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This book examines the antiwar work of one American artist in relation to the cultural history of the Cold War. The study provides new and detailed information on this important artist, while also contributing to the study of masculinity, dissent, art, violence, and war in the last half of the twentieth century. The study clearly reveals that artists' protests against American foreign policy began well before the official U.S. entry in the Vietnam War, and that not all combat veterans looked back fondly on their experience of the Good War. Finally, in drawing attention to the challenges of being a man in a hostile world, Westermann's art enters into a much broader consideration of gender long before this issue became topical in contemporary art. director of the American Studies Program at Rhodes College in Tennessee.
The first collection of writings by a noted artist and activist whose work has focused on the AIDS epidemic. The HIV epidemic animates this collection of essays by a noted artist, writer, and activist. "So total was the burden of illness—mine and others'—that the only viable response, other than to cease making art entirely, was to adjust to the gravity of the predicament by using the crisis as a lens," writes Gregg Bordowitz, a film- and video-maker whose best-known works, Fast Trip Long Drop (1993) and Habit (2001), address AIDS globally and personally. In The AIDS Crisis Is Ridiculous—the title essay is inspired by Charles Ludlam, founder of the Ridiculous Theater Company—Bordowit...
The Seventh Rochester Conference on Coherence and Quantum Optics was held on the campus of the University of Rochester during the four-day period June 7 - 10, 1996. More than 280 scientists from 33 countries participated. This book contains the Proceedings of the meeting. This Conference differed from the previous six in the series in having only a limited number of oral presentations, in order to avoid too many parallel sessions. Another new feature was the introduction of tutorial lectures. Most contributed papers were presented in poster sessions. The Conference was sponsored by the American Physical Society, by the Optical Society of America, by the International Union of Pure and Applied Physics and by the University of Rochester. We wish to express our appreciation to these organizations for their support and we especially extend our thanks to the International Union of Pure and Applied Physics for providing financial assistance to a number of speakers from Third World countries, to enable them to take part in the meeting.
In America during the 1960s, sculpture as an artistic practice underwent a series of radical transformations. Artists including Lee Bontecou, Claes Oldenburg, Lucas Samaras, H. C. Westermann, and Bruce Nauman offered alternative ways of imagining the three-dimensional object. The objects they created were variously described as erotic, soft, figurative, aggressive, bodily, or, in the words of the critic Lucy Lippard, "eccentric." Looking beyond the familiar and canonic artworks of the 1960s, the book challenges not only how we think about these artists, but how we learn to look at the more familiar narratives of 1960s sculpture, such as Pop and Minimalism. Ambivalent and disruptive, the work of this decade articulated a radical renegotiation—rejection, even—of contemporary paradigms of sculptural practice. This invigorating study explores that shift and the ways in which the kinds of work made in this period defied established categories and questioned the criteria for thinking about sculpture.
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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 ...
Where we love, we ruin... Some families hand down wealth through generations; some hand down wisdom. Some families, whether they want to or not, hand down the secret burdens they carry and the dangerous debts they owe. Lissa Nevsky's grandmother leaves her a big, empty house, and a legacy of magic: folk magic, old magic, brought with Baba when she fled the Gulag. In the wake of her passing, the Russian community of Toronto will depend on Lissa now, to give them their remedies and be their koldun'ia. But Lissa hasn't had time to learn everything Baba wanted to teach her—let alone the things Baba kept hidden. Maksim Volkov's birth family is long dead, anything they bestowed on him long turne...
This first-ever encyclopedia of the Midwest seeks to embrace this large and diverse area, to give it voice, and help define its distinctive character. Organized by topic, it encourages readers to reflect upon the region as a whole. Each section moves from the general to the specific, covering broad themes in longer introductory essays, filling in the details in the shorter entries that follow. There are portraits of each of the region's twelve states, followed by entries on society and culture, community and social life, economy and technology, and public life. The book offers a wealth of information about the region's surprising ethnic diversity -- a vast array of foods, languages, styles, religions, and customs -- plus well-informed essays on the region's history, culture and values, and conflicts. A site of ideas and innovations, reforms and revivals, and social and physical extremes, the Midwest emerges as a place of great complexity, signal importance, and continual fascination.