It is evident that modernity is a popular mountain for analysis and reflection of a largely controversial nature. Numerous theories have also been written about the beginning as well as the end of modernity. The aim of Modernologies is to achieve an account of the state of artistic research and to discuss selected contributions to the subject matter that appears central after two to three decades of an ever intensely blazing conflict over the legacy of modernity and modernism.

Henri Michaux is widely recognized as a major twentieth-century French poet and painter. Although his fascination with universal languages has attracted the attention of several of his critics, it has up until now been treated as a marginal concern. Henri Michaux: Poetry, Painting, and the Universal Sign argues that his ideas on what might constitute a universal language are central to an understanding of his works. It suggests that both his ambivalent articulation of his relationship to the languages and literary traditions of his native Belgium and adoptive France, and his efforts simultaneously to exacerbate and subvert the differences between words and images, are rooted in Enlightenment theories of the relationship of the self to nature and its language
Rigaud-Drayton's study makes a substantial and original contribution to the study of this complex artist, exploring the intricate relationships between word and image in his poetry and paintings, and his quest for a single, unifying language or sign.

Cv/VAR 94 gathers interviews, reviews and recollections of the great American artist Andy Warhol (1928-1987) including an eye witness account by New Zealand artist Billy Apple[registered] of the first Campbell's Soup Can in progress; a visit to Warhol's Office in Broadway 1976, and an interview with model Magdalena Wasiura, responding to an exhibition of Warhol's portraits of Brigitte Bardot, that encapsulate the original beauty and mystery of their fabulous subject.

MINIMAL ART AND ARTISTS

This book is is a study of Minimal art and artists, particularly painters, sculptors, 3-D, installation and land artists.

All of the key practitioners and theoreticians of the still-influential 1960s Minimal art movement and style are studied here: Donald Judd, Robert Morris, Carl Andre, Frank Stella, Robert Ryman, Robert Smithson, Brice Marden, Dan Flavin, Eva Hesse, Sol LeWitt, and many land artists (such as Robert Smithson, Christo, James Turrell and Michael Heizer).

Chapters include: Minimal aesthetics; Minimal painting and painters; Minimal sculptors and sculpture; Minimal art and land artists; and Minimal art today.

Fully illustrated. 232 pages. Large format.

The text has been fully revised for this edition, with new illustrations added. www.crmoon.com.

The Minimal artists did not consider themselves a group; they did not produce manifestos; they did not agree on aesthetics or working practices (though some were friends); they tended not to be directly involved in political art (Minimal art was more conservative than counter-culture); and they disliked the term 'minimalism'.

It tended to be the critics (as usual) who came up with the terms for the new art. Lucy Lippard used the term 'structurist', 'dematerialization' and 'eccentric abstraction'; Michael Fried had 'literalist' and 'objecthood'; Peter Hutchinson used 'Mannerist'; Barbara Rose coined 'ABC Art'; Lawrence Alloway had 'systematic painting'; Robert Morris took up 'unitary forms' and 'anti-form'; and Donald Judd employed 'speci c objects'.

Probably the premier Minimal artist (and philosopher) is Donald Judd; Judd stands at the centre of Minimal art, and no account of Minimalism is complete without placing Judd in the foreground. Robert Smithson, Frank Stella, Donald Judd, Ad Reinhardt, Robert Morris and Carl Andre have been among the most lucid of theorists among artists.

In the 1960s and 1970s, it seemed as if every artist went through a Minimal period at some time in their career, as well as a painting-as-sculpture period, and a brush with performance art (and perhaps body art). Both a Conceptual art phase and an on-going installation art preoccupation were mandatory for contemporary artists, it seems. All contemporary art can be viewed as basically Conceptual art, and a increasing proportion of it is installation art

Mere decades after the dissolution of Yugoslavia, the promise of European democracy seems to be out of joint. What has become of the once-shared memory of victory over fascism? Historical revisionism and nationalist propaganda in the post-Yugoslav context have tried to eradicate the legacy of partisan and socialist struggles, while Yugonostalgia commodifies the partisan/socialist past. It is against these dominant 'archives' that this book launches the partisan counter-archive, highlighting the symbolic power of artistic works that echo and envision partisan legacy and rupture. It comprises a body of works that emerged either during the people's liberation struggle or in later socialist periods, tracing a counter-archival surplus and revolutionary remainder that invents alternative protocols of remembrance and commemoration. The book covers rich (counter-)archival material - from partisan poems, graphic works and photography, to monuments and films - and ends by describing the recent revisionist un-doing of the partisan past. It contributes to the Yugoslav politico-aesthetical "history of the oppressed" as an alternative journey to the partisan past that retrieves revolutionary resources from the past for the present.

How does theatre shape the body and perceptions of it? How do bodies on stage challenge audience assumptions about material evidence and the truth? Theory for Theatre Studies: Bodies responds to these questions by examining how theatre participates in and informs theories of the body in performance, race, queer, disability, trans, gender, and new media studies. Throughout the 20th century, theories of the body have shifted from understanding the body as irrefutable material evidence of race, sex, and gender, to a social construction constituted in language. In the same period, theatre has struggled with representing ideas through live bodies while calling into question assumptions about the body. This volume demonstrates how theatre contributes to understanding the historical, contemporary and burgeoning theories of the body. It explores how theories of the body inform debates about labor conditions and spatial configurations. Theatre allows performers to shift an audience's understandings of the shape of the bodies on stage, possibly producing a reflexive dynamic for consideration of bodies offstage as well. In addition, casting choices in the theatre, most recently and popularly in Hamilton, question how certain bodies are "cast" in social, historical, and philosophical roles. Through an analysis of contemporary case studies, including The Balcony, Angels in America, and Father Comes Home from the Wars, this volume examines how the theatre theorizes bodies. Online resources are also available to accompany this book.

ANDY GOLDSWORTHY: TOUCHING NATURE DESCRIPTION

A new and revised edition of our best-selling book on Andy Goldsworthy. A completely rewritten exploration of the sculptor, updated to include recent works such as Night Path (2002) and Chalk Stones (2003) in Sussex, Three Cairns (2002) on the American East and West coasts, Stone Houses (2004) and Garden of Stones (2003) in Gotham, Passage (2005) in London, and Slate Domes (2005) in Washington, DC.

Known as a land, earth, nature or environmental artist, Andy Goldsworthy works with(in) nature. He uses natural materials in natural shapes and forms often set in natural contexts (but also in cities, towns, parks, sculpture parks, and many spaces created or adapted by people). FROM THE INTRODUCTION

In the 1990s, Andy Goldsworthy s art began to rise in popularity: the glossy coffee table book Stone became a bestseller (bear in mind it was then priced at $55). In 1994 Goldsworthy took over some West End galleries with a large one-man show. In 1995 he was part of an intriguing group show at the British Museum (Time Machine), creating sculptures, along with Richard Deacon, Peter Randall-Page and others, in amongst the monumental statuary of the famous Egyptian Hall. Also in 1995, Goldsworthy designed a set of Royal Mail stamps (and again in 2003). Digne in France became an increasingly important Goldsworthy location, with shows in 1995, 1997 and 2000). Prestigious commissions occurred in the US from the mid-1990s onwards. For instance: the giant Wall at Storm King Art Center in 1998; the Three Cairns on the East and West Coasts and Iowa in 2001-02; the stone houses at the Metropolitan Museum in Gotham in 2004; the monument to the Holocaust (also in New York) in 2003; and the slate domes in Washington, DC in 2005. Goldsworthy continues to work in countries such as Japan, Australia, Holland, Canada, North America and France (with France and the US becoming primary centres of Goldsworthy activity), but his home ground of Dumfriesshire in Scotland remains (at) the heart of his work.

AUTHOR BIOGRAPHY

William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including the forthcoming Andy Goldsworthy In America. Malpas s books on Richard Long and Andy Goldsworthy are the only full-length studies of these artists available.

In Resonant Matter, Lutz Koepnick considers contemporary sound and installation art as a unique laboratory of hospitality amid inhospitable times. Inspired by Ragnar Kjartansson’s nine-channel video installation The Visitors (2012), the book explores resonance—the ability of objects to be affected by the vibrations of other objects—as a model of art’s fleeting promise to make us coexist with things strange and other. In a series of nuanced readings, Koepnick follows the echoes of distant, unexpected, and unheard sounds in twenty-first century art to reflect on the attachments we pursue to sustain our lives and the walls we need to tear down to secure possible futures. The book’s nine chapters approach The Visitors from ever-different conceptual angles while bringing it into dialogue with the work of other artists and musicians such as Lawrence Abu Hamdan, Guillermo Galindo, Mischa Kuball, Philipp Lachenmann, Alvien Lucier, Teresa Margolles, Carsten Nicolai, Camille Norment, Susan Philipsz, David Rothenberg, Juliana Snapper, and Tanya Tagaq. With this book, Koepnick situates resonance as a vital concept of contemporary art criticism and sound studies. His analysis encourages us not only to expand our understanding of the role of sound in art, of sound art, but to attune our critical encounter with art to art’s own resonant thinking.

CD-ROM contains pdf readers of monographs in Cv/VAR archive. Over sixty files of artist interviews researched between 1989 and 1996, ranging from Arman and Anthony Caro to James Turrell and Alison Wilding.

Sanctuary Dishonored: The Decline and Fall of the Maxfield Parrish Estate. Robin Lee, through an incredible twist of fate, was invited to write and record her music, inspired by the great American artist Maxfield Parrish, at the very time his iconic art studio was on the verge of being gutted. Lee had the foresight to capture with her camera and video recorder numerous pictures and footage of Parrish's workshop and grounds just before and as they were being torn apart. This great tragedy in art history will unfold before your eyes, and Robin captures in her words and pictures the sense of wonder and shock as the process unfolded. As if guided by the restless spirit of Maxfield Parrish himself, Lee has become the messenger to the rest of the world, telling the tragic tale of what once was and is now lost to us forever, except for these pages and the subsequent works she will be releasing. 56 pages w/color photos 8.5 x 8.5

This book contains an extraordinary collection of paintings and drawings of Pretoria since its founding. It is a fascinating record of Pretoria from a little hamlet on the banks of the Apies River to its development into one of the capitals of the world. The stories behind the paintings and the painters are a laudable contribution to the recording of the history of art in Pretoria. With this work, Eric Bolsmann has made a valuable contribution to Pretoriana and to Africana in general.