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Co-founder and co-editor of October magazine, a veteran of Artforum of the 1960s and early 1970s, Rosalind Krauss has presided over and shared in the major formulation of the theory of postmodernism. In this challenging collection of fifteen essays, most of which originally appeared in October, she explores the ways in which the break in style that produced postmodernism has forced a change in our various understandings of twentieth-century art, beginning with the almost mythic idea of the avant-garde. Krauss uses the analytical tools of semiology, structuralism, and poststructuralism to reveal new meanings in the visual arts and to critique the way other prominent practitioners of art and literary history write about art. In two sections, "Modernist Myths" and "Toward Postmodernism," her essays range from the problem of the grid in painting and the unity of Giacometti's sculpture to the works of Jackson Pollock, Sol Lewitt, and Richard Serra, and observations about major trends in contemporary literary criticism.
"Published in conjunction with the exhibition The original copy: photography of sculpture, 1839 to today, at the Museum of Modern Art, New York (August 1-November 1, 2010)"--T.p. verso.
Key Features * Historical seisograms are extremely important in establishing a long-term database and in supplementing more recent information obtained by global seismic networks; The papers presented here address awide range of historical earthquake research and discuss earthquake data from around the world, which has until now remained largely inaccessible; Topics include: * importance of historical seismograms for geophysical research * historical seismograms and interpretation of strong earthquakes * application of modern techniques to analysis of historical earthquakes
Landscape of the body: Moving back and forth in time, the action of the play is a mosaic of short scenes, monologues and original songs, all blending together into a revealing and affecting study of the American Dream gone awry. The play moves on many levels. In one sense it is a murder mystery: a boy is found dead, and his mother is suspected of his killing. But, as the investigation of the crime proceeds, other themes emerge and combine with it.
Ever since the mid-nineteenth century, when the new medium of photography was pressed into service to illustrate sculpture, photographs of sculptural objects have directed viewers as to what, in the course of ambling around a sculpture, was the single perfect moment to stop and look. What is the photograph’s place in writing the history of sculpture? How has it changed according to culture, generation, criti-cal conviction, and changes in media? Photography and Sculpture: The Art Object in Reproduction studies aspects of these questions from the perspectives of sixteen leading art historians. Their essays consider iconic photographs, archival collections, new and forgotten technologies, and conceptual challenges in photographing three-dimensional forms that have directed changing historical and stylistic attitudes about how we see, write about, and narrate histories of sculpture. Chapters on such varied topics as picturing Conceptual art, manipulating sacred images in India to be non-photographs, and framing Roman art with an iPad illustrate the latent visual and narrative powers and ever-expanding potential of these images of sculpture.
A lavishly illustrated volume that views Russian avant-garde art through the lens of Dada. This is the first book to approach Russian avant-garde art from the perspective of the anti-art canons associated with the international Dada movement. The works described and documented in Russian Dada were produced at the height of Dada's flourishing, between World War I and the death of Vladimir Lenin—who, incidentally, was a frequent visitor to Cabaret Voltaire in Zurich, the founding site of Dada. Like the Dadaists, the Russian avant-gardists whose works appear in this volume strove for internationalism, fused the verbal and visual, and engaged in eccentric practices and pacifist actions, including outrageous performances and anti-war campaigns. The works featured in this lavishly illustrated volume thrive on negation, irony, and absurdity, with the goal of constructing a new aesthetic paradigm that is an alternative to both positivist and rationalist Constructivism as well as metaphysical and cosmic Suprematism. The text and images show that, while not neglecting the serious project of public agitation for Marxist ideology, the artists often pushed the Dadaesque into Russian mass culture, in the form of absurdist and chance-based collages and designs. In such works, Russian “da, da (yes, yes)” was converted into a defiant “nyet, nyet (no, no)”. Russian Dada, which accompanies a major exhibition at the Museo Reina Sofia, Madrid, includes 250 images, almost all in color, and essays by leading art historians. An appendix provides a wide selection of primary texts—historical writings by such key figures as Nikolai Punin, Kazimir Malevich, Varvara Stepanova, and Aleksandr Rodchenko. Essays by Margarita Tupitsyn, Victor Tupitsyn, Natasha Kurchanova, Olga Burenina-Petrova Artists Natan Altman, Vasilii Ermilov, 41°, Ivan Kluin, Gustav Klutsis, Aleksei Kruchenykh, Valentina Kulagina, Vladimir Lebedev, Kazimir Malevich, Aleksei Morgunov, the Nothingdoers, Ivan Puni, Aleksandr Rodchenko, Olga Rozanova, Sergei Sharshun, Varvara Stepanova, Wladyslaw Strzeminski, Vladimir Tatlin, Igor Terentiev, Nadezhda Udaltsova, Ilya Zdanevich, Kirill Zdanevich Copublished with Museo Nacional Centro de Arte Reina Sofia in Madrid
This book foregrounds the centrality of political conflicts in the radical philosophy of Alain Badiou. It is divided into two halves. The first undertakes a reading of Badiou¿s wider oeuvre (beyond Being and Event) and demonstrates that his political theory derives from analyses of key revolutionary sequences such as the Paris Commune, October `17, May `68 and the Chinese Cultural Revolution. From his evolving meditations on these sequences, and from his theoretical borrowings from Marxism, psychoanalysis and set-theory, Badiou has established a complex schema of the possible outcomes of conflict which constitutes a subtle and flexible theory of change. In the second half, the book applies this schema to a concrete `situation¿: colonial and post-colonial Jamaica. Against the backdrop of the history of conflict in Jamaica, the Morant Bay Revolt of 1865 is interpreted as an `event¿ in Badiou¿s very precise sense. The Rastafari movement is then posited as a `subject body¿ faithful to this event, while roots reggae is explored as the `subject language¿ of this Rastafarian subject body. Through this example, it is suggested that the starkness of the account of the event in Being and Event, in its incompatibility with history or culture, must be qualified if Badiou¿s contribution to a renewed philosophy of conflict is to be realized. To this end, the book builds on Badiou¿s own Logics of Worlds in order to speculatively propose two new concepts: `evental historiography¿ and `evental culture¿. It is argued that conceptual elaborations like these might enable a productive rapprochement between Badiou and Cultural Studies and Postcolonial theory ¿ disciplines of which Badiou himself has been extremely critical, but which are certain to shape his reception in the English-speaking world. Conversely, both Cultural Studies and Postcolonial theory, precisely in their increasingly enfeebled conceptions of social, cultural and political conflict, stand to gain a great deal from dialogue with the persistently Maoist dimensions of Badiou¿s work.
Lists significant international films, with brief plot summaries, critical analyses, and listings of producers, directors, and actors