Brian O´Doherty Livres

"Inside the White Cube" regroupe quatre essais de Brian O'Doherty, essentiels pour critiques et conservateurs. Il explore l'impact du "cube blanc" sur l'art contemporain et la perception du spectateur. Cette série "Lectures Maison Rouge" propose des textes artistiques interrogeant la muséologie et la création artistique. Troisième édition.

"In the 1950s, comics meant POW! BAM! superheroes, family-friendly gags, and Sunday funnies, but in the 1960s, inspired by these strips and the satire of MAD magazine, a new generation of creators set out to subvert the medium, and with it, American culture. Their "comix," spelled that way to distinguish the work from their dime-store contemporaries, presented tales of taboo sex, casual drug use, and a transgressive view of society. Embraced by hippies and legions of future creatives, this subgenre of comic books and strips was printed on out-of-date machinery, published in zines and underground newspapers, and distributed in head shops, in porno stores, and on street corners. Comix often ran afoul of the law, but that would not stop them from casting cultural ripples for decades to come, eventually moving the entire comics form beyond the gutter and into fine-art galleries."-- Amazon.com

This narrative history delves into the Underground Comix movement of the 1960s, ’70s, and ’80s, which transformed the comic landscape. Author Brian Doherty explores the outlaw world of Underground Comix, produced in lofts on outdated machinery and disseminated through handbound zines and underground newspapers. These comix, deliberately spelled to differentiate from mainstream superhero comics, tackled themes of illicit sex, drug use, and a countercultural critique of American society, resonating with hippies, artists, and future creatives. Doherty weaves together the stories of notable figures like Harvey Kurtzman, R. Crumb, Trina Robbins, Spain Rodriguez, and Art Spiegelman, providing a comprehensive account of local scenes in cities such as New York, San Francisco, Los Angeles, Cleveland, and Chicago. The narrative covers their origins, successes—including Spiegelman’s Pulitzer Prize-winning *Maus* and Robbins’s *Wimmen’s Comix*—as well as personal tragedies like S. Clay Wilson’s alcohol-related decline and Crumb’s struggles with success and controversial imagery. This essential exploration highlights the legacy of these creators and the impact of Underground Comix on perceptions of war, race, sex, gender, and artistic expression, marking a significant chapter in American art history.

Concerned with the complex and sophisticated relationship between economics, social context, and aesthetics as represented in the contested space of the art gallery, the author raises the question of how artists must construe their work in relation to the gallery space and system. schovat popis

100 Irish Artists, 100 Colour Plates. 6 Commentaries from respected writers such as: Mebh Ruane, Colin Graham, Valerie Connor, Fiona Kearney, Brian Hand and Noel Kelly - Creative Ireland: The Visual Arts will fast become the most desirable visual arts book this season. Creative Ireland: The Visual Arts presents an attractive record of the early 21st century contemporary visual arts in Ireland with 100 artists who have been selected for their specific contribution to the contemporary arts in the first years of the 21st Century. Aimed at a general audience, as well as the art connoisseur and enthusiast, each artist is profiled with an iconic example of their practice shown in full colour. The texts are engaging as they explain Ireland within the context of the early 21st century, and the impact that this has had socially, economically and culturally. The book is in an attractive format, and is priced at a level that makes it affordable.