William Pope.L


Book Description

An introduction to the work of the controversial visual and performance artist William Pope.L.




Pope.L: Campaign


Book Description

This book is a three-part report on the long-term collaboration between artist Pope.L and curator Dieter Roelstraete which revolves around issues of connectedness, home, and migration, while addressing art's relationship to knowledge. Begun in spring 2016 with an invitation, extended to the artist by Roelstraete and his colleagues Monika Szewczyk and Adam Szymczyk, to participate in the fourteenth edition of documenta, Pope.L's contribution took on the guise of an immersive, seemingly omnipresent sound installation titled Whispering Campaign, consisting of thousands of hours of whispered content-addressing nationhood and borders-broadcast throughout Athens and Kassel using both speakers and live "whisperers." A mere month after the closing of documenta 14 in Kassel, a second chapter of the titular campaign was inaugurated at the University of Chicago's Logan Center for the Arts, revolving centrally around the exhibition and art intervention project Brown People Are the Wrens in the Parking Lot, curated by Yesomi Umolu-a complex, multifaceted enterprise that involved a more or less conventional art exhibit, a DIY media campaign, a thematic library, video interviews, and a series of events ranging from impromptu performances and DJ sets to an expansive program of talks, presentations, and debates. This campaign-cum-exhibition took place at a significant moment in US history dominated by debates over immigration, race, and the plight of the 99 percent-dominated, in a sense, by constant campaigning.




Black People are Cropped


Book Description

William Pope.L is a visual and performance-theatre artist and educator who makes culture out of contraries and confronts issues of race, sex, power, consumerism, and social class.Made with very low-key materials, his extended corpus of drawings deals with




Pope.L


Book Description

Iconoclast and artist Pope.L uses the body, sex, and race as his materials the way other artists might use paint, clay, or bronze. His work problematizes social categories by exploring how difference is marked economically, socially, and politically. Working in a range of media from ketchup to baloney to correction fluid, with a special emphasis on performativity and writing, Pope.L pokes fun at and interrogates American society’s pretenses, the bankruptcy of contemporary mores, and the resulting repercussions for a civil society. Other favorite Pope.L targets are squeamishness about the human body and the very possibility of making meaning through art and its display. Published to accompany his wonderfully inscrutable exhibition Forlesen at the Renaissance Society at the University of Chicago, Pope.L: Showing Up to Withhold is simultaneously an artist’s book and a monograph. In addition to reproductions of a number of his most recent artworks, it includes images of significant works from the past decade, and presents a forum for reflection and analysis on art making today with contributions by renowned critics and scholars, including Lawrie Balfour, Nick Bastis, Lauren Berlant, and K. Silem Mohammad.




Member


Book Description

The first-in depth publication to critically investigate the impact of Pope.L's early performances on his career Pope.L (b. 1955) is a consummate thinker and provocateur whose practice across multiple mediums - including painting, drawing, installation, sculpture, theatre and video - utilizes abjection, humour, endurance, language and absurdity to confront and undermine rigid systems of belief. Spanning works made primarily from 1978 to 2001, member: Pope.L, 1978-2001 features a combination of videos, photographs, sculptural elements, ephemera and live actions. This volume, published in conjunction with an exhibition at The Museum of Modern Art, presents a detailed study of thirteen early works that helped define Pope.L's career. It features essays by curators, artists, filmmakers and art historians, plus an intervieww and artistic interventions by the artist. These components are supplemented by thirteen detailed plate entries that highlight key details of each work. The entries engage performances that are rooted in experimental theatre such as Egg Eating Contest (1990) and Aunt Jenny Chronicles (1991) as well as street interventions such as Thunderbird Immolation a.k.a. Meditation Square Piece (1978), ATM Piece (1996), and The Great White Way: 22 miles, 9 years, 1 street (2001-2009), among others. Together these works highlight the role of that performance has played within a seditious, emphatically interdisciplinary career that has established Pope.L as an influential force in the history of contemporary art.




How to See a Work of Art in Total Darkness


Book Description

Going beyond the 'blackness' of black art to examine the integrative and interdisciplinary practices of Kara Walker, Fred Wilson, Isaac Julien, Glenn Ligon, and William Pope.L—five contemporary black artists in whose work race plays anything but a defining role. Work by black artists today is almost uniformly understood in terms of its "blackness," with audiences often expecting or requiring it to "represent" the race. In How to See a Work of Art in Total Darkness, Darby English shows how severely such expectations limit the scope of our knowledge about this work and how different it looks when approached on its own terms. Refusing to grant racial blackness—his metaphorical "total darkness"—primacy over his subjects' other concerns and contexts, he brings to light problems and possibilities that arise when questions of artistic priority and freedom come into contact, or even conflict, with those of cultural obligation. English examines the integrative and interdisciplinary strategies of five contemporary artists—Kara Walker, Fred Wilson, Isaac Julien, Glenn Ligon, and William Pope.L—stressing the ways in which this work at once reflects and alters our view of its informing context: the advent of postmodernity in late twentieth-century American art and culture. The necessity for "black art" comes both from antiblack racism and resistances to it, from both segregation and efforts to imagine an autonomous domain of black culture. Yet to judge by the work of many contemporary practitioners, English writes, black art is increasingly less able—and black artists less willing—to maintain its standing as a realm apart. Through close examinations of Walker's controversial silhouettes' insubordinate reply to pictorial tradition, Wilson's and Julien's distinct approaches to institutional critique, Ligon's text paintings' struggle with modernisms, and Pope.L's vexing performance interventions, English grounds his contention that to understand this work is to displace race from its central location in our interpretation and to grant right of way to the work's historical, cultural, and aesthetic specificity.




Proto-skin Set


Book Description

Pope.L: Proto-Skin Set explores early works the artist (William) Pope.L (born 1955) made between 1979 and 1994 exploring materiality and language. Published in this volume for the first time are the artist's Proto-Skin Sets, a selection of mixed-media collages and assemblages that the artist began making as a student in the 1970s engaging the social constructions of language, race and gender. Treating language as an image and images as a language, these works anticipate his ongoing project Skin Sets, text-based works that employ language to construct pointed, absurd and layered messages about the vagaries of color. The publication also includes a five-part document from 1979 that is part of an open-ended set of written works titled Communications Devices, and a new interview with the artist conducted by Pope.L's studio administrator Aliza Hoffman and curator Bennett Simpson.




Pope Francis Among the Wolves


Book Description

A behind-the-scenes view of the power struggles within the Vatican and “a look inside the byzantine halls of the institutional Catholic Church.”—Publishers Weekly A journalist who has long covered the Vatican, Marco Politi takes us deep inside the struggle roiling the Roman Curia and the Catholic Church worldwide, beginning with Benedict XVI, the pope who famously resigned in 2013, and intensifying with the unexpected election of Jorge Mario Bergoglio, archbishop of Buenos Aires, now known as Pope Francis. Politi’s account balances the perspectives of Pope Francis’s supporters, Benedict’s sympathizers, and those disappointed members of the laity who feel alienated by the institution’s secrecy, financial corruption, and refusal to modernize. Politi dramatically recounts the sexual scandals that have rocked the church and the accusations of money laundering and other financial misdeeds swirling around the Vatican and the Italian Catholic establishment, and how Pope Francis’s attempts to address these crimes has been met with resistance from entrenched factions. He writes of the decline in church attendance and vocations to the priesthood as the church continues to prohibit divorced and remarried Catholics from receiving Communion. He visits European parishes where women perform the functions of missing male priests—and where the remaining parishioners would welcome the ordination of women, if the church would allow it. Pope Francis’s emphasis on pastoral compassion for all who struggle with the burden of family life has also provoked the ire of traditionalists. He knows from experience what life is like for the poor in South America and elsewhere, and highlights the contrast between the vital, vibrant faith of these parishioners and the disillusionment of European Catholics. As Pope Francis and his supporters are locked in battle with the defenders of the traditional hard line and with ecclesiastical corruption, the future of Catholicism is at stake—and it is far from certain Francis will succeed in saving the institution from decline.




The New American Sport History


Book Description

In The New American Sport History sixteen scholars, many of them among the best known in the field, explore topics as diverse as the historical debate over black athletic superiority, the "selling" of sport in society, the eroticism of athletic activity, sexual fears of women athletes, and the marketing of the marathon. In line with the changing nature of sport history as a field of study, this volume focuses less on "traditional" topics and more on themes of class, gender, race, ethnicity, and national identity, which also define the larger parameters of social and cultural history. It is the first anthology to situation sport history within the broader fields of social history and cultural studies. Contributors are Melvin L. Adelman, William J. Baker, Pamela L. Cooper, Mark Dyreson, Gerald R. Gems, Elliott J. Gorn, Allen Guttmann, Stephen H. Hardy, Peter Levine, Donald J. Mrozek, Michael Oriard, S. W. Pope, Benjamin G. Rader, Steven A. Riess, Nancy L. Struna, and David K. Wiggins.




Michelangelo and the Pope's Ceiling


Book Description

From the acclaimed author of Brunelleschi's Dome and Leonardo and the Last Supper, the riveting story of how Michelangelo, against all odds, created the masterpiece that has ever since adorned the ceiling of the Sistine Chapel. In 1508, despite strong advice to the contrary, the powerful Pope Julius II commissioned Michelangelo Buonarroti to paint the ceiling of the newly restored Sistine Chapel in Rome. Despite having completed his masterful statue David four years earlier, he had little experience as a painter, even less working in the delicate medium of fresco, and none with challenging curved surfaces such as the Sistine ceiling's vaults. The temperamental Michelangelo was himself reluctant: He stormed away from Rome, incurring Julius's wrath, before he was eventually persuaded to begin. Michelangelo and the Pope's Ceiling recounts the fascinating story of the four extraordinary years he spent laboring over the twelve thousand square feet of the vast ceiling, while war and the power politics and personal rivalries that abounded in Rome swirled around him. A panorama of illustrious figures intersected during this time-the brilliant young painter Raphael, with whom Michelangelo formed a rivalry; the fiery preacher Girolamo Savonarola and the great Dutch scholar Desiderius Erasmus; a youthful Martin Luther, who made his only trip to Rome at this time and was disgusted by the corruption all around him. Ross King blends these figures into a magnificent tapestry of day-to-day life on the ingenious Sistine scaffolding and outside in the upheaval of early-sixteenth-century Italy, while also offering uncommon insight into the connection between art and history.




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