Download Free The Reconsidered Archive Of Michelle Dubois Book in PDF and EPUB Free Download. You can read online The Reconsidered Archive Of Michelle Dubois and write the review.

The Unraveling of Michelle DuBois, aka *Alice Johnson* (Fall 2011) Published by Aperture Ideas. Self-Reflexive & Errant Hairs,with an introduction by Eleanor Kaufman & essay by Andrew Berardini.8 × 10 inches,240 pages, 220 four-color imagesThe Unraveling of Michelle duBois aka “Alice Johnson” is a print-on-demand artist book. It is the second in a four-volume set by the artist Zoe Crosher.Zoe Crosher’s The Archives of Michelle duBois, Vols. 1-4 is a reconsidered archive culled from crates, boxes, and albums consisting of endless flirtatious smiles, tourist shots, cheesecake mementos, and suggestive poses, in every film type and size.Identical in structure, each volume offers an alternate perspective on the archive of Michelle duBois, an enigmatic collection of images bequeathed to the artist by the subject and compiler. In each subsequent volume, Crosher configures a new set of identities and meanings for this ephemeral archive of photographic detritus, through a selection of unique sets of images, reinterpretations of photos seen in previous volumes, as well as new texts.
The Disappearance of Michele DuBois, aka *Mitchi* (Fall 2012) Published by Aperture Ideas.Almost The Same & Obfuscated,with an introduction by Christine Y. Kim & essay by Lucas Blalock.8 × 10 inches,240 pages, 208 four-color images.The Disappearance of Michelle duBois is a print-on-demand artist’s book. It is the fourth volume in a four-volume set by the artist Zoe Crosher. This volume is part of Aperture Ideas: Writers and Artists on Photography, a series devoted to the finest critical and creative minds exploring key concepts in photography, including new technologies of production and dissemination.Identical in structure, each volume offers an alternate perspective on the archive of Michelle duBois, an enigmatic collection of images bequeathed to the artist by the subject and compiler. In each subsequent volume, Crosher configures a new set of identities and meanings for this ephemeral archive of photographic detritus through a selection of unique sets of images, reinterpretations of photos seen in previous volumes, as well as new texts.Zoe Crosher’s The Disappearance of Michelle duBois is a reconsidered archive culled from crates, boxes and albums consisting of endless flirtatious smiles, tourist shots, cheesecake mementos and suggestive poses in every film type and size.
Pae White's work roams exuberantly across genres from furniture, textiles and graphic design to sculptural installations, in particular her monumental tapestries that form the focus of this clothbound volume. It particularly highlights Sea Beast, a 2010 work commissioned by The Power Plant, which incorporates a found macram� wall hanging.
The Unveiling of Michelle duBois, aka *Cricket* (Spring 2012) Published by Aperture Ideas.Asianesque & Collecting,with an introduction by Jan Tumlir & essay by Catherine G. Wagley.8 X 10 inches,240 pages, 220 four-color images.The Unraveling of Michelle duBois aka “Alice Johnson” is a print-on-demand artist book. It is the third in a four-volume set by the artist Zoe Crosher.Zoe Crosher’s The Archives of Michelle duBois, Vols. 1-4 is a reconsidered archive culled from crates, boxes, and albums consisting of endless flirtatious smiles, tourist shots, cheesecake mementos, and suggestive poses, in every film type and size.Identical in structure, each volume offers an alternate perspective on the archive of Michelle duBois, an enigmatic collection of images bequeathed to the artist by the subject and compiler. In each subsequent volume, Crosher configures a new set of identities and meanings for this ephemeral archive of photographic detritus, through a selection of unique sets of images, reinterpretations of photos seen in previous volumes, as well as new texts.
The second edition of Why Art Photography? is an updated, expanded introduction to the ideas behind today’s striking photographic images. Lively, accessible discussions of key issues such as ambiguity, objectivity, fiction, authenticity, and photography’s expanding field are supplemented with new material around timely topics such as globalization, selfie culture, and photographers’ use of advanced digital technologies, including CGI and virtual reality. The new edition includes: an expanded introduction extended chapters featuring emerging trends a larger selection of images, including new color images an improved and expanded bibliography This new edition is essential for students looking to enrich their understanding of photography as a complex and multi-faceted art form.
"From its founding, Los Angeles has been a victim of urban experiments and endless real estate developments disguised as community building. L.A. ForumU+2019s new publication, After The City, This (is how we live), gives an important insider view into the real world of real estate development in Southern California. Using the structure of a screenplay to tell the story, architect Tom Marble takes the reader inside the minds of the people on both sides of the development conflict U+2013 those seeing land as a commodity for profit, and those who see it as a valued resource for all to enjoy"--R.A.M. Publications + Distribution WWW site, Apr. 31, 2009.
Los Angeles is a city of dualities--sunshine and noir, coastline beaches and urban grit, natural beauty and suburban sprawl, the obvious and the hidden. Both Sides of Sunset: Photographing Los Angeles reveals these dualities and more, in images captured by master photographers such as Bruce Davidson, Lee Friedlander, Daido Moriyama, Julius Shulman and Garry Winogrand, as well as many younger artists, among them Matthew Brandt, Katy Grannan, Alex Israel, Lise Sarfati and Ed Templeton, just to name a few. Taken together, these individual views by more than 130 artists form a collective vision of a place where myth and reality are often indistinguishable. Spinning off the highly acclaimed Looking at Los Angeles (Metropolis Books, 2005), Both Sides of Sunset presents an updated and equally unromantic vision of this beloved and scorned metropolis. In the years since the first book was published, the artistic landscape of Los Angeles has flourished and evolved. The extraordinary Getty Museum project Pacific Standard Time: Art in L.A. 1945-1980 focused global attention on the city's artistic heritage, and this interest has only continued to grow. Both Sides of Sunset showcases many of the artists featured in the original book--such as Lewis Baltz, Catherine Opie, Stephen Shore and James Welling--but also incorporates new images that portray a city that is at once unhinged and driven by irrepressible exuberance. Proceeds from the sale of the book will benefit Inner-City Arts--an oasis of learning, achievement and creativity in the heart of Los Angeles' Skid Row that brings arts education to elementary, middle and high school students.
Fourteen provocative papers on the oppression of women in capitalist countries, along with three articles on the subordinate position of women in two communist countries, Cuba and China. These important, often path-breaking articles are arranged in five basic sections, the titles of which indicate the broad range of issues being considered: Introduction; motherhood, reproduction, and male supremacy; socialist feminist historical analysis; patriarchy in revolutionary society; socialist feminism in the United States. The underlying thrust of the book is toward integrating the central ideas of radical feminist thought with those pivotal for Marxist or socialist class analysis.
The Arab Revolutions that began in 2011 reignited interest in the question of theory and practice, imbuing it with a burning political urgency. In Revolution and Disenchantment Fadi A. Bardawil redescribes for our present how an earlier generation of revolutionaries, the 1960s Arab New Left, addressed this question. Bardawil excavates the long-lost archive of the Marxist organization Socialist Lebanon and its main theorist, Waddah Charara, who articulated answers in their political practice to fundamental issues confronting revolutionaries worldwide: intellectuals as vectors of revolutionary theory; political organizations as mediators of theory and praxis; and nonemancipatory attachments as impediments to revolutionary practice. Drawing on historical and ethnographic methods and moving beyond familiar reception narratives of Marxist thought in the postcolony, Bardawil engages in "fieldwork in theory" that analyzes how theory seduces intellectuals, cultivates sensibilities, and authorizes political practice. Throughout, Bardawil underscores the resonances and tensions between Arab intellectual traditions and Western critical theory and postcolonial theory, deftly placing intellectuals from those traditions into a much-needed conversation.
Artists as voyagers who leave their studios to make art, including Nancy Holt, Vito Acconci, Sophie Calle, and Richard Long. Wanderlust highlights artists as voyagers who leave their studios to make art. This book (and the exhibition it accompanies) is the first comprehensive survey of the artist's need to roam and the work that emerges from this need. Wanderlust presents the work of under-recognized yet pioneering artists alongside their well-known counterparts, and represents works that vary in process, with some artists working as solitary figures implanting themselves physically on the landscape while others perform and create movements in a collaborative manner or in public. Many of the earlier works use what were at the time nontraditional methods of art making. In Trail Markers (1969), for example, Nancy Holt spent time in the English countryside, where she documented the painted orange trail markers she found dotting the landscape. Vito Acconci explored his body's “occupancy” of public space through the execution of preconceived actions or activities. In Following Piece (1969), Acconci followed one randomly chosen stranger through the streets of New York. A Line Made by Walking (1967), a black-and-white photograph of Richard Long's imprint of a straight line in a field, was Long's first walking art work, made on a journey to St Martin's from his home in Bristol. Ana Mendieta's influential Silueta Works in Mexico (1977) documents performances by the artist during her travel between Iowa and Mexico, in which she imprints her body on the landscape while addressing issues of displacement. Each of these works recognizes the walk and the journey as much more than just a basic human act. Rebecca Solnit observes that walking replicates thinking, adding “the motions of the mind cannot be traced, but those of the feet can.” These works trace the motions of wandering artists' focused minds. Artists Vito Acconci, Bas Jan Ader, Nevin Aladag, Francis Alÿs, Janine Antoni, John Baldessari, Kim Beck, Roberley Bell, Blue Republic, Sophie Calle, Rosemarie Castoro, Cardiff/Miller, Zoe Crosher, Fallen Fruit, Mona Hatoum, Nancy Holt, Kenneth Josephson, William Lamson, Richard Long, Marie Lorenz, Mary Mattingly, Anthony McCall, Ana Mendieta, Teresa Murak, Wangechi Mutu, Efrat Natan, Gabriel Orozco, Carmen Papalia, John Pfahl, Pope.L, Teri Rueb, Michael X. Ryan, Todd Shalom, Mary Ellen Strom, and Guido van der Werve. Contributors Rachel Adams, Lucy Ainsworth, Andrew Barron, Pamela Campanaro, Andy Campbell, Hannah Cattarin, Ian Cofre, Jamie DiSarno, Katherine Finerty, Joshua Fischer, Natalie Fleming, Melanie Flood, Jason Foumberg, Allison Glenn, Kate Green, Ross Stanton Jordan, Anna Kaplan, Jamilee Lacy, Jennie Lamensdorf, Toby Lawrence, Jane McFadden, Lynnette Miranda, Conor Moynihan, Liz Munsell, Karen Patterson, Ariel Lauren Pittman, Sean Ripple, Eve Schillo, Holly Shen, Rebecca Solnit, Lexi Lee Sullivan, Whitney Tassie, Charlie Tatum, Zoë Taleporos, Lori Waxman