By juxtaposing issues and problems, Donald Preziosi's latest collection of essays, In the Aftermath of Art, opens up multiple interpretive possibilities by bringing to the surface hidden resonances in the implications of each text.
In re-reading his own writings, Preziosi opens up alternatives to contemporary discourses on art history and visual culture. A critical commentary by critic, historian, and theorist Johanne Lamoureux complements the author's own introduction, mirroring the multiple interpretations within the essays themselves.

Bringing together twenty-nine of Lawrence Alloway 's most influential essays in one volume, this fascinating collection provides valuable perspectives on the art and visual culture of the second half of the twentieth century.

Lawrence Alloway ranks among the most important critics of his time, and his contributions to the spirited and contentious dialogue of his era make for fascinating reading.

These twenty-nine provocative essays from 1956 to 1980 from the man who invented the term pop art bring art, film, iconography, cybernetics and culture together for analysis and investigation, and do indeed examine the context, content and role of the critic in art and visual culture.

Featuring a critical commentary by Richard Kalina, and preface by series editor Saul Ostrow, Imagining the Present will be an enthralling read for all art and visual culture students.

Bringing together twenty-nine of Lawrence Allowaya (TM)s most influential essays in one volume, this fascinating collection provides valuable perspectives on the art and visual culture of the second half of the twentieth century.

Lawrence Alloway ranks among the most important critics of his time, and his contributions to the spirited and contentious dialogue of his era make for fascinating reading.

These twenty-nine provocative essays from 1956 to 1980 from the man who invented the term a ~pop arta (TM) bring art, film, iconography, cybernetics and culture together for analysis and investigation, and do indeed examine the context, content and role of the critic in art and visual culture.

Featuring a critical commentary by Richard Kalina, and preface by series editor Saul Ostrow, Imagining the Present will be an enthralling read for all art and visual culture students.

In his intriguing new book, David Goldblatt examines what he calls "the complex logic of ventriloquism" and its relationship with art, philosophy and the artistic process. In the conversational exchange between ventriloquist and dummy, Goldblatt recognizes a speaking in other voices, illusion without deception, talking to oneself, effacing oneself as speaker, being beside oneself - the ancient Greek notion of Ecstasisi - and the animation of inanimate objects as an unabashed anthropomorphism.
Like ventriloqual dummies, artworks take on personalities, characters of their own, often saying what the artist herself would or could not say in voices distinct from her (our) daily modes of expression. Goldblatt uses ventriloquism as an apt metaphor to help understand a variety of artworld phenomena - how the vocal vacillation between ventriloquist and dummy work is mimicked in the relationship of artist, artwork and audience, including the ways in which artworks are interpreted. Moreover, Goldblatt uses the concept of ventriloquism to generate insights into many of our important philosophers' writings on the arts, discussing the work of Nietzsche, Foucault, Derrida, Cavell, Wittgenstein, among others.
Featuring a critical commentary by Garry L. Hagberg and preface by series editor, Saul Ostrow.

In his intriguing new book, David Goldblatt examines what he calls "the complex logic of ventriloquism" and its relationship with art, philosophy and the artistic process. In the conversational exchange between ventriloquist and dummy, Goldblatt recognizes a speaking in other voices, illusion without deception, talking to oneself, effacing oneself as speaker, being beside oneself - the ancient Greek notion of Ecstasisi - and the animation of inanimate objects as an unabashed anthropomorphism.
Like ventriloqual dummies, artworks take on personalities, characters of their own, often saying what the artist herself would or could not say in voices distinct from her (our) daily modes of expression. Goldblatt uses ventriloquism as an apt metaphor to help understand a variety of artworld phenomena - how the vocal vacillation between ventriloquist and dummy work is mimicked in the relationship of artist, artwork and audience, including the ways in which artworks are interpreted. Moreover, Goldblatt uses the concept of ventriloquism to generate insights into many of our important philosophers' writings on the arts, discussing the work of Nietzsche, Foucault, Derrida, Cavell, Wittgenstein, among others.
Featuring a critical commentary by Garry L. Hagberg and preface by series editor, Saul Ostrow.

Since the mid-1980s, Arthur C. Danto has been increasingly concerned with the implications of the demise of modernism. Out of the wake of modernist art, Danto discerns the emergence of a radically pluralistic art world. His essays illuminate this novel art world as well as the fate of criticism within it. As a result, Danto has crafted the most compelling philosophy of art criticism since Clement Greenberg. Gregg Horowitz and Tom Huhn analyze the constellation of philosophical and critical elements in Danto's new- Hegelian art theory. In a provocative encounter, they employ themes from Kantian aesthetics to elucidate the continuing persistence of taste in shaping even this most sophisticated philosophy of art.

A voice contributing to the discourse on contemporary ethical issues in art and design, this text addresses the relationship of ethics to art and design practice, and the ability of the arts to "matter" in the 20th century "fin de siecle". Leading theoreticians and practitioners of art explore, through informal discussion or the formal essay, issues of political space, user-centred design, the social responsibility of the artist, design legislation, cultural hierarchy, modernism as colonialism, and the ethical opportunities and minefields of postmodernism.

Barry Le Va is back. After more than 10 years without a major exhibition in the United States, a mini-blockbuster of a retrospective at the University of Pennsylvania's Institute for Contemporary Art in early 2005 rescattered Le Va's felt, reimbedded his cleavers in a wall, and rebroke his sheets of plate glass--to extraordinary critical acclaim. Now, to complement that exhibition and for insight into a mind that has remained consistently true to a renegade vision for some 35 years, we have a collection of writings, studies, notes, drawings, sketches, and more from a cult artist who has influenced a younger generation that includes Jason Rhoades, Cady Noland, Karen Kilimnik, and Rirkrit Tiravanija. The book brings together for the first time in one place three major early interviews, and adds a new one with Christophe Cherix.

By juxtaposing issues and problems, Donald Preziosi's latest collection of essays, In the Aftermath of Art, opens up multiple interpretive possibilities by bringing to the surface hidden resonances in the implications of each text.
In re-reading his own writings, Preziosi opens up alternatives to contemporary discourses on art history and visual culture. A critical commentary by critic, historian, and theorist Johanne Lamoureux complements the author's own introduction, mirroring the multiple interpretations within the essays themselves.