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Nancy Spero (born in Cleveland, Ohio, 1926) is a pioneer of
feminist art and a key figure in the New York protest scene of the
1960s and 70s, as highly regarded as famed artists Martha Rosler
and Adrian Piper. With a career spanning over 50 years, Spero
continues even today to engage, question, and defy our current
political, social and cultural scene. Her work has recently been
exhibited throughout the US and Europe, including the last edition
of the "Venice Biennial". This book focuses on the artist's search
to create her own language, featuring the best of her work, from
early student works on paper to her latest presentation at the
Venice Biennial.
The Bijlmer Spinoza-Festival is an artwork, a sculpture, created by
Swiss artist Thomas Hirschhorn in a peripheral borough of
Amsterdam's south-east known as the Bijlmer in 2009. This book
recounts the event through the eyes of its "Ambassador", art
historian Vittoria Martini, who was invited by the artist to be an
eyewitness to the existence of this "precarious" work. A term
Hirschhorn sees as positive and creative: a means of asserting the
importance of the moment and of the place, of asserting the Here
and Now to touch eternity and universality. Appreciating the art
historian's presence as a central element of his sculpture,
Hirschhorn consciously challenged the certainties of the profession
by empowering and activating the role, thus leading Martini to find
a new working methodology that she calls "precarious art history".
Accompanying the readers through her experience of the physical
existence of The Bijlmer Spinoza-Festival, Martini's commentary
leads to the profound understanding of how a work that no longer
exists physically, can live on in the mind- elsewhere, at some
other time-because in the meantime it has become universal.
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
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Mary Kelly, Volume 20 (Paperback)
Mignon Nixon; Contributions by Mary Kelly, Paul H. Smith, Helen Molesworth, Laura Mulvey, …
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Essays and interviews that span Mary Kelly's career highlight the
artist's sustained engagement with feminism and feminist history.
When Mary Kelly's best-known work, Post-Partum Document
(1973-1979), was shown at the Institute of Contemporary Art in
London in 1976, it caused a sensation-an unexpected response to an
intellectually demanding and aesthetically restrained installation
of conceptual art. The reception signaled resistance to the work's
interrogation of feminine identity and the cultural mythologizing
of motherhood. This volume of essays and interviews begins with
this foundational work, offering an early statement by the artist,
a subsequent interview, and an essay situating the work within a
broader broader discourse of art and social purpose in the early
1970s. Throughout, the collection addresses such themes as labor,
war, trauma, and the politics of care, while emphasizing the
artist's sustained engagement with histories of feminism and
generations of feminists. The contributions also consider such
specific works as Kelly's Interim (1984-1989), the subject of a
special issue of October; Gloria Patri (1992), an installation
conceived in response to the first Gulf War; The Ballad of Kastriot
Rexhepi (2001), an extensive project including a 200-foot narrative
executed in the medium of compressed lint and the performance of a
musical score by Michael Nyman; and two recent works, Love Songs
(2005-2007), which explores the role of memory in feminist
politics, and Mimus (2012), a triptych that parodies the House
Un-American Activities Committee's 1962 investigation of the
pacifist group, Women Strike for Peace. Essays and Interviews by
Parveen Adams, Emily Apter, Rosalyn Deutsche, Hal Foster, Margaret
Iversen, Mary Kelly, Helen Molesworth, Laura Mulvey, Mignon Nixon,
Griselda Pollock, Paul Smith
A critical primer on the work of artist Eva Hesse. Eva Hesse's
distinctive process-based art exerted a powerful influence on
minimalist artists of the 1960s and continues to inspire artists
today. Using industrial materials such as latex and fiberglass, she
exploited their flexibility to produce works with an unsettling
psychic and corporeal resonance. Hesse, who was born in Germany in
1936 and raised in New York City, died of cancer in New York in
1970. Eva Hesse focuses on the body of criticism that has developed
since the last major retrospective of Hesse's work, at the Yale
University Art Gallery in 1992. The book's publication coincides
with a major exhibition organized jointly by the San Francisco
Museum of Art and the Wiesbaden Museum. Eva Hesse contains a 1970
interview by Cindy Nemser, a discussion between Mel Bochner and
Joan Simon, and essays by Briony Fer, Rosalind Krauss, Mignon
Nixon, and Anne M. Wagner.
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