From the moment art historian Leo Steinberg championed his work in opposition to Clement Greenberg's rigid formalism, Robert Rauschenberg has played a pivotal role in the development and understanding of postmodern art. Challenging nearly all the prevailing assumptions about the visual arts of his time, he pioneered the postwar revival of collage, photography, silkscreen, technology, and performance.This book focuses on Rauschenberg's work during the critical period of the 1950s and 1960s.
The artist William Pope.L, who teaches at Bates College in Lewiston, Maine, has been producing some of the most original visual and performing art in America for many years. But it was not until the Acting Chairman of the National Endowment for the Arts overturned the recommendations of the NEA's own advisory panel to support this publication and the exhibition it accompanies that Pope.L became the subject of feature articles in the nation's major newspapers. Pope.L became a cause célèbre as a result of the scandal, but he deserved to be known long before that.
Ezra Pound, best known for his Cantos, referred to himself as a "poet and composer" in the 1929 edition of Who's Who. His two BBC radio operas have been obscured by the polemics of his Italian radio broadcasts and his indictment by the United States government for treason during World War II. In this study of Pound's radio operas of the 1930s, Margaret Fisher draws on the unpublished correspondence between Pound and his maverick BBC producer, Edward Archibald Fraser Harding, to reveal a little-known aspect of Pound's career.
Art making and criticism have focused mainly on the visual media. This book, which originally appeared as a special issue of TDR/The Drama Review, explores the myriad aesthetic, cultural, and experimental possibilities of radiophony and sound art. Taking the approach that there is no single entity that constitutes "radio," but rather a multitude of radios, the essays explore various aspects of its apparatus, practice, forms, and utopias. The approaches include historical, political, popular cultural, archeological, semiotic, and feminist.
Puppets and masks are central to some of the oldest worldwide forms of art making and performance, as well as some of the newest. In the twentieth century, French symbolists, Russian futurists and constructivists, Prague School semioticians, and avant-garde artists around the world have all explored the experimental, social, and political value of performing objects.
This multivoiced collection of essays and images presents the perspectives of activists, scholars, artists, and curators from a broad range of constituencies. Challenging traditional disciplinary and cultural boundaries, the book moves beyond any unified feminist historical narrative to present a "relational" feminism of diverse communities, affiliations, and practices. The texts/images partake of many genres: reflective essay, testimonial dialogue, performance piece, digital collage, prose poem, and photomontage.
A good understanding of the nature of a property requires knowing whether that property is relational or intrinsic. Gabriel Segal's concern is whether certain psychological properties—specifically, those that make up what might be called the "cognitive content" of psychological states—are relational or intrinsic. He claims that content supervenes on microstructure, that is, if two beings are identical with respect to their microstructural properties, then they must be identical with respect to their cognitive contents.
Arnie Zane (1948-1988) is best known for his seventeen-year personal and artistic partnership with choreographer Bill T. Jones. Their creative interchange defined each other's artistic vision and led to one of the most celebrated collaborations in late-twentieth-century dance. The Bill T. Jones/Arnie Zane Dance Company continues to bear Zane's name and to be inspired by his spirit.
"An intelligent and readable approach to the digitization of images.... A useful overview of a critical subject."
—New York Times Book Review
Enhanced? Or faked? Today the very idea of photographic veracity is being radically challenged by the emerging technology of digital image manipulation and synthesis: photographs can now be altered at will in ways that are virtually undetectable, and photorealistic synthesized images are becoming increasingly difficult to distinguish from actual photographs.