Essays by George Baker, Gregg Bordowitz, Aruna D'Souza, Bill Horrigan, Bruce Jenkins, Helen Molesworth and Hamza Walker. Introduction by Sherri Geldin.
Paperback, 7 x 9 in. / 100 pgs / 28 color / 7 bw. | 1/2/2004 | Out of stock $19.95
Published by Badlands Unlimited. By Aruna D'Souza.
In 2017, the Whitney Biennial included a painting by a white artist, Dana Schutz, of the lynched body of a young black child, Emmett Till. In 1979, anger brewed over a show at New York’s Artists Space entitled The Nigger Drawings. In 1969, the Metropolitan Museum of Art’s exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest.
Whitewalling: Art, Race & Protest in 3 Acts reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world—no less than the country at large—has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. Whitewalling takes a critical and intimate look at these three “acts” in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak?
Aruna D’Souza writes about modern and contemporary art, food and culture; intersectional feminisms and other forms of politics; how museums shape our views of each other and the world; and books. Her work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, as well as in publications including the Wall Street Journal, ARTnews, Garage, Bookforum, Momus and Art Practical. D'Souza is the editor of the forthcoming Making it Modern: A Linda Nochlin Reader.
This publication brings together a characteristically wide-ranging group of new works by painter Louise Fishman (born 1939). The paintings in this volume all appear as spontaneous improvisations upon an implied grid, but vary widely in scale (from 4 x 6 inches to 96 inches wide) and method. Paint is troweled, squeezed from the tube, diluted into a wash, pressed on with a sheet of paper and pulled off. The mediums include oil, watercolor, egg tempera, colored pencil, ink and graphite.
The varied nature of Fishman’s work can be explained by a simple statement from the artist herself: “My intention, always, was to not repeat a painting, was to not repeat aspects of paintings. My intention in painting is to keep discovering and to keep changing.”
PUBLISHER Cheim & Read
BOOK FORMAT Hardcover, 10.5 x 10.5 in. / 134 pgs / 48 color.
PUBLISHING STATUS Pub Date 7/24/2018 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2018 p. 118
PRODUCT DETAILS ISBN 9781944316082TRADE List Price: $40.00 CAD $54.00 GBP £35.00
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Published by The Museum of Modern Art, New York. Edited by Cornelia Butler, Alexandra Schwartz. Introductions by Cornelia Butler, Griselda Pollock, Aruna D'Souza.
This landmark survey represents the first effort by a major North American museum to examine its collection by highlighting the production of modern and contemporary women artists. Featuring essays by nearly 50 writers, including both MoMA curators and outside scholars, among them many of the strongest voices in current research on art and gender, this groundbreaking publication presents a variety of generational and cultural perspectives. Modern Women focuses on a diverse range of artists active from the late nineteenth century to the present whose works span the spectrum of mediums and genres in the Museum's collection. Organized chronologically into three sections—“Early Modernism,” “Mid-Century” and “Contemporary”—the book comprises both long and short essays emphasizing new research on women artists within these historical time periods. Subjects include women at the Bauhaus, design collaborations, photographers between the wars, the legacy of Maya Deren, Latin American artists, performance art, architecture, land art, “Riot Grrrls,” African American artists, collage and assemblage in contemporary portraiture as well as essays on individual artists such as Lillian Gish, Sybil Andrews, Diane Arbus, Ida Lupino, Hanne Darboven, Bridget Riley, Ana Mendieta, Louise Bourgeois, Adrian Piper, Nan Goldin, Zaha Hadid, Janet Cardiff and Lin Tianmiao. Heavily illustrated with works from the collection, Modern Women constructs a conversation between past considerations of MoMA's collection and current feminist narratives of art history, putting these varied modes of exploration in productive dialogue.
Art and Writings by Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and Eau de Cologne
Published by Bard College. Edited by Rhea Anastas, Michael Brenson. Foreword by Tom Eccles. Text by Adrian Piper, Kara Walker, Daniela Rossell, Mona Hatoum, Cady Noland, Jenny Holzer, Monika Sprüth, Rhea Anastas, Michael Brenson, Norton Batkin, Johanna Burton, Aruna D'Souza, Pamela Franks, Janet Kraynak, David Levi Strauss, Cuauhtémoc Medina, Ann Reynolds, Hamza Walker.
This radical new study aims to change the way that some of the most influential artists of the past 40 years are seen--all of them women. Emphasizing questions of autonomy, critical intelligence and artistic intention, Witness to Her Art presents works by Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and Eau de Cologne, a magazine published by gallerist Monika Sprüth. The artworks are accompanied by original writings by the artists, contemporaneous criticism and newly commissioned essays by Pamela Franks, Aruna D'Souza, Johanna Burton, David Levi Strauss, Hamza Walker and Cuauhtémoc Medina. The ambitious works presented and interpreted herein invite us to consider the impact of the feminist revolution across generations while rendering obsolete any stigma associated with shows or catalogues limited to women artists. Taking its lead from Conceptualism, feminism, and from its included artists, Witness to Her Art reaches for art history's capacity as a medium of world-making.
PUBLISHER Bard College
BOOK FORMAT Paperback, 8 x 10 in. / 336 pgs / 240 color / 76 bw.
PUBLISHING STATUS Pub Date 3/1/2007 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 67
PRODUCT DETAILS ISBN 9781931493550TRADE List Price: $40.00 CAD $50.00
Published by Wexner Center for the Arts. Essays by George Baker, Gregg Bordowitz, Aruna D'Souza, Bill Horrigan, Bruce Jenkins, Helen Molesworth and Hamza Walker. Introduction by Sherri Geldin.
Image Stream brings together eight gallery-based film and video works, each of which explore the limits of this new medium, returning to narrative and changing conventional modes of viewing. Curator Helen Molesworth in this her first exhibition for the Wexner Art Center has selected works by Kutlug Ataman, Matthew Barney, Tacita Dean, Andrea Fraser, Pierre Huyghe, Neil Jordan, Donald Moffett and Lorna Simpson, each of which is accompanied by an individual short analytical essay. As Molesworth writes in her introduction, “the hygenic isolation of the white cube has slowly, but steadily, been overtaken by an increasingly promiscuous black box. As any turn-of-the-century member of the art public knows, darkened rooms and heavy black curtains signal the omnipresent film and/or video installation.” If an earlier generation of film and video artists were concerned with the formal properties of film, she argues, today's contemporary artists “willingly explore visual forms borrowed from both Hollywood and auteur film, as well as television, MTV, CNN and the theater. This profligate borrowing of mass-media forms has been accompanied by a strong impulse towards narrative.” It is what Molesworth calls this “reciprocity” between art world and mass culture that is a “defining characteristic of contemporary projected images.”
Louise Fishman
Modern Women: Women Artists at The Museum of Modern Art
Witness to Her Art
Image Stream