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One of the most important publications associated with California conceptual photography in the 1970s, reprinted. The new edition of Fischer's book reproduces the look and feel of the original volume. Present are the codes of sexual orientation and identification Fischer saw in San Francisco's Castro and Haight Ashbury districts, ranging from such sexual signifiers as handkerchiefs and keys, to depictions of the gay fashion 'types' of that era--from 'basic gay' to 'hippie' and 'jock'. Also featuring Fischer's critical essay, which is marked by the same wry, anthropological tone found in the image/text configurations. First published as an artist's book in 1978 by NFS Press.
At once humorous, conceptually brilliant and visually enthralling, this is the first monograph to feature the complete set of photo-text works that Fischer produced between 1977 and 1979 in San Francisco's Haight and Castro neighborhoods.
In the early 1970s, Lew Thomas set out to disrupt photography in San Francisco. Tired of the mystical thinking and emotionalism that had underscored Bay Area photography since the 1940s, Thomas pursued a photographic practice grounded in ideas gleaned from conceptual art and Structuralist philosophy. A cohort of other photographers, including Donna-Lee Phillips and Hal Fischer, embraced Thomas' mission, joining him in what became known as the 'Photography and Language' movement, named after a book and group exhibition of the same title produced by Thomas in 1976. Thomas, Phillips and Fischer were all extremely active in the mid to late 1970s. In addition to making their own artwork, they published essays, reviewed shows and organized exhibitions. Under the name NFS Press, Thomas published a number of books designed by Phillips, including 'Structural(ism) and Photography' (1978), which featured Thomas' work; 'Eros and Photography' (1977), which was edited by Phillips, and two books of Fischer's work: 'Gay Semiotics' (1978) and '18th Near Castro Street x 24' (1979). This volume assesses their work, their relationship to one another and their place in the history of photography in the 1970s.
In The Halal Frontier Johan Fischer shows that halal (literally lawful or permitted) is no longer an expression of esoteric forms of production, trade and consumption, but part of an expanding globalised market. This book explores modern forms of halal understanding and practice in the halal consumption of middle-class Malays in the diaspora.
Public policy is made of language. Whether in written or oral form, argument is central to all parts of the policy process. As simple as this insight appears, its implications for policy analysis and planning are profound. Drawing from recent work on language and argumentation and referring to such theorists as Wittgenstein, Habermas, Toulmin, and Foucault, these essays explore the interplay of language, action, and power in both the practice and the theory of policy-making. The contributors, scholars of international renown who range across the theoretical spectrum, emphasize the political nature of the policy planner's work and stress the role of persuasive arguments in practical decision making. Recognizing the rhetorical, communicative character of policy and planning deliberations, they show that policy arguments are necessarily selective, both shaping and being shaped by relations of power. These essays reveal the practices of policy analysts and planners in powerful new ways--as matters of practical argumentation in complex, highly political environments. They also make an important contribution to contemporary debates over postempiricism in the social and policy sciences. Contributors. John S. Dryzek, William N. Dunn, Frank Fischer, John Forester, Maarten Hajer, Patsy Healey, Robert Hoppe, Bruce Jennings, Thomas J. Kaplan, Duncan MacRae, Jr., Martin Rein, Donald Schon, J. A. Throgmorton
The Shabbiness of Beauty' is a visual dialogue that crosses generational divides with the easy intimacy of a late-night phone call. Multidisciplinary artist Moyra Davey delved into Peter Hujar's archives and emerged mainly with little-known, scarcely seen images. In response to these, Davey created her own images that draw out an idiosyncratic selection of shared subjects. Side by side, the powerfully composed images admire, tease, and enhance one another in the manner of fierce friends, forming a visual exploration of physicality and sexuality that crackles with wit, tenderness, and perspicacity. Spiritually anchored in New York City, even as they range out to rural corners of Quebec and Pennsylvania, these images crystallise tensions between city and country, human and animal. Nudes pose with unruly chickens; human bodies are abstracted toward topography; seascapes and urban landscapes share the same tremulous plasticity. These continuities are punctuated by stark differences of approach: Davey's self-aware postmodernism against Hujar's humanism and embrace of darkroom manipulation. The rich dialogue between these photographs is personal and angular, ultimately offering an illuminating reintroduction to each celebrated artist through communion with the other's work.--
Writer and producer Peter S. Fischer (perhaps best known as the creator of the TV series "Murder, she wrote") recollects his career in television, rubbing elbows with Angela Lansbury, Peter Falk, Jerry Orbach, Glenn Ford, Lorne Greene, Sam Elliott, Rock Hudson, Robert Urich, Hal Linden, Robert Young, Telly Savalas, Roger Moore, Robert Culp, William Devane, Robert Blake, and others.
Examining increasingly fluid notions of masculinity over the past six decades, this book offers a culturally diverse collection of work from some of the world's most celebrated photographers. This photographic exploration draws together the work of approximately fifty artists of different ethnicities, generations, and gender identities to look at how ideas of masculinity have evolved since the 1960s. Each of its six themed chapters features bold and arresting work by artists such as Richard Avedon, John Coplans, Robert Mapplethorpe, Herb Ritts, Collier Schorr, Larry Sultan, Wolfgang Tillmans, and David Wojnarowicz, who are all renowned for their depictions of masculinity and its tropes. Others, including Rotimi Fani-Kayode, Masahisa Fukase, Adi Nes, Hank Willis Thomas, and Akram Zaatari, offer ethnically and culturally diverse perspectives. A number of female artists--Laurie Anderson, Annette Messager, Tracey Moffatt, and Marianne Wex--explore the uncomfortable and invasive nature of the male gaze and younger artists such as Sam Contis, Andrew Moisey, Paul Mpagi Sepuya, and Elle Pérez, offer a 21st-century perspective of maleness through the lens of identity and global politics. Each chapter in the book opens with an essay by a key thinker in the fields of art, history, culture, and queer studies. Spanning decades and continents, this exploration shows how increasingly difficult it is to define masculinity.