Marshall McLuhan (1911-1980) is best known as a media theorist-many consider him the founder of media studies-but he was also an important theorist of art. Though a near-household name for decades due to magazine interviews and TV specials, McLuhan remains an underappreciated yet fascinating figure in art history. His connections with the art of his own time were largely unexplored, until now. In Distant Early Warning, art historian Alex Kitnick delves into these rich connections and argues both that McLuhan was influenced by art and artists and, more surprisingly, that McLuhan's work directly influenced the art and artists of his time. Kitnick builds the story of McLuhan's entanglement with artists by carefully drawing out the connections among McLuhan, his theories, and the artists themselves. The story is packed with big names: Marcel Duchamp, Niki de Saint Phalle, Jasper Johns, Andy Warhol, Nam June Paik, and others. Kitnick masterfully weaves this history with McLuhan's own words and his provocative ideas about what art is and what artists should do, revealing McLuhan's influence on the avant-garde through the confluence of art and theory. The illuminating result sheds light on new aspects of McLuhan, showing him not just as a theorist, or an influencer, but as a richly multifaceted figure who, among his many other accolades, affected multiple generations of artists and their works. The book finishes with Kitnick overlaying McLuhan's ethos onto the state of contemporary and post-internet art. This final channeling of McLuhan is a swift and beautiful analysis, with a personal touch, of art's recent transgressions and what its future may hold.

Artists, architects, art historians, critics, and curators explore the work of Donald Judd as both artist and critic in essays spanning all of Judd's career. Donald Judd (1928-1994) is one of the most influential American artists of the postwar era. Beginning in the 1960s, he developed new ideas about art--in both his works and writings--that challenged many of modernism's core tenets by resisting the categories of painting and sculpture. Judd described this work as specific objects. Critics labeled it minimalism. Perhaps because Judd's own critical writings provide a discursive framework for his work, some of the monographic essays on his work are not widely known. This volume collects critical and scholarly writings on Judd, examining his work as both artist and critic.

A timely and expansive survey of a groundbreaking American art movement that overturned aesthetic hierarchies in a riot of color and ornamentation The Pattern and Decoration movement emerged in the 1970s as an embrace of long-dismissed art forms associated with the decorative. Pioneering artists such as Miriam Schapiro (1923-2015), Joyce Kozloff (b. 1942), Robert Kushner (b. 1949), and others appropriated patterns, frequently from non-Western decorative arts, to produce intricate, often dizzying or gaudy designs in media ranging from painting, sculpture, and collage to ceramics, installation art, and performance. This dazzling book showcases an astonishing array of works by more than 40 artists from across the United States, examining the movement's defiant adoption of art forms traditionally viewed as feminine, craft-based, or otherwise inferior to fine art. In addition to offering an overview of the Pattern and Decoration movement as it is commonly recognized, this volume considers artists of the period who are not typically associated with the movement. Rethinking the significance of patterns and the decorative in postwar American art, this panoramic view provides new insights into abstraction, feminism, and installation art. Essays explore the movement's feminist methods and values, including Miriam Schapiro's "femmage" practice; its impact on contemporary abstract painting; and its relationship to postmodern architecture and design. Artist biographies, an exhibition history, and reprints of historically significant writings further establish With Pleasure as the most expansive publication on the subject. Published in association with The Museum of Contemporary Art, Los Angeles Exhibition Schedule: Museum of Contemporary Art, Los Angeles (October 27, 2019-May 11, 2020) Hessel Museum of Art, Bard College (June 26-November 28, 2021)

Marshall McLuhan (1911–1980) is best known as a media theorist—many consider him the founder of media studies—but he was also an important theorist of art. Though a near-household name for decades due to magazine interviews and TV specials, McLuhan remains an underappreciated yet fascinating figure in art history. His connections with the art of his own time were largely unexplored, until now. In Distant Early Warning, art historian Alex Kitnick delves into these rich connections and argues both that McLuhan was influenced by art and artists and, more surprisingly, that McLuhan’s work directly influenced the art and artists of his time.   Kitnick builds the story of McLuhan’s entanglement with artists by carefully drawing out the connections among McLuhan, his theories, and the artists themselves. The story is packed with big names: Marcel Duchamp, Niki de Saint Phalle, Jasper Johns, Andy Warhol, Nam June Paik, and others. Kitnick masterfully weaves this history with McLuhan’s own words and his provocative ideas about what art is and what artists should do, revealing McLuhan’s influence on the avant-garde through the confluence of art and theory. The illuminating result sheds light on new aspects of McLuhan, showing him not just as a theorist, or an influencer, but as a richly multifaceted figure who, among his many other accolades, affected multiple generations of artists and their works. The book finishes with Kitnick overlaying McLuhan’s ethos onto the state of contemporary and post-internet art. This final channeling of McLuhan is a swift and beautiful analysis, with a personal touch, of art’s recent transgressions and what its future may hold.

Future Bodies from a Recent Past brings to life a hitherto little-noticed phenomenon in art and sculpture in particular: the reciprocal interpenetration of bodies and technology. With 120 works by 59 artists-primarily from Europe, the USA and Japan-the exhibition is dedicated to the major technological changes since the post-war period and examines their influence on our notions of bodies. With contributions on topics such as the influence of changing production technologies, materialities, and concepts of the body, but also interdisciplinary considerations of body-technology relations, a multi-perspective history of contemporary sculpture will be outlined. German Edition! Exhibition Museum Brandhorst Munich 2 June 2022 until 15 January 2023

Future Bodies from a Recent Past brings to life a hitherto little-noticed phenomenon in art and sculpture in particular: the reciprocal interpenetration of bodies and technology. With 120 works by 59 artists-primarily from Europe, the USA and Japan-the exhibition is dedicated to the major technological changes since the post-war period and examines their influence on our notions of bodies. With contributions on topics such as the influence of changing production technologies, materialities, and concepts of the body, but also interdisciplinary considerations of body-technology relations, a multi-perspective history of contemporary sculpture will be outlined. English Edition! Exhibition Museum Brandhorst Munich 2 June 2022 until 15 January 2023