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An insightful and long overdue reassessment of the full scope of the career of Robert Indiana, who combined Pop Art, hard-edged abstraction, and language-based conceptualism
--Book Jacket.
Catalogue of an exhibition held at Waddington Custot Galleries, Oct. 3 - Nov. 10, 2012.
Informed by literary theory and Homeric scholarship as well as biblical studies, Biblical Narrative and the Death of the Rhapsode sheds new light on the Hebrew Bible and, more generally, on the possibilities of narrative form. Robert S. Kawashima compares the narratives of the Hebrew Bible with Homeric and Ugaritic epic in order to account for the "novelty" of biblical prose narrative. Long before Herodotus or Homer, Israelite writers practiced an innovative narrative art, which anticipated the modern novelist's craft. Though their work is undeniably linked to the linguistic tradition of the Ugaritic narrative poems, there are substantive differences between the bodies of work. Kawashima views biblical narrative as the result of a specifically written verbal art that we should counterpose to the oral-traditional art of epic. Beyond this strictly historical thesis, the study has theoretical implications for the study of narrative, literature, and oral tradition. Indiana Studies in Biblical Literature -- Herbert Marks, General Editor
Indiana often calls itself the Crossroads of the Nation. It's not also perhaps the very nexus of US weirdness. Armed with Oddball Indiana, you'll soon discover the strange underbelly of the Hoosier State, from brain sandwiches to square donuts. Indiana has monuments to Michael Jackson, the comic strip character Joe Palooka, and the World's Largest Egg. It's where Alka-Seltzer and Wonder Bread were invented, where A Christmas Story actually took place, and where the good but angry citizens of Plainfield conspired to dump President Martin Van Buren in a mud puddle. Along with humorous histories and offbeat observations, Oddball Indiana provides addresses, websites, hours, fees, and driving directions for each of its 350+ entries.
A deeply researched warning about how the digital economy threatens artists' lives and work—the music, writing, and visual art that sustain our souls and societies—from an award-winning essayist and critic There are two stories you hear about earning a living as an artist in the digital age. One comes from Silicon Valley. There's never been a better time to be an artist, it goes. If you've got a laptop, you've got a recording studio. If you've got an iPhone, you've got a movie camera. And if production is cheap, distribution is free: it's called the Internet. Everyone's an artist; just tap your creativity and put your stuff out there. The other comes from artists themselves. Sure, it goes, you can put your stuff out there, but who's going to pay you for it? Everyone is not an artist. Making art takes years of dedication, and that requires a means of support. If things don't change, a lot of art will cease to be sustainable. So which account is true? Since people are still making a living as artists today, how are they managing to do it? William Deresiewicz, a leading critic of the arts and of contemporary culture, set out to answer those questions. Based on interviews with artists of all kinds, The Death of the Artist argues that we are in the midst of an epochal transformation. If artists were artisans in the Renaissance, bohemians in the nineteenth century, and professionals in the twentieth, a new paradigm is emerging in the digital age, one that is changing our fundamental ideas about the nature of art and the role of the artist in society.
"Robert Indiana's paintings are quintessential pop art. His fascination with letters and numbers, billboards, and other vernacular signage has resulted in some of the most iconic images in modern American art. Indiana's famous LOVE paintings and sculptures are perhaps his most well-known works. Now, in this long-awaited survey of Indiana's art and designs, three leading art historians examine the different periods of his life and oeuvre. The volume includes his pop culture roots--his early paintings of road signs, pinball machines, the "American Dream"--As well as his own writings and photographs. This important monograph assures Indiana's place in the art world alongside contemporaries Warhol, Lichtenstein, and Rosenquist."--Publisher's website.
A New York Times Book Review Editors’ Choice Selection Longlisted for the Southern Independent Booksellers Alliance Book Prize “[A] terrific first novel. . . . Why worry about labeling a book this good? Just read it.” —Laurie Muchnick, New York Times Book Review Jess is fifteen years old and waiting for the world to end. Her evangelical father has packed up the family to drive west to California, hoping to save as many souls as possible before the Second Coming. With her long-suffering mother and rebellious (and secretly pregnant) sister, Jess hands out tracts to nonbelievers at every rest stop, Waffle House, and gas station along the way. As Jess’s belief frays, her teenage myopia evolves into awareness about her fracturing family. Selected as a Barnes & Noble Discover pick and an Indie Next pick, Mary Miller’s radiant debut novel reinvigorates the literary road-trip story with wry vulnerability and savage charm.
From James Rosenquist, one of our most iconic pop artists—along with Andy Warhol, Jim Dine, Claes Oldenburg, and Roy Lichtenstein—comes this candid and fascinating memoir. Unlike these artists, Rosenquist often works in three-dimensional forms, with highly dramatic shifts in scale and a far more complex palette, including grisaille and Day-Glo colors. A skilled traditional painter, he avoided the stencils and silk screens of Warhol and Lichtenstein. His vast canvases full of brilliant, surreally juxtaposed images would influence both many of his contemporaries and younger generations, as well as revolutionize twentieth-century painting. Ronsequist writes about growing up in a tight-knit community of Scandinavian farmers in North Dakota and Minnesota in the late 1930s and early 1940s; about his mother, who was not only an amateur painter but, along with his father, a passionate aviator; and about leaving that flat midwestern landscape in 1955 for New York, where he had won a scholarship to the Art Students League. George Grosz, Edwin Dickinson, and Robert Beverly Hale were among his teachers, but his early life was a struggle until he discovered sign painting. He describes days suspended on scaffolding high over Broadway, painting movie or theater billboards, and nights at the Cedar Tavern with Willem de Kooning, Franz Kline, and the poet LeRoi Jones. His first major studio, on Coenties Slip, was in the thick of the new art world. Among his neighbors were Ellsworth Kelly, Robert Indiana, Agnes Martin, and Jack Youngerman, and his mentors Robert Rauschenberg and Jasper Johns. Rosenquist writes about his shows with the dealers Richard Bellamy, Ileana Sonnabend, and Leo Castelli, and about colorful collectors like Robert and Ethel Scull. We learn about the 1971 car crash that left his wife and son in a coma and his own life and work in shambles, his lobbying—along with Rauschenberg—for artists’ rights in Washington D.C., and how he got his work back on track. With his distinct voice, Roseqnuist writes about the ideas behind some of his major paintings, from the startling revelation that led to his first pop painting, Zone, to his masterpiece, F-III, a stunning critique of war and consumerism, to the cosmic reverie of Star Thief. This is James Rosenquist’s story in his own words—captivating and unexpected, a unique look inside the contemporary art world in the company of one of its most important painters.
Photographs, advertising and promotional materials, and detailed maps resurrect its speedy passenger trains and heavy-tonnage freights, and show how it earned its slogan: "The Standard Railroad of the World.""--BOOK JACKET.