Taking aim at the mostly male bastion of art theory and criticism, Mira Schor brings a maverick perspective and provocative voice to the issues of contemporary painting, gender representation, and feminist art. Writing from her dual perspective of a practicing painter and art critic, Schor's writing has been widely read over the past fifteen years in Artforum, Art Journal, Heresies, and M/E/A/N/I/N/G, a journal she coedited. Collected here, these essays challenge established hierarchies of the art world of the 1980s and 1990s and document the intellectual and artistic development that have marked Schor's own progress as a critic. Bridging the gap between art practice, artwork, and critical theory, Wet includes some of Schor's most influential essays that have made a significant contribution to debates over essentialism. Articles range from discussions of contemporary women artists Ida Applebroog, Mary Kelly, and the Guerrilla Girls, to "Figure/Ground," an examination of utopian modernism's fear of the "goo" of painting and femininity. From the provocative "Representations of the Penis," which suggests novel readings of familiar images of masculinity and introduces new ones, to "Appropriated Sexuality," a trenchant analysis of David Salle's depiction of women, Wet is a fascinating and informative collection. Complemented by over twenty illustrations, the essays in Wet reveal Schor's remarkable ability to see and to make others see art in a radically new light.
A Decade of Negative Thinking brings together writings on contemporary art and culture by the painter and feminist art theorist Mira Schor. Mixing theory and practice, the personal and the political, she tackles questions about the place of feminism in art and political discourse, the aesthetics and values of contemporary painting, and the influence of the market on the creation of art. Schor writes across disciplines and is committed to the fluid interrelationship between a formalist aesthetic, a literary sensibility, and a strongly political viewpoint. Her critical views are expressed with poetry and humor in the accessible language that has been her hallmark, and her perspective is informed by her dual practice as a painter and writer and by her experience as a teacher of art. In essays such as “The ism that dare not speak its name,” “Generation 2.5,” “Like a Veneer,” “Modest Painting,” “Blurring Richter,” and “Trite Tropes, Clichés, or the Persistence of Styles,” Schor considers how artists relate to and represent the past and how the art market influences their choices: whether or not to disavow a social movement, to explicitly compare their work to that of a canonical artist, or to take up an exhausted style. She places her writings in the rich transitory space between the near past and the “nextmodern.” Witty, brave, rigorous, and heartfelt, Schor’s essays are impassioned reflections on art, politics, and criticism.
A Decade of Negative Thinking brings together writings on contemporary art and culture by the painter and feminist art theorist Mira Schor. Mixing theory and practice, the personal and the political, she tackles questions about the place of feminism in art and political discourse, the aesthetics and values of contemporary painting, and the influence of the market on the creation of art. Schor writes across disciplines and is committed to the fluid interrelationship between a formalist aesthetic, a literary sensibility, and a strongly political viewpoint. Her critical views are expressed with poetry and humor in the accessible language that has been her hallmark, and her perspective is informed by her dual practice as a painter and writer and by her experience as a teacher of art. In essays such as “The ism that dare not speak its name,” “Generation 2.5,” “Like a Veneer,” “Modest Painting,” “Blurring Richter,” and “Trite Tropes, Clichés, or the Persistence of Styles,” Schor considers how artists relate to and represent the past and how the art market influences their choices: whether or not to disavow a social movement, to explicitly compare their work to that of a canonical artist, or to take up an exhausted style. She places her writings in the rich transitory space between the near past and the “nextmodern.” Witty, brave, rigorous, and heartfelt, Schor’s essays are impassioned reflections on art, politics, and criticism.
Taking aim at the mostly male bastion of art theory and criticism, Mira Schor brings a maverick perspective and provocative voice to the issues of contemporary painting, gender representation, and feminist art. Writing from her dual perspective of a practicing painter and art critic, Schor's writing has been widely read over the past fifteen years in Artforum, Art Journal, Heresies, and M/E/A/N/I/N/G, a journal she coedited. Collected here, these essays challenge established hierarchies of the art world of the 1980s and 1990s and document the intellectual and artistic development that have marked Schor's own progress as a critic. Bridging the gap between art practice, artwork, and critical theory, Wet includes some of Schor's most influential essays that have made a significant contribution to debates over essentialism. Articles range from discussions of contemporary women artists Ida Applebroog, Mary Kelly, and the Guerrilla Girls, to "Figure/Ground," an examination of utopian modernism's fear of the "goo" of painting and femininity. From the provocative "Representations of the Penis," which suggests novel readings of familiar images of masculinity and introduces new ones, to "Appropriated Sexuality," a trenchant analysis of David Salle's depiction of women, Wet is a fascinating and informative collection. Complemented by over twenty illustrations, the essays in Wet reveal Schor's remarkable ability to see and to make others see art in a radically new light.
India is everywhere - Indian studios produce animated features and special effects for Hollywood movies; Indian software manages our health records; and Indian customer service centres answer our calls. A country of English speakers and a free-market democracy, with the youngest population on Earth, India is not only the fastest growing market for the next new thing, but a source for the technological innovation that will drive the global economy. Yet, India is also in a race against time to bring the benefits of the twenty-first century to the 800 million Indians who live on less than £1 per day, and it must do so in a way that is environmentally sustainable and politically viable on a scale never before achieved. If India succeeds, it will not only save itself, it may save us all. If it fails, we will all suffer. As goes India, so goes the world. Like CHINA, INC, published in 2006 by S&S, PLANET INDIA will capture and catalyze the growing interest in this rising power. With in-depth research, interviews and provocative analysis, Mira Kamdar offers a penetrating view of India and its cultural and economic impact on the world. From Bollywood to the Indian diaspora to India's effect on global politics she reports on the people, companies and places shaping the new India. Kamdar examines the challenges India faces while celebrating India's tremendous vitality and the opportunities this Asian democracy has to shape its own and all of our destinies.
Current conflicts in both national and international arenas have undermined the natural, organic concept of nationhood as conventionally espoused in the nineteenth century. Conceiving a Nation argues that the modern understanding of the nation as a contested concept—as the product of a fluid and ongoing process of negotiation open to a range of livable solutions—is actually rooted in the Bible. This book draws attention to the contribution that the Bible makes to political discourse about the nation. The Bible is particularly well suited to this open-ended discourse because of its own nature as a text whose ambiguity and laconic quality render it constantly open to new interpretations and applicable to changing circumstances. The Bible offers a pluralistic understanding of different models of political development for different nations, and it depicts altering concepts of national identity over time. In this book, Morgenstern reads the Bible as the source of a dynamic critique of the ideas that are conventionally considered to be fundamental to national identity, treating in successive chapters the ethnic (Ruth), the cultural (Samson), the political (Jotham), and the territorial (Esther). Throughout, she explores a number of common themes, such as the relationship of women to political authority and the “strangeness” of Israelite political existence. In the Conclusion, she elucidates how biblical analysis can aid in recognition of modern claims to nationhood.
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