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The First Collection of Criticism by a Living Female Rock Critic
"Jessica Hopper's criticism is a trenchant and necessary counterpoint not just on music, but on our culture at large." —Annie Clark, St. Vincent An acclaimed, career-spanning collection from a fiercely feminist and revered contemporary rock critic, reissued with new material Throughout her career, spanning more than two decades, Jessica Hopper, a revered and pioneering music critic, has examined women recording and producing music, in all genres, through an intersectional feminist lens. The First Collection of Criticism by a Living Female Rock Critic features oral histories of bands like Hole and Sleater Kinney, interviews with the women editors of 1970s-era Rolling Stone, and intimate con...
The Judith Rothschild Foundation Contemporary Drawings Collection
Formed by Harvey S. Shipley Miller, trustee of the Judith Rothschild Foundation, and given to MoMA in 2005, The Judith Rothschild Foundation Contemporary Drawings Collection was conceived to be a broad survey of contemporary drawing practice, and it more than fulfils that goal, mixing drawings of the 1960s and 1970s with major works of the past twenty years by such artists as Kai Althoff, Robert Crumb, Peter Doig, Marcel Dzama, Mark Grotjahn, Charline von Heyl, Martin Kippenberger, Sherrie Levine, Agnes Martin, Fred Sandback, Paul Thel and Andrea Zittel, among many others. This definitive catalogue raisonné presents the collection as a whole, with an introduction by Christian Rattemeyer; five essays each focusing on a different geographic area of artistic production; images throughout; and a text on paper conservation.
Recognition of Belligerency and the Law of Armed Conflict
Prior to the progressive development of the law of armed conflict heralded by the 1949 Geneva Conventions most particularly in relation to the concepts of international and non-international armed conflict-the customary doctrine on recognition of belligerency functioned for almost 200 years as the definitive legal scheme for differentiating internal conflict from "civil wars", in which the law of war as applicable between states applied de jure. Employing a legal historical approach, this book describes the thematic and practical fundamentals of the doctrine, and analyzes some of the more significant challenges to its application. In doing so, it assesses whether, how, and why the doctrine on recognition of belligerency was considered "fit for purpose," and seeks to inform debate as to its continuity and utility within the modern scheme of the law of armed conflict.
Tropical Leviathan
The colonial Jamaican state was immensely wealthy, but it was a society consumed by fear. The White population feared the possibility of enslaved rebellion and foreign invasion, and the Black population feared their cruel treatment as overworked labourers on Jamaica's brutal but economically productive sugar plantations. With the wealthy White population investing heavily in security to protect themselves from the rebelling enslaved majority, it was a society at war. The wealth of the plantation system meant that White Jamaicans and their imperial representatives were able to secure the finances for this until the last decade of the eighteenth century. By the early nineteenth century, howeve...
Owens, Laura
A richly illustrated, expansive mid-career survey of the stand-out American artist's pioneering and influential work, with each copy featuring a unique silk-screen cover printed in Owens's studio Since the early 1990s, Laura Owens (b. 1970) has challenged traditional assumptions about figuration and abstraction in her pioneering approach to painting. Created in close collaboration with the artist on the occasion of her mid-career survey at the Whitney Museum of American Art, this inventive and comprehensive book features an incisive introduction by Scott Rothkopf, critical essays, literary texts, and short commentaries on a variety of subjects related to Owens's broad interests, which range ...
Flash Art
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ArtUS.
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Michelle Grabner
Edited by Barry Blinderman. Text by Lane Relyea.
The New Yorker
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