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The J. Paul Getty Museum Journal has been published annually since 1974. It contains scholarly articles and shorter notes pertaining to objects in the Museum’s seven curatorial departments: Antiquities, Manuscripts, Paintings, Drawings, Decorative Arts, Sculpture and Works of Art, and Photographs. The Journal includes an illustrated checklist of the Museum’s acquisitions for the precious year, a staff listing, and a statement by the Museum’s director outlining the year’s most important activities. Volume 20 of the J. Paul Getty Museum Journal contains an index to volumes 1 to 20 and includes articles by John Walsh, Carl Brandon Strehlke, Barbara Bohen, Kelly Pask, Suzanne Lewis, Elizabeth Pilliod, Anne Ratzki-Kraatz, Sharon K. Shore, Linda A. Strauss, Brian Considine, Arie Wallert, Richard Rand, And Jacky De Veer-Langezaal.
Leading international artists and art educators consider the challenges of art education in today's dramatically changed art world. The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions about the education of today's artists. Art School (Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms. The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramovic, as well as questionnaire responses from a dozen important artists—among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat—about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls. And throughout the volume, attention is paid to new initiatives and proposals about what an art school can and should be in the twenty-first century—and what it shouldn't be. No other book on the subject covers more of the questions concerning art education today or offers more insight into the pressures, challenges, risks, and opportunities for artists and art educators in the years ahead. Contributors Marina Abramovic, Dennis Adams, John Baldessari, Ute Meta Bauer, Daniel Birnbaum, Saskia Bos, Tania Bruguera, Luis Camnitzer, Michael Craig-Martin, Thierry de Duve, Clémentine Deliss, Charles Esche, Liam Gillick, Boris Groys, Hans Haacke, Ann Lauterbach, Ken Lum, Steven Henry Madoff, Brendan D. Moran, Ernesto Pujol, Raqs Media Collective, Charles Renfro, Jeffrey T. Schnapp, Michael Shanks, Robert Storr, Anton Vidokle
After decades of bloodshed and political terror, many lament the rise of the left in Latin America. Since the triumph of Castro, politicians and historians have accused the left there of rejecting democracy, embracing communist totalitarianism, and prompting both revolutionary violence and a right-wing backlash. Through unprecedented archival research and gripping personal testimonies, Greg Grandin powerfully challenges these views in this classic work. In doing so, he uncovers the hidden history of the Latin American Cold War: of hidebound reactionaries holding on to their power and privilege; of Mayan Marxists blending indigenous notions of justice with universal ideas of equality; and of a United States supporting new styles of state terror throughout the region. With Guatemala as his case study, Grandin argues that the Latin American Cold War was a struggle not between political liberalism and Soviet communism but two visions of democracy—one vibrant and egalitarian, the other tepid and unequal—and that the conflict’s main effect was to eliminate homegrown notions of social democracy. Updated with a new preface by the author and an interview with Naomi Klein, The Last Colonial Massacre is history of the highest order—a work that will dramatically recast our understanding of Latin American politics and the role of the United States in the Cold War and beyond. “This work admirably explains the process in which hopes of democracy were brutally repressed in Guatemala and its people experienced a civil war lasting for half a century.”—International History Review “A richly detailed, humane, and passionately subversive portrait of inspiring reformers tragically redefined by the Cold War as enemies of the state.”—Journal of American History
