An extensive, in-depth study that takes in works from throughout the artist's career. The book will be useful for scholars of Margolles and of art history more generally. Margolles' work is situated within the contexts of the aesthetics and philosophy of death and their application to looking at art from inside and outside Mexico.
The authors of After the Revolution return with an incisive study of the work of contemporary women artists. In After the Revolution, the authors concluded that "The battles may not all have been won . . . but barricades are gradually coming down, and work proceeds on all fronts in glorious profusion." Now, with The Reckoning, authors Heartney, Posner, Princenthal, and Scott bring into focus the accomplishments of 24 acclaimed international women artists born since 1960 who have benefited from the groundbreaking efforts of their predecessors. The book is organized in four thematic sections: "Bad Girls" profiles artists whose work represents an assault on conventional notions of gender and racial difference. "History Lessons" offers reflections on the self in the context of history and globalization. "Spellbound" focuses on women’s embrace of the irrational, subjective, and surreal, while "Domestic Disturbances" takes on women's conflicted relationship to home, family, and security. Written in lively prose and fully illustrated throughout, this book gives an informed account of the wonderful diversity of recent contemporary art by women. "An indispensable contribution to the literature on contemporary art by women." (Whitney Chadwick, author of Women, Art and Society) "In the 2007 book After the Revolution: Women Who Transformed Contemporary Art, [the authors] set a new standard in documenting and evaluating the work of a dozen key women artists, spanning generations between the 1960s to the 2000s. . . The beat goes on with the appearance of The Reckoning, written by the same authors in the same accessible scholarly style, but reflecting important historical changes over the past decade and more. In line with the increased presence of women in mainstream art, the book includes twice as many artists as its predecessor. And its global reach has expanded vastly, stretching from Europe and the Americas to Africa and China." (Holland Cotter, The New York Times)
Bestselling author of Broken Ground “offers fascinating glimpses” into the real world of criminal forensics from its beginnings to the modern day (The Boston Globe). The dead can tell us all about themselves: where they came from, how they lived, how they died, and, of course, who killed them. Using the messages left by a corpse, a crime scene, or the faintest of human traces, forensic scientists unlock the mysteries of the past and serve justice. In Forensics, international bestselling crime author Val McDermid guides readers through this field, drawing on interviews with top-level professionals, ground-breaking research, and her own experiences on the scene. Along the way, McDermid discovers how maggots collected from a corpse can help determine one’s time of death; how a DNA trace a millionth the size of a grain of salt can be used to convict a killer; and how a team of young Argentine scientists led by a maverick American anthropologist were able to uncover the victims of a genocide. Prepare to travel to war zones, fire scenes, and autopsy suites as McDermid comes into contact with both extraordinary bravery and wickedness, tracing the history of forensics from its earliest beginnings to the cutting-edge science of the modern day.
Translated from Spanish for the first time, and with a new introduction to the English edition, The Sky Is Incomplete comprises sixty short entries detailing life in and reflections on the Occupied Territories of Palestine in the twenty-first century over prolonged stays between 2007–2015. In this collection, Irmgard Emmelhainz operates in the committed literature tradition of Walter Benjamin and André Gide in Moscow in the 1920s, and Susan Sontag and Juan Goytisolo in Sarajevo in the 1990s—writers and cultural observers grappling with the political processes of others, elsewhere. In order to render the issue of representation, of speaking on behalf of the Palestinian ordeal in all its complexity, The Sky Is Incomplete is composed as a collage, gathering diary entries, letters, experimental passages, script, poetry, art criticism, political analysis, and other genres to convey an opaque view of the Palestine Question. Beyond representation in the sense of giving testimony or speaking on behalf of the Palestinians, however, the author’s parting point is relational: The Sky Is Incomplete is about encounters—with friends, mentors, interlocutors, lovers, children, activists, and soldiers (Israeli and Palestinian).
Contemporary art biennials are sites of prestige, innovation and experimentation, where the category of art is meant to be in perpetual motion, rearranged and redefined, opening itself to the world and its contradictions. They are sites of a seemingly peaceful cohabitation between the elitist and the popular, where the likes of Jeff Koons encounter the likes of Guy Debord, where Angela Davis and Frantz Fanon share the same ground with neoliberal cultural policy makers and creative entrepreneurs. Building on the legacy of events that conjoin art, critical theory and counterculture, from Nova Convention to documenta X, the new biennial blends the modalities of protest with a neoliberal politics of creativity. This book examines a strained period for these high art institutions, a period when their politics are brought into question and often boycotted in the context of austerity, crisis and the rise of Occupy cultures. Using the 3rd Athens Biennale and the 7th Berlin Biennale as its main case studies, it looks at how the in-built tensions between the domains of art and politics take shape when spectacular displays attempt to operate as immediate activist sites. Drawing on ethnographic research and contemporary cultural theory, this book argues that biennials both denunciate the aesthetic as bourgeois category and simultaneously replicate and diffuse an exclusive sociability across social landscapes.
This book provides a comprehensive and accessible source of information on all types of sweeteners and functional ingredients, enabling manufacturers to produce low sugar versions of all types of foods that not only taste and perform as well as sugar-based products, but also offer consumer benefits such as calorie reduction, dental health benefits, digestive health benefits and improvements in long term disease risk through strategies such as dietary glycaemic control. Now in a revised and updated new edition which contains seven new chapters, part I of this volume addresses relevant digestive and dental health issues as well as nutritional considerations. Part II covers non-nutritive, high-potency sweeteners and, in addition to established sweeteners, includes information to meet the growing interest in naturally occurring sweeteners. Part III deals with the bulk sweeteners which have now been used in foods for over 20 years and are well established both in food products and in the minds of consumers. In addition to the "traditional" polyol bulk sweeteners, newer products such as isomaltulose are discussed. These are seen to offer many of the advantages of polyols (for example regarding dental heath and low glycaemic response) without the laxative side effects if consumed in large quantity. Part IV provides information on the sweeteners which do not fit into the above groups but which nevertheless may offer interesting sweetening opportunities to the product developer. Finally, Part V examines bulking agents and multifunctional ingredients which can be beneficially used in combination with all types of sweeteners and sugars.
Across Syria, many gardens conceal the dead bodies of activists and protestors who adorned the streets during the early periods of the uprising. These domestic burials play out a continuing collaboration between the living and the dead. The dead protect the living by not exposing them to further danger at the hands of the regime. The living protect the dead by conserving their identities, telling their stories, and not allowing their deaths to become instruments of the regime. Gardens Speak is an interactive sound installation that toured around the world. It contains the oral histories of ten ordinary people who were buried in Syrian gardens. Each narrative has been carefully constructed with the friends and family members of the deceased to retell their stories as they themselves would have recounted it.This book contains the narrative text of those ten oral histories in both English and spoken Arabic. It includes an acknowledgement and introduction by the artist, and illustrations of the audience experience in Gardens Speak.
According to press reports, 2008 was the year that more bullets were fired in the recent history of Mexico. That same year, more than 5,000 people were killed in several episodes of violence and extrajudicial activity linked to drug trafficking and its repression. Teresa Margolles, who for nearly two decades has been concerned to explore the artistic possibilities of human remains, focused his participation in the Venice Biennale 2009 in a shipment conceptual, emotional and material evidence of the violence of the streets of Mexico the decadent luxury of the art world. What else could we talk?, Is much more than the documentation of the intervention Margolles in Venice. This book brings together multiple reflection (from the testimony, narrative, historical reflection and production) on a futile crusade against drugs and its pernicious effects. More than an art book is a volume that records the complex interference between violence, aesthetics and politics that emerged in Southern culture in the early twentieth century.
Latin America is one of the most violent regions in the world. It has suffered waves of repressive authoritarian rule, organized armed insurgency and civil war, violent protest, and ballooning rates of criminal violence. But is violence hard wired into Latin America? This is a critical reassessment of the ways in which violence in Latin America is addressed and understood. Previous approaches have relied on structural perspectives, attributing the problem of violence to Latin America's colonial past or its conflictual contemporary politics. Bringing together scholars and practitioners, this volume argues that violence is often rooted more in contingent outcomes than in deeply embedded structures. Addressing topics ranging from the root sources of violence in Haiti to kidnapping in Colombia, from the role of property rights in patterns of violence to the challenges of peacebuilding, The Politics of Violence in Latin America is an essential step towards understanding the causes and contexts of violence-and changing the mechanisms that produce it.
