Outlaw Representation: Censorship and Homosexuality in Twentieth-Century American Art, Meyer Richard

Автор: Phelan Peggy, Meyer Richard
Название: Contact Warhol: Photography Without End
ISBN: 0262038994 ISBN-13(EAN): 9780262038997
Издательство: Random House (USA)
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Цена: 4821.00 р.
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Описание:

Andy Warhol's daily practice of photography during the last decade of his life, examined and documented for the first time.

"A picture means I know where I was every minute. That's why I take pictures."
--Andy Warhol

From 1976 until his death in 1987, Andy Warhol was never without his camera. He snapped photos at discos, dinner parties, flea markets, and wrestling matches. Friends, boyfriends, business associates, socialites, celebrities, passers by: all captured Warhol's attention--at least for the moment he looked through the lens. In a way, Warhol's daily photography practice anticipated our current smart phone habits--our need to record our friends, our families, and our food. Warhol printed only about 17 percent of the 130,000 exposures he left on contact sheets. In 2014, Stanford's Cantor Center for the Arts acquired the 3,600 contact sheets from the Warhol Foundation. This book examines and documents for the first time these contact sheets and photographs--Warhol's final body of work

Peggy Phelan and Richard Meyer analyze the contact sheets, never before seen, and their importance in Warhol's oeuvre. Accompanying their text and other essays are reproductions of contact sheets, photographs, and other visual material. The contact sheets present Warhol's point of view, unedited; we know where he was every minute because a photograph remembers it.

Copublished with the Cantor Arts Center

Автор: Meyer Hugo Richard
Название: Public Ownership and the Telephone in Great Britain
ISBN: 1532953011 ISBN-13(EAN): 9781532953019
Издательство: Неизвестно
Цена: 5328.00 р.
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Автор: Meyer Richard
Название: What Was Contemporary Art?
ISBN: 0262135086 ISBN-13(EAN): 9780262135085
Издательство: MIT Press
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Описание:

Not only does contemporary art have a history, but all works of art were once contemporary to the artist and culture that produced them.

Contemporary art in the early twenty-first century is often discussed as if the very idea of art that is contemporary is new. Yet all works of art were once contemporary. In What Was Contemporary Art? Richard Meyer reclaims the contemporary from historical amnesia, and gives the contemporary its own art history. By exploring episodes in the study, exhibition, and reception of early twentieth-century art and visual culture, Meyer retrieves moments in the history of once-current art and redefines "the contemporary" as a condition of being alive to and alongside other moments, artists, and objects.

A generous selection of images, many in color -- from works of fine art to museum brochures and magazine covers -- support and extend Meyer's narrative. These works were contemporary to their own moment. Now, in Meyer's account, they become contemporary to ours as well.