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Laurie Anderson is one of the most revered artists working today,
and she is as prolific as she is inventive. She is a musician,
performance artist, composer, fiction writer, and filmmaker (her
most recent foray, Heart of a Dog, was lauded as an experimental
marvel by the Los Angeles Times). Anderson moves seamlessly between
the music world and the fine-art world while maintaining her
stronghold in both. A true polymath, her interest in new media made
her an early pioneer of harnessing technology for artistic purposes
long before the technology boom of the last ten years. Regardless
of the medium, however, it is exploration of language (and how it
seeps into the image) and storytelling that is her metier. A few
years ago, Anderson began poring through her extensive archive of
nearly forty years of work, which includes scores of documentation,
notebooks, and sketchbooks. In the process, she rediscovered
important work and looked at well-known projects with a new lens.
In this landmark volume, the artist brings together the most
comprehensive collection of her artwork to date, some of which has
never before been seen or published. Spanning drawing, multimedia
installations, performance, and new projects using augmented
reality, the extensive volume traverses four decades of her
ground-breaking art. Each chapter includes commentary written by
Anderson herself, offering an intimate understanding of her work
through the artist s own words.
Illuminating the photographer's contributions to New York's
Downtown art scene and her acute feminist work Photographer Marcia
Resnick (b. 1950) earned recognition as part of the legendary
Downtown New York art scene of the 1970s and 1980s. Her portraits
of the era's major cultural figures, such as Jean-Michel Basquiat,
John Belushi, and Susan Sontag, have contributed to the scene's
mythic status. Against this backdrop, Resnick also produced a
significant body of work that engaged with the history of art, took
a humorous approach to conceptual art and feminism, and proposed
new ideas for what photography could be. Spanning the artist's
career, this richly illustrated volume explores Resnick's early
influences and education at Cooper Union and CalArts; discusses her
series and photobooks such as See and Re-visions; and situates the
artist's work within the history of contemporary art. An afterword
by Laurie Anderson speaks to the very personal vision of Resnick's
photography. Published in association with the Bowdoin College
Museum of Art, George Eastman Museum, and Minneapolis Institute of
Art Exhibition Schedule: Bowdoin College Museum of Art, Brunswick,
ME (February 24-June 5, 2022) Minneapolis Institute of Art (August
13-December 11, 2022) George Eastman Museum, Rochester, NY
(February 10-June 18, 2023)
Marlene D. Morel is an emotionally troubled Chinese-American
teenage girl growing up in Utopia-Zurich, Switzerland. To avoid her
drunk, abusive father, who is the Swiss version of Oscar Wilde and
her American mother, a has-been soap opera star, who has no
interest in her chubby, slant-eyed daughter, Marlene spends most of
her time hiding inside the warehouse, which houses the family
business, Morel Theatrical Costumier. Preferring life among
mannequins, props and costumes, Marlene has created over the years,
a life of make-believe, where her imagination runs rampant. Trouble
is, unbeknownst to her, she's also created an alter-ego named Bad
Egg who happens to be a 'toon' and who wants to eliminate Marlene's
personality all together. And to make things worse, Bad Egg has
also created an alter-ego in the form of Kali, the Hindu Goddess of
Sex and Destruction who plans on murdering Marlene's abusive
father. Between these three out of control personalities, not to
mention, Marlene's difficult circumstances with both parents, the
poor girl ends up in a mental institution. With the help of a
Jungian psychologist named Dr. Karin Sommerfeldt, Marlene D.
Pig-Ponies is a cross between the films, One Flew Over the Cuckoo's
Nest and American Beauty.
1986's Home of the Brave is the soundtrack to a film consisting of
live pieces debuted during Laurie Anderson's first world tour,
promoting 1984's Mister Heartbreak. Only one song from that album,
a radically reworked version of the William S. Burroughs cameo
'Sharkey's Night,' appears here-the rest of the album is something
of a return to the performance art basis of Anderson's earlier work
like Big Science and United States I-IV. Warner.
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