1960s Japan was one of the world’s major frontiers of vanguard art. As Japanese artists developed diverse practices parallel to, and sometimes antecedent to, their Western counterparts, they found themselves in a new reality of “international contemporaneity” (kokusaiteki dōjisei). In this book Reiko Tomii examines three key figures in Japanese art of the 1960s who made radical and inventive art in the “wilderness”—away from Tokyo, outside traditional norms, and with little institutional support.
Contemporary engagements with documentary are multifaceted and complex, reaching across disciplines to explore the intersections of politics and aesthetics, representation and reality, truth and illusion. Discarding the old notions of “fly on the wall” immediacy or quasi-scientific aspirations to objectivity, critics now understand documentary not as the neutral picturing of reality but as a way of coming to terms with reality through images and narrative.
Lee Friedlander’s The Little Screens first appeared as a 1963 photo-essay in Harper’s Bazaar, with commentary by Walker Evans. Six untitled photographs show television screens broadcasting eerily glowing images of faces and figures into unoccupied rooms in homes and motels across America. As distinctive a portrait of an era as Robert Frank’s The Americans, The Little Screens grew in number and was not brought together in its entirety until a 2001 exhibition at the Fraenkel Gallery in San Francisco.
Simone Forti’s art developed within the overlapping circles of New York City’s advanced visual art, dance, and music of the early 1960s. Her “dance constructions” and related works of the 1960s were important for both visual art and dance of the era. Artists Robert Morris and Yvonne Rainer have both acknowledged her influence.
Historically, “queer” was the slur used against those who were perceived to be or made to feel abnormal. Beginning in the 1980s, “queer” was reappropriated and embraced as a badge of honor. While queer draws its politics and affective force from the history of non-normative, gay, lesbian, and bisexual communities, it is not equivalent to these categories, nor is it an identity. Rather, it offers a strategic undercutting of the stability of identity and of the dispensation of power that shadows the assignment of categories and taxonomies.
The impact of Andy Warhol on contemporary culture is incalculable. Painter, sculptor, printmaker, filmmaker, publisher, TV personality, socialite, diarist, graphic artist, collector, curator, illustrator, rock impresario, photographer, model, and author, he was a pioneer in virtually every medium in which he worked. From blotted-line advertising illustrations for I.
The multiple platforms of the digital era have not diminished the role of the magazine for artists as an alternative medium and experimental space. Whether printed on paper or electronically generated, the artist’s magazine continues to be a place where new ideas and forms can be imagined as well as a significant site of artistic production. Intrinsically collaborative, including readers’ active engagement, the magazine is an inherently open form that generates constantly evolving relationships.
Contemporary art in the early twenty-first century is often discussed as if the very idea of art that is contemporary is new. Yet all works of art were once contemporary. In What Was Contemporary Art? Richard Meyer reclaims the contemporary from historical amnesia, and gives the contemporary its own art history.
Celebrated nineteenth-century photographer—and writer, actor, caricaturist, inventor, and balloonist—Félix Nadar published this memoir of his photographic life in 1900 at the age of eighty. Composed as a series of vignettes (we might view them as a series of “written photographs”), this intelligent and witty book offers stories of Nadar’s experiences in the early years of photography, memorable character sketches, and meditations on history. It is a classic work, cited by writers from Walter Benjamin to Rosalind Krauss. This is its first and only complete English translation.
This book is the generously illustrated, lavishly documented, critically narrated story of one of the most significant art collectives of the late twentieth century.
In 1984, three groups of artists in post-Tito Yugoslavia—the music and multimedia group Laibach, the visual arts group Irwin, and the theater group Scipion Nasice Sisters Theater—came together to form the Neue Slowenische Kunst (NSK) art collective.