Mike Kelley: Materialist Aesthetics and Memory Illusions


Book Description

A critical appraisal of Mike Kelley's politics of culture as expressed in his visual art and writings American artist Mike Kelley (1954-2012) was the mastermind behind some of the most bizarre and instantly recognizable artistic projects of the 1990s. Dedicated as he was to visual art, Kelley was also an insightful theorist who wrote prolifically about his own creations as well as the historical context in which he worked. His writing reveals a matrix of deeply felt theories regarding the aesthetics of the 1980s, '90s and 2000s, and his concern with victim culture and repressed memory syndrome. This book presents a new perspective on the life and work of the artist, assessing his personal philosophy via art as well as writing. Art historian Laura López Paniagua places Kelley's work in conversation with the theories of thinkers such as Georges Bataille, Walter Benjamin, Pierre Bourdieu, Sigmund Freud, Jacques Lacan and Maurice Merleau-Ponty. Through Paniagua's transdisciplinary approach, Kelley's oeuvre emerges as a stance based in materialist aesthetics.




Robert Storr


Book Description

'Interviews' collates, in a single volume, the major body of interviews conducted by the revered American critic and curator Robert Storr, encompassing engaging discussions with some of the most renowned names in the artworld over the last two centuries. The book features nearly 30 illustrated interviews with artists and curators, including Gerhard Richter,Alex Katz, Chuck Close, Richard Serra, Gabriel Orozco, Elizabeth Murray, Harald Szleeman, Catherine David and Mike Kelley.The introduction by art historian and curator Francesca Pietropaolo precedes a conversation between herself and Storr in which they dissect the interview as a medium: discussing the ethics involved, the notion of technique and approach, alongside the limitations and difficulties of the process. 'Interviews' presents an important, stimulating chronicle of Storr's most essential discussions with an esteemed cast of interviewees.




Minor Histories


Book Description

The second volume of writings by Los Angeles artist Mike Kelley, focusing on his own work. What John C. Welchman calls the "blazing network of focused conflations" from which Mike Kelley's styles are generated is on display in all its diversity in this second volume of the artist's writings. The first volume, Foul Perfection, contained thematic essays and writings about other artists; this collection concentrates on Kelley's own work, ranging from texts in "voices" that grew out of scripts for performance pieces to expository critical and autobiographical writings.Minor Histories organizes Kelley's writings into five sections. "Statements" consists of twenty pieces produced between 1984 and 2002 (most of which were written to accompany exhibitions), including "Ajax," which draws on Homer, Colgate- Palmolive, and Longinus to present its eponymous hero; "Some Aesthetic High Points," an exercise in autobiography that counters the standard artist bio included in catalogs and press releases; and a sequence of "creative writings" that use mass cultural tropes in concert with high art mannerisms—approximating in prose the visual styles that characterize Kelley's artwork. "Video Statements and Proposals" are introductions to videos made by Kelley and other artists, including Paul McCarthy and Bob Flanagan and Sheree Rose. "Image-Texts" offers writings that accompany or are part of artworks and installations. This section includes "A Stopgap Measure," Kelley's zestful millennial essay in social satire, and "Meet John Doe," a collage of appropriated texts. "Architecture" features an discussion of Kelley's Educational Complex (1995) and an interview in which he reflects on the role of architecture in his work. Finally, "Ufology" considers the aesthetics and sexuality of space as manifested by UFO sightings and abduction scenarios.




The Uncanny


Book Description

Erweiterte Neuauflage des legendären Arnheim-Katalogs von 1993 in zwei Auflagen: Im März die rein englische Ausgabe anlässlich der Ausstellung in der Tate Liverpool, im Juli 2004 eine Ausgabe mit deutschem Textanhang mit einem zusätzlichen Interview mit Mike Kelley anlässlich der Ausstellung im Museum Moderner Kunst Stiftung Ludwig, Wien. Museum Moderner Kunst, Stiftung Ludwig, Wien, Juli 2004




Rhythm in Art, Psychology and New Materialism


Book Description

This book examines the psychology involved in handling, and responding to, materials in artistic practice, such as oils, charcoal, brushes, canvas, earth, and sand. Artists often work with intuitive, tactile sensations and rhythms that connect them to these materials. Rhythm connects the brain and body to the world, and the world of abstract art. The book features new readings of artworks by Matisse, Pollock, Dubuffet, Tápies, Benglis, Len Lye, Star Gossage, Shannon Novak, Simon Ingram, Lee Mingwei, L. N. Tallur and many others. Such art challenges centuries of philosophical and aesthetic order that has elevated the substance of mind over the substance of matter. This is a multidisciplinary study of different metastable patterns and rhythms: in art, the body, and the brain. This focus on the propagation of rhythm across domains represents a fresh art historical approach and provides important opportunities for art and science to cooperate.




The Visible Word


Book Description

Drucker skillfully traces the development of this critical position, suggesting a methodology closer to the actual practices of the early avant-garde artists based on a rereading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara. Drucker explores the context for experimental typography in terms of printing, handwriting, and other practices concerned with the visual representation of language. Her book concludes with a brief look at the ways in which experimental techniques of the early avant-garde were transformed in both literary work and in applications to commercial design throughout the 1920s and early 1930s.




Martin Soto Climent


Book Description

Tiré du site Internet de Mousse Publishing: ""The equation of desire" is the outcome of Mexican artist Martin Soto Climent's efforts to recognise, name and organise all the relevant and substantial aspects of his own life. Starting from this very personal standpoint, the research soon became an investigation into universal questions of life ; it became a series of diagrams about the human condition and also a series of 366 photographs. All of the photographs emerge from a similar process : Soto Climent rolls-up different pages of vintage photographic yearbooks in such a way that a new and surprising image arises. Being a combination of a number of pictures, the result is reminiscent of a collage, but with one essential distinction : the original pictures are neither damaged nor destroyed by being cut up, but just unravel back into their original shape after the shot. The whole process thus results in an ephemeral picture that will disappear again and only remains in the picture taken by the artist. At the same time, the photographs become samples of hidden and unseen pictures that are contained in what surrounds us, pictures that can come to life by a minimal and reversible human act. They are indeed ciphers for the existence of vast potential in the world, a potential that can be harnessed by human creativity. This artist's book was published on the occasion of the show at Kunsthalle Winterthur, where "The equation of desire" was shown the first time."




Recodings


Book Description

A Village Voice Best Book and a 'lucid and provocative work that allows us to glimpse stirrings and upheavals in the hothouse of modern art.' - Los Angeles Times




How to Teach Art?


Book Description

A cooperative reflection on how to teach art. How should art be taught? What kind of knowledge should artists absorb? How might an ordinary person become a creature addicted to the creative process? In other words, how can a non-artist become an artist? Such programmatic questions articulated by acclaimed Polish artist Artur Żmijewski were at the heart of the workshop "How to Teach Art?" Żmijewski invited a group of graduate and doctoral students from three Zurich universities--the Swiss Federal Institute of Technology, the University of Zurich, and the Zurich University of the Arts--to collectively reflect on their artistic practices. Over the course of four months, the group met several times a week for hourlong sessions, following individual and collective exercises induced by Żmijewski himself. This book retraces the workshop and its process by showing inconclusive, fragmentary results between theory and practice. How to Teach Art? presents drawings, videos, photographs, 16mm films, and accompanying reflections on the central premise, "How to teach art?"




The Second Self


Book Description

In The Second Self, Sherry Turkle looks at the computer not as a "tool," but as part of our social and psychological lives; she looks beyond how we use computer games and spreadsheets to explore how the computer affects our awareness of ourselves, of one another, and of our relationship with the world. "Technology," she writes, "catalyzes changes not only in what we do but in how we think." First published in 1984, The Second Self is still essential reading as a primer in the psychology of computation. This twentieth anniversary edition allows us to reconsider two decades of computer culture-to (re)experience what was and is most novel in our new media culture and to view our own contemporary relationship with technology with fresh eyes. Turkle frames this classic work with a new introduction, a new epilogue, and extensive notes added to the original text. Turkle talks to children, college students, engineers, AI scientists, hackers, and personal computer owners-people confronting machines that seem to think and at the same time suggest a new way for us to think-about human thought, emotion, memory, and understanding. Her interviews reveal that we experience computers as being on the border between inanimate and animate, as both an extension of the self and part of the external world. Their special place betwixt and between traditional categories is part of what makes them compelling and evocative. In the introduction to this edition, Turkle quotes a PDA user as saying, "When my Palm crashed, it was like a death. I thought I had lost my mind." Why we think of the workings of a machine in psychological terms-how this happens, and what it means for all of us-is the ever more timely subject of The Second Self. Book jacket.