"Radical Presence: Black Performance in Contemporary Art, the first comprehensive survey of performance art by black visual artists. While black performance has been largely contextualized as an extension of theater, visual artists have integrated performance into their work for over five decades, generating a repository of performance work that has gone largely unrecognized until now. Radical Presence provides a critical framework to discuss the history of black performance traditions within the visual arts beginning with the "happenings" of the early 1960s, throughout the 1980s, and into the present practices of contemporary artists."--Publisher's website
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
Double Agent is a group exhibition featuring artists who use other people as a medium. The show contains works in a variety of media, including video and live performance - works which are often slippery in meaning or disquieting in effect.
Clifford Owens (born 1971) has long been aware that the history of African-American performance art remains largely unwritten. Rather than rectifying the oversight in scholarly terms, Owens has created an unprecedented artistic project, a compendium of African-American performance art that is both highly personal and thoroughly historical. This volume, Owens' first publication, includes written performance scores that Owens solicited from fellow African-American artists, which he then enacted in various locations at MoMA PS1. Clifford Owens: Anthology brings together the final artworks that resulted from the performances, and features essays by art historians Huey Copeland and John Bowles, as well as MoMA PS1 assistant curator Christopher Y. Lew. It also includes interviews with individuals who attended the live performances and a round-table discussion with selected Anthology artists moderated by art historian Kellie Jones.
Three people living in Tel Aviv, Haifa, and Jerusalem embark on distinct journeys that converge at “the file”; their efforts to admit Palestine to the Olympics in the early twentieth century. Their pivotal roles in history have been purposely omitted from official record, kept secret, or forgotten. Why? Because of the “Nazi Olympics” in 1936 in Berlin. And because of the death in 1972 of eleven Israeli Olympic athletes in the Munich Massacre. This book narrates the previously untold history of a Palestine Olympic Committee recognized before the creation of the State of Israel in 1948. It sheds light on some of the darkest events in sport history, exposing secretive relationships behind the doors of the Jerusalem YMCA, Nazi agitation, arrests, internments, and other intrigue in the complicated history of Israeli and Palestinian sport. The File breaks new ground at the intersection of sport and politics—illuminating the hope, tension, and horror of the 20s, 30s, and 40s, the creation of the State of Israel and the Palestinian refugees, and the resulting guerrilla attack at the Olympics in Munich in 1972—and reveals a handful of heroes whose impact on athletes and international sport competitions is still felt today. Consultant and researcher San Charles Haddad weaves a true and masterful tale of forgotten personalities in a conflict characterized by unabated venom, bringing hope and new questions in his wake. What will be the future of Israel and Palestine, and how might sport play a restorative role in the twenty-first century?
Poetry. "I am spending my 39th year practicing uncreativity. On Friday, September 1, 2000, I began retyping the day's NEW YORK TIMES word for word, letter for letter, from the upper left hand corner to the lower right hand corner, page by page." With these words, Kenneth Goldsmith embarked upon a project which he termed "uncreative writing", that is: uncreativity as a constraint-based process; uncreativity as a creative practice. By typing page upon page, making no distinction between article, editorial and advertisement, disregarding all typographic and graphical treatments, Goldsmith levels the daily newspaper. DAY is a monument to the ephemeral, comprised of yesterday's news, a fleeting moment concretized, captured, then reframed into the discourse of literature. "When I reach 40, I hope to have cleansed myself of all creativity"-Kenneth Goldsmith.
A collection of European writings on photography, drawn from the first four decades of the 20th century. The selections highlight photography particularly in Italy, the Soviet Union, Germany, and France as a catalytic element in the avant-garde movements of the time, emblematic of a process of cultu
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing many of these classic works in affordable, high quality, modern editions, using the original text and artwork.
Sixteen artists from 9 countries created works of art inspired by ecology and the environment that were specifically developed for the exhibition, in dialogue with the MAMBO curatorial team. Most of the artistic projects were specially commissioned for the 32nd São Paulo Biennial. "Incerteza viva is a collective process that began in early 2015 and brings together teachers, students, artists, activists, educators, scientists and thinkers in Brazil, Colombia and other places." --Page [1].
