{"title":"Art - Conceptual","description":"","products":[{"product_id":"alternative-histories-lauren-rosati-9780262017961","title":"Alternative Histories: New York Art Spaces, 1960 to 2010","description":"\u003cb\u003eA groundbreaking history of pioneering alternative art venues in New York where artists experimented, exhibited, and performed outside the white cube and the commercial mainstream.\u003c\/b\u003e\u003cp\u003eThis groundbreaking book--part exhibition catalogue, part cultural history--chronicles alternative art spaces in New York City since the 1960s. Developed from an exhibition of the same name at Exit Art, \u003ci\u003eAlternative Histories\u003c\/i\u003e documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the development of alternative spaces was almost synonymous with the rise of the contemporary art scene. Beginning in the 1960s and early 1970s, it was within a network of alternative sites--including 112 Greene Street, The Kitchen, P.S.1, FOOD, and many others--that the work of young artists like Yvonne Rainer, Vito Acconci, Gordon Matta-Clark, Ana Mendieta, David Wojnarowicz, David Hammons, Adrian Piper, Martin Wong, Jimmie Durham, and dozens of other now familiar names first circulated.\u003c\/p\u003e\u003cp\u003eThrough interviews, photographs, essays, and archival material, \u003ci\u003eAlternative Histories\u003c\/i\u003e tells the story of such famous sites and organizations as Judson Memorial Church, Anthology Film Archives, A.I.R. Gallery, El Museo del Barrio, Franklin Furnace, and Eyebeam, as well as many less well-known sites and organizations. Essays by the exhibition curators and scholars, and excerpts of interviews with alternative space founders and staff, provide cultural and historical context.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eContributors\u003cbr\u003e\u003c\/b\u003eJacki Apple, Papo Colo, Jeanette Ingberman, Melissa Rachleff, Lauren Rosati, Mary Anne Staniszewski, Herb Tam\u003c\/p\u003e\u003cp\u003e\u003cb\u003eInterviewees\u003cbr\u003e\u003c\/b\u003eSteve Cannon, Rhys Chatham, Peter Cramer and Jack Waters, Carol Goodden, Alanna Heiss, Bob Lee, Joe Lewis, Inverna Lockpez, \u003cbr\u003eAnn Philbin, Anne Sherwood Pundyk and Karen Yama, Irving Sandler, Adam Simon, Martha Wilson\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Lauren Rosati\u003cbr\u003e\u003cb\u003eISBN-10:\u003c\/b\u003e 0262017962\u003cbr\u003e\u003cb\u003eISBN-13:\u003c\/b\u003e 9780262017961\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e MIT Press\u003cbr\u003e\u003cb\u003eLanguage:\u003c\/b\u003e English\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 09\/14\/2012\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 408\u003cbr\u003e\u003cb\u003eFormat:\u003c\/b\u003e Hardcover\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 3.46lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 9.98h x 8.06w x 1.18d\u003cbr\u003e\u003cbr\u003e\u003cb\u003eReview Citation(s): \u003c\/b\u003e\u003cbr\u003e\u003ci\u003eChoice\u003c\/i\u003e 05\/01\/2013","brand":"Lauren Rosati","offers":[{"title":"Hardcover","offer_id":43913514090751,"sku":"9780262017961","price":29.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/2982\/9887\/products\/img_539b31cc-eec0-447f-b847-472942e104a2.jpg?v=1680620787"},{"product_id":"art-after-conceptual-art-alexander-alberro-9780262511957","title":"Art After Conceptual Art","description":"\u003cb\u003eWell-known art historians from Europe and the Americas discuss the influence of conceptualism on art since the 1970s.\u003c\/b\u003e\u003cp\u003e\u003ci\u003eArt After Conceptual Art\u003c\/i\u003e tracks the various legacies of conceptualist practice over the past three decades. This collection of essays by art historians from Europe and the Americas introduces and develops the idea that conceptual art generated several different, and even contradictory, forms of art practice. Some of these contested commonplace assumptions of what art is; others served to buttress those assumptions. The bulk of the volume features newly written and highly innovative essays challenging standard interpretations of the legacy of conceptualism and discussing the influence of conceptualism's varied practices on art since the 1970s. The essays explore topics as diverse as the interrelationships between conceptualism and institutional critique, neoexpressionist painting and conceptualist paradigms, conceptual art's often-ignored complicity with design and commodity culture, the specific forms of identity politics taken up by the reception of conceptual art, and conceptualism's North\/South and East\/West dynamics. A few texts that continue to be crucial for critical debates within the fields of conceptual and postconceptual art practice, history, and theory have been reprinted in order to convey the vibrant and ongoing discussion on the status of art after conceptual art. Taken together, the essays will inspire an exploration of the relationship between postconceptualist practices and the beginnings of contemporary art.\u003c\/p\u003e\u003cp\u003eDistributed for the Generali Foundation, Vienna.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Alexander Alberro\u003cbr\u003e\u003cb\u003eISBN-10:\u003c\/b\u003e 0262511959\u003cbr\u003e\u003cb\u003eISBN-13:\u003c\/b\u003e 9780262511957\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e MIT Press\u003cbr\u003e\u003cb\u003eLanguage:\u003c\/b\u003e English\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 10\/27\/2006\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 240\u003cbr\u003e\u003cb\u003eFormat:\u003c\/b\u003e Paperback\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 1.09lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 9.08h x 6.52w x 0.71d","brand":"Alexander Alberro","offers":[{"title":"Paperback","offer_id":43913516744959,"sku":"9780262511957","price":49.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/2982\/9887\/products\/img_93e87019-d6de-47da-82f7-352ade1a5625.jpg?v=1680620801"},{"product_id":"bioart-and-the-vitality-of-robert-e-mitchell-9780295990088","title":"Bioart and the Vitality of Media","description":"\u003cp\u003eBioart -- art that uses either living materials (such as bacteria or transgenic organisms) or more traditional materials to comment on, or even transform, biotechnological practice -- now receives enormous media attention. Yet despite this attention, bioart is frequently misunderstood. \u003ci\u003eBioart and the Vitality of Media\u003c\/i\u003e is the first comprehensive theoretical account of the art form, situating it in the contexts of art history, laboratory practice, and media theory.\u003cbr\u003e\u003cbr\u003eMitchell begins by sketching a brief history of bioart in the twentieth and twenty-first centuries, describing the artistic, scientific, and social preconditions that made it conceptually and technologically possible. He illustrates how bioartists employ technologies and practices from the medical and life sciences in an effort to transform relationships among science, medicine, corporate interests, and the public. By illustrating the ways in which bioart links a biological understanding of media -- that is, \"media\" understood as the elements of an environment that facilitate the growth and development of living entities -- with communicational media, \u003ci\u003eBioart and the Vitality of Media\u003c\/i\u003e demonstrates how art and biotechnology together change our conceptions and practices of mediation. Reading bioart through a range of resources, from Immanuel Kant's discussion of disgust to Gilles Deleuze's theory of affect to Gilbert Simondon's concept of \"individuation,\" provides readers with a new theoretical approach for understanding bioart and its relationships to both new media and scientific institutions.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Robert E. 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Mitchell","offers":[{"title":"Paperback","offer_id":43913570418943,"sku":"9780295990088","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/2982\/9887\/products\/img_43e4e0ac-a6ec-4bb6-ae03-4f1caaae2c3c.jpg?v=1680621113"},{"product_id":"john-baldessari-catalogue-raisonn-patrick-pardo-9780300214895","title":"John Baldessari Catalogue Raisonné: Volume Three: 1987-1993","description":"\u003cb\u003eA comprehensive look at works made by Baldessari between the years 1987 and 1993\u003c\/b\u003e \u003cp\u003e\u003c\/p\u003e This handsome volume, the third of the John Baldessari (b. 1931) catalogue raisonné project, compiles 400-plus unique works of art made by the influential conceptual artist from 1987 through 1993. Here we see the artist's large-scale photo-based works, many of which employed his signature colored discs painted over the faces of people in the photos, accompanied by entries that trace the shifts and developments in Baldessari's work as his collaged photo narratives achieved maturity and mastery. \u003cp\u003e\u003c\/p\u003e A critical essay by Briony Fer provides a close reading of selected works, giving historical context for Baldessari's art from this period. In addition to a detailed chronology, complete exhibition history, and bibliography, this volume notably features a previously unpublished conversation between Baldessari and the artist Ed Ruscha, which was undertaken specifically for this publication. In the conversation, the artists discuss their early careers in Southern California and the shared thematic concerns in their work. \u003cp\u003e\u003c\/p\u003e The artworks in this volume demonstrate Baldessari's ability to express--and, in many cases, combine--the narrative potential of images and the associative power of language within the boundaries of a single piece. \u003cp\u003e\u003c\/p\u003ePublished in association with Marian Goodman Gallery\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Patrick Pardo\u003cbr\u003e\u003cb\u003eISBN-10:\u003c\/b\u003e 0300214898\u003cbr\u003e\u003cb\u003eISBN-13:\u003c\/b\u003e 9780300214895\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e Yale University Press\u003cbr\u003e\u003cb\u003eLanguage:\u003c\/b\u003e English\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 02\/09\/2016\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 552\u003cbr\u003e\u003cb\u003eFormat:\u003c\/b\u003e Hardcover\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 8.30lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 12.20h x 10.30w x 2.10d","brand":"Patrick Pardo","offers":[{"title":"Hardcover","offer_id":43913606529279,"sku":"9780300214895","price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/2982\/9887\/products\/img_3faa2c6a-2273-4d30-b434-9ee3aebb6443.jpg?v=1680621325"},{"product_id":"forged-jonathon-keats-9780199928354","title":"Forged: Why Fakes Are the Great Art of Our Age","description":"\u003cp\u003eAccording to Vasari, the young Michelangelo often borrowed drawings of past masters, which he copied, returning his imitations to the owners and keeping originals. Half a millennium later, Andy Warhol made a game of \"forging\" the Mona Lisa, questioning the entire concept of originality.\u003cbr\u003e Forged explores art forgery from ancient times to the present. In chapters combining lively biography with insightful art criticism, Jonathon Keats profiles individual art forgers and connects their stories to broader themes about the role of forgeries in society. From the Renaissance master Andrea del Sarto who faked a Raphael masterpiece at the request of his Medici patrons, to the Vermeer counterfeiter Han van Meegeren who duped the avaricious Hermann Goring, to the frustrated British artist Eric Hebborn, who began forging to expose the ignorance of experts, art forgers have challenged \"legitimate\" art in their own time, breaching accepted practices and upsetting the status quo. They have also provocatively confronted many of the present-day cultural anxieties that are major themes in the arts. Keats uncovers what forgeries--and our reactions to them--reveal about changing conceptions of creativity, identity, authorship, integrity, authenticity, success, and how we assign value to works of art. The book concludes by looking at how artists today have appropriated many aspects of forgery through such practices as street-art stenciling and share-and-share-alike licensing, and how these open-source \"copyleft\" strategies have the potential to make legitimate art meaningful again.\u003cbr\u003e Forgery has been much discussed--and decried--as a crime. 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