'An apocalyptic novel for our times' - Guardian 'Horrifyingly resonant' - Observer Superbowl Sunday, 2022. A couple wait in their Manhattan apartment for their final dinner guests to arrive. The game is about it start. The missing guests' flight from Paris should have landed by now. Suddenly, screens go blank. Phones are dead. Is this the end of civilization? All anybody can do is wait. From one of America's greatest writers, The Silence is a timely and compelling novel about what happens when an unpredictable crisis strikes. 'The Silence is Don DeLillo distilled . . . a straight shot of the good stuff' - Spectator

Regarding the Popular charts the complex relationship between the avant-gardes and modernisms on the one hand and popular culture on the other. Covering (neo-)avant-gardists and modernists from various European countries, this second volume in the series European Avant-Garde and Modernism Studies explores the nature of so-called "low" culture, dealing with aspects as diverse as the everyday and the folkloric. Regarding the Popular charts the many ways in which the allegedly "high" modernists and avant-gardists looked at and represented the "low". As such, this book will appeal to all those with an interest in the dynamic of modern experimental arts and literatures.

Jean-Michel Basquiat was only twenty-seven when he died in 1988, his meteoric and often controversial career having lasted for just eight years. Despite his early death, Basquiat's powerful A uvre has ensured his continuing reputation as one of modern art's most distinctive voices. Borrowing from graffiti and street imagery, cartoons, mythology and religious symbolism, Basquiat's drawings and paintings explore issues of race and identity, providing social commentary that is shrewdly observed and biting. This bestselling book, now available in a compact edition, celebrates Basquiat's achievements in the contexts of the key influences on his art. It not only re-evaluates the artist's principal works and their meaning, but also explains what keeps his painting relevant today.

As one of the people who defined punk's protest art in the 1970s and 1980s, Gee Vaucher (b. 1945) deserves to be much better-known. She produced confrontational album covers for the legendary anarchist band Crass and later went on to do the same for Northern indie legends the Charlatans, among others. More recently, her work was recognised the day after Donald Trump's 2016 election victory, when the front page of the Daily Mirror ran her 1989 painting Oh America, which shows the Statue of Liberty, head in hands. This is the first book to critically assess an extensive range of Vaucher's work. It examines her unique position connecting avant-garde art movements, counterculture, punk and even contemporary street art. While Vaucher rejects all 'isms', her work offers a unique take on the history of feminist art. -- .

Contents:
General editor's preface. Acknowledgements. 1. Representing the postmodern: What is postmodernism? Representation and its politics, Whose postmodernism? Postmodernity, postmodernism, and modernism. 2. Postmodernist representation: De-naturalizing the natural, Photographic discourse, Telling Stories: fiction and history. 3. Re-presenting the past: 'Total history' de-totalized, Knowing the past in the present, The archive as text. 4. The politics of parody: Parodic postmodern representation, Double-coded politics, Postmodern film? 5. Text/image border tensions: The paradoxes of photography, The ideological arena of photo-graphy, The politics of address 6. Postmodernism and feminisms: Politicizing desire, Feminist postmodernist parody, The private and the public. Concluding note: some directed reading. Bibliography. Index.

This issue of AD posits that this re-examination and redeployment of postmodernist approaches is the architectural attempt to reflect, grapple with and make sense of the current political and economic situation. The term 'ad hoc' is used to describe a resistance to stylistic conformity and predictability that embraces individuality, and which conceives architecture in a broader cultural space. As a mode of practice marked by stylistic divergence, the links, shared interest and continuities that exist among a range of architects are often overlooked. It will explore and provide a critical analysis of the design tactics and the strategies that inform them, and will investigate some key questions: What is it that has led architects to adopt tactics that have long been vilified within architectural culture? What connections exist between our present moment and the postmodern one, architecturally and in terms of the broader political shifts, in particular our present moment's return of the grand narrative - whether of populist nationalism, identity or climate change? What do these tactics represent, how do they reflect this situation, and what do they offer in articulating a position for architects and the public role of their profession? This issue brings together a range of architects and critical voices to reflect on these questions and offer some answers. Essays by historians and critics situate practice in relation to postmodernism and its legacies. Following these will be essays by architects situating their work in relation to the ideas posited by the thematic introduction, and the broader contexts in which it operates and proceeds. The issue will be completed by interviews with early career architects, reflecting on their work thus far, its influences, pressures and future directions.

"I am Jugoslovenka" argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia's unique history of patriarchy and women's emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia's anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redzepova. "I am Jugoslovenka" tells a unique story of women's resistance through the intersection of feminism, socialism and nationalism in East European visual culture. -- .

As one of the people who defined punk's protest art in the 1970s and 1980s, Gee Vaucher (b. 1945) deserves to be much better-known. She produced confrontational album covers for the legendary anarchist band Crass and later went on to do the same for Northern indie legends the Charlatans, among others. More recently, her work was recognised the day after Donald Trump's 2016 election victory, when the front page of the Daily Mirror ran her 1989 painting Oh America, which shows the Statue of Liberty, head in hands. This is the first book to critically assess an extensive range of Vaucher's work. It examines her unique position connecting avant-garde art movements, counterculture, punk and even contemporary street art. While Vaucher rejects all 'isms', her work offers a unique take on the history of feminist art. -- .

Set within the broader context of post-war Austria and the re-education initiatives set up by the Allied forces, particularly the US, this book investigates the art and architecture scene in Vienna to ask how this can inform our broader understanding of architectural Postmodernism. The book focuses on the outputs of the Austrian artist and architect, Hans Hollein, and on his appropriation as a Postmodernist figure. In Vienna, the circles of radical art and architecture were not distinct, and Hollein's claim that 'Everything is Architecture' was symptomatic of this intermixing of creative practices. Austria's proximity to the so-called 'Iron Curtain' and its post-war history of four-power occupation gave a heightened sense of menace that emerged strongly in Viennese art in the Cold War era. Seen as a collective entity, Hans Hollein's works across architecture, art, writing, exhibition design and publishing clearly require a more diverse, complex and culturally nuanced account of architectural Postmodernism than that offered by critics at the time. Across the five chapters, Hollein's outputs are viewed not as individual projects, but as symptomatic of Austria's attempts to come to terms with its Nazi past and to establish a post-war identity.

Contents:
Contents Preface Looking Forward, Looking Back: 1985-1999 1.The Critical Debate and Its Origins 2.History: Representation and Misrepresentation - The Case of Abstract Expressionism: Revisionism in the 1970s and early 1980s 3.Revisionism Revisited Anna Chave, T J Clark, Eva Cockroft, David Craven, Michael Fried, Anne Gibson, Clement Greenberg, Serge Guilbaut, Michael Kimmelman, Max Kozloff, Rosalind Krauss, Michael Leja, Jane de Hart Mathews, Fred Orton, Griselda Pollock, Dierdre Robson, David and Cecile Shapiro.

Therapeutic Aesthetics focuses on moving image artworks as expressive of social psychopathological symptoms that arise in a climate of neoliberal cognitive capitalism, such as anxiety, depression, post- traumatic stress disorder and burnout. The book is not about engaging with art as a therapy to express personal traumas and symptoms but proposes that a selective range of contemporary moving image artworks performatively mimic the psychopathologies of cognitive capitalism in a conflictual manner. Engaging with a range of philosophers and theorists, including Bernard Stiegler, Franco 'Bifo' Berardi, Judith Butler, Felix Guattari, and Eva Illouz, Maria Walsh proposes that there is no cure, only provisional moments of reparation. To address this idea, she uses the concept of the pharmakon, the Greek term for drug which means both remedy and poison. Through this approach, she maintains the conflict between the curative and the harmful in relation to moving image artworks by artists such as Omer Fast, Liz Magic Laser, Leigh Ledare, Oriana Fox, Gillian Wearing and Rehana Zaman. As transitional spaces, these artworks can enable a toleration of anxiety and conflict that may offer another kind of aesthetic self-cultivation than the subjection to biopolitical governance in cognitive capitalism.

First published in 1988, this book attempts to tackle the problem of how to write about art, culture, and the issues of postmodernism in a style appropriate to what is being claimed. The letters are written on art's behalf to a range of institutions and individuals, and have as their recurring concern the relation between art, culture and representation - both art as representation and how art is represented to, and for, the surrounding culture. They explore the context and viability of art through a range of themes, including writing, the aestheticisation of everyday life, style, design pleasure, fragmentation, hyphenation, technology, and the museum - drawing on materials from the visual arts, music, literature, post-structuralism, contemporary criticism, philosophy, and sociology.

In an age where art history's questions are now expected to receive answers, Richard Shiff presents a challenging alternative. In this essential new addition to James Elkins's series Theories of Modernism and Postmodernism in the Visual Arts, Richard Shiff embraces doubt as a critical tool and asks how particular histories of art have come to be.

Shiff's turn to doubt is not a retreat to relativism, but rather an insistence on clear thinking about art. In particular, Shiff takes issue with the style of self-referential art writing seemingly 'licensed' by Roland Barthes. With an introduction by Rosie Bennett, Doubt is a study of the tension between practicing art and practicing criticism.

Offers fresh ways of approaching photography, showing how photographs circulate in an 'image world' that exists beyond their art and media origins. This book argues that these images permeate people's minds as much as the environment and that photography has affected our sense of time and its relationship to memory.

Postmodernism in the visual arts is not just another 'ism.' It emerged in the 1960s as a transformation of artistic creativity inspired by Duchamp's idea that the artwork does not have to be physically made by its creator. Products of mass culture and technology can be used just as well as traditional media. This idea became influential because of a widespread naturalization of technology - where technology becomes something lived in as well as used. Postmodern art embodies this attitude. To explain why, Paul Crowther investigates topics such as eclecticism, the sublime, deconstruction in art and philosophy, and Paolozzi's Wittgenstein-inspired works.

In The Story of Post-Modernism, Charles Jencks, the authority on Post-Modern architecture and culture, provides the defining account of Post-Modern architecture from its earliest roots in the early 60s to the present day. By breaking the narrative into seven distinct chapters, which are both chronological and overlapping, Jencks charts the ebb and flow of the movement, the peaks and troughs of different ideas and themes. * The book is highly visual. As well as providing a chronological account of the movement, each chapter also has a special feature on the major works of a given period. * The first up-to-date narrative of Post-Modern Architecture - other major books on the subject were written 20 years ago. * An accessible narrative that will appeal to students who are new to the subject, as well as those who can remember its heyday in the 70s and 80s.

Discusses photography, offering various ways of approaching photography, showing how photographs circulate in an 'image world' that exists beyond their art and media origins. This book argues that these images permeate people's minds as much as the environment and that photography has affected our sense of time and its relationship to memory.

"I am Jugoslovenka" argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia's unique history of patriarchy and women's emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia's anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redzepova. "I am Jugoslovenka" tells a unique story of women's resistance through the intersection of feminism, socialism and nationalism in East European visual culture. -- .

Pollock and After: The Critical Debate brings together key writings on debates about Abstract Expressionism and Modernist art history. It is an essential resource for understanding post-war American art and culture. The second edition has been fully revised and updated in response to new critical approaches to post-war American art. It includes nine new articles and a substantial overview essay by Francis Frascina.
Articles are grouped into three parts, each with an introduction by Francis Frascina. Part One includes two foundational articles by the influential Modernist critic, Clement Greenberg, and represents the debate about Greenberg's work, with contributions by T.J. Clark and Michael Fried. Part Two focuses on revisionist writers, who questioned established ideas about Modernist art history, examining the relationship between Abstract Expressionism and the politics of McCarthyism and the Cold War.
The third part, which is new to the volume, is devoted to recent developments of revisionist critiques. Contributors explore the work of Greenberg's contemporaries, the relationship between critical and commercial responses to Abstract Expressionism, and perceptions of cultural value in the 1940s and 1950s, and challenge assumptions about ethnicity, gender and sexuality in the construction of the 'post-war American artist'.

Focusing on the Anglophone Caribbean, The Making of a Caribbean Avant-Garde describes the rise and gradual consolidation of the visual arts avant-garde, which came to local and international attention in the 1990s. The book is centered on the critical and aesthetic strategies employed by this avant-garde to repudiate the previous generation's commitment to modernism and anti-colonialism. In three sections, it highlights the many converging factors, which have pushed this avant-garde to the forefront of the region's contemporary scene, and places it all in the context of growing dissatisfaction with the post-colonial state and its cultural policies. This generational transition has manifested itself not only in a departure from "traditional" in favor of "new" media (i.e., installation, performance, and video rather than painting and sculpture), but also in the advancement of a "postnationalist postmodernism," which reaches for diasporic and cosmopolitan frames of reference. Section one outlines the features of a preceding "Creole modernism" and explains the different guises of postnationalism in the region's contemporary art. In section two, momentum is connected to the proliferation of independent art spaces and transnational networks, which connect artists across and beyond the region and open up possibilities unavailable to earlier generations. Section three demonstrates the impact of this conceptual and organizational evolution on the selection and exhibition of Caribbean art in the metropole. The contemporary art scene?

Tall buildings are not the only solution for achieving sustainability through increased density in cities but, given the scale of current population shifts, the vertical city is increasingly being seen as the most viable solution for many urban centers. However, the full implications of concentrating more people on smaller plots of land by building vertically - whether for work, residential or leisure functions - needs to be better researched and understood. It is generally accepted that we need to reduce the energy equation - in both operating and embodied terms - of every component and system in the building as an essential element in making it more sustainable. Mechanical HVAC systems (Heating, Ventilation and Air-Conditioning) in tall office buildings typically account for 30-40 percent of overall building energy consumption. The increased efficiency (or possibly even elimination) of these mechanical systems - through the provision of natural ventilation - could thus be argued to be the most important single step we could make in making tall buildings more sustainable. This guide sets out recommendations for every phase of the planning, construction and operation of natural ventilation systems in these buildings, including local climatic factors that need to be taken into account, how to plan for seasonal variations in weather, and the risks in adopting different implementation strategies. All of the recommendations are based on analysis of the research findings from richly-illustrated international case studies. Tried and tested solutions to real-life problems make this an essential guide for anyone working on the design and operation of tall buildings anywhere in the world. This is the first technical guide from the Council on Tall Buildings and Urban Habitat's Tall Buildings & Sustainability Working Group looking in depth at a key element in the creation of tall buildings with a much-reduced environmental impact, while taking the industry closer to an appreciation of what constitutes a sustainable tall building, and what factors affect the sustainability threshold for tall.

Fifteen paintings depicting The End by Nicolas Ruston provoke fifteen short fictions by fifteen writers. Find yourself at the cliff's edge. Tell the truth to a man with a gun. Regret the dog. Remember a friend. Never forget her. Will the crash. Let disorder rule. Take a boat. Follow the slogans. Study the signs. Let the music die. Join a cult. Wait for the Apocalypse. Quit your job and head for the limits. Find what happens before, during and after THE END.

But where do these ideas come from and how have they impacted on the world? In his brilliant history of a dangerous idea, Stuart Jeffries tells a narrative that starts in the early 1970s and continue to today. He tells this history through a riotous gallery that includes, amongst others: David Bowie * the Ipod * Frederic Jameson * the demolition of Pruit-Igoe * Madonna * Post-Fordism * Jeff Koon's 'Rabbit' * Deleuze and Guattari * the Nixon Shock * The Bowery series * Judith Butler * Las Vegas * Margaret Thatcher * Grand Master Flash * I Love Dick * the RAND Corporation * the Sex Pistols * Princess Diana * the Musee D'Orsay * Grand Theft Auto* Perry Anderson * Netflix * 9/11 We are today scarcely capable of conceiving politics as a communal activity because we have become habituated to being consumers rather than citizens. Politicians treat us as consumers to whom they must deliver. Can we do anything else than suffer from buyer's remorse?

Post-Modernity is the creative destruction that has shattered our present times into fragments. It dynamited modernism which had dominated the western world for most of the 20th century. Post-modernism stood for everything modernism rejected: fun, exuberance, irresponsibility. But beneath its glitzy surface, post-modernism had a dirty secret: it was the fig leaf for a rapacious new kind of capitalism. It was alsoseemsthe forcing ground of the 'post truth', by means of which western values got turned upside down. But where do these ideas come from and how have they impacted on the world? In his brilliant history of a dangerous idea, Stuart Jeffries tells a narrative that starts in the early 1970s and continue to today. He tells this history through a riotous gallery that includes, amongst others: David Bowie * the Ipod * Frederic Jameson * the demolition of Pruit-Igoe * Madonna * Post-Fordism * Jeff Koon's 'Rabbit' * Deleuze and Guattari * the Nixon Shock * The Bowery series * Judith Butler * Las Vegas * Margaret Thatcher * Grand Master Flash * I Love Dick * the RAND Corporation * the Sex Pistols *Princess Diana * the Musee D'Orsay * Grand Theft Auto* Perry Anderson * Netflix * 9/11 We are today scarcely capable of conceiving politics as a communal activity because we have become habituated to being consumers rather than citizens. Politicians treat us as consumers to whom they must deliver. Can we do anything else than suffer from buyer's remorse?