Enth. u. a.: S. 74: Concrete art (1936-49) / Max Bill. - S. 74-77: The mathematical approach in contemporary art (1949) / Max Bill. - S. 301-304: Dieter Roth.
Published by Univ of California Press on 07/19/1996
Book details: 1003 pages.
Kristine Stiles has played a vital role in establishing trauma studies within the humanities. A formidable force in the art world, Stiles examines the significance of traumatic experiences both in the individual lives and works of artists and in contemporary international cultures since World War II. In Concerning Consequences, she considers some of the most notorious art of the second half of the twentieth century by artists who use their bodies to address destruction and violence. The essays in this book focus primarily on performance art and photography. From war and environmental pollution to racism and sexual assault, Stiles analyzes the consequences of trauma as seen in the works of artists like Marina Abramovic, Pope.L, and Chris Burden. Assembling rich intellectual explorations on everything from Paleolithic paintings to the Bible’s patriarchal legacies to documentary images of nuclear explosions, Concerning Consequences explores how art can provide a distinctive means of understanding trauma and promote individual and collective healing.
Published by University of Chicago Press on 03/21/2016
Book details: 490 pages.
An epistolary history of the international avant-garde of happenings, Fluxus, and performance and conceptual art emerges from decades of correspondence between Carolee Schneemann and other artists and intellectuals.
Published by Duke University Press on 11/24/2010
Book details: 513 pages.
This anthology brings together classic perspectives on violence, putting into productive conversation the thought of well-known theorists and activists, including Hannah Arendt, Karl Marx, G. W. F. Hegel, Osama bin Laden, Sigmund Freud, Frantz Fanon, Thomas Hobbes, and Pierre Bourdieu. The volume proceeds from the editors’ contention that violence is always historically contingent; it must be contextualized to be understood. They argue that violence is a process rather than a discrete product. It is intrinsic to the human condition, an inescapable fact of life that can be channeled and reckoned with but never completely suppressed. Above all, they seek to illuminate the relationship between action and knowledge about violence, and to examine how one might speak about violence without replicating or perpetuating it. On Violence is divided into five sections. Underscoring the connection between violence and economic world orders, the first section explores the dialectical relationship between domination and subordination. The second section brings together pieces by political actors who spoke about the tension between violence and nonviolence—Gandhi, Hitler, and Malcolm X—and by critics who have commented on that tension. The third grouping examines institutional faces of violence—familial, legal, and religious—while the fourth reflects on state violence. With a focus on issues of representation, the final section includes pieces on the relationship between violence and art, stories, and the media. The editors’ introduction to each section highlights the significant theoretical points raised and the interconnections between the essays. Brief introductions to individual selections provide information about the authors and their particular contributions to theories of violence. With selections by: Hannah Arendt, Walter Benjamin, Osama bin Laden, Pierre Bourdieu, André Breton, James Cone, Robert M. Cover, Gilles Deleuze, Friedrich Engels, Frantz Fanon, Michel Foucault, Sigmund Freud, Mohandas Gandhi, René Girard, Linda Gordon, Antonio Gramsci, Félix Guattari, G. W. F. Hegel, Adolf Hitler, Thomas Hobbes, Bruce B. Lawrence, Elliott Leyton, Catharine MacKinnon, Malcolm X, Dorothy Martin, Karl Marx, Chandra Muzaffar, James C. Scott, Kristine Stiles, Michael Taussig, Leon Trotsky, Simone Weil, Sharon Welch, Raymond Williams
Published by Duke University Press on 11/15/2007
Book details: 592 pages.
"Art" has always been contested terrain, whether the object in question is a medieval tapestry or Duchamp's Fountain. But questions about the categories of "art" and "art history" acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology. Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from sign to meaning, ritual to commodity. Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses "Originality" in Vija Celmins's To Fix the Image in Memory, a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica. In addition to the twenty-two original essays, this edition includes nine new ones—performance, style, memory/monument, body, beauty, ugliness, identity, visual culture/visual studies, and social history of art—as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars. Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young
Published by University of Chicago Press on 03/15/2010
Book details: 540 pages.
Critical Mass chronicles ephemeral work on the Rutgers campus and in New York City, and the innovations that grew from Robert Watts, Allan Kaprow, and George Brecht's "Project in Multiple Dimensions." With texts and performance scores by artists - together with numerous photographs of the events and essays by art historians and critics Hannah Higgins, Jill Johnston, Susan Ryan, and Kristine Stiles - Critical Mass presents a vivid picture of a dynamic movement.
Published by Rutgers University Press on 07/19/2019
Book details: 211 pages.
Mark Twain's 'imaginative interpretation' of his experience as a prospector, miner, journalist in the West in Nevada, California, and the Sandwich Islands, and finally as a lecturer in 1866. It was in the West that Twain found and eventually accepted his vocation as a humorist and teller of tall tales.
Published by Univ of California Press on 01/15/2011
Book details: 853 pages.
A visual and written record of the work of pioneer painter-performance artist Carolee Schneemann.
Published by MIT Press on 07/19/2019
Book details: 347 pages.
Moving from Massachusetts to Kansas in 1855 with his new wife and a group of German carpenters, Gordon McKay is dead set on making his fortune raising bees—undaunted by Missouri border ruffians, newly-minted Darwinism, or the unsettled politics of a country on the brink of civil war.
Published by University of Chicago Press on 08/15/2010
Book details: 288 pages.
Long Suffering productively links avant-garde performance practices with religious histories in the United States, setting contemporary performances of endurance art within a broader context of prophetic religious discourse in the United States. Its focus is on the work of Ron Athey, Linda Montano, and John Duncan, American artists whose performances involve extended periods of suffering. These unsettling performances can disturb, shock, or frighten audiences, leaving them unsure how to respond. The book examines how these artists work at the limits of the personal and the interpersonal, inflicting suffering on themselves and others, transforming audiences into witnesses, straining social relations, and challenging definitions of art and of ethics. By performing the death of self at the heart of trauma, strategies of endurance signal artists’ attempts to visualize, legitimize, and testify to the persistent experience of being wounded. The artworks discussed find their foundations in artists’ early experiences of religion and connections with the work of reformers from Angelina Grimké to Rev. Martin Luther King, Jr., who also used suffering as a strategy to highlight social injustice and call for ethical, social, and political renewal.
Published by University of Michigan Press on 09/29/2016
Book details: 206 pages.