Outlaw Representation

Author: Richard Meyer
Publisher: Beacon Press
ISBN: 9780807079355
Format: PDF, ePub, Mobi
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Outlaw Representation is a Beacon Press publication.

Outlaw Representation

Author: Richard Meyer
Publisher: Echo Point Books & Media
ISBN: 9781626543171
Format: PDF, ePub, Mobi
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Richard Meyer's Outlaw Representation tells the amazing, often outrageous, story of the battle over censorship and homosexuality in the modern art world. Featuring detailed analysis, biographical information, and artwork from such famous figures as Andy Warhol and Robert Mapplethorpe, this book will educate and enrage lovers of artistic freedom.

Outlaw representation

Author: Richard Meyer
Publisher: Oxford University Press, USA
ISBN:
Format: PDF, Mobi
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From the U.S. Navy's 1934 confiscation of a painting of sailors on shore leave to contemporary culture wars over funding for the arts, conflicts surrounding homosexuality and creative freedom have shaped the history of modern art in America. Richard Meyer's Outlaw Representation tells the charged story of this strife through pioneering analysis of the works of gay artists and the circumstances under which these works have been attacked, suppressed, or censored outright. Focusing on the careers of Paul Cadmus, Andy Warhol, Robert Mapplethorpe, David Wojnarowicz, Gran Fury, and Holly Hughes, Outlaw Representation explores how gay artists responded to the threat of censorship by producing their own "outlaw representations" of homosexuality. Instead of acquiescing to attacks on their work as indecent or obscene, these artists used the outlaw status of homosexuality to propose new forms of social, sexual, and creative life. Richly illustrated, Outlaw Representation includes close to 200 striking images, ranging from the art of celebrated figures such as Andy Warhol and Robert Mapplethorpe to physique-magazine photographs and gay liberation posters. Throughout, images that once provoked censorship now elicit close visual analysis and careful historical investigation. Engagingly written and sweepingly researched, Outlaw Representation promises to be a landmark in the study of twentieth-century American art, politics, and sexuality.

Reading Rembrandt

Author: Mieke Bal
Publisher: Amsterdam University Press
ISBN: 9048504147
Format: PDF, ePub, Docs
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In Reading Rembrandt: Beyond the Word-Image Opposition onderzoekt Mieke Bal de toepasbaarheid van een interdisciplinaire methodiek voor beeldende kunst en literatuur. Door de bestudering van een reeks van kunstanalyses van de werken van "Rembrandt" - van hedendaagse kunstkritieken tot de verschillende wijzen waarop men vroeger de werken van Rembran

Male desire

Author: Jonathan Weinberg
Publisher: Harry N. Abrams
ISBN:
Format: PDF, ePub, Docs
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Surveys the portrayal of the male body throughout the past 150 years, exploring the works of such artists as Thomas Eakins, Robert Mapplethorpe, and Flix Gonzlez-Torres, exploring each artist's contribution in terms of their artistic themes and cultural contexts. 15,000 first printing.

Art and Homosexuality

Author: Christopher Reed
Publisher: Oxford University Press, USA
ISBN: 0195399072
Format: PDF, Docs
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This bold, globe-spanning survey is the first book to thoroughly explore the radical, long-standing interdependence between art and homosexuality. It draws examples from the full range of the Western tradition, including classical, Renaissance, and contemporary art, with special focus on the modern era. It was in the modern period, when arguments about homosexuality and the avant-garde were especially public, that our current conception of the artist and the homosexual began to take shape, and almost as quickly to overlap. Not a chronology of gay or lesbian artists, the book is a fascinating and sophisticated account of the ways two conspicuous identities have fundamentally informed one another. Art and Homosexuality discusses many of modernism's canonical figures--painters like Courbet, Picasso, and Pollock; writers like Whitman and Stein--and issues, such as the rise of abstraction, the avant-garde's relationship to its patrons and the political exploitation of art. It shows that many of the core ideas that define modernism are nearly indecipherable without an understanding of the paired identities of artist and homosexual. Illustrated with over 175 b/w and color images that range from high to popular culture and from Ancient Greece to contemporary America, Art and Homosexuality punctures the platitudes surrounding discussions of both aesthetics and sexual identity and takes our understanding of each in stimulating new directions.

Gay Gotham

Author: Donald Albrecht
Publisher: Skira Rizzoli
ISBN: 9780847849406
Format: PDF, ePub, Mobi
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Uncovering the lost history of gay, lesbian, bisexual, and transgender artists in New York City. Queer people have always flocked to New York seeking freedom, forging close-knit groups for support and inspiration. "Gay Gotham" brings to life the countercultural artistic communities that sprang up over the last hundred years, a creative class whose radical ideas would determine much of modern culture. More than 200 images both works of art, such as paintings and photographs, as well as letters, snapshots, and ephemera illuminate their personal bonds, scandal-provoking secrets at the time and many largely unknown to the public since. Starting with the bohemian era of the 1910s and 1920s, when the pansy craze drew voyeurs of all types to Greenwich Village and Harlem, the book winds through midcentury Broadway as well as Fire Island as it emerged as a hotbed, turns to the post-Stonewall, decade-long wild party that revolved around clubs like the Mineshaft and Studio 54, and continues all the way through the activist mobilization spurred by the AIDS crisis and the move toward acceptance at the century s close. Throughout, readers encounter famous figures, from James Baldwin and Mae West to Leonard Bernstein, and discover lesser-known ones, such as Harmony Hammond, Greer Lankton, and Richard Bruce Nugent. Surprising relationships emerge: Andy Warhol and Mercedes de Acosta, Robert Mapplethorpe and Cecil Beaton, George Platt Lynes and Gertrude Stein. By peeling back the overlapping layers of this cultural network that thrived despite its illicitness, this groundbreaking publication reveals a whole new side of the history of New York and celebrates the power of artistic collaboration to transcend oppression."

Collectivism After Modernism

Author: Blake Stimson
Publisher: U of Minnesota Press
ISBN: 9781452909202
Format: PDF, Mobi
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“Don’t start an art collective until you read this book.” —Guerrilla Girls “Ever since Web 2.0 with its wikis, blogs and social networks the art of collaboration is back on the agenda. Collectivism after Modernism convincingly proves that art collectives did not stop after the proclaimed death of the historical avant-gardes. Like never before technology reinvents the social and artists claim the steering wheel!” —Geert Lovink, Institute of Network Cultures, Amsterdam “This examination of the succession of post-war avant-gardes and collectives is new, important, and engaged.” — Stephen F. Eisenman, author of The Abu Ghraib Effect “Collectivism after Modernism crucially helps us understand what artists and others can do in mushy, stinky times like ours. What can the seemingly powerless do in the face of mighty forces that seem to have their act really together? Here, Stimson and Sholette put forth many good answers.” —Yes Men Spanning the globe from Europe, Japan, and the United States to Africa, Cuba, and Mexico, Collectivism after Modernism explores the ways in which collectives function within cultural norms, social conventions, and corporate or state-sanctioned art. Together, these essays demonstrate that collectivism survives as an influential artistic practice despite the art world’s star system of individuality. Collectivism after Modernism provides the historical understanding necessary for thinking through postmodern collective practice, now and into the future. Contributors: Irina Aristarkhova, Jesse Drew, Okwui Enwezor, Rubn Gallo, Chris Gilbert, Brian Holmes, Alan Moore, Jelena Stojanovi´c, Reiko Tomii, Rachel Weiss. Blake Stimson is associate professor of art history at the University of California Davis, the author of The Pivot of the World: Photography and Its Nation, and coeditor of Visual Worlds and Conceptual Art: A Critical Anthology. Gregory Sholette is an artist, writer, and cofounder of collectives Political Art Documentation/Distribution and REPOhistory. He is coeditor of The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life. “To understand the various forms of postwar collectivism as historically determined phenomena and to articulate the possibilities for contemporary collectivist art production is the aim of Collectivism after Modernism. The essays assembled in this anthology argue that to make truly collective art means to reconsider the relation between art and public; examples from the Situationist International and Group Material to Paper Tiger Television and the Congolese collective Le Groupe Amos make the point. To construct an art of shared experience means to go beyond projecting what Blake Stimson and Gregory Sholette call the “imagined community”: a collective has to be more than an ideal, and more than communal craft; it has to be a truly social enterprise. Not only does it use unconventional forms and media to communicate the issues and experiences usually excluded from artistic representation, but it gives voice to a multiplicity of perspectives. At its best it relies on the participation of the audience to actively contribute to the work, carrying forth the dialogue it inspires.” —BOMB

What was Contemporary Art

Author: Richard Meyer
Publisher: MIT Press
ISBN: 0262135086
Format: PDF, ePub
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Meyer analyzes an undergraduate course taught by Alfred Barr at Wellesley College in 1927 as a key moment in the introduction of works by living artists into the discipline of art history, then turns to a series of exhibitions from the 1930s that put contemporary art in dialogue with premodern works ranging from prehistoric cave pictures to Italian Renaissance paintings. Meyer also treats the controversy that arose in 1948 over the decision by Boston's Institute of Modern Art to change its name to the Institute of Contemporary Art. By retrieving moments in the history of once-current art, Meyer redefines "the contemporary" as a condition of being alive to and alongside other moments, artists, and objects.