Since ’45 details the collision of American history and modern art. Since World War II, New York has been the indisputable center of the art world, and as Katy Siegel shows, it has had a profound influence on the preoccupations that contemporary art would come to have. Tracing art history over the past decades, she shows how anxieties over race, mass culture, the individual, suburbia, apocalypse, and nuclear destruction have supplanted the legacy of European artistic traditions. Siegel’s study encompasses a variety of works, including Rothko’s planes of color, Warhol’s serial silkscreens, Richard Prince’s cowboys, Robert Longo’s Men in Cities, Faith Ringgold’s Black Light, and Laurie Simmons’s dollhouses, and moves fluidly from discussions of artists’ works, art museums, and galleries to cultural influences and significant historical events. Rather than arguing on nationalist grounds or viewing American culture as representative of a now-devalued nation, Siegel explores how American culture dominated not only American artists but created conditions that now, after the full globalization of the art world, affect artists around the world. Since ’45 will interest all readers engaged in post-war and contemporary art in the United States and beyond.
It's a crowded world. Since the nineteenth century, modern art and literature has represented this condition through a variety of themes, such as the city and the mass audience: contemporary discussions often add a new sense of scale or quantity in conceptualizing these ideas. How do artists today conceptualize a mass of people? This book brings together contemporary artists who address the problem in different ways.
For over 20 years Sarah Sze (born 1969) has produced celebrated works of art, synthesizing a near boundless range of everyday materials into intricate constructions that are both delicate and overwhelming. Sze's latest site-specific installation at the Rose Art Museum, Timekeeper, combines sculpture, video and installation into a sprawling experiential work that approaches some of the most complex themes of her career: time's passage and its marking in mechanical and biological forms. The Timekeeper installation was a catalyst for a book which explores major new ideas in Sze's work and practice. The ambitious work is extensively documented here alongside significant new texts on Sze, her work and the experience of time.
This unique 'exhibition in a book' presents some of the most challenging art to deal with the place and function of money in the contemporary world. Arranged into themed 'rooms', it reflects a wide range of artistic attitudes and practices. Some artists depict or use real money directly in their work, while others explore its more abstract aspects, such as the way it circulates around the globe. Some make highly expensive objects from valuable materials or produce sculptural copies of luxury goods, but others go in the opposite direction, towards the amateurish and the handmade, to question the idea of monetary 'value'. Some present art as a usable consumer product like any other and make work that is almost indistinguishable from furniture or architecture, while there are some who produce art about the business of buying and selling commodities, including the commodity of art itself. But for others, however, art provides a means to explore and try out alternative possibilities that might one day challenge or even replace capitalism as we know it.
Charline von Heyl, one of today's most inventive painters, has received international acclaim for her cerebral, yet deeply visceral artworks that upend conventional assumptions about composition, beauty, narrative, design, and artistic subjectivity.Combining keen humour, a rigorous, process-based practice, and references to a broad array of sources including literature, pop culture, metaphysics and personal histories, von Heyl creates paintings that are neither figurative nor abstract, but instead present in her words "a new image that stands for itself as fact."The richly illustrated catalogue has been designed in close collaboration with the artist.English and German text.Accompanies the exhibition 'Charline Von Heyl: Snake Eyes' touring to the following venues: 22 Jun - 23 Sep 2018, Deichtorhallen Hamburg, Germany; 14 Oct 2018 - 13 Jan 2019, Museum Dhondt-Dhaenens, Belgium, and 8 Nov 2018 - 24 Feb 2019, Hirshhorn Museum and Sculpture Garden, Washington DC, USA.
NEW YORK TIMES BESTSELLER “Compelling… this book couldn’t be more timely.” – Jill Abramson, New York Times Book Review From the Recipient of the 2017 Walter Cronkite Award for Excellence in Journalism Called "disgraceful," "third-rate," and "not nice" by Donald Trump, NBC News correspondent Katy Tur reported on—and took flak from—the most captivating and volatile presidential candidate in American history. Katy Tur lived out of a suitcase for a year and a half, following Trump around the country, powered by packets of peanut butter and kept clean with dry shampoo. She visited forty states with the candidate, made more than 3,800 live television reports, and tried to endure a gazillion loops of Elton John’s "Tiny Dancer"—a Trump rally playlist staple. From day 1 to day 500, Tur documented Trump’s inconsistencies, fact-checked his falsities, and called him out on his lies. In return, Trump repeatedly singled Tur out. He tried to charm her, intimidate her, and shame her. At one point, he got a crowd so riled up against Tur, Secret Service agents had to walk her to her car. None of it worked. Facts are stubborn. So was Tur. She was part of the first women-led politics team in the history of network news. The Boys on the Bus became the Girls on the Plane. But the circus remained. Through all the long nights, wild scoops, naked chauvinism, dodgy staffers, and fevered debates, no one had a better view than Tur. Unbelievable is her darkly comic, fascinatingly bizarre, and often scary story of how America sent a former reality show host to the White House. It’s also the story of what it was like for Tur to be there as it happened, inside a no-rules world where reporters were spat on, demeaned, and discredited. Tur was a foreign correspondent who came home to her most foreign story of all. Unbelievable is a must-read for anyone who still wakes up and wonders, Is this real life?
Massively enjoyable' Dawn French I Carried a Watermelon is a love story to Dirty Dancing. A warm, witty and accessible look at how Katy Brand's life-long obsession with the film has influenced her own attitudes to sex, love, romance, rights and responsibilities. It explores the legacy of the film, from pushing women's stories to the forefront of commercial cinema, to its 'Gold Standard' depiction of abortion according to leading pro-choice campaigners, and its fresh and powerful take on the classic 'coming of age' story told from a naïve but idealistic 17-year-old girl's point of view. Part memoir based on a personal obsession, part homage to a monster hit and a work of genius, Katy will explore her own memories and experiences, and talk to other fans of the film, to examine its legacy as a piece of filmmaking with a social agenda that many miss on first viewing. One of the most celebrated and viewed films ever made is about to have the time of its life.
Since ’45 details the collision of American history and modern art. Since World War II, New York has been the indisputable center of the art world, and as Katy Siegel shows, it has had a profound influence on the preoccupations that contemporary art would come to have. Tracing art history over the past decades, she shows how anxieties over race, mass culture, the individual, suburbia, apocalypse, and nuclear destruction have supplanted the legacy of European artistic traditions. Siegel’s study encompasses a variety of works, including Rothko’s planes of color, Warhol’s serial silkscreens, Richard Prince’s cowboys, Robert Longo’s Men in Cities, Faith Ringgold’s Black Light, and Laurie Simmons’s dollhouses, and moves fluidly from discussions of artists’ works, art museums, and galleries to cultural influences and significant historical events. Rather than arguing on nationalist grounds or viewing American culture as representative of a now-devalued nation, Siegel explores how American culture dominated not only American artists but created conditions that now, after the full globalization of the art world, affect artists around the world. Since ’45 will interest all readers engaged in post-war and contemporary art in the United States and beyond.
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.