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Knowing Native Arts
Knowing Native Arts brings Nancy Marie Mithlo’s Native insider perspective to understanding the significance of Indigenous arts in national and global milieus. These musings, written from the perspective of a senior academic and curator traversing a dynamic and at turns fraught era of Native self-determination, are a critical appraisal of a system that is often broken for Native peoples seeking equity in the arts. Mithlo addresses crucial issues, such as the professionalization of Native arts scholarship, disparities in philanthropy and training, ethnic fraud, and the receptive scope of Native arts in new global and digital realms. This contribution to the field of fine arts broadens the scope of discussions and offers insights that are often excluded from contemporary appraisals.
Taking Aim!
Taking Aim The Business of Being an Artist Today is a practical, affordable resource guide filled with invaluable advice for the emerging artist. The book is specially designed to aid visual artists in furthering their careers through unfiltered information about the business practices and idiosyncrasies of the contemporary art world. It demystifies often daunting and opaque practices through first-hand testimonials, interviews, and commentary from leading artists, curators, gallerists, collectors, critics, art consultants, arts administrators, art fair directors, auction house experts, and other art world luminaries. Published in celebration of the 30th anniversary of Artist in the Marketpl...
Jimmie Durham, Europe, and the Art of Relations
This book investigates Jimmie Durham’s community-building process of making and display in four of his projects in Europe: Something ... Perhaps a Fugue or an Elegy (2005); two Neapolitan nativities (2016 and ongoing); The Middle Earth (with Maria Thereza Alves, 2018); and God’s Poems, God’s Children (2017). Andrea Feeser explores these artworks in the context of ideas about connection set forth by writers Ann Lauterbach, Franz Rosenzweig, Pamela Sue Anderson, Vinciane Despret, and Hirokazu Miyazaki, among others. Feeser argues that the materials in Durham’s artworks; the method of their construction; how Durham writes about his pieces; how they exist with respect to one another; and how they address viewers, demonstrate that we can create alongside others a world that embraces and sustains what has been diminished. The book will be of interest to scholars working in contemporary art, animal studies, new materialism research, and eco-criticism.
Art for an Undivided Earth
In Art for an Undivided Earth Jessica L. Horton reveals how the spatial philosophies underlying the American Indian Movement (AIM) were refigured by a generation of artists searching for new places to stand. Upending the assumption that Jimmie Durham, James Luna, Kay WalkingStick, Robert Houle, and others were primarily concerned with identity politics, she joins them in remapping the coordinates of a widely shared yet deeply contested modernity that is defined in great part by the colonization of the Americas. She follows their installations, performances, and paintings across the ocean and back in time, as they retrace the paths of Native diplomats, scholars, performers, and objects in Europe after 1492. Along the way, Horton intervenes in a range of theories about global modernisms, Native American sovereignty, racial difference, archival logic, artistic itinerancy, and new materialisms. Writing in creative dialogue with contemporary artists, she builds a picture of a spatially, temporally, and materially interconnected world—an undivided earth.
Suki Seokyeong Kang
Suki Seokyeong Kang bringt Malerei, Skulptur, Installation, Video und Choreografie zusammen, um das Zusammenspiel von Individuum und Kollektiv zu erkunden. Aus der Entwicklung eines künstlerischen Vokabulars heraus, das aus dem reichen Erbe koreanischer Malerei, Poesie und des Tanzes schöpft, untersucht Kang in ihrem Werk die Beständigkeit von Traditionen und erweitert deren Bedeutung für die zeitgenössische Kunst. Der Katalog zu ihrer Einzelausstellung Willow Drum Oriole im Leeum Museum of Art liest Kangs Praxis durch die Linse verschiedener Diskurse, wie den Status der traditionellen koreanischen Malerei innerhalb der zeitgenössischen Kunst, Feminismus oder Narrative der westlichen Avantgarde. Ausgehend von der Malerei, als der grundlegenden Praxis in Kangs Werk, zeichnet der Katalog die Entwicklung ihrer künstlerischen Sprache nach und stellt einen neuen Werkkomplex vor.
Witch Hunt
Sixteen international artists at the forefront of feminism This book focuses on a selection of midcareer international artists whose oeuvres are informed by the legacies of feminist thought. Each artist adds to the feminist discourse, whether by reclaiming women's marginalized creative histories, using gender discrimination as a method of institutional critique or creating alternate research methodologies that confront patriarchal norms. The book includes sculpture, painting, video, installation and performance art, and features lesser-known projects or entirely new commissions that recast sociopolitical realities throughout the world. In addition to extensive illustrations, the book includes essays by Anne Ellegood and Connie Butler, curators and art historians whose practices have also been dedicated to a discussion of women's rights. Artists include: Leonor Antunes, Yael Bartana, Pauline Boudry / Renate Lorenz, Candice Breitz, Shu Lea Cheang, Minerva Cuevas, Vaginal Davis, Every Ocean Hughes, Bouchra Khalili, Laura Lima, Teresa Margolles, Otobong Nkanga, Okwui Okpokwasili, Lara Schnitger and Beverly Semmes.
The Willett Family of Maryland
Edward Willett (1658-1744) immigrated from England to Prince George's County, Maryland before 1692. Descendants lived in Maryland, Kentucky, Ohio, Illinois, Texas, California and elsewhere.
Sculpture in the Augmented Sphere
Mara-Johanna Kölmel explores the profound impact of digital technologies on the field of sculpture since the 1950s. When artists create their works using AI, custom software, or prototyping technologies, how should we be rethinking the concept of sculpture? Through the works of Morehshin Allahyari, Alice Channer, and Sterling Crispin, as well as an inter-generational group of artists, she examines how plasticity, corporeality, and monumentality have been transformed by the digital. Introducing concepts such as more-than-human corporeality, digital plasticity, and nomadic monumentality, the book encourages a re-evaluation of the sculptural. Systematically and transhistorically, the author connects research perspectives on sculpture and digital media, highlighting how the understanding of the sculptural has evolved into the (post-)digital age.
