Blasted Allegories is the first comprehensive collection of writing by contemporary artists, making available the best and most representative examples from the past ten years, an era marked by such pluralism and eclecticism that the voice of the artist may be the clearest one to listen to
These selections from the Daniel Cowin Collection make up an extraordinary group of images of African Americans in a variety of genres and poses, including formal studio portraits, casual snapshots, images of children, images of uniformed soldiers, wedding portraits and so-called "Southern-views" made for tourist consumption, all dating from 1860 to 1960. While some of the sitters are celebrities of their day, the majority are unnamed Americans posing for their portrait. They attest to photography's ability to both record personal history for private uses and to become a document--to document history in a wider context. The Daniel Cowin Collection, given to ICP in 1990 by its namesake, is made up of about 1600 photographs spanning from the mid-nineteenth century to the mid-twentieth, and spanning that era's range of commercial processes and formats--from postcards to stereographs, cartes-de-visite, tintypes, albumen prints and gelatin silver prints. Together they provide an important window into African American life during the period. African American Vernacular Photography reproduces 70 of Cowin's most exceptional color plates with essays by Brian Wallis, Director of Exhibitions and Chief Curator at the International Center of Photography, and Deborah Willis, MacArthur Fellow and author of Reflections in A History of Black Photographers 1840 to the Present and, with Carla Williams, The Black Female A Photographic History .
Accompanied by original essays and facsimiles of handwritten letters by Vachon, presents dozens of candid photographs taken by the "Look" magazine photographer of Marilyn Monroe in the Canadian Rockies in 1953.
This collection of essays explores diverse themes such as the interplay between education and democracy, the dynamics of politics and elections, and the significance of cultural participation. It also delves into specific case studies, including a compelling examination of AIDS in the context of democratic processes. Recognized as a Best Book of the Year by Village Voice, it offers insightful perspectives on pressing social issues.
The definitive survey of Land Art and contemporary environmental art, now available in paperback
Ian Wallis here provides a detailed overview of every UK tour made by American and Canadian rock 'n' roll artists. The details covered include tour itineraries, support acts and TV appearances, and the text is illustrated with stage and TV shots, tour programmes and period advertisements.
The waning of the century-old modernist movement in the arts has called forth an astonishing array of artistic and critical responses. The twenty-five essays in Art After Modernism provide a comprehensive survey of the most provocative directions taken by recent art and criticism, exploring such topics as the decline of the ideology of modernism in the arts and the emergence of a wide range of postmodern practices; recent directions in painting, film, video, and photography; visual artists' investigations of mass-media systems and imagery; and the dynamics of the social network in which art is produced and disseminated. This major collection is an indispensable guide to the ideas and issues animating this decade's art—the far-reaching cultural reorientation known as postmodernism.
This book takes us beyond the status of masculinity itself, questioning society's and the media's normative concepts of the masculine, and considering the extent to which men and women can transcend these stereotypes and proscriptions.
Showing how illness can yield a deeper appreciation of living as well as of those who share our journeys.
Throughout the modern era, photography has been enlisted to classify the world and its people. Driven by a belief in the scientific objectivity of photographic evidence, the systems utilized to classify photographs have shaped modern visual culture. Accompanying the exhibition “The Order of Things: Photography from The Walther Collection,” this book investigates the production and uses of serial portraiture, vernacular imagery, architectural surveys and time-based performance in photography from the 1880s to the present, bringing together works by artists from Europe, Africa, Asia and North America. Setting early modernist photographers Karl Blossfeldt and August Sander in dialogue with contemporary artists such as Ai Weiwei, Nobuyoshi Araki, Richard Avedon, Zanele Muholi, Stephen Shore and Zhang Huan, The Order of Things illustrates how typological methods in photography have developed globally.