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Dan Graham's Rock My Religion (1982-84) is a video essay populated by punk and rock performers (Patti Smith, Jim Morrison, Black Flag and Glenn Branca) and historical figures (including Ann Lee, founder of the Shakers). This coming together of several narrative voice-overs, of singing and shouting voices, of jarring sounds and text overlaid onto shaky, gritty images, proposes a historical genealogy of rock music and an ambitious thesis on the origins of America. In this illustrated book, Kodwo Eshun examines this landmark work of contemporary moving image in relation to Graham's wider body of work and to the broader culture of the time, especially in relation to history, popular culture, and individual and communal identity.
Tiré du site Internet de Primary Information: "The first collection in English of Dan Graham's influential body of writing on Rock and Roll music. Stretching from the late 60s to the late 80s, Rock/Music Writings contains the following 13 essays, most of which are currently out-of-print or seen here for the first time in a widely distributed form : Holes and lights. A rock concert special. All you need is love. Live kinks. Late kinks. Country trip. The end of liberalism. Punk as propaganda. Rock my religion. New Wave Rock and the feminine. Musical performance and stage - set utilizing two - way mirror and time - delay. McLaren's children. Untitled. Artist as producer."
Essays charting the diverse works of renowned conceptual artist Dan Graham.
A collection of essays on a key figure in postminimalist art, with texts spanning thirty years. Since the 1960s, Dan Graham's heterogeneous practice has touched on such disparate subjects as tract housing, the Shakers, punk music, and architectural theory; he has made videos, architectural models, closed-circuit installations, and glass pavilions. Graham, who came of age during the emergence of earth art, minimalism, and conceptualism, has situated his work on the borders between these different strains of contemporary practice. Although varying widely in subject and medium, Graham's artwork and writings display a consistent interest in spectatorship, public-private relationships, and the constructed environment. Graham's extensive writings on his own work (collected in Rock My Religion and Two-Way Mirror Power, both published by the MIT Press) have made him, by default, the primary interpreter of his own art. This October Files volume provides a counterweight, gathering key texts by critics and theorists that offer alternative accounts of Graham's art. The essays span thirty years and include hard-to-find texts from exhibition catalogs and journals. The authors include such distinguished theorists, critics, and artists as Benjamin H. D. Buchloh, Beatriz Colomina, Thierry de Duve, and Jeff Wall.
This title was first published in 1979. The original book was released in the series of publications Source Materials of the Contemporary Arts initiated by Kasper Konig and produced by the Press of the Nova Scotia College of Art and Design. The publication represents an important document in Dan Graham's artistic examination of the video medium. Graham's installations and performances with video from the years 1970 - 1978 are documented with numerous illustrations, photos, and brief descriptions. In addition, the volume contains an essay by the artist in which he examines the various possibilities and forms of representation offered by the video medium, and draws the boundaries between these and representational spaces in television, film, or architecture. The book also offers contributions by Michael Asher and Dara Birnbaum, as well as an annex with a biography and bibliography.
A study of Kusama's era-defining work, a “sublime, miraculous field of phalluses,” against the background of abstraction, eroticism, sexuality, and softness. Almost a half-century after Yayoi Kusama debuted her landmark installation Infinity Mirror Room—Phalli's Field (1965) in New York, the work remains challenging and unclassifiable. Shifting between the Pop-like and the Surreal, the Minimal and the metaphorical, the figurative and the abstract, the psychotic and the erotic, with references to “free love” and psychedelia, it seemed to embody all that the 1960s was about, while at the same time denying the prevailing aesthetics of its time. The installation itself was a room lined with mirrored panels and carpeted with several hundred brightly polka-dotted soft fabric protrusions into which the visitor was completely absorbed. Kusama simply called it “a sublime, miraculous field of phalluses.” A precursor of performance-based feminist art practice, media pranksterism, and “Occupy” movements, Kusama (born in 1929) was once as well known as her admirers—Andy Warhol, Donald Judd, and Joseph Cornell. In this first monograph on an epoch-defining work, Jo Applin looks at the installation in detail and places it in the context of subsequent art practice and theory as well as Kusama's own (as she called it) “obsessional art.” Applin also discusses Kusama's relationship to her contemporaries, particularly those working with environments, abstract-erotic sculpture, and mirrors, and those grappling with such issues as abstraction, eroticism, sexuality, and softness. The work of Lee Lozano, Claes Oldenburg, Louise Bourgeois, and Eva Hesse is seen anew when considered in relation to Yayoi Kusama's.
The day Lacey Sturm planned to kill herself was the day her grandmother forced her to go to church, a place Lacey thought was filled with hypocrites, fakers, and simpletons. The screaming match she had with her grandmother was the reason she went to church. What she found there was the Reason she is alive today. With raw vulnerability, this hard rock princess tells her own story of physical abuse, drug use, suicide attempts, and more--and her ultimate salvation. She asks the hard questions so many young people are asking--Why am I here? Why am I empty? Why should I go on living?--showing readers that beyond the temporary highs and the soul-crushing lows there is a reason they exist and a purpose for their lives. She not only gives readers a peek down the rocky path that led her to become a vocalist in a popular hardcore band, but she shows them that the same God is guiding their steps today.
A compassionate, shame-free guide for your darkest days “A one-of-a-kind book . . . to read for yourself or give to a struggling friend or loved one without the fear that depression and suicidal thoughts will be minimized, medicalized or over-spiritualized.”—Kay Warren, cofounder of Saddleback Church What happens when loving Jesus doesn’t cure you of depression, anxiety, or suicidal thoughts? You might be crushed by shame over your mental illness, only to be told by well-meaning Christians to “choose joy” and “pray more.” So you beg God to take away the pain, but nothing eases the ache inside. As darkness lingers and color drains from your world, you’re left wondering if God has abandoned you. You just want a way out. But there’s hope. In I Love Jesus, But I Want to Die, Sarah J. Robinson offers a healthy, practical, and shame-free guide for Christians struggling with mental illness. With unflinching honesty, Sarah shares her story of battling depression and fighting to stay alive despite toxic theology that made her afraid to seek help outside the church. Pairing her own story with scriptural insights, mental health research, and simple practices, Sarah helps you reconnect with the God who is present in our deepest anguish and discover that you are worth everything it takes to get better. Beautifully written and full of hard-won wisdom, I Love Jesus, But I Want to Die offers a path toward a rich, hope-filled life in Christ, even when healing doesn’t look like what you expect.
Traces the decline of Christianity in America since the 1950s, posing controversial arguments about the role of heresy in the nation's downfall while calling for a revival of traditional Christian practices.