Artist's Statements/Manifestos and Marketing

The first anthology of its kind, Manifesto features over two hundred artistic and cultural manifestos from a wide range of countries. The manifesto, a public statement that sets forth the tenets of a forthcoming, existing, or potential movement or "ism"—or that plays on the idea of one—became in various modernisms a crucial and forceful vehicle for artists, writers, and other intellectuals to express their ideas about the direction of aesthetics and society. Included in this collection are texts ranging from Kurt Schwitters's Cow Manifesto to those written in the name of well-known movements—imagism, cubism, surrealism, symbolism, vorticism, projectivism—and less well-known ones—lettrism, acmeism, concretism, rayonism. Also covered are expressionist, Dada, and futurist movements from French, Italian, Russian, Spanish, and Latin American perspectives, as well as local movements, such as Brazilian hallucinism. Influential, startling, unsettling, amusing, and continually engaging, these modernist manifestos give voice to a fascinating array of ideas and opinions that will prove invaluable to scholars and students of nineteenth and twentieth-century art, literature, and culture.

"A biographical and critical guide to painters, sculptors, photographers, and architects from the beginning of the modern era to the present."

Ambitious and interdisciplinary, this long-awaited collaboration is a landmark presentation of the writings of contemporary artists. These influential essays, interviews, and critical and theoretical comments provide bold and fertile insights into the construction of visual knowledge. Featuring a wide range of leading and emerging artists since 1945, the collection—while comprehensive and authoritative—offers the reader some eclectic surprises as well. Included here are texts that have become pivotal documents in contemporary art, along with writings that cover unfamiliar ground. Some are newly translated, others have never before been published. Together they address visual literacy, cultural studies, and the theoretical debates regarding modernism and postmodernism. The full panoply of visual media is represented, from painting and sculpture to environments, installations, performance, conceptual art, video, photography, and virtual reality. Thematic concerns range from figuration and process to popular culture, art and technology, and politics and the media. Contemporary issues of gender, race, class, and sexuality are also addressed. Kristine Stiles's general introduction is a succinct overview of artists' theories in the evolution of contemporary discourse around art. Introductions to each chapter provide synopses of the cultural contexts in which the texts originated and brief biographies of individual artists. The text is augmented by outstanding photographs, many of artists in their studios, and vivid, contemporary art images. Reflecting the editors' shared belief that artists' own theories provide unparalleled access to visual knowledge, this book, like its distinguished predecessors, Hershel Chipp's Theories of Modern Art (with Peter Selz and Joshua Taylor) and Joshua Taylor's Nineteenth-Century Theories of Art, will be an invaluable resource for anyone interested in contemporary art. "In New York in 1915 I bought at a hardware store a snow shovel on which I wrote 'in advance of the broken arm.' It was around that time that the word 'readymade' came to mind to designate this form of manifestation."—Marcel Duchamp (1961) "Women have always collected things and saved and recycled them because leftovers yielded nourishment in new forms. The decorative functional objects women made often spoke in a secret language, bore a covert imagery. When we read these images in needlework, in paintings, in quilts, rugs and scrapbooks, we sometimes find a cry for help, sometimes an allusion to a secret political alignment, sometimes a moving symbol about the relationships between men and women."—Miriam Schapiro and Melissa Meyer (1978) "I want to create a fusion of art and life, Asia and America, Duchampiana modernism and Levi-Straussian savagism, cool form and hot video, dealing with all of those complex problems, spanning the tribal memory of the Nomadic Asians who crossed over the Bering Strait over 10,000 years ago."—Shigeko Kubota (1976) "Black for me is a lot more peaceful and gentle than white. White marble may be very beautiful, but you can't read anything on it. I wanted something that would be soft on the eyes, and turn into a mirror if you polished it. The point is to see yourself reflected in the names. Also the mirror image doubles and triples the space."—Maya Lin (1983) "Artists often depend on the manipulation of symbols to present ideas and associations not always apparent in such symbols. If all such ideas and associations were evident there would be little need for artists to give expression to them. In short, there would be no need to make art."—Andres Serrano (1989)

A unique book presents Art's main stream between 1950 and1959 in New York and across the US regardless of race, gender or ethnic origin.

Art After Conceptual Art tracks the various legacies of conceptualist practice overthe past three decades. This collection of essays by art historians from Europe and the Americasintroduces and develops the idea that conceptual art generated several different, and evencontradictory, forms of art practice. Some of these contested commonplace assumptions of what artis; others served to buttress those assumptions. The bulk of the volume features newly written andhighly innovative essays challenging standard interpretations of the legacy of conceptualism anddiscussing the influence of conceptualism's varied practices on art since the 1970s. The essaysexplore topics as diverse as the interrelationships between conceptualism and institutionalcritique, neoexpressionist painting and conceptualist paradigms, conceptual art's often-ignoredcomplicity with design and commodity culture, the specific forms of identity politics taken up bythe reception of conceptual art, and conceptualism's North/South and East/West dynamics. A few textsthat continue to be crucial for critical debates within the fields of conceptual and postconceptualart practice, history, and theory have been reprinted in order to convey the vibrant and ongoingdiscussion on the status of art after conceptual art. Taken together, the essays will inspire anexploration of the relationship between postconceptualist practices and the beginnings ofcontemporary art.Distributed for the Generali Foundation, Vienna

This book, the first full-size illustrated survey of digital art, presents the work of over a hundred artists from all over the world. Following an introduction that traces the history of digital art, it goes on to consider all the major genres, from digital imaging, installation and animation to the more nebulous worlds of software and net art.

This anthology has been significantly expanded for this edition to include a wider range of contemporary issues. The most important addition is a new section on multicultural theory, including important and controversial selections ranging from discussions of art in other cultures to discussions of the appropriation of nonWestern art in Western cultures. The material from Kant's Critique of Judgment has been expanded to include his writing on aesthetical ideas and the sublime. The selections from Derrida have been updated and considerably expanded for this edition, primarily from The Truth in Painting. One of Derrida's most interesting provocations has also been added, his letter to Peter Eisenman on architecture. In addition, the section on feminist theory now includes a chapter from Irigaray's Speculum of the Other Woman. The anthology includes the most important writings on the theory of art in the Western tradition, including selections from Plato, Aristotle, Hume, Kant, Hegel, and Nietzsche; the most important philosophical writings of the last hundred years on the theory of art, including selections from Collingwood, Langer, Goodman, Heidegger, and Merleau-Ponty; contemporary Continental writings on art and interpretation, including selections from Gadamer, Ricoeur, Derrida, Lyotard, and Foucault; also writings on the psychology of art by Freud and Jung, from the Frankfurt School by Benjamin, Adorno, and Marcuse, in feminist theory, multiculturalism, and postmodernism. The anthology also includes twentieth-century writings by artists including discussions of futurism, suprematism, and conceptual art. Stephen David Ross is Professor of Philosophy and Comparative Literature, State University of New York at Binghamton.

General statement by Henry Moore, Jaques Villon, Lucio Costa, and George Rouault.

"This volume is a complete history of the Bauhaus and includes the "Bauhaus Manifesto.""

Originally published in 1975, this collection of Donald Judd's writings is now a sought-after classic. His uncompromising reviews avoid the familiar generalizations so often associated with artistic styles emerging during the 1950s and 60s. Here, Judd discusses in detail the work of more than 500 artists showing in New York at that time, and provides a critical account of this significant era in American art. While addressing the social and political ramifications of art production, the writings focus on the work of Jackson Pollock, Kazimir Malevich, Barnett Newman, Ad Reinhardt, John Chamberlain, Larry Poons, Kenneth Noland and Claes Oldenburg. His 1965 "Specific Objects" essay, a discussion of sculptural thought in the 60s, is included alongside the notorious polemical essay "Imperialism, Nationalism, Regionalism" and much else.

"Compared to other avant-garde movements that emerged in the 1960s, conceptual art has received relatively little serious attention by art historians and critics of the past twenty-five years—in part because of the difficult, intellectual nature of the art. This lack of attention is particularly striking given the tremendous influence of conceptual art on the art of the last fifteen years, on critical discussion surrounding postmodernism, and on the use of theory by artists, curators, critics, and historians. This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the movement. It also contains more recent memoirs by participants, as well as critical histories of the period by some of today's leading artists and art historians. Many of the essays and artists' statements have been translated into English specifically for this volume. A good portion of the exchange between artists, critics, and theorists took place in difficult-to-find limited-edition catalogs, small journals, and private correspondence. These influential documents are gathered here for the first time, along with a number of previously unpublished essays and interviews. Contributors: Alexander Alberro, Art & Language, Terry Atkinson, Michael Baldwin, Robert Barry, Gregory Battcock, Mel Bochner, Sigmund Bode, Georges Boudaille, Marcel Broodthaers, Benjamin Buchloh, Daniel Buren, Victor Burgin, Ian Burn, Jack Burnham, Luis Camnitzer, John Chandler, Sarah Charlesworth, Michel Claura, Jean Clay, Michael Corris, Eduardo Costa, Thomas Crow, Hanne Darboven, RaAºl Escari, Piero Gilardi, Dan Graham, Maria Teresa Gramuglio, Hans Haacke, Charles Harrison, Roberto Jacoby, Mary Kelly, Joseph Kosuth, Max Kozloff, Christine Kozlov, Sol LeWitt, Lucy Lippard, Lee Lozano, Kynaston McShine, Cildo Meireles, Catherine Millet, Olivier Mosset, John Murphy, HA©lio Oiticica, Michel Parmentier, Adrian Piper, Yvonne Rainer, Mari Carmen Ramirez, Nicolas Rosa, Harold Rosenberg, Martha Rosler, Allan Sekula, Jeanne Siegel, Seth Siegelaub, Terry Smith, Robert Smithson, Athena Tacha Spear, Blake Stimson, Niele Toroni, Mierle Ukeles, Jeff Wall, Rolf Wedewer, Ian Wilson."

Guillaume Apollinaire's only book on art, The Cubist Painters, was first published in 1913. This essential text in twentieth-century art presents the poet and critic's aesthetic meditations on nine painters: Pablo Picasso, Georges Braque, Jean Metzinger, Albert Gleizes, Marie Laurencin, Juan Gris, Fernand Léger, Francis Picabia, and Marcel Duchamp. As Picasso's closest friend and Marie Laurencin's lover, Apollinaire witnessed the development of Cubism firsthand. This collection of essays and reviews, written between 1905 and 1912, is a milestone in the history of art criticism, valued today as both a work of reference and a classic example of modernist creative writing. In addition to a faithful and fluid translation of Apollinaire's text, Peter Read provides his own scholarly analysis of its importance in the history of modernism. He examines Apollinaire's art criticism, his relationship to the Cubist movement, and, more specifically, the genesis of Cubist Painters through its various revisions and proofs. Supported by all forty-five plates from the original edition, this new volume brings Apollinaire's vitality and vision to life for a new generation.

Brilliantly clarifies the language of Cubism & offers a penetrating analysis of its role in the creation of the major pictorial & sculptural styles of our time.

v. 1. The Middle Ages and the Renaissance.--v. 2. Michelangelo and the Mannerists, the baroque, and the eighteenth century

The artistic map of Europe contains different degrees of detail and resolution.Italy, France, and Spain are presented in fine grain, but the Balkan peninsula is little more than avague outline. England, Germany, and Scandinavia have many features filled in, but to the east ofGermany things are blurred. Until recently, cities like Sofia, Odessa, Skopje, and Belgrade had nextto no definition. Further to the East, Moscow comes into focus, but this is no compensation for theBaltics, sentenced for the last half-century to blank space.In the West, virtually every move of theartist, the art market, and the art public is documented. But in Eastern Europe, no such system ofdocumentation or communication exists. Instead, we encounter systems that are not only inaccessibleto the West, but incongruous from one country to the next. Beside the official art histories thereis often a whole series of stories and legends about "unofficial," unapproved art and artists. EastArt Map: Contemporary Art and Eastern Europe is an ambitious attempt to reconstruct the missinghistories of contemporary art in Eastern Europe from an East European and artistic perspective. Itis perhaps the widest ranging art documentation project ever undertaken by the East on the East,involving a large network of artists, scholars, curators and critics coordinated by the IRWIN groupover several years.The editors invited eminent art critics, curators, and artists to present up toten crucial art projects produced in their respective countries over the past 50 years. The choiceof the particular artworks (many of them reproduced in color), artists, and events, as well as theirpresentation, was left exclusively to the individual selectors. In addition, the editors askedexperts from both East and West to provide longer texts offering cross-cultural perspectives on theart of both regions.Afterall Books are distributed by The MIT Press.

Feminism is one of the most important perspectives from which visual culture has been theorized and historicized over the past forty years. Challenging the notion of feminism as a unified discourse, this second edition of The Feminism and Visual Culture Reader assembles a wide array of writings that address art, film, architecture, popular culture, new media and other visual fields from a feminist perspective. The essays, 40% of which are new to the second edition, are informed by the authors' deep attention to historical, geographical, and disciplinary contexts as well as by cutting edge concerns such as globalization, diasporic cultural shifts, developments in new media technologies, and intersectional identity politics. The Feminism and Visual Culture Reader combines classic texts with six specially commissioned pieces, all by leading feminist critics, historians, theorists, artists, and activists. Articles are grouped into thematic sections, each of which is introduced by the editor. Providing a framework within which to understand the shifts in feminist thinking in visual studies, as well as an overview of major feminist theories of the visual, this reader also explores how issues of race, class, nationality, and sexuality enter into debates about feminism in the field of the visual.

The "Dada Manifesto" written in Zürich on July 14, 1916 as well as other sources on Dadaism.

From Die Brücke to the Expressionism of the thirties, multiple manifestos and writings are represented in this volume.

This anthology surveys five decades of critical response to Jackson Pollock, bringing together essential and hard-to-find texts from newspapers, journals, and catalogues. It includes all of Pollock's statements about his art as well as interviews with his wife, painter Lee Krasner, providing firsthand testimony about his goals and methods. Reviews of Pollock's early exhibitions reveal the intense interest his work aroused even before he arrived at his famous technique of "dripping" paint. Later articles trace the growth of Pollock's myth after his death in 1956 and document the continuing debate over psychological and mythological interpretations of Pollock's work.

Literary Nonfiction. Art History, Theory & Criticism. "In this wonderfully bold and speculative anthology of writings, artists and critics offer a highly persuasive set of argument and pleas for imaginative, socially responsible, and socially responsive public art.... This book will prove as valuable to art and cultural historians and critics as it will be to public policy makers, students and a diverse public audience"—Moira Roth, Mills College. "Energized by ideas and experiences in performance art, community art, installation, social history, and urban planning, artists are creating and invigorating new public art that imbues daily life with meaning and significance"—Richard Andrews, University of Washington.

Twenty-three 20th Century international artists are represented from Karel Appel to Alberto Giacometti to Willem de Kooning.

Pop Art: A Critical History chronicles one of the most controversial art movements of the century. The anthology draws from a great range of sources, from the leading art magazines and art historical journals to newspapers and news magazines such as the New York Times, Life, and Newsweek. What emerges from this rich cross-section of critical and journalistic commentary is a fascinating view of the tumultuous rise of Pop art and its establishment as a major force in contemporary art. A broad selection of articles traces the emergence of the movement itself in England and America, as seen through the eyes of the working critics of the day. The focus then narrows to present in-depth writings on the four major Pop artists: Roy Lichtenstein, Claes Oldenburg, James Rosenquist, and Andy Warhol, along with an examination of many other artists involved in the movement. From reviews of the very first shows of many of these artists to interviews with them, to news stories about their collectors and their lifestyles, Pop Art: A Critical History represents the most complete and coherent record of Pop art yet published. The book concludes with an invaluable chronology of the major '60s exhibitions by Pop artists. Among the contributors are Lawrence Alloway, John Coplans, Donald Judd, Max Kozloff, Gerald Nordland, Peter Plagens, Barbara Rose, Robert Rosenblum, John Russell, Gene Swenson, and Sidney Tillim.

"This text presents documents drawn from the artistic archives of Eastern and Central Europe during the second half of the 20th century."

Since the 1979 publication of The Writings of Robert Smithson, Robert Smithson's significance as a spokesman for a generation of artists has been widely acknowledged and the importance of his thinking to contemporary artists and art critics continues to grow. In addition to a new introduction by Jack Flam, The Collected Writings includes previously unpublished essays by Smithson and gathers hard-to-find articles, interviews, and photographs. Together these provide a full picture of his wide-ranging views on art and culture.

The relationship between the body and electronic technology, extensively theorizedthrough the 1980s and 1990s, has reached a new technosensual comfort zone in the early twenty-firstcentury. In Sensorium, contemporary artists and writers explore the implications of the techno-humaninterface. Ten artists, chosen by an international team of curators, offer their own edgyinvestigations of embodied technology and the technologized body. These range from Matthieu Briand'sexperiment in "controlled schizophrenia" and Janet Cardiff and Georges Bures Miller's uneasypsychological soundscapes to Bruce Nauman's uncanny night visions and François Roche's destabilizedarchitecture. The art in Sensorium--which accompanies an exhibition at the MIT List Visual ArtsCenter--captures the aesthetic attitude of this hybrid moment, when modernist segmentation of thesenses is giving way to dramatic multisensory mixes or transpositions. Artwork by each artistappears with an analytical essay by a curator, all of it prefaced by an anchoring essay on "TheMediated Sensorium" by Caroline Jones. In the second half of Sensorium, scholars, scientists, andwriters contribute entries to an "Abecedarius of the New Sensorium." These short, playful piecesinclude Bruno Latour on "Air," Barbara Maria Stafford on "Hedonics," Michel Foucault (from alittle-known 1966 radio lecture) on the "Utopian Body," Donna Haraway on "Compoundings," and NealStephenson on the "Viral." Sensorium is both forensic and diagnostic, viewing the culture of thetechnologized body from the inside, by means of contemporary artists' provocations, and from adistance, in essays that situate it historically and intellectually.Copublished with The MIT ListVisual Arts Center.

"Documents from the Romantic Symbolists, Literary Symbolism, Post Impressionists and Artists of the Soul are provided; for example Edward Munch's "Saint-Cloud Manifesto" from 1889-90(?)."

Gathers interviews, articles, letters, and manifestos dealing with Postimpressionism, symbolism, fauvism, Expressionism, and cubism.

"Undercover Surrealism is the first major survey of DOCUMENTS, the radical surrealist magazine published in France in 1929 and 1930, and edited by the avant-garde philosopher and novelist Georges Bataille. DOCUMENTS combined an eclectic mixture of art, archaeology, ethnography and popular culture, drawing in many of the greatest writers, poets and artists of the time." (Book Jacket)

Vincent van Goghs letters have long been prized as some of the most valuable documents in the world of art. Not only do they throw light on Van Goghs own complex and intriguing character, they enlighten the whole creative process as seen through his eyes. Now Van Goghs entire existing correspondence is to be published in the most complete edition ever produced, illustrated extensively throughout, and drawing on fifteen years of scholarship and dedicated research. For the first time, all the works to which Van Gogh refers will be shown alongside the letters not only the paintings and drawings that he himself was working on at the time, but also the works of art by others that he mentions. Sketches that Van Gogh made throughout the letters themselves are all reproduced here at full size. In over 900 letters we can observe Van Goghs thoughts and opinions at first hand, as well as his close ties with his brother Theo, his sometimes troubled relationships with friends and fellow artists, his personal doubts and fears, and above all his overriding passion for his art. This edition is not only an immense treasure trove of biographical and art-historical information, it provides a lasting pleasure as a personal written testimony to a life consecrated to art.