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Boredom (Paperback)
Tom McDonough
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R521
R412
Discovery Miles 4 120
Save R109 (21%)
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Ships in 12 - 17 working days
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Without boredom, arguably there is no modernity: the current sense
of the word emerged simultaneously with industrialisation, mass
politics and consumerism. From Manet onwards, when art represents
the everyday within modern life, encounters with tedium are
inevitable. And from modernism's retreat into abstraction to
subsequent demands placed on audiences, from the late 1960s to the
present, the viewer's endurance of repetition, slowness or other
forms of monotony has become an anticipated feature of
gallery-going. In contemporary art, boredom is no longer viewed as
a singular experience; rather, it is contingent on diverse social
identifications and cultural positions, and extends from a malign
condition to be struggled against, to an experience to be embraced,
or explored as a site of resistance.In this anthology, the range of
boredoms associated with our neoliberal moment is contextualized in
a long view which encompasses the political critique of boredom in
1960s France; the simultaneous aesthetic embrace in the USA of
silence, repetition or indifference in Fluxus, Pop, Minimalism and
conceptual art; the development of feminist diagnoses of malaise in
art, performance and film; Punk's social critique and its influence
on theories of the postmodern; and the recognition from the end of
the 1980s of a specific form of ennui experienced in former
communist states. Today, with the emergence of new forms of labour
alienation and personal intrusion, deadening forces extend even
further into subjective experience, making the divide between a
critical and an aesthetic use of boredom ever more tenuous.Artists
surveyed include Chantal Akerman, Francis Alys, John Baldessari,
Vanessa Beecroft, Bernadette Corporation, John Cage, Critical Art
Ensemble, Merce Cunningham, Marcel Duchamp, Fischli & Weiss,
Claire Fontaine, Dick Higgins, Jasper Johns, Donald Judd, Ilya
Kabakov, Boris Mikhailov, Robert Morris, John Pilson, Sigmar Polke,
Yvonne Rainer, Robert Rauschenberg, Ad Reinhardt, Gerhard Richter,
Situationist International, Mierle Laderman Ukeles, Andy Warhol,
Faith Wilding, Janet Zweig.Writers include Ina Blom, Nicolas
Bourriaud, Jennifer Doyle, Alla Efimova, Jonathan Flatley, Julian
Jason Haladyn, The Invisible Committee, Jonathan D. Katz, Chris
Kraus, Tan Lin, Sven Lutticken, John Miller, Agne Narusyte, Sianne
Ngai, Peter Osborne, Patrice Petro, Christine Ross, Moira Roth,
David Foster Wallace, Aleksandr Zinovyev.
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Osmos Magazine: Issue 22 (Paperback)
Cay Sophie Rabinowitz; Text written by Stefan Gronert, Leila Grothe, Louis Jaffe, Tom McDonough, …
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R645
R548
Discovery Miles 5 480
Save R97 (15%)
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Ships in 10 - 15 working days
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This collection of essays revisits gender and urban modernity in
nineteenth-century Paris in the wake of changes to the fabric of
the city and social life. In rethinking the figure of the flaneur,
the contributors apply the most current thinking in literature and
urban studies to an examination of visual culture of the period,
including painting, caricature, illustrated magazines, and posters.
Using a variety of approaches, the collection re-examines the
long-held belief that life in Paris was divided according to strict
gender norms, with men free to roam in public space while women
were restricted to the privacy of the domestic sphere. Framed by
essays by Janet Wolff and Linda Nochlin - two scholars whose work
has been central to the investigation of gender and representation
in the nineteenth century - this collection brings together new
methods of looking at visual culture with a more nuanced way of
picturing city life. -- .
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Osmos Magazine 09 (Paperback)
Cay Sophie Rabinowitz, Tom McDonough, Eugenia Bell
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R645
R548
Discovery Miles 5 480
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Ships in 10 - 15 working days
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The Situationist International (SI), led by the revolutionary Guy
Debord, were active throughout the 1950s and 60s. They published
the journal Internationale Situationniste that included many
incendiary texts on politics and art, and were a galvanizing force
in the revolutions of May 1968. The importance of their work has
been felt particularly in their revolutionary analysis of cities.
The SI were responsible for utopian imaginings of the city, where
its alienating effects from its routine use as a site of
consumption and work were banished and it was instead to be turned
into a place of play. Tom McDonough collects all the SI's key work
in this area for an essential one-stop collection. Including such
essential works as 'The Theory of the Derive', 'Formulary for a New
Urbanism', and many previously untranslated texts, the book will
also be strikingly illustrated by the images that were core to the
Situationist project.
The graffiti of the French student and worker uprising of May 1968,
capturing participatory politics in action. Graffiti itself became
a form of freedom. -Julien Besancon, The Walls Have the Floor Fifty
years ago, in 1968, barricades were erected in the streets of Paris
for the first time since the Paris Commune of nearly one hundred
years before. The events of May 1968 began with student protests
against the Vietnam War and American imperialism, expanded to
rebellion over student living conditions and resistance to
capitalist consumerism. An uprising at the Sorbonne was followed by
wildcat strikes across France, uniting students and workers and
bringing the country's economy to a halt. There have been many
accounts of these events. This book tells the story in a different
way, through the graffiti inscribed by protestors as they
protested. The graffiti collected here is by turns poetic, punning,
hopeful, sarcastic, and crude. It quotes poets as often as it does
political thinkers. Many wrote "I have nothing to write," signaling
not their naivete but their desire to participate. Other anonymous
declarations included "Prohibiting prohibited"; "The dream is
reality"; "The walls have ears. Your ears have walls";
"Exaggeration is the beginning of invention"; "Comrades, you're
nitpicking"; "You don't beg for the right to live, you take it";
and "I came/I saw/I believed." A meeting is called at the Grand
Amphitheater of the Sorbonne: "Agenda: the worldwide revolution."
This was interactive, participatory politics before Twitter and
Facebook. Although the revolution of May 1968 didn't topple the
government (Charles de Gaulle fled the country, only to return; in
June, his party won a resounding electoral mandate), it made
history. In The Walls Have the Floor, Julien Besancon collected
traces of this history before the walls were painted over, and
published this collection in July 1968 even as the paint was
drying. Read today, the graffiti of 1968 captures, in a way no
conventional history can, the defining spontaneity of the events.
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Eileen Quinlan: Good Enough (Hardcover)
Eileen Quinlan; Edited by Cay Sophie Rabinowitz; Text written by Mark Godfrey, Tom McDonough
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R1,669
R1,362
Discovery Miles 13 620
Save R307 (18%)
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Critical texts, translations, documents, and photographs on the
work of the Situationist International. This volume is a revised
and expanded version of a special issue of the journal October
(Winter 1997) that was devoted to the work of the Situationist
International (SI). The first section of the issue contained
previously unpublished critical texts, and the second section
contained translations of primary texts that had previously been
unavailable in English. The emphasis was on the SI's profound
engagement with the art and cultural politics of their time
(1957-1972), with a strong argument for their primarily political
and activist stance by two former members of the group, T. J. Clark
and Donald Nicholson-Smith. Guy Debord and the Situationist
International supplements both sections. It reprints important,
hard to find essays by Giorgio Agamben, Libero Andreotti, Jonathan
Crary, Thomas Y. Levin, Greil Marcus, and Tom McDonough and doubles
the number of translations of primary texts, which now encompass a
broader and more representative range of the SI's writings on
culture and language. In a field still dominated by hagiography,
the critical texts were selected for their willingness to confront
critically the history and legacy of the SI. They examine the group
within the broader framework of the historical and neo-avant-gardes
and, beyond that, the postwar world in general. The translations
trace the SI's reflections on the legacy of the avant-garde in art
and architecture, particularly on the linguistic and spatial
significance of montage aesthetics. Many of the translated works
are by Guy Debord (1932-1994), the impresario of the SI, especially
known for his book The Society of the Spectacle.
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