Explores contemporary art that challenges deadly desires for mastery and dominion. Amid times of emboldened cruelty and perpetual war, Rosalyn Deutsche links contemporary art to three practices that counter the prevailing destructiveness: psychoanalytic feminism, radical democracy, and war resistance. Deutsche considers how art joins these radical practices to challenge desires for mastery and dominion, which are encapsulated in the Eurocentric conception of the human that goes under the name “Man” and is driven by deadly inclinations that Deutsche calls masculinist. The masculinist subject—as an individual or a group—universalizes itself, claims to speak on behalf of humanity, and meets differences with conquest. Analyzing artworks by Christopher D’Arcangelo, Robert Filliou, Hans Haacke, Mary Kelly, Silvia Kolbowski, Barbara Kruger, Louise Lawler, Martha Rosler, James Welling, and Krzysztof Wodiczko, Deutsche illuminates the diverse ways in which they expose, question, and trouble the visual fantasies that express masculinist desire. Undermining the mastering subject, these artworks invite viewers to question the positions they assume in relation to others. Together, the essays in Not-Forgetting, written between 1999 and 2020, argue that this art offers a unique contribution to building a less cruel and violent society.
Rosalyn Deutsche argues for a certain modesty---or perhaps, I should say, a modest uncertainty---with regard to the demands placed upon art in response to war. She brings a deep knowledge of both contemporary art and the psychoanalytic literature on war to her study as well as the careful exposition and lucid prose we've come to expect from her work."---Douglas Crimp, author of Melancholia and Moralism: Essays on AIDS and Queer Politics --
The politically engaged work of Martha Rosler is fascinating and provocative; this wide-ranging survey brings timely insights at a moment of resurgence for political activism and feminism.
This is the most comprehensive publication ever produced on the work of American artist Barbara Kruger. Kruger, one of the most influential artists of the last three decades, uses pictures and words through a wide variety of media and sites to raise issues of power, sexuality, and representation. Her works include photographic prints on paper and vinyl, etched metal plates, sculpture, video, installations, billboards, posters, magazine and book covers, T-shirts, shopping bags, postcards, and newspaper op-ed pieces. This book serves as the catalog for the first major one-person exhibition of Kruger's work to be mounted in the United States. The book, designed by Lorraine Wild in collaboration with the artist, contains texts by Rosalyn Deutsche, Katherine Dieckmann, Ann Goldstein, Steven Heller, Gary Indiana, Carol Squiers, and Lynne Tillman on subjects associated with Kruger's work, including photography, graphic design, public space, power, and representation, as well as an extensive exhibition history, bibliography, and checklist of the exhibition. The cover features a new piece by Kruger, entitled Thinking of You,created especially for the catalog. The exhibition was organized by Ann Goldstein, curator at The Museum of Contemporary Art, Los Angeles. Copublished with The Museum of Contemporary Art, Los Angeles. EXHIBITION SCHEDULE: Museum of Contemporary Art, Los Angeles October 17, 1999-February 13, 2000 Whitney Museum of American Art New York City July 13-October 22, 2000
In his work, Yorgos Sapountzis appropriates public space and the statues, monuments, and memorials that inhabit it. The Athens-born artist concentrates less on their historical-political meanings and much more on their function as a medium of recollection. Sapountzis consciously tries to ignore historical information about the sculptures and instead allows them to "speak" through their gestures, poses, and ornaments. Like an anthropologist--or parasite--Sapountzis hunts the urban, figurative myths by night or sounds them out for days on end with his camera. He then stages a confrontation, a dialogue, and a "dance," in which the preceding expedition is consolidated to form a theatrical choreography. Sapountzis drapes scarves, makes plaster casts, and builds constructions out of aluminum rods and tape, ensnaring his stone or bronze protagonists, whom he tries to involve in his seemingly futile, exhausting activities. His video camera also records this action. The performance is therefore just as much part of the artistic strategy as the video material produced during the performance. A statue has remembered me gives an in-depth survey of his work in ten chapters from 2000 to the present. It is published on the occasion of his two-part solo exhibition, "Videos and Picnic" at the Ursula Blickle Stiftung (May 19-July 8, 2012) and "The Gadfly Festival" at Westfälischer Kunstverein Münster (June 16-September 2, 2012). Copublished with Ursula Blickle Stiftung and Westfälischer Kunstverein Münster
Explores contemporary art that challenges deadly desires for mastery and dominion. Amid times of emboldened cruelty and perpetual war, Rosalyn Deutsche links contemporary art to three practices that counter the prevailing destructiveness: psychoanalytic feminism, radical democracy, and war resistance. Deutsche considers how art joins these radical practices to challenge desires for mastery and dominion, which are encapsulated in the Eurocentric conception of the human that goes under the name “Man” and is driven by deadly inclinations that Deutsche calls masculinist. The masculinist subject—as an individual or a group—universalizes itself, claims to speak on behalf of humanity, and meets differences with conquest. Analyzing artworks by Christopher D’Arcangelo, Robert Filliou, Hans Haacke, Mary Kelly, Silvia Kolbowski, Barbara Kruger, Louise Lawler, Martha Rosler, James Welling, and Krzysztof Wodiczko, Deutsche illuminates the diverse ways in which they expose, question, and trouble the visual fantasies that express masculinist desire. Undermining the mastering subject, these artworks invite viewers to question the positions they assume in relation to others. Together, the essays in Not-Forgetting, written between 1999 and 2020, argue that this art offers a unique contribution to building a less cruel and violent society.
The politically engaged work of Martha Rosler is fascinating and provocative; this wide-ranging survey brings timely insights at a moment of resurgence for political activism and feminism.
Rosalyn Deutsche argues for a certain modesty---or perhaps, I should say, a modest uncertainty---with regard to the demands placed upon art in response to war. She brings a deep knowledge of both contemporary art and the psychoanalytic literature on war to her study as well as the careful exposition and lucid prose we've come to expect from her work."---Douglas Crimp, author of Melancholia and Moralism: Essays on AIDS and Queer Politics --
It is the year 1914 in rural West Kentucky. Twelve-year old Emma Mae and her ten-year old brother Edward have traveled across the county to visit their church friends Evelyn, aged eight, and her brother Ted, aged eleven. While visiting their large farm, unusual happenings occur, including the disappearance of the family dog and the threat of a kidnapping. As the children search for the missing dog, a strange sound lures them to the top of the farm windmill. When they reach the top, the wind is so strong they are blown off . . . only to land beside a Dutch windmill with four huge blades in the country of Holland! After getting to know a Dutch family there, they discover that there can be danger, even in another part of the world. Will they be able to save the Dutch princess from kidnappers? And what about saving the other "princess" when they return home? IF they return home?
Black women bring a host of influences and ideologies with them to opera -- as well as their spirituality, their strengths and passions. The exclusion of blacks from opera for so many generations impoverished both the artists and the artistic world from which they were barred. Imagine if Leontyne Price had been born 50 years earlier, during a time when she would not have been allowed on an American opera stage. This book not only supplies portraits of the greatest artists for future generations of students of black art and culture, but also rescues from history's shadows the lost legacies of geniuses born too soon. Photos.
The United Nations, whose specialized agencies were the subject of an Appendix to the 1958 edition of Oppenheim's International Law: Peace, has expanded beyond all recognition since its founding in 1945.This volume represents a study that is entirely new, but prepared in the way that has become so familiar over succeeding editions of Oppenheim. An authoritative and comprehensive study of the United Nations' legal practice, this volume covers the formal structures of the UN as it has expanded over the years, and all that this complex organization does. All substantive issues are addressed in separate sections, including among others, the responsibilities of the UN, financing, immunities, human rights, preventing armed conflicts and peacekeeping, and judicial matters. In examining the evolving structures and ever expanding work of the United Nations, this volume follows the long-held tradition of Oppenheim by presenting facts uncoloured by personal opinion, in a succinct text that also offers in the footnotes a wealth of information and ideas to be explored. It is book that, while making all necessary reference to the Charter, the Statute of the International Court of Justice, and other legal instruments, tells of the realities of the legal issues as they arise in the day to day practice of the United Nations. Missions to the UN, Ministries of Foreign Affairs, practitioners of international law, academics, and students will all find this book to be vital in their understanding of the workings of the legal practice of the UN. Research for this publication was made possible by The Balzan Prize, which was awarded to Rosalyn Higgins in 2007 by the International Balzan Foundation.
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.