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Jack Goldstein and the CalArts Mafia is the compelling story of artist Jack Goldstein and some of his classmates at CalArts, who in the early 1970s went to New York and led the transition from conceptualism to Pictures art, utilizing images from television and movies with which they had grown up. At the same time, they discovered an artworld increasingly consumed by the desire for fame, fortune and the perks of success. The book is anchored by Jack's narratives of the early days of CalArts and the last days of Chouinard; the New York art world of the 70s and 80s; the trials and tribulations of finding and maintaining success; his inter-personal relationships; and his disappearance from the art scene. Goldsteins's own recollections are complemented by the first person narratives of his friends, including John Baldessari, Troy Brauntuch, Rosetta Brooks, Jean Fisher, Robert Longo, Matt Mullican and James Welling. There are provocative portraits of many well known artworld personalities of the 80s, including Mary Boone, David Salle, and Helene Winer, all working in a time when "the competitive spirit was strong and often brutal, caring little about anything but oneself and making lots of money.": "a biting, controversial, contradictory, hilarious, and riveting read ...," Mariah Corrigan, caa.reviews:: "a first-rate contribution to the history of contemporary art," David Carrier, artUS
Artists: John Baldessari, Ericka Beckman, Dara Birnbaum, Barbara Bloom, Eric Bogosian, Glenn Branca, Tony Brauntuch, James Casebere, Sarah Charlesworth, Charles Clough, Nancy Dwyer, Jack Goldstein, Barbara Kruger, Jouise Lawler, Thomas Lawson, Sherrie Levine, Robert Longo Allan McCollum, Paul McMahon, MICA-TV (Carole Ann Klonarides and Michael Owen), Matt Mullican, Tom Otterness, Richard Prince, David Salle, Cindy Sherman, Laurie Simmons, Michael Smith, James Welling, Michael Zwack.
Jack Goldstein and the Cal Arts Mafia is the compelling story of Jack Goldstein and some of his classmates at Cal Arts who in the early 1970?s went to New York to discover an art world increasingly consumed by the desire for fame and fortune and the perks of success. The book is anchored by Jack?s narratives of the early days of CalArts and the last days of Chouinard; the New York art world of the seventies and eighties; the trials and tribulations of finding and maintaining success; and his inter-personal relationships. They are complemented by the first person narratives of Jack?s friends, including John Baldessari, Troy Brauntuch, Rosetta Brooks, Jean Fisher, Robert Longo and Matt Mullican. There are compelling portraits of many well known art world personalities, including Mary Boone, David Salle, and Helene Winer, all working in a time when "the competitive spirit was strong and often brutal, caring little about anything but oneself and making lots of money." Has anything changed?
* Selected as ONE of the BEST BOOKS of the 21st CENTURY by The New York Times * NATIONAL BOOK AWARD FINALIST * New York magazine’s #1 Book of the Year * Best Book of the Year by: The Wall Street Journal; Vogue; O, The Oprah Magazine; Los Angeles Times; The San Francisco Chronicle; The New Yorker; Time; Flavorwire; Salon; Slate; The Daily Beast “Superb…Scintillatingly alive…A pure explosion of now.”—The New Yorker Reno, so-called because of the place of her birth, comes to New York intent on turning her fascination with motorcycles and speed into art. Her arrival coincides with an explosion of activity—artists colonize a deserted and industrial SoHo, stage actions in the East Village, blur the line between life and art. Reno is submitted to a sentimental education of sorts—by dreamers, poseurs, and raconteurs in New York and by radicals in Italy, where she goes with her lover to meet his estranged and formidable family. Ardent, vulnerable, and bold, Reno is a fiercely memorable observer, superbly realized by Rachel Kushner.
"Draw It with Your Eyes Closed: the Art of the Art Assignment, is a unique and wide-ranging anthology featuring essays, drawings, and assignments from over 100 contributors including: John Baldessari, William Pope. L, Mira Schor, Rochelle Feinstein, Bob Nickas, Chris Kraus, Liam Gillick, Amy Sillman, James Benning, and Michelle Grabner. Practical and quixotic in equal parts, the art assignment can resemble a riddle as much as a recipe, and often sounds more like a haiku, or even a joke, than a clear directive. From introductory exercises in perspective drawing to graduate-level experiments in societal transformation, the assignment coalesces ideas about what art is, how it should be taught, and what larger purpose it might, or might not, serve. The book is a written record of an evolving oral tradition. Bringing together hundreds of assignments, anti-assignments, and artworks from both teachers and students from a broad range of institutions, Draw It with Your Eyes Closed serves as an archive and an instigation, a teaching tool and a question mark, a critique and a tribute."--Amazon.
Words Without Pictures was originally conceived of by curator Charlotte Cotton as a means of creating spaces for thoughtful and urgent discourse around current issues in photography. Every month for a year, beginning in November 2007, an artist, educator, critic, art historian, or curator was invited to contribute a short, un-illustrated, and opinionated essay about an aspect of photography that, in his or her view, was either emerging or in the process of being rephrased. Each piece was available on the Words Without Pictures website for one month and was accompanied by a discussion forum focused on its specific topic. Over the course of its month-long life, each essay received both invited and unsolicited responses from a wide range of interested partiesstudents, photographers active in the commercial sector, bloggers, critics, historians, artists of all kinds, educators, publishers, and photography enthusiasts alikeall coming together to consider the issues at hand. All of these essays, responses, and other provocations are gathered together in a volume designed by David Reinfurt of Dexter Sinister. Previously issued as a print-on-demand title, Aperture is pleased to present Words Without Pictures to the trade for this first time as part of the Aperture Ideas series.
The Beat and the Buzz is the history of the Los Angeles art world since 1970, as told by thirty-three of its participants, in their own words. This art-world family album captures the intimate, lived experiences of artists, dealers, curators and critics whose personal history is becoming codified as art history. Whether you're in Los Angeles, or not, this book is also about the tensions of making it as an artist, or not. Clarifying but also complicating the many factors of success, the accounts here demonstrate that it's not only who you know but also when you know them, and how they're willing to support you at crucial junctures in your career. Finally, "The Beat and the Buzz" is also just gossip: The entertaining anecdotes of thirty-three interesting people with their own inside tales and humorous asides about one another and about the world they have lived and worked in. As artist John Baldessari proclaims, "It's a page turner."Contributors: Tony Berlant, Alexis Smith, Javier Peres, Elyn Zimmerman, Hal Glicksman, Dorit Cypis, Henry Hopkins, Sarah Gavlak, Elyse Grinstein, Edward Goldman, Emi Fontana, Maynard Monrow, Gianna Carotenuto, Ed Moses, Judith Hoffberg, Daniel Hug, Dagny Corcoran, Clayton Campbell, Kathryn Andrews, James Hayward, Robert Berman, Lyn Kienholz, Tom Lawson, Kim Light, David Askevold, Christine Nichols, Marc Pally, Skip Arnold, Barbara Guggenheim, John O'Brien, Heather Harmon, Cliff Einstein, and Jeff Poe.
The book New Orleans native Anne Rice called "a landmark oOur indispensable guide to publishing your own photography book just got better. In this revised and updated edition of Publish Your Photography Book, industry insiders Darius D. Himes and Mary Virginia Swanson take budding authors through the publishing process—from concept through production, marketing, and sales—pointing out the many avenues to pursue and pitfalls to avoid. It's packed with information, including interviews and contributions from artists, publishers, designers, packagers, editors, and other industry experts who openly share their publishing experiences. This revised edition features updated case studies and resources sections as well as expanded information on digital publishing platforms, with advice on how to make and market your eBook.
We live in the golden age of the photography book. Since the early 1990s, the number of photography book publishers has continued to grow while technological developments have placed more tools for bookmaking directly in the hands of photographers. For the students and working artists who have chosen photography as their primary means of expression, having their own photography book is seen as a passport to the international photography scene. Yet, few have more than a tentative grasp of the component parts of a book, an understanding of what they want to express, or the know-how needed to get a book published. Publish Your Photography Book is the first book to demystify the process of producing and publishing a book of photographs. Industry insiders Darius D. Himes and Mary Virginia Swanson survey the current landscape of photography book publishing and point out the many avenues to pursue and pitfalls to avoid. This expert guide is organized in six sections covering the rich history of the photo book; anoverview of the publishing industry; an intimate look at the process of making a book; a close review of how to market aphoto book; a section on case studies, built around discussions and interviews with published photographers; and a final section presenting a wealth of resources and information to aid in the understanding of the publishing world. Publish Your Photography Book also includes a number of additional interviews and contributions from industry professionals, including artists, publishers, designers, packagers, editors, and other industry experts who openly share their publishing experiences.
A fresh take on the group of artists known as the Pictures Generation, reinterpreting their work as haunted by the history of fascism, the threat of its return, and the effects of its recurring representation in postwar American culture. The artists of the Pictures Generation, converging on New York City in the late 1970s, indelibly changed the shape of American art. Rebelling against abstraction, they borrowed liberally from the aesthetics of mass media and sometimes the work of other artists. It has long been thought that the group’s main contribution was to upend received conceptions of authorial originality. In Pictures and the Past, however, art critic and historian Alexander Bigman shows that there is more to this moment than just the advent of appropriation art. He presents us with a bold new interpretation of the Pictures group’s most significant work, in particular its recurring evocations of fascist iconography. In the wake of the original Pictures show, curated by Douglas Crimp in 1977, artists such as Sarah Charlesworth, Jack Goldstein, Troy Brauntuch, Robert Longo, and Gretchen Bender raised pressing questions about what it means to perceive the world historically in a society saturated by images. Bigman argues that their references to past cataclysms—to the violence wrought by authoritarianism and totalitarianism—represent not only a coded form of political commentary about the 1980s but also a piercing reflection on the nature of collective memory. Throughout, Bigman situates their work within a larger cultural context including parallel trends in music, fashion, cinema, and literature. Pictures and the Past probes the shifting relationships between art, popular culture, memory, and politics in the 1970s and ’80s, examining how the specter of fascism loomed for artists then—and the ways it still looms for us today.