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The condition of borders has been crucial to many recent
exhibitions, conferences and publications. But there does not yet
exist a convincing critical frame for the discussion of border
discourses. Rethinking Borders offers just such an introduction. It
develops important contexts in art and architectural theory,
contemporary film-making, criticism and cultural politics, for the
proliferation of 'border theories' and 'border practices' that have
marked a new stage in the debates over postmodernism, cultural
studies and postcolonialism.
Beginning with the first comprehensive account of the discourse of
appropriation that dominated the art world in the late 1970s and
1980s, Art After Appropriation suggests a matrix of inflections and
refusals around the culture of taking or citation, each chapter
loosely correlated with one year of the decade between 1989 and
1999. The opening chapters show how the Second World culture of the
USSR gave rise to a new visibility for photography during the
dissolution of the Soviet Union around 1989. Welchman examines how
genres of ethnography, documentary and travel are crossed with
fictive performance and social improvisation in the videos of Steve
Fagin. He discusses how hybrid forms of subjectivity are delivered
by a new critical narcissism, and how the Korean-American artist,
Cody Choi converts diffident gestures of appropriation from the
logic of material or stylistic annexation into continuous
incorporated events. Art After Appropriation also examines the
creation of public art from covert actions and social feedback, and
how bodies participate in their own appropriation. Art After
Appropriation concludes with the advent of the rainbow net, an
imaginary icon that governs the spaces of interactivity,
proliferation and media piracy at the end of the millennium.
John Welchman is Professor of Modern Art History, Theory and
Criticism at the University of California, San Diego. He is the
author of Modernism Relocated (1995) and Invisible Colors (1997);
and editor of Rethinking Borders (1996), and a forthcoming
three-volume anthology of the writings of LA artist MIke Kelley.
Welchman has contributed to numerous journals, magazines, museum
catalogues and newspapers, including Artforum; New York Times; Los
Angeles Times; International Herald Tribune; Los Angeles County
Museum of Art; Tate Gallery; Museum of Contemporary Art, Los
Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich
Vitrines and glass cabinets are familiar apparatuses that have in
large part defined modern modes of display and visibility, both
within and beyond the museum. They separate objects from their
contexts, group them with other objects, both similar and
dissimilar, and often serve to reinforce their intrinsic or
aesthetic values. The vitrine has much in common with the picture
frame, the plinth and the gallery, but it has not yet received the
kind of detailed art historical and theoretical discussion that has
been brought to these other modes of formal display. The twelve
contributions to this volume examine some of the points of origin
of the vitrine and the various relations it brokers with sculpture,
first in the Wunderkammer and cabinet of curiosities and then in
dialog with the development of glazed architecture beginning with
Paxton's Crystal Palace (1851). The collection offers close
discussions of the role of the vitrine and shop window in the rise
of commodity culture and their apposition with Constructivist
design in the work of Frederick Kiesler; as well as original
readings of the use of vitrines in Surrealism and Fluxus, and in
work by Joseph Beuys, Paul Thek, Claes Oldenburg and his
collaborators, Jeff Koons, Mike Kelley, Dan Graham, Vito Acconci,
Damien Hirst and Josephine Meckseper, among others. Sculpture and
the Vitrine also raises key questions about the nature and
implications of vitrinous space, including its fronts onto desire
and the spectacle; transparency and legibility; and onto ideas and
practices associated with the archive: collecting, preserving and
ordering.
Vitrines and glass cabinets are familiar apparatuses that have in
large part defined modern modes of display and visibility, both
within and beyond the museum. They separate objects from their
contexts, group them with other objects, both similar and
dissimilar, and often serve to reinforce their intrinsic or
aesthetic values. The vitrine has much in common with the picture
frame, the plinth and the gallery, but it has not yet received the
kind of detailed art historical and theoretical discussion that has
been brought to these other modes of formal display. The twelve
contributions to this volume examine some of the points of origin
of the vitrine and the various relations it brokers with sculpture,
first in the Wunderkammer and cabinet of curiosities and then in
dialog with the development of glazed architecture beginning with
Paxton's Crystal Palace (1851). The collection offers close
discussions of the role of the vitrine and shop window in the rise
of commodity culture and their apposition with Constructivist
design in the work of Frederick Kiesler; as well as original
readings of the use of vitrines in Surrealism and Fluxus, and in
work by Joseph Beuys, Paul Thek, Claes Oldenburg and his
collaborators, Jeff Koons, Mike Kelley, Dan Graham, Vito Acconci,
Damien Hirst and Josephine Meckseper, among others. Sculpture and
the Vitrine also raises key questions about the nature and
implications of vitrinous space, including its fronts onto desire
and the spectacle; transparency and legibility; and onto ideas and
practices associated with the archive: collecting, preserving and
ordering.
Beginning with the first comprehensive account of the discourse of
appropriation that dominated the art world in the late 1970s and
1980s, Art After Appropriation suggests a matrix of inflections and
refusals around the culture of taking or citation, each chapter
loosely correlated with one year of the decade between 1989 and
1999. The opening chapters show how the Second World culture of the
USSR gave rise to a new visibility for photography during the
dissolution of the Soviet Union around 1989. Welchman examines how
genres of ethnography, documentary and travel are crossed with
fictive performance and social improvisation in the videos of Steve
Fagin. He discusses how hybrid forms of subjectivity are delivered
by a new critical narcissism, and how the Korean-American artist,
Cody Choi converts diffident gestures of appropriation from the
logic of material or stylistic annexation into continuous
incorporated events. Art After Appropriation also examines the
creation of public art from covert actions and social feedback, and
how bodies participate in their own appropriation. Art After
Appropriation concludes with the advent of the rainbow net, an
imaginary icon that governs the spaces of interactivity,
proliferation and media piracy at the end of the millennium. John
Welchman is Professor of Modern Art History, Theory and Criticism
at the University of California, San Diego. He is the author of
Modernism Relocated (1995) and Invisible Colors (1997); and editor
of Rethinking Borders (1996), and a forthcoming three-volume
anthology of the writings of LA artist MIke Kelley. Welchman has
contributed to numerous journals, magazines, museum catalogues and
newspapers, including Artforum; New York Times; Los Angeles Times;
International Herald Tribune; Los Angeles County Museum of Art;
Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia,
Madrid; Haus der Kunst, Munich
A study and a guidance device, the first book on the Royal Book
Lodge (RBL) is the culmination of a three-year exploration by
renowned art historian John C. Welchman. It examines the
contribution of the RBL to an array of art, film and performance
practices including photography, ceramics, writing, and
publishing—centered on the creation of artist books and the
powerful and wide-ranging dialogue and material experimentations
they engender. The volume unfolds from various cultural and
political geographies, including in the Parisian suburb of
Montreuil which served as an HQ, beginning in 1989; and narratives
of migrations and travels, art-inflected or otherwise, in Iceland,
Paraguay, Eastern Europe, Los Angeles and on the Ligurian coast of
Italy. It unpacks questions caught up in constructs of
autobiography, fiction, ideas and images of remote control, and the
relation of RBL to the aftermath of the Situationist International,
concluding with the RBL’s socially urgent inquiry into
experiences—and culturally pharmacological contestations—of
violence. Royal Book Lodge The Royal Book Lodge emerged from a
collaboration between artists Juli Susin and Veronique Bourgoin in
mid-1980's expanding its Collection and Archive and other
activities after the turn of the millennium with the assistance of
Yasha Gofman. For more than three decades RBL’s projects have
been sparked by a porous but a distractedly nimble network of
artists from France, Germany, Russia, Iceland, Paraguay, and other
locations, working with painting, sculpture, photography, film,
installations, ceramics, writing, publishing, and curating. RBL
affiliates include: Raisa Aid, Kai Althoff, Abel Auer, Linda Bilda,
André Butzer, matali crasset, Les Schlag (Grems, Tex, Virassamy),
Gudny Guðmundsdóttir, Beate Günther, Tobias Hauser, Andy Hope
1930, Hekla Dögg Jónsdóttir, Dorota Jurczak, Bruce Kalberg,
Armin Krämer, Alexandre Kalinkine, Lutz Krüger, Charlet Kugel,
Jean-Louis Leibovitch, Anne Lefebvre, Jochen Lempert, Jonathan
Meese, Birgit Mergele, Anna Parkina, Raymond Pettibon, Jason
Rhoades, Lucia Sotnikova, Julia Rublow, Ralph Rumney, Gianfranco
Sanguinetti.
The condition of borders has been crucial to many recent
exhibitions, conferences and publications. But there does not yet
exist a convincing critical frame for the discussion of border
discourses. Rethinking Borders offers just such an introduction. It
develops important contexts in art and architectural theory,
contemporary film-making, criticism and cultural politics, for the
proliferation of 'border theories' and 'border practices' that have
marked a new stage in the debates over postmodernism, cultural
studies and postcolonialism.
Yoshua Okon (Mexico 1970) is a Mexican artist. He is founder of the
art spaces La Panaderia, which ran from 1994 to 2002 and SOMA, both
in the Mexican capital. Okon's work is in the collection of Museum
like the Tate Modern in London, Hammer Museum in Los Angeles, LACMA
in Los Angeles, Jumex in Mexico City or Collection Pierre Huber in
Switzerland to mention a few. Collateral tracks the
politically-engaged video, installation, sculptural and
photographic work of Yoshua Okon. Collateral takes on convergences
and casualties in the neoliberal economy, offering an archeology of
the ruins and damages of global systems of exchange.
The second volume of writings by Los Angeles artist Mike Kelley,
focusing on his own work. What John C. Welchman calls the "blazing
network of focused conflations" from which Mike Kelley's styles are
generated is on display in all its diversity in this second volume
of the artist's writings. The first volume, Foul Perfection,
contained thematic essays and writings about other artists; this
collection concentrates on Kelley's own work, ranging from texts in
"voices" that grew out of scripts for performance pieces to
expository critical and autobiographical writings.Minor Histories
organizes Kelley's writings into five sections. "Statements"
consists of twenty pieces produced between 1984 and 2002 (most of
which were written to accompany exhibitions), including "Ajax,"
which draws on Homer, Colgate- Palmolive, and Longinus to present
its eponymous hero; "Some Aesthetic High Points," an exercise in
autobiography that counters the standard artist bio included in
catalogs and press releases; and a sequence of "creative writings"
that use mass cultural tropes in concert with high art
mannerisms-approximating in prose the visual styles that
characterize Kelley's artwork. "Video Statements and Proposals" are
introductions to videos made by Kelley and other artists, including
Paul McCarthy and Bob Flanagan and Sheree Rose. "Image-Texts"
offers writings that accompany or are part of artworks and
installations. This section includes "A Stopgap Measure," Kelley's
zestful millennial essay in social satire, and "Meet John Doe," a
collage of appropriated texts. "Architecture" features an
discussion of Kelley's Educational Complex (1995) and an interview
in which he reflects on the role of architecture in his work.
Finally, "Ufology" considers the aesthetics and sexuality of space
as manifested by UFO sightings and abduction scenarios.
Commissioned to produce an installation for Mies van der Rohe's
Museum Haus Lange, John Baldessari decided to "rub the building up
the wrong way" with humorous interventions.
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