Published by MIT List Visual Arts Center. Edited by Joćo Ribas. Foreword by Jane Farver.
Artist and writer Frances Stark (born 1967) addresses the doubts and anxieties of creative labor, in self-portraits that she elaborates into cross-disciplinary explorations of language as both subject matter and material. The digressive style that typifies her writing is echoed in the experience of her installations, in which themes emerge across citations from pop music and literature. Her works, often hand drawn, are executed with a vulnerability and fluency of composition that affirms the volume's title. This anthology offers a selection of the artist's writings from 1997 to 2006.
PUBLISHER MIT List Visual Arts Center
BOOK FORMAT Paperback, 5 x 7.5 in. / 200 pgs / 1 color.
PUBLISHING STATUS Pub Date 1/31/2011 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 82
PRODUCT DETAILS ISBN 9780938437758TRADE List Price: $20.00 CDN $25.00
Published by Contemporary Arts Museum Houston/MIT List Visual Arts Center. Text by Bill Arning, Jane Farver, Mark Bartlett, Jacob Proctor, Joćo Ribas, Gloria Sutton, Michael Zyrd.
American independent filmmaker Stan VanDerBeek (1927-1984) was one of the first to extend film projection into multimedia spectacle and to embrace video and computer technology: a supreme instance of what critic Gene Youngblood dubbed "Expanded Cinema."
Published by Blaffer Gallery, The Art Museum of the Univeristy of Houston. Edited by Terrie Sultan. Preface and Acknowledgments by Paul Ha, Jane Farver, Rina Carvajal, Terrie Sultan. Texts by Claudia Schmuckli, William Arning, Klaus Ottmann, Rina Carvajal, Terrie Sultan.
Since 1968, Brussels-born, Paris-based Chantal Akerman has produced over 50 film and video works, in the genres of documentary and French New Wave-inspired fictional narrative. She is one of the foremost auteur-directors working today, yet she has never had a solo museum exhibition in the United States, nor has there been significant scholarly inquiry into her body of work. Her early experiments with Structuralist, Marxist and Feminist filmmaking have expanded what is possible in film today. Asserting Akerman's contribution to the genre, this volume introduces her work to those who have not had a chance to see it firsthand. With interpretive and anecdotal commentary on Akerman's oeuvre, the documentary films covered here have not been explored elsewhere.