Almost a half-century after Yayoi Kusama debuted her landmark installation Infinity Mirror Room--Phalli’s Field (1965) in New York, the work remains challenging and unclassifiable. Shifting between the Pop-like and the Surreal, the Minimal and the metaphorical, the figurative and the abstract, the psychotic and the erotic, with references to “free love” and psychedelia, it seemed to embody all that the 1960s was about, while at the same time denying the prevailing aesthetics of its time.
Michel Sanouillet's Dada in Paris, published in France in 1965, reintroduced the Dada movement to a public that had largely ignored or forgotten it. Over forty years later, it remains both the unavoidable starting point and the essential reference for anyone interested in Dada or the early twentieth-century avant-garde.
Marcel Duchamp was a famous expatriate, a wanderer, living and working in Paris, New York, and Buenos Aires and escaping from them in turn. But exile, argues T. J. Demos in this innovative reading, is more than a fact in Duchamp's biography. Exile—in the artist's own words, a "spirit of expatriation"—infuses Duchamp's entire artistic practice. Indeed a profound sense of dislocation—from geographical situation, national identity, and cultural conventions—deeply informs the mobile objects and disjunctive spaces of Duchamp's readymades and experimental exhibition installations.
Artists have often taken rational, material existence as a starting point for engagement with metaphysics and mysticism, but no book until now has traced a similar strategy on the part of curators. In Curating Consciousness, Marcia Brennan focuses on one of the transformational figures of twentieth-century curatorial culture, and the main protagonist of this (until now) unacknowledged curatorial practice. James Johnson Sweeney (1900–1986) was hired by Alfred H. Barr, Jr., to be the Director of Painting and Sculpture at the Museum of Modern Art in 1935.
Michael Asher (born in 1943), one of the foremost installation artists of the Conceptual art period, is a founder of site-specific practice. Considered a progenitor of institutional critique, he spearheaded the creation of artworks imbued with a self-conscious awareness of their dependence on the conditions of their exhibition context.
Dan Graham’s Rock My Religion (1982–1984) is a video essay populated by punk and rock performers (Patti Smith, Jim Morrison, Jerry Lee Lewis, and Eddie Cochran) and historical figures (including Ann Lee, founder of the Shakers). It represented a coming together of narrative voice-overs, singing and shouting voices, and jarring sounds and overlaid texts that proposed a historical genealogy of rock music and an ambitious thesis about the origins of North America’s popular culture.
In The Bowery in two inadequate descriptive systems (1974–1975) Martha Rosler bridged the concerns of conceptual art with those of political documentary. The work, a series of twenty-one black-and-white photographs, twenty-four text panels and three blank panels, embraces the codes of the photo-text experiments of the late 1960s and applies them to the social reality of New York’s Lower East Side. The prevailing critical view of The Bowery focuses on its implicit rejection, or critique, of established modes of documentary.
From late medieval reenactments of the Deposition from the Cross to Sol Lewitt’s Buried Cube, Depositions is about taking down images and about images that anticipate being taken down. Foretelling their own depositions, as well as their re-elevations in contexts far from those in which they were made, the images studied in this book reveal themselves to be untimely--no truer to their first appearance than to their later reappearances.
How did a small art college in Nova Scotia become the epicenter of art education--and to a large extent of the postmimimalist and conceptual art world itself--in the 1960s and 1970s? Like the unorthodox experiments and rich human resources that made Black Mountain College an improbable center of art a generation earlier, the activities and artists at Nova Scotia College of Art and Design (aka NSCAD) in the 1970s redefined the means and methods of art education and the shape of art far beyond Halifax.