Few sites within the university open a richer critical reflection than that of the M.F.A., with its complex crossing of professionalism, theory, humanistic knowledge, and the absolute exposure of practice. Howard Singerman's Art Subjects does a magnificent job of both laying out our current crises, letting us see the shards of past practices embedded in them, and of demonstrating—rendering urgent and discussable—what it now means either to assume or award the name of the artist."—Stephen Melville, author of Seams, editor of Vision and Textuality "Art Subjects is a must read for anyone interested in both the education and status of the visual artist in America. With careful attention to detail and nuance, Singerman presents a compelling picture of the peculiarly institutional myth of the creative artist as an untaught and unteachable being singularly well adapted to earn a tenure position at a major research university. A fascinating study, thoroughly researched yet oddly, and movingly, personal."—Thomas Lawson, Dean, Art School, CalArts
Nearly every artist under the age of fifty in the United States today has a Master of Fine Arts degree. Howard Singerman's thoughtful study is the first to place that degree in its proper historical framework and ideological context. Arguing that where artists are trained makes a difference in the forms and meanings they produce, he shows how the university, with its disciplined organization of knowledge and demand for language, played a critical role in the production of modernism in the visual arts. Now it is shaping what we call postmodernism: like postmodernist art, the graduate university stresses theory and research over manual skills and traditional techniques of representation. Singerman, who holds an M.F.A. in sculpture as well as a Ph.D. in Visual and Cultural Studies, is interested in the question of the artist as a "professional" and what that word means for and about the fashioning of artists. He begins by examining the first campus-based art schools in the 1870s and goes on to consider the structuring role of women art educators and women students; the shift from the "fine arts" to the "visual arts"; the fundamental grammar of art laid down in the schoolroom; and the development of professional art training in the American university. Singerman's book reveals the ways we have conceived of art in the past hundred years and have institutionalized that conception as atelier activity, as craft, and finally as theory and performance.
For this in-depth examination of artist Sherrie Levine, Howard Singerman surveys a broad range of sources to assess an artist whose work was understood from the outset to oppose the values of the art world in the 1980s but who, by the end of the decade, was exhibiting in some of the most successful commercial galleries in New York.
A nuanced reading of an artwork that explores a place, transitory and pastoral, where childhood might be lived and imagined differently Sharon Lockhart's Pine Flat (2006) takes its name from a small hamlet in the foothills of the western slope of the Sierra Nevadas, just inside the Giant Sequoia National Monument. The work itself comprises three distinct parts: a set of three photographs of landscapes; a larger set of posed studio portraits of children and young teenagers; and a 138-minute 16-millimeter film, which is itself assembled from twelve ten-minute scenes—each a single immobile take—divided in half by a ten-minute intermission. This volume in Afterall's One Work series offers a nuanced reading of Lockhart's work, with color illustrations from both series of photographs and the film. Art historian Howard Singerman sees in Pine Flat not a straightforward portrait of a community of children or ethnography of a place. Rather, the work explores the possibility of a space for childhood in which children have the right to intimacy, innocence, and interest outside adult narratives. The children in Pine Flat are posed formally and conventionally, but the space they occupy and the identities they construct are their own. Youth culture has long been exploited, to sell itself in order to be sold to; today, the rights of children to their own childhoods are constantly eroded. In Pine Flat, Singerman argues, Lockhart proposes a place, transitory and pastoral, “where childhood might be lived differently, imagined under a different order of power and possibility.”
In the twenty-first century, cities in the United States that had suffered most the shift to a postindustrial era entered a period widely proclaimed as an urban renaissance. From Detroit to Newark to Oakland and elsewhere commentators saw cities rising again. Yet revitalization generated a second urban crisis marked by growing inequality and civil unrest reminiscent of the upheavals associated with the first urban crisis in the mid-twentieth century. The urban poor and residents of color have remained very much at a disadvantage in the face of racially biased capital investments, narrowing options for affordable housing, and mass incarceration. In profiling nine cities grappling with challenges of the twenty-first century, author Howard Gillette, Jr. evaluates the uneven efforts to secure racial and class equity as city fortunes have risen. Charting the tension between the practice of corporate subsidy and efforts to assure social justice, The Paradox of Urban Revitalization assesses the course of urban politics and policy over the past half century, before the COVID-19 pandemic upended everything, and details prospects for achieving greater equity in the years ahead.
For this in-depth examination of artist Sherrie Levine, Howard Singerman surveys a broad range of sources to assess an artist whose work was understood from the outset to oppose the values of the art world in the 1980s but who, by the end of the decade, was exhibiting in some of the most successful commercial galleries in New York.
Civil Society focuses on the processes and politics of dismantling "corporate" (state directed) economies and political systems in the Third World. Howard Wiarda explores how this separation would create a move toward civil societies of free associability and democracy, as well as the limits to and pitfalls of this approach. The book examines case studies from sub-Saharan Africa, East Asia, Latin America, and the Middle East, and includes such critical countries as South Africa, South Korea, Taiwan, Indonesia, Brazil, Mexico, and Egypt.
Based on a survey of early printed books, Used Books describes what readers wrote in and around their books and what we can learn from these marks by using the tools of archaeologists as well as historians and literary critics.
An examination of a 1970s Conceptual art project—advertisements for fictional shows by fictional artists in a fictional gallery—that hoodwinked the New York art world. From the summer of 1970 to March 1971, advertisements appeared in four leading art magazines—Artforum, Art in America, Arts Magazine, and ARTnews—for a group show and six solo exhibitions at the Jean Freeman Gallery at 26 West Fifty-Seventh Street, in the heart of Manhattan's gallery district. As gallery goers soon discovered, this address did not exist—the street numbers went from 16 to 20 to 24 to 28—and neither did the art supposedly exhibited there. The ads were promoting fictional shows by fictional artists in a fictional gallery. The scheme, eventually exposed by a New York Times reporter, was concocted by the artist Terry Fugate-Wilcox as both work of art and critique of the art world. In this book, Christopher Howard brings this forgotten Conceptual art project back into view. Howard demonstrates that Fugate-Wilcox's project was an exceptionally clever embodiment of many important aspects of Conceptualism, incisively synthesizing the major aesthetic issues of its time—documentation and dematerialization, serialism and process, text and image, publishing and publicity. He puts the Jean Freeman Gallery in the context of other magazine-based work by Mel Bochner, Judy Chicago, Yoko Ono, and Ed Ruscha, and compares the fictional artists' projects with actual Earthworks by Walter De Maria, Peter Hutchinson, Dennis Oppenheim, and more. Despite the deadpan perfection of the Jean Freeman Gallery project, the art establishment marginalized its creator, and the project itself was virtually erased from art history. Howard corrects these omissions, drawing on deep archival research, personal interviews, and investigation of fine-printed clues to shed new light on a New York art world mystery.
Spanning 350 years of Jewish experience in this country, A History of the Jews in America is an essential chronicle by the author of The Course of Modern Jewish History. With impressive scholarship and a riveting sense of detail, Howard M. Sachar tells the stories of Spanish marranos and Russian refugees, of aristocrats and threadbare social revolutionaries, of philanthropists and Hollywood moguls. At the same time, he elucidates the grand themes of the Jewish encounter with America, from the bigotry of a Christian majority to the tensions among Jews of different origins and beliefs, and from the struggle for acceptance to the ambivalence of assimilation.
Thanks to DVD, a great number of silent films and early talkies are now available for home viewing. In fact, so many of these wonderful movies can now be purchased, rented or borrowed by classic motion picture fans that an up-to-date reference work to the best (and the middling and the worst) has become essential. In this comprehensive guide, fans and enthusiasts will find not only familiar titles like Lon Chaney's "Phantom of the Opera" or Douglas Fairbanks' "Thief of Bagdad" or Harold Lloyd's "Safety Last"; but the less familiar "Down to the Sea in Ships" (starring a young Clara Bow), "Evangeline" (Dolores Del Rio), "Stella Dallas" (Belle Bennett), "Monsieur Beaucaire" (Rudolph Valentino), Ford Sterling's "The Show-Off," and Al Jolson's "Big Boy," to mention just a few of the many hundreds of titles detailed in this massive book. 440 pages of insightful text! Over 110 wonderful photos!
In The Crisis of American Foreign Policy, noted scholar Howard J. Wiarda argues that the foreign policy of the United States reflects the divisions and dysfunctions we see in our domestic culture and society. This text tackles such critical issues as ethnocentrism in foreign policy as well as U.S. efforts to extend democracy, human rights, and civil society in other countries. Key areas covered include Europe, Asia, Africa, Latin America, and the Middle East. Concise, clearly written, well-organized, challenging, and provocative, this is a text that students and professors alike will appreciate.
The distinguished historian of the Jewish people, Howard M. Sachar, gives us a comprehensive and enthralling chronicle of the achievements and traumas of the Jews over the last four hundred years. Tracking their fate from Western Europe’s age of mercantilism in the seventeenth century to the post-Soviet and post-imperialist Islamic upheavals of the twenty-first century, Sachar applies his renowned narrative skill to the central role of the Jews in many of the most impressive achievements of modern civilization: whether in the rise of economic capitalism or of political socialism; in the discoveries of theoretical physics or applied medicine; in “higher” literary criticism or mass communication and popular entertainment. As his account unfolds and moves from epoch to epoch, from continent to continent, from Europe to the Americas and the Middle East, Sachar evaluates communities that, until lately, have been underestimated in the perspective of Jewish and world history—among them, Jews of Sephardic provenance, of the Moslem regions, and of Africa. By the same token, Sachar applies a master’s hand in describing and deciphering the Jews’ unique exposure and functional usefulness to totalitarian movements—fascist, Nazi, and Stalinist. In the process, he shines an unsparing light on the often widely dissimilar behavior of separate European peoples, and on separate Jewish populations, during the Holocaust. A distillation of the author’s lifetime of scholarly research and teaching experience, A History of the Jews in the Modern World provides a source of unsurpassed intellectual richness for university students and educated laypersons alike.
A guide to 178 classic Hollywood movies from the 1920s and early 1930s, now available on DVD releases from both major and independent USA companies. These films feature both stars like Mary Pickford, Douglas Fairbanks, Clara Bow, Lon Chaney, Louise Brooks, Charles Chaplin, Joan Crawford, Colleen Moore, Harold Lloyd, Gary Cooper, William Powell, Greta Garbo, Rudolph Valentino, Norma Shearer, Buster Keaton, Shirley Temple, Barbara Stanwyck, Ronald Colman, Lillian Gish, Marion Davies, and Wallace Beery, who are still top favorites with movie fans, as well as players like Laura La Plante, Charles Ray, Alice Terry, Pola Negri, Mary Miles Minter, Rod La Rocque, and Mabel Poulton who were also extraordinarily popular in their day. The book is illustrated with 105 well-chosen black-and-white photos from the author's private collection.
A nuanced reading of an artwork that explores a place, transitory and pastoral, where childhood might be lived and imagined differently Sharon Lockhart's Pine Flat (2006) takes its name from a small hamlet in the foothills of the western slope of the Sierra Nevadas, just inside the Giant Sequoia National Monument. The work itself comprises three distinct parts: a set of three photographs of landscapes; a larger set of posed studio portraits of children and young teenagers; and a 138-minute 16-millimeter film, which is itself assembled from twelve ten-minute scenes—each a single immobile take—divided in half by a ten-minute intermission. This volume in Afterall's One Work series offers a nuanced reading of Lockhart's work, with color illustrations from both series of photographs and the film. Art historian Howard Singerman sees in Pine Flat not a straightforward portrait of a community of children or ethnography of a place. Rather, the work explores the possibility of a space for childhood in which children have the right to intimacy, innocence, and interest outside adult narratives. The children in Pine Flat are posed formally and conventionally, but the space they occupy and the identities they construct are their own. Youth culture has long been exploited, to sell itself in order to be sold to; today, the rights of children to their own childhoods are constantly eroded. In Pine Flat, Singerman argues, Lockhart proposes a place, transitory and pastoral, “where childhood might be lived differently, imagined under a different order of power and possibility.”
There is something old-fashioned and sage-like in Walter Howard's poetic voice. I can imagine him reading from a mountaintop-- with the raging elements a backdrop to his words. Howard is a learned man-- and has been an academic for many years-- but his poetry is in the tradition of a true romantic. He uses nature and emotion to find spiritual truth. He embraces beauty-- with all its allure, but is not afraid to reveal its frightening and dark side as well. Howard uses ample doses of levity to pull the fly down on our most cherished traditions and notions, but in the same token he shows a deep respect and affinity for all the things this world has to offer." - Doug Holder, Publisher of Ibbetson Street Press
This anthology of the best of Thomas Howard covers many topics of interest. From litergical reform and sacred architecture, women's ordination and hierachical authority, C.S. Lewis and J.R.R. Tolkien - These and many other topics are tackled by Howard with his characteristic thoughfulness in these articles and speeches that span more than twenty years of his prolific career.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.