after Modernism convincingly proves that art collectives did not stop after the proclaimed death of the historical avant-gardes. Like never before technology reinvents the social and artists claim the steering wheel!â âGeert Lovink, Institute of Network Cultures, Amsterdam
âThis examination of the succession of post-war avant-gardes and collectives is new, important, and engaged.â â Stephen F. Eisenman, author of The Abu Ghraib Effect
âCollectivism after Modernism crucially helps us understand what artists and others can do in mushy, stinky times like ours. What can the seemingly powerless do in the face of mighty forces that seem to have their act really together? Here, Stimson and Sholette put forth many good answers.â âYes Men
Spanning the globe from Europe, Japan, and the United States to Africa, Cuba, and Mexico, Collectivism after Modernism explores the ways in which collectives function within cultural norms, social conventions, and corporate or state-sanctioned art. Together, these essays demonstrate that collectivism survives as an influential artistic practice despite the art world’s star system of individuality. Collectivism after Modernism provides the historical understanding necessary for thinking through postmodern collective practice, now and into the future.
Contributors: Irina Aristarkhova, Jesse Drew, Okwui Enwezor, Rubén Gallo, Chris Gilbert, Brian Holmes, Alan Moore, Jelena Stojanovi´c, Reiko Tomii, Rachel Weiss.
Blake Stimson is associate professor of art history at the University of California Davis, the author of The Pivot of the World: Photography and Its Nation, and coeditor of Visual Worlds and Conceptual Art: A Critical Anthology. Gregory Sholette is an artist, writer, and cofounder of collectives Political Art Documentation/Distribution and REPOhistory. He is coeditor of The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life.
âTo understand the various forms of postwar collectivism as historically determined phenomena and to articulate the possibilities for contemporary collectivist art production is the aim of Collectivism after Modernism. The essays assembled in this anthology argue that to make truly collective art means to reconsider the relation between art and public; examples from the Situationist International and Group Material to Paper Tiger Television and the Congolese collective Le Groupe Amos make the point. To construct an art of shared experience means to go beyond projecting what Blake Stimson and Gregory Sholette call the âimagined communityâ: a collective has to be more than an ideal, and more than communal craft; it has to be a truly social enterprise. Not only does it use unconventional forms and media to communicate the issues and experiences usually excluded from artistic representation, but it gives voice to a multiplicity of perspectives. At its best it relies on the participation of the audience to actively contribute to the work, carrying forth the dialogue it inspires.â âBOMB
Book Description
Written by a leading critic, this invigorating introduction to modernist American poetry conveys the excitement that can be generated by a careful reading of modernist poems. It encourages readers to confront the difficulties involved in tackling this literature and to identify with the modernists ' sense of the revolutionary possibilities of their art.Altieri 's account embraces four generations of American poets, tracing the ambitions, the disillusionments and the continuities of modernist poetry through to the 1980s. He describes how the sense of liberation created by early modernist formal experiments was followed by disappointment as the limitations of these discoveries emerged. He contends that, in response, poets such as Wallace Stevens and W. H. Auden reformulated modernist strategies to develop new ways for poetry to take social responsibility. Finally, he shows how these transformations were carried through by later poets such as Elizabeth Bishop, Robert Lowell, Adrienne Rich and Robert Creeley, with whom the narrative ends.
Book Description
First published in 1985, Pollock and After established itself as a widely-read and highly influential collection of key writings on Abstract Expressionism. This revised edition, featuring ten new articles, is fully updated to take account of new critical approaches to post-war American art. Contributors: Anna C. Chave, T J Clark, Eva Cockcroft, David Craven, Michael Fried, Anne Eden Gibson, Clement Greenberg, Serge Guilbaut, Michael Kimmelman, Max Kozloff, Rosalind E. Krauss, Michael Leja, Jane de Hart Mathews, Fred Orton, Griselda Pollock, A. Deirdre Robson, David and Cecile Shapiro.
Customer Reviews:
Good text, but go for the newer version.......2007-02-28
This is the original edition (1985) of "Pollock and After" which is a really great text for anyone who wants to insight into American modernist critics. It focuses primarily on Greenberg, Greenbergian formalism, Marxism, the Cold War, and obviously, Pollock's work. If you're buying this used, just because of the age, it's more than likely going to be really marked up. Be realistic. In 2000 there was a reprint of this book that included new criticism from critics like Ana Chave and Michael Leja, that looked at different spheres of gender and certain postmodern concerns. The expanded edition has a lot more information and is worth the extra cost, trust me!
Book Description
Architectures: Modernism and After surveys the history of the building from the advent of industrialization to the cultural imperatives of the present moment. The collection of essays brings together international art and architectural historians to consider a range of topics that have influenced the shape, profile, and aesthetics of the built environment from 1851 to the present time, showing how buildings and our responses to them are embedded in the cultural process and the ethics of production.This volume presents crucial "moments " in the history of the field when the architecture of the past is made to respond to new and changing cultural circumstances. In doing so, Architectures: Modernism and After provides a view of architectural history as part of a continuing dialogue between aesthetic criteria and social and cultural imperatives.
Product Description
The waning of the century-old modernist movement in the arts has called forth an astonishing array of artistic and critical responses. The twenty-five essays in Art After Modernism provide a comprehensive survey of the most provocative directions taken by recent art and criticism, exploring such topics as the decline of the ideology of modernism in the arts and the emergence of a wide range of postmodern practices; recent directions in painting, film, video and photography; visual artists' investigations of mass-media systems and imagery; and the dynamics of the social network in which art is produced and disseminated. This major collection is an indespensable guide to the ideas and issues animating this decade's art the far-reaching cultural reorientation known as postmodernism.
Customer Reviews:
Great essays, but high redundancy rate for anyone who already owns a postmodern anthology.......2007-07-08
Art After Modernism is a nice collection of postmodern/poststructural essays from some important theorists such as Barthes, Foucault, Foster, Hughes, Jameson, Mulvey, and others. My problem is that almost all (if not, indeed, everyone single one) of these essays are available elsewhere. I believe almost everything here is also represented in the far superior Norton Anthology of Theory and Criticism. Now many anthologies do we need of Laura Mulvey's "Visual Pleasure and Narrative Cinema"? It's a great essay, but it's in EVERY anthology and she DID write other essays.
It seems that every collection wants to represent the fundamental texts - the widely influential articles that everyone should know. That's great, but it's already been done and done better than this. I cannot see what is unique about this collection. While it's about half the price of the Norton anthology, it's less than a quarter of the size of the Norton and without the copious editorial comments and clarifications.
The theme is ostensibly "Art After Modernism", but isn't that just another way of saying "postmodernism"? These essays are no more specific to art than any other collection of postmodern theory and aesthetics. There are a few essays that deal with "rethinking representation", but the majority are simply the core of postmodern texts. There's really nothing unique here.
If you don't already own essays such as Baudrillard's "The procession of the simulacra" or Barthes' "From work to text", I suppose this is worth its price, but I would recommend spending a little more money and stepping up to something more comprehensive.
The essays themselves = Five Stars *****
Whoever decided we needed yet another redundant collection = Zero Stars
Book Description
"Art history after modernism" does not only mean that art looks different today; it also means that our discourse on art has taken a different direction, if it is safe to say it has taken a direction at all.
So begins Hans Belting's brilliant, iconoclastic reconsideration of art and art history at the end of the millennium, which builds upon his earlier and highly successful volume, The End of the History of Art?. "Known for his striking and original theories about the nature of art," according to the Economist, Belting here examines how art is made, viewed, and interpreted today. Arguing that contemporary art has burst out of the frame that art history had built for it, Belting calls for an entirely new approach to thinking and writing about art. He moves effortlessly between contemporary issues—the rise of global and minority art and its consequences for Western art history, installation and video art, and the troubled institution of the art museum—and questions central to art history's definition of itself, such as the distinction between high and low culture, art criticism versus art history, and the invention of modernism in art history. Forty-eight black and white images illustrate the text, perfectly reflecting the state of contemporary art.
With Art History after Modernism, Belting retains his place as one of the most original thinkers working in the visual arts today.
Book Description
Museums After Modernism is a diverse set of essays that addresses the urgent question of how the museum can be a public institution, a focus for critical debate and knowledge in an era when museums and galleries are increasingly being subsumed into national heritage and civic tourist industries through blockbusters and managed education programs. The book uniquely brings together artists, curators, art historians, and users to explore the strategies for non-canonical and creative fostering of the museum as a public space for dialogue and transformation in the postcolonial era. Combining theoretical reflections on the histories of the museum with recent case studies, Museums After Modernism goes beyond current museology and reconsiders the strategies of engagement with what the museum could be "after modernism."
Average customer rating:
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French Modernisms: Perspectives on Art Before, During, and After Vichy
Michèle C. Cone
Manufacturer: Cambridge University Press
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Book Description
French Modernisms: Perspectives on Art Before, During, and After Vichy examines the close link between art and politics in France from 1935 to 1970. In essays on the exhibition and criticism of modern art, Michèle Cone provides a broader context for the xenophobia that characterizes Vichy-era France. Cone argues that the decline of French art in the second half of the century was caused, not by the invasion of foreign artists, but by the Parisian art establishment itself, which continued to promote the Vichy-era values of national identity and national tradition.
Book Description
This landmark book offers a radical reinterpretation of the innovative art of the late 1950s and 1960s. Examining the work of major artists of the period—including Mark Rothko, Piero Manzoni, Agnes Martin, Dan Flavin, Eva Hesse, Blinky Palermo, and Louise Bourgeois—Briony Fer focuses on the overriding tendency toward repetition and seriality that occurred at the moment of modernism’s decline, gained ground in its aftermath, and continues to shape much of the art seen today.
Although seriality is mainly associated with American artists and with Minimalism, Fer broadens our understanding of it, looking at Minimalist seriality as one crucially important strategy among several. She argues that repetition becomes generative of new modes and habits of making and looking; at stake is how we think about the artwork in relation to both temporality and subjectivity. Paying close attention to specific artworks, this timely critical reassessment offers a fresh perspective on a wide range of familiar and less familiar art.
Customer Reviews:
As Diane's Student.......2001-06-20
I have the luxery of learning under Diane, and this book is required for one of the 3 courses she teaches. What makes Diane and her work compelling is that she is able to use history to defend and defeat modern architecture. Clear and consise, Diane's work will follow the background thoughts of many future architects.
terrific.......2001-05-02
Thought provoquing and illuminating. Always analyzing architecture from the larger scope of society. Never apologetic nor reserved in her comments, the author comes out as a real person. Whether you agree or disagree with her, I prefer a book like this one than a nonjudgemental review of buildings trends and theories. Wonderfully illustrated, and very clear in most passages. I really enjoyed the analysis of public spaces.
Technical but interesting.......2000-06-14
Though this was a required text for school, I find myself reading it weeks after finals. It assumes a basic knowledge of Architecture & isn't for the casual reader, but there's much good information to be had. Tends to make me want to travel to the places mentioned.
Average customer rating:
- Ehh...
- Oh, well... guess the thrill is gone...
- So its come to this? A Reality TV show? Oh well, the X-Men still kick @$$
- Longshot's back!
- def. not vaughan's best
|
Ultimate X-Men Vol. 11: The Most Dangerous Game
Brian K Vaughan , and
Stuart Immonen
Manufacturer: Marvel Comics
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Binding: Paperback
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Ultimate X-Men Vol. 8: New Mutants
ASIN: 0785116591 |
Book Description
It's the ultimate reality show as mutants convicted of capital crimes are released on an island where contestants hunt them down. Longshot has survived longest, and the X-Men are sent to rescue him - until they become part of the game themselves! With one of their teammates a captive on the island of Krakoa, the malevolent media mogul called Mojo demands the X-Men return Longshot to his headquarters or Angel will soon have a harp to go with his wings! Meanwhile, does Longshot have a "Dazzling" not-so-secret admirer? Collects Ultimate X-Men #54-57.
Customer Reviews:
Ehh..........2006-02-04
I've liked Vaughan's work in the past, especially with the group of teenage superheroes in Runaways, I've always had some fondness for Longshot, and I was hankering for some good old soap operatic X-Men action, and to top it all off, I dig Stuart Immonen's work, so I decided to give this volume a shot, despite not having read any of the rest of his run on this series. At $9.99, how bad could it be?
Well, it's not bad, but that's the problem; that's the best thing I the way that the X-Men (and the reader's) can really say about it. My reaction was very tepid. I liked how the X-Men's expectations (and the reader's) expectations are violated, there's some nice character work (especially on Colossus and Dazzler), and at four issues, it's certainly not "decompressed", but this still didn't click with me like Vaughan's other work has. Maybe that's because he's working with other people's characters here, whereas the Runaways and the casts of Y the Last Man and Ex Machina are his creations, or maybe I'm just sick of the X-Men (not even Joss Whedon and John Cassaday's Astonishing X-Men could hold my attention), but at the end of the day, I can't give it more than 3 stars.
While I think this hits the right beats for an X-Men story, and works for me a lot more than what Mark Millar did with the book at its inception, I'm still not as fond of it as I was Grant Morrison's New X-Men, which is the best thing I've read with the franchise since Claremont's glory days. I'd still say it's worth your $9.99, just don't expect Vaughan's best.
Oh, well... guess the thrill is gone..........2005-11-29
I had been enjoying the "Ultimate X-Men" series pretty well up to this point, but was turned off here by the lackluster plotline and even moreso by the slapdash artwork, which stands in painful contrast to the richly detailed illustration of the earlier volumes. This volume felt a lot like the mass-produced X-books of the late '90s, where there were too many heroes and too many titles, and they all started to melt together into one big kaboom-fest, filled with fetishistically hyper-muscular males and inflatible-doll anorexic female characters. Sadly, the series seems to be taking on that same factory-produced feel, and has lost its freshness and revitalized vigor. Hopefully Marvel can get the book back on track, but I'm not sure I'll still be around to read it when they do. Other, better books clamor for my attention.
So its come to this? A Reality TV show? Oh well, the X-Men still kick @$$.......2005-08-25
Longshot, Mojo and Spiral all enter the Ultimate series in this volume of Ultimate X-Men. The take on Longshot is an interesting twist on his overtly positive, almost child-like, nature in the main-stream Marvel universe- the Ultimate version is a violent human hating bigot; but Mojo and Spiral are utterly dull. Longshot is the unwilling star of a hit reality show (in Genosha) that is owned and operated by an overweight albino (non-mutant, non-alien, base-line human) named Mojo. In Genosha, mutant criminals are sent to Mojo's island where they are hunted down and killed to entertain the masses, but Longshot has outlived all previous contestants and as a result brought the show big ratings. Mojo figures he had best off his fugitive star before the luster fades, and hires a goofy-looking hit-man by the name of Arcade to kill him.
Meanwhile the X-Men are appalled by what they have seen of Genoshan Television, but Professor Xavier refuses to let them become involved in a dangerous situation or spark an international controversy. Some of the X-Men, namely Colossus and newer recruits such as Angel and Dazzler, decide to just go on ahead and do what they feel is right, and soon enough they are in over their heads in Genosha. The other X-Men eventually head to the tiny African island nation to search for their friends, and stumble across Spiral, Longshot's six-armed mutant girlfriend who presents them with a less flattering image of her lover than the team had first assumed.
Pros: The characterization of the X-Men is great, and the focus is finally, after many issues, shifted away from Wolverine, Xavier, Phoenix and Cyclops to the rest of the X-Men. Dazzler and Angel break the mold of typical superhero behaviors (she is a jerk and he is a coward), and Colossus gets a lesson in keeping his emotions in check. The sly battle between Dazzler and Colossus for the attention of Longshot is more than a little amusing, and Nightcrawler's reaction when presented with the possibility that Colossus might have different tastes when it comes to romantic involvement shows that even the oppressed can have prejudices.
Cons: It seems to be that writer Brian K. Vaughan is great at making the main cast more realistic and interesting, but his villains are some of the worst one could imagine. Any appealing qualities the X-Men villains had before he retranslated them into the Ultimate series are time and again stripped away and replaced by dull and mundane bad-guys who would be better served facing off with Steven Seagal (they tend to have no powers and almost phallic obsessions with firearms, and often dress like extras in bad cop movies). Mojo was a lot cooler when he was an insane alien wizard with no spine and a whole dimension of whack-jobs to call down on the X-Men; I mean, seriously, a fat albino? At least give him some mutant power, something formitable, anything. Arcade might have some hope, I guess it's possible for there to be an Ultimate Murder-World, but did we really need just another guy with a big gun? That's the best Vaughan could come up with? A big gun?!? And then there is Spiral: not even a villain. Not even a single moment of thought put into her, so, why even bother wasting a perfectly good character by including her in the story at all?
This story is worth getting for the good stuff involving the X-Men, but anyone expecting a worthwhile battle or villain will be disappointed. And for me, personally, I hate reality TV, but if the people on the shows were killed at the end I might start watching.
Longshot's back!.......2005-08-13
Some people may not like the Ultimate Universe's take on some beloved characters, but for me I was just glad to see Longshot back in comic books. The original series by Ann Nocenti and Arthur Adams are still one of my favorite all-time comic books and having him around (although portrayed much different than the "Earth 616" version of him), is still great.
def. not vaughan's best.......2005-08-03
i keep waiting for vaughan to settle in and pick up the pace on his run of ult. x-men, but he seems content to just coast most of the time, or at the worst, phone it in. this is really a shame b/c his other work is usually consistently worthwhile and he could've done so much great work in the ult universe. this book is completely what you'd expect w/ zero surprises except for a little twist at the end. the story and the characterization are completely forgettable (although longshot's powers are still cool), w/ the main exception of dazzler who is great as a sarcastic wisecracking smart alec. i hate to say it but i'm def. going to skip his next ult x-men arc unless i hear rave reviews.
Book Description
"When I'm really old and can't use myself anymore, this is what I'll be doing." -Cindy Sherman
"Not only was I enthralled with Mrs. Ballard's Parrots, I was slightly jealous that these creatures had a better sense of style than me." -Isaac Mizrahi
In the late 1960s, Long Island housewife Alba Ballard decided to sew a little outfit for one of her many pet parrots. Soon she began staging elaborate productions, casting her lavishly costumed birds in scenes from popular movies, TV shows, and historical events-all preserved in photographs by Alba and her husband. One minute, parrots were tiny, winged incarnations of such luminaries as Sonny and Cher and General George Patton; another, yellow and green macaws in leather jackets rode on miniature motorcycles reenacting scenes from Easy Rider. Word of Alba's quirky creations spread, and with her feathered cast she eventually appeared on Late Night with David Letterman, Saturday Night Live, and even in Woody Allen's film Broadway Danny Rose.
In 1992 a small collection of her photographs turned up in the Swiss home of Elizabeth Taylor, and they soon reached the hands of Arne Svenson. Although Alba died in 1994, her fantasy world lives on in these pictures-a bizarre yet endearing mix of artistry, kitsch, and humor-which form the heart of this irresistible book. AUTHOR BIO: Arne Svenson is a New York-based photographer whose work has been shown extensively in the United States and Europe. He is the author of Prisoners and Sock Monkeys.
Customer Reviews:
Wonderful, Funny, and a Little Frightening.......2007-06-01
A book filled with parrots dressed up in costumes and photographed in appropriate settings. I would have loved to be in the room when this was proposed to the publisher.
The result is page after page of hilariously enchanting, fun, and meticulously created scenes. So meticulous that once you stop laughing, you kind of HAVE to sit back and wonder about the person who clearly dedicated many months of long, long days to get these just right. It's very existance is a reason to smile through your day.
If you have any sense of humor at all, get this book today. You will never regret it.
Fun book to give to your film fanatic friends and to kids.......2006-12-20
There are photos of parrots dressed as famous actors and actresses. Great little coffee table book. I gave one to my neice who loves dressup as I thought she would really appreciate the costumes on the parrots.
A wonderful surprise.......2006-08-05
Not only lots of photos..but the history of how they came about. Being a fellow parrot owner, it was delightful.
The real thing!.......2005-09-11
Mrs. Ballard is truly gifted! As an artist, I am impressed with her obsessive devotion to her wacky vision and to producing her costumes and sets. As the owner of two parrots, I am amazed at her ability to enlist their cooperation in her endeavour. We have owned Zeppo, a Mexican Red Head, for almost thirty years, and I can't even get him to wear a hat.
Is it Art?.......2005-07-30
Yes it is!
The arm hair, the wigs, the sets.....her passion can be seen in every detail.
Edith Head, move over.
This book inspired me to make clothes for all my animals.
Thanks Mr. Svenson for Mrs Ballard's parrots.
I hear you are nervous around birds. Is this true?
Best
Ceanne
Books:
- Come Closer: A Novel
- Death at Bishop's Keep (Robin Paige Victorian Mysteries, No. 1)
- Death on the Installment Plan
- Design Principles and Problems
- Devil in a Blue Dress (Easy Rawlins Mysteries)
- Elizabeth Costello
- Endless Chain (Shenandoah Album)
- Eucalyptus: A Novel
- Exact Revenge
- Falcon Saga (Arabesque)
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