How the Vietnam War changed American art By the late 1960s, the United States was in a pitched conflict in Vietnam, against a foreign enemy, and at home-between Americans for and against the war and the status quo. This powerful book showcases how American artists responded to the war, spanning the period from Lyndon B. Johnson's fateful decision to deploy U.S. Marines to South Vietnam in 1965 to the fall of Saigon ten years later. Artists Respond brings together works by many of the most visionary and provocative artists of the period, including Asco, Chris Burden, Judy Chicago, Corita Kent, Leon Golub, David Hammons, Yoko Ono, and Nancy Spero. It explores how the moral urgency of the Vietnam War galvanized American artists in unprecedented ways, challenging them to reimagine the purpose and uses of art and compelling them to become politically engaged on other fronts, such as feminism and civil rights. The book presents an era in which artists struggled to synthesize the turbulent times and participated in a process of free and open questioning inherent to American civic life. Beautifully illustrated, Artists Respond features a broad range of art, including painting, sculpture, printmaking, performance and body art, installation, documentary cinema and photography, and conceptualism. Published in association with the Smithsonian American Art Museum Exhibition Schedule Smithsonian American Art Museum, Washington, DC March 15-August 18, 2019 Minneapolis Institute of Art September 28, 2019-January 5, 2020

An examination of Japanese contemporary art through the lens of ecocriticism and environmental history Collectively referred to by the word tsuchi, earthy materials such as soil and clay are prolific in Japanese contemporary art. Highlighting works of photography, ceramics, and installation art, Bert Winther-Tamaki explores the many aesthetic manifestations of tsuchi and their connection to the country's turbulent environmental history, investigating how Japanese artists have continually sought a passionate and redemptive engagement with earth. In the seven decades following 1955, Japan has experienced severe environmental degradation as a result of natural disasters, industrial pollution, and nuclear irradiation. Artists have responded to these ongoing catastrophes through modes of "mudlarking" and "muckracking," utilizing raw elements from nature to establish deeper contact with the primal resources of their world and expose its unfettered contamination. Providing a comparative assessment of more than seventy works of art, this study reveals Japanese artists' engagement with a richly diverse repertoire of earthy materialities, elucidating their aesthetic properties, changing conditions, and cultural significance. By focusing on the role of tsuchi as a convergence point for a wide range of creative practices, this book offers a critical reassessment of contemporary art in Japan and its intrinsic relationship to the environment. Situating art within the context of ecology and urbanization, Tsuchi shows artists striving to explore and reprocess raw forms of earth beneath the corruptions of human activity.

Play art' or interactive art is becoming a central concept in the contemporary art world, disrupting the traditional role of passive observance usually assumed by audiences, allowing them active participation. The work of 'play' artists - from Carsten Holler's 'Test Site' at the Tate Modern to Gabriel Orozco's 'Ping Pond Table' - must be touched, influenced and experienced; the gallery-goer is no longer a spectator but a co-creator. Time to Play explores the role of play as a central but neglected concept in aesthetics and a model for ground-breaking modern and postmodern experiments that have intended to blur the boundary between art and life. Moving freely between disciplines, Katarzyna Zimna links the theory and history of 20th and 21st century art with ideas developed within play, game and leisure studies, and the philosophical theories of Kant, Gadamer and Derrida, to critically engage with current discussion on the role of the artist, viewers, curators and their spaces of encounter. She combines a consideration of the philosophical implications of play with the examination of how it is actually used in modern and postmodern art - looking at Dada, Surrealism, Fluxus and Relational Aesthetics. Focusing mainly on process-based art, this bold book proposes a fresh approach - reaching beyond classical cultural theories of play.

The Art of Hearthstone offers an in-depth glimpse into the creativity that made the wildly popular collectible card game into a global phenomenon. From the unseen concepts built early in Hearthstone's development to the hundreds of beautiful fantasy illustrations that have captured players' imaginations, this volume will show readers the art of the game in breathtaking detail. The book also tells the story of how Hearthstone came to be, growing from a small-team project to the worldwide success that it is today with more than 50 million players.

Olly Moss has quickly become, according to Slashfilm, "one of the most in demand and influential pop culture artists today". For his simple but brilliant first book, Olly has put his own twist on the Victorian art of silhouette portraits. While this gorgeous gift volume might look as if it's from the 1890s, its pages contain today's favourite cult characters from movies, TV, comics and videogames.

Our oceans are in an ecological crisis due to their contamination with millions of tons of toxic microplastic particles. In just a few years, the volume of microplastic particles will exceed that of plankton in our oceans and turn them into a huge sea of plastic. This publication brings together numerous international art projects related to environmental activities, DIY biotechnology, and science, and draws attention to the irreversible destruction of our marine ecosystems - the current threat posed by the loss of marine animal biodiversity, for example, or the decline in oxygen production due to massive plankton loss. It also presents current scientific findings on sustainable alternatives to plastic.

Minimal Conditions explores the expansion of sculpture into phenomenal and perception-based practices in and around the Los Angeles area in the 1970s, a time when California Light and Space art played a key role in the evolution of minimal art toward dematerialization. Focusing on the contingent and embodied nature of work by such artists as Robert Irwin, James Turrell, Doug Wheeler, Larry Bell, Eric Orr, and Maria Nordman, author Dawna L. Schuld proposes a method of analysis that considers these pieces not as discrete objects, but as diverse species of experience. Schuld's compelling study identifies perceptual, philosophical, and historical common ground shared by minimal artists working on both coasts and in the desert landscape.

The work of Slovak sculptor Maria Bartuszova (1936-96) was first presented to international audiences in Kassel in 2007. Although her art has appeared in influential exhibitions and been included in prestigious contemporary art collections, up until now, she has yet to receive the widespread recognition she deserves. Dziewanska's book offers distinct perspectives on Bartuszova's work from renowned international critics in an effort to increase our awareness of her sculptures. Working alone behind the Iron Curtain, Bartuszova was one of a number of female artists who not only experimented formally and embarked intuitively on new themes, but who, because they were at odds with mainstream modernist trends, remained in isolation or in a marginalized position. Revealing her dynamic treatment of plaster-a material that, from a sculptor's point of view, is both primitive and common-the book deftly reveals how Bartuszova experimented with materials, never hesitating to treat tradition, accepted norms, and trusted techniques as simply transitory and provisional. Offering a much-needed history of a vibrant body of work, Maria Bartuszova: Provisional Forms is an important contribution to the literature on great female artists.

The book is a collection of fifteen introductory essays excerpted from the Annual of Contemporary Art in China, covering the years from 2005 to 2019, showcasing the development and changing landscapes of contemporary art in China. The Annual documents exhibitions, events, creative practices, and critical literature concerning contemporary art in China since 2005. Based on archival documentation and statistics data from these annuals, notable phenomena, events, and discourses from a given year, as well as key works and artists are reviewed in each introduction, with no ideological or market-driven undertone. The author unravels industrial and institutional factors, while also broaching important issues of abstract art, new media art and so on, and probing the historical and socio-cultural context as well. In this regard, the book offers a panorama of contemporary Chinese art and critically engages with the art scene in China, including Hongkong, Taiwan, and among the Chinese diaspora. The title will appeal to scholars, students and general readers interested in contemporary art history, art criticism, contemporary Chinese art, iconography, and contemporary art theory.

In line with the works on decorators of the 1940s, '50s, '60s, and '70s, this book plunges us into the world of '80s and '90s. These have witnessed unprecedented experiments in the world of design and architecture. Composed of a rich introduction which gives a synoptic vision and 38 monographs that describe its many faces, this book makes and exceptionally creative period intelligible, and reveals through an abundant iconography, often unpublished, its formidable aesthetic richness. A new generation of designers stands out; among them Shiro Kuramata, Philippe Starck, Ron Arad, Bob Wilson, Elizabeth Garouste and Mattia Bonetti. All regenerate creation by refusing the elitism of their predecessors and by favouring the use of new materials. Some turn to recovery, such as the Creative Salvage group, and offer inventive and provocative furniture thanks to welding and assembly. Others, gathered in Italy around Ettore Sottsass and Memphis, combine unexpected colours and patterns to the playful use of plastic laminate. Sliding until the end of the '90s, the achievements presented in this book mark the desire for a dialogue between artistic references with a new relationship to the industrial aspect, at the dawn of the 21st century and its technological innovations. Text in English and French.

Over the past decade, German artist Michael Riedel has incorporated a wide range of media into his practice, including large-scale works on canvas, fabric works, film and video, audio recordings, installations, and events. A central focus of his work is the publishing and production of artist's books, catalogues, brochures, posters, and cards. In 2000, Riedel and Dennis Loesch launched a collaborative project in an abandoned building in Frankfurt. Using the building's address- Oskar-von-Miller Strasse 16-as the name for their new space, they created an experimental laboratory where they restaged cultural events held at other locations throughout the city, effectively duplicating them in space and time. Occasionally, these re-presented events-which included book readings, film screenings, art exhibitions, and music concerts-were hosted on the same night as the actual event elsewhere in the city, but mostly, they were presented days or weeks after the original activity took place. According to Riedel, "We presented one concept over and over again. To create a distance to some original that had been done at another place." With the call of "record, label, playback," a group of young artists reiterated the language of a city's cultural offerings, often without a full understanding of what they were reciting, but always with an acute aesthetic interest in the faults of transmission and transference.

A compelling look at Doris Salcedo's works from the past fifteen years, exploring how the artist challenges not only the limits of the materials she uses but also the traditions of sculpture itself Colombian sculptor and installation artist Doris Salcedo (b. 1958) creates works that address political violence and oppression. This pioneering book, which focuses on Salcedo's works from 2001 to the present, examines the development and evolution of her approach. These sculptures have pushed toward new extremes, incorporating organic materials-rose petals, grass, soil-in order to blur the line between the permanent and the ephemeral. This insightful text illuminates the artist's practice: exhaustive personal interviews and deep research joined with painstaking acts of making that both challenge limits and set new directions in materiality. Mary Schneider Enriquez convincingly argues for viewing Salcedo's oeuvre not just through a particular theoretical lens, such as violence studies or trauma and memory studies, but for the profound way the artist engages with and expands the traditions of sculpture as a medium.

In the 1960s, multinational corporations faced new image problems-and turned to the art world for some unexpected solutions. The 1960s saw artists and multinational corporations exploring new ways to use art for commercial gain. Whereas many art historical accounts of this period privilege radical artistic practices that seem to oppose the dominant values of capitalism, Alex J. Taylor instead reveals an art world deeply immersed in the imperatives of big business. From Andy Warhol's work for packaged goods manufacturers to Richard Serra's involvement with the steel industry, Taylor demonstrates how major artists of the period provided brands with "forms of persuasion" that bolstered corporate power, prestige, and profit. Drawing on extensive original research conducted in artist, gallery, and corporate archives, Taylor recovers a flourishing field of promotional initiatives that saw artists, advertising creatives, and executives working around the same tables. As museums continue to grapple with the ethical dilemmas posed by funding from oil companies, military suppliers, and drug manufacturers, Forms of Persuasion returns to these earlier relations between artists and multinational corporations to examine the complex aesthetic and ideological terms of their enduring entanglements.

Blending the reflected cultural climate of his adopted home, Los Angeles, with the multi-layered world of American popular culture, Jim Shaw (b.1952) creates rich, dream-like worlds within distinct bodies of work. Addressing, for the first time, how the artist's oeuvre inter-relates, this substantial monograph argues that the artist's seemingly disparate series actually function together to present a lucid and insightful portrait of America today. Emerging out of the long West-Coast shadows of California Assemblage by way of LA Pop and Conceptualism, Shaw's narrative-driven art marries art history and contemporary existence, as well as literature and comic books, ancient myths and modern movies, science and its variations in popular psychology - not only blurring the boundaries between art and life, but cultivating that confusion to consider the relationship between fact and fiction that seems to define so much of the world we inhabit today. Giving contemporary viewers an effective way to think about art, this publication is an invaluable resource for those interested in painting today and its interaction with modern life.

Over the last century a growing number of visual artists have been captivated by the entwinements of beauty and power, truth and artifice, and the fantasy and functionality they perceive in geographical mapmaking. This field of "map art" has moved into increasing prominence in recent years yet critical writing on the topic has been largely confined to general overviews of the field. In Mapping Beyond Measure Simon Ferdinand analyzes diverse map-based works of painting, collage, film, walking performance, and digital drawing made in Britain, Japan, the Netherlands, Ukraine, the United States, and the former Soviet Union, arguing that together they challenge the dominant modern view of the world as a measurable and malleable geometrical space. This challenge has strong political ramifications, for it is on the basis of modernity's geometrical worldview that states have legislated over social space; that capital has coordinated global markets and exploited distant environments; and that powerful cartographic institutions have claimed exclusive authority in mapmaking. Mapping Beyond Measure breaks fresh ground in undertaking a series of close readings of significant map artworks in sustained dialogue with spatial theorists, including Peter Sloterdijk, Zygmunt Bauman, and Michel de Certeau. In so doing Ferdinand reveals how map art calls into question some of the central myths and narratives of rupture through which modern space has traditionally been imagined and establishes map art's distinct value amid broader contemporary shifts toward digital mapping.

In an atmosphere of growing authoritarianism, how can we draw attention to performance as a transaction of sensorial agency - the right to be seen, heard, recognized - the right to be palpable? Improvised Futures attempts to frame performance as doing, as fraught negotiations of agency and identity. As it considers the performative effect of a range of ideas, actions and situations that have shaped society and defined cultural expression since the 1990s, it frames the body as a site of radical imagination. The volume comprises texts and artworks by artists, academics and activists, placing these works in conversation with each other in order to elicit new meanings and connections.

This catalogue accompanying the exhibition Invisibilia constitutes the first substantive monograph on Oscar Munoz's work in English. The publication aims to become one of the most significant research resources published on the artist's work to date by addressing the entire span of the artist's career, beginning in the 1970s and continuing to 2020. This publication on Oscar Munoz's artistic practice contributes to the field of conceptual photography both within and beyond the Latin American context. Bilingual Spanish translations effectively extend both the publication's impact and its international reach. The diverse cadre of scholars who contributed to the book offer new perspectives and fresh takes on frequently discussed artworks that are here given a new slant. A comprehensive chronology that charts Munoz's artistic evolution alongside the development of the artistic scene in Cali and national events in Colombia effectively roots the artist's works in its cultural and historical context.

The main themes and aims of this book are understanding aesthetics, contemporary art and the end of the avant-garde not from the traditional viewpoint of the metaphysics of the beautiful and the sublime but rather thru close connection to the techno-genesis of virtual worlds. This book tackles problems in contemporary art theory such as the body in space and time of digital technologies, along with other issues in visual studies and image science. Further intentions exhibit the fundamental reasons for the disappearance of the picture in the era of virtual reality starting from the notion of contemporary art as realized iconoclasm; art has no world for its "image". The author argues that the iconoclasm of contemporary art has severe consequences. This text appeals to philosophers of art and those interested in contemporary art theory.

In the thirty years since his death, Keith Haring-a central presence on the New York downtown scene of the 1980s-has remained one of the most popular figures in contemporary American art. In one of the first book-length treatments of Haring's artistry, Ricardo Montez traces the drawn and painted line that was at the center of Haring's artistic practice and with which the artist marked canvases, subway walls, and even human flesh. Keith Haring's Line unites performance studies, critical race studies, and queer theory in an exploration of cross-racial desire in Haring's life and art. Examining Haring's engagements with artists such as dancer and choreographer Bill T. Jones, graffiti artist LA II, and iconic superstar Grace Jones, Montez confronts Haring's messy relationships to race-making and racial imaginaries, highlighting scenes of complicity in order to trouble both the positive connotations of inter-racial artistic collaboration and the limited framework of appropriation.

This comprehensive monograph offers a detailed examination of the paintings of the acclaimed German painter Neo Rauch (b.1960). Rauch's paintings deftly blend the iconography of Socialist Realism from his upbringing and art-school training in GDR-era Leipzig with the stylistic mannerisms of the Baroque and Romantic past, conjuring heavily populated sites of great commotion and complexity, remarkably without recourse to preliminary drawing. His compositions and their enigmatic figures are rich with reference and allusion, but the stories they tell are indistinct and somehow out of time. They have an ancient modernity - or the freshness of renewed antiquity. Michael Glover discloses Rauch's working methods, revealing how the artist approaches the making of his work, how his images come into being, and the importance of words and their etymology to the creation or disruption of an artwork. These are works that interrogate the very meaning of the artistic impulse; ruminations in the guise of history painting that in fact question what a painter could and should be creating at this particular historical moment.

This title, published in 1979 and long since out of print, now appears as a reprint from Lars Muller Publishers. The original book was released in the series of publications Source Materials of the Contemporary Arts initiated by Kasper Konig and produced by the Press of the Nova Scotia College of Art and Design. The publication represents an important document in Dan Graham's artistic examination of the video medium. Graham's installations and performances with video from the years 1970-78 are documented with numerous illustrations, photos, and brief descriptions. In addition, the volume contains an essay by the artist in which he examines the various possibilities and forms of representation offered by the video medium, and draws the boundaries between these and representational spaces in television, film, or architecture.
The book also offers contributions by Michael Asher and Dara Birnbaum, as well as an annex with a biography and bibliography. Dan Graham, born in Urbana, Illinois, in 1942, is one of the most renowned contemporary artists. His work often focuses on cultural phenomena, incorporating materials as diverse as photography, video, performance, glass, and mirror structures. Dan Graham lives and works in New York."

Start your personal planning any time of the year with this stylish, undated weekly calendar. Start your personal planning any time of the year with this undated weekly calendar that features sixty customizable pages. Perfect for home or the office, it has plenty of space each day of the week to schedule appointments and meetings or to jot down important to-dos or notes.