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This title provides a comprehensive retrospective of Jankowski's work to date and presents almost all his pieces from the years 1992-2013 in chronologigal order.
The overall goal of the research in this book was to understand gang phenomenon in the United States. In order to accomplish this goal, the author investigated gangs in different cities in order to understand what was similar in the way all gangs behaved and what was idiosyncratic to certain gangs. The research for this book took place over ten years and five months from 1978 to 1989 and will give the reader a comprehensive overview of gang behavior in the United States in that time period.
What do people see as death approaches? What will Heaven be like? What will Hell be like? An Army In Heaven records the deathbed visions of hospice patients, as well as those in a critical care setting who have died and then returned to describe their experience on the other side. Read about their accounts of Heaven and Hell, their visions of loved ones who have long traversed to the other side. Compassionate and compelling, this book retells their experiences. Their accounts are moving, edifying and sometimes disturbing, as cases of terrible abuse, neglect and even the demonic are also witnessed. Written by the nurse assigned to their care, An Army In Heaven is a compilation of their stories, what they saw on the other side and what they see as the veil thins during the dying process. It will change how you view life and most importantly, how you view death.
Art today is defined by its relationship to money as never before. Prices of living artists' works have been driven to unprecedented heights, conventional boundaries within the art world have collapsed, and artists now think ever more strategically about how to advance their careers. Artists no longer simply make art, but package, sell, and brand it. Noah Horowitz exposes the inner workings of the contemporary art market, explaining how this unique economy came to be, how it works, and where it's headed. He takes a unique look at the globalization of the art world and the changing face of the business, offering the clearest analysis yet of how investors speculate in the market and how emerging art forms such as video and installation have been drawn into the commercial sphere. By carefully examining these developments against the backdrop of the deflation of the contemporary art bubble in 2008, "Art of the Deal" is a must-read book that demystifies collecting and investing in today's art market.
With Strip the Auctioneer, Christian Jankowski landed a real coup, and surely not coincidentally at a time when another artist, in an unprecedented move, avoided the intermediary gallery trade and auctioned off his annual production directly. Is it really all about the elitist distribution strategies of the market, or rather about an organized sale by an artist and auctioneer at top prices? Christian Jankowski declares this spectacle and all its components to be a work of art. 'I must have used this hammer for, well, at least eight years - I would say some fifty to seventy sales. I started with a few lots in small sales, being the junior auctioneer, and then slowly but steadily I have grown into being one of the senior auctioneers. Several auction records were broken with this hammer, including the most important Dutch auction: a portrait of Mrs. M.J. de Lange by Jan Toorop, sold in 2005 to the Rijksmuseum in Amsterdam for 818,400 euros. I sold thousands of lots with this hammer.' - Arno Verkade, Auctioneer. English and German text.
Noting that though Christian thought has consistently held virginity to be purer than married life, a virgin woman has always queer been in social terms, Jankowsky (English, Washington State U.) explores the tensions behind the many representations of virgin women in English stage plays from 1590 to about 1670 and how those representations can be considered queer. Annotation copyrighted by Book News Inc., Portland, OR
With a mix of irreverence and sincerity, artists John Baldessari and Meg Cranston here tackle nothing less than the question of God. Acting as curators, they have invited 100 artists to respond to one of art's most enduring challenges: picturing the divine. The artists selected are those whose work the curators know and admire, those who possess the sense of humor and audacity necessary for such a project, or artists who are "likely to surprise." The works in this exhibition explore many different themes, including miracles, divine intervention, baptism, heaven, martyrdom, and the search for enlightenment. Included is one work by each of the 100 artists--primarily drawings, photographs, and paintings, along with a few sculptures and single-channel videos--some of them made in response to the curators' call for participation. Represented artists include Reverend Ethan Acres, Eleanor Antin, Chris Burden, Sam Durant, Jimmie Durham, Nicole Eisenman, Katharina Fritsch, Liam Gillick, Jack Goldstein, Scott Grieger, Rebecca Horn, Christian Jankowski, Mike Kelley, Mary Kelly, Martin Kippenberger, Louise Lawler, Roy Lichtenstein, Rita McBride, Paul McCarthy, Catherine Opie, Tony Oursler, Jorge Pardo, Raymond Pettibon, Paul Pfeiffer, Richard Prince, Rob Pruitt & Jonathan Horowitz, Gerhard Richter, Susan Rothenberg, Ed Ruscha, Gary Simmons, Lawrence Weiner, James Welling and Franz West.
Intertwines a dual emphasis on evolving institutional priorities and major shifts in artistic production.
*Winner of the American Society for Aesthetics 2019 Outstanding Monograph Prize* Until now, research on art schools has been largely occupied with the facts of particular schools and teachers. This book presents a philosophical account of the underlying practices and ideas that have come to shape contemporary art school teaching in the UK, US and Europe. It analyses two models that, hidden beneath the diversity of contemporary artist training, have come to dominate art schools. The first of these is essentially an old approach: a training guided by the artistic values of a single artist-teacher. The second dates from the 1960s, and is based around the group crit, in which diverse voices contribute to an artist’s development. Understanding the underlying principles and possibilities of these two models, which sit together in an uneasy tension, gives new insights into the character of contemporary art school teaching, demonstrating how art schools shape art and artists, how they can be a potent engine of creativity in contemporary culture and how they contribute to artistic research. A Philosophy of the Art School draws on first-hand accounts of art school teaching, and is deeply informed by disciplines ranging from art history and art theory, to the philosophy of art, education and creativity.