Edited by Peter W. Kunhardt, Jr., Philip Brookman. Foreword by Peter W. Kunhardt, Jr., Earl A. Powell III. Introduction by Sarah Lewis. Text by Maurice Berger, Philip Brookman, Richard J. Powell, Deborah Willis.
Clth, 9.75 x 11.5 in. / 304 pgs / 42 color / 126 bw. | 11/20/2018 | In stock $65.00
Edited by Maurice Berger. Contributions by Robert Rosenblum, Michelle Wallace, Maxwell Anderson, Catherine Lord, Jonathan Weinberg, Olu Oguibe, Michael Leja, Dan Cameron, Yvonne Rainer, Donna deSalvo, Simon Leung, Chrissie Iles, Jennifer Gonzalez, Wendy Ewald, Kellie Jones, David Ross, and Jerry Saltz.
Paperback, 9 x 6 in. / 150 pgs. | 7/2/2003 | In stock $14.95
Published by Steidl/Gordon Parks Foundation/National Gallery of Art. Edited by Peter W. Kunhardt, Jr., Philip Brookman. Foreword by Peter W. Kunhardt, Jr., Earl A. Powell III. Introduction by Sarah Lewis. Text by Maurice Berger, Philip Brookman, Richard J. Powell, Deborah Willis.
Focusing on new research and access to forgotten pictures, The New Tide, Early Work 1940–1950 documents the importance of these years in shaping Gordon Parks' passionate vision. The book brings together photographs and publications made during the first and most formative decade of his 65-year career.
During the 1940s Parks' photographic ambitions grew to express a profound understanding of his cultural and political experiences. From the first photographs he published in Saint Paul, Minnesota, and his relationship to the Chicago Black Renaissance, to his mentorship with Roy Stryker and his breakthrough work for America's influential picture magazines—including Ebony and Life—this book traces Parks' rapid evolution from an accomplished, self-taught practitioner to a groundbreaking artistic and journalistic voice.
Gordon Parks was born into poverty and segregation in Fort Scott, Kansas, in 1912. An itinerant laborer, he worked as a brothel pianist and railcar porter, among other jobs, before buying a camera at a pawnshop, training himself and becoming a photographer. During his storied tenures photographing for the Farm Security Administration (1941–45) and Life magazine (1948–72), Parks evolved into a modern-day Renaissance man, finding success as a film director, writer and composer. The first African American director to helm a major motion picture, he helped launch the blaxploitation genre with his film Shaft (1971). He wrote numerous memoirs, novels and books of poetry, and received many awards, including the National Medal of Arts, and more than 50 honorary degrees. Parks died in 2006.
Published by CCA Wattis Institute for Contemporary Arts. Edited by Jens Hoffmann. Text by Jens Hoffmann, Maurice Berger, Mirjana Blankenship, Elyse Mallouk.
Marking the 125th anniversary of the publication of Twain’s classic novel, Huckleberry Finn is the final volume in CCA Wattis’ trilogy of exhibitions that take canonical American novels as departure points for examinations by artists of key themes in American culture. Huckleberry Finn is easily among the most important and best-loved works of American literature, but it still tops the banned book list in America, revealing that its tackling of intolerance, racism and struggles for equality remain all too relevant to our society. Here, Twain’s exploration of racial tension is extended in works by Edgar Arceneaux, Ruth-Marion Baruch, Romare Bearden, Claude Clark, Jamal Cyrus, Emory Douglas, Ellen Gallagher, Felix Gonzalez-Torres, Rodney Graham, David Hammons, Dorothea Lange, Henry Lewis, Glenn Ligon, Thomas Nast, Kirsten Pieroth, Horace Pippin, Betye Saar, Yinka Shonibare, Alec Soth, William Desmond Taylor, Hank Willis Thomas, Kara Walker, Andy Warhol and others.
PUBLISHER CCA Wattis Institute for Contemporary Arts
BOOK FORMAT Clth, 6.5 x 8.5 in. / 108 pgs / 39 color / 5 bw / 13 duotone.
PUBLISHING STATUS Pub Date 4/30/2011 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 59
PRODUCT DETAILS ISBN 9780980205596TRADE List Price: $35.00 CDN $47.50 GBP £30.00
AVAILABILITY In stock
in stock $35.00
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Published by Center for Art, Design and Visual Culture, UMBC. By Maurice Berger.
Through five photographic styles—commercial product shot, scientific photo, portrait and epic narrative—New York artist Dana Hoey documents a world of primitive living conditions, under five different weather conditions: ash, freeze, thaw, flood and drought. Instruments of survival, such as the flashlight and the compass, populate these extreme situations.
Published by Center for Art, Design and Visual Culture, UMBC. Text by Maurice Berger.
This volume is the first to examine the portrait photographs of this esteemed husband-and-wife team. The artists' portraits--like their radical landscapes and city-scenes--are powerfully evocative, boldly subverting our expectations of the discipline of portraiture: Rather than capturing the visual essence of a sitter, they reveal identity to be multifarious, transitive and culturally and historically bound. They capture their subjects in ways that transform, enhance and accentuate social and cultural meaning, doing so with the full complicity and respect of the people they photograph. Robbins and Becher spend weeks living with each community they document. They immerse themselves in the stories of its citizens and history, interviewing residents, participating in their customs, photographing them at work, play and home. Most important, they allow their subjects to represent themselves--not only as they would like to been seen, but in ways that illuminate their complex humanity.
Published by The Center for Art, Design and Visual Culture/Georgia O'Keeffe Museum. Edited and with an introduction by Maurice Berger. Foreword by Barbara Buhler Lynes.
In his introduction to The 1980s: An Internet Conference, moderator Maurice Berger writes, "As Fredric Jameson reminds us in his essay "Periodizing the 1960s," decades are never neat, clearly defined episodes. Their boundaries are porous, their roots long, their implications far-reaching, their stories, a jumble of events that historical orthodoxy all too easily erases, overestimates, or devalues. For the purposes of this conference, then, "The 1980s" serves as an historical hook--a convenient means for focusing on a constellation of events, sensibilities, cultural objects, methodologies, and social movements that took form in the United States in the era roughly between the late-1970s and early-1990s." Contributors include Alexander Alberro, Max Becher, Dan Cameron, Mary Kelly, Wayne Koestenbaum, David A. Ross, Irving Sandler, Carolee Schneemann, Carol Squiers, Oliver Wasow, Linda Yablonsky and others.
Published by The Center for Art, Design and Visual Culture/Georgia O'Keeffe Museum. Edited by Maurice Berger. Introduction by Barbara Buhler-Lynes. Conversations with Alexander Alberro, Maxwell Anderson, George Baker, Stefano Basilico, Jonathan Binstock, Dan Cameron, Donna de Salvo and Olu Oguibe.
What is the future of the art museum? Should artists and critics have greater say in museum programming? What role can new museum technologies play in the future of the art museum? How should art museums address and correct past histories of prejudice and exclusion? Are art museums doomed to extinction? These pertinent questions and others are asked, discussed and sometimes even answered in Museums of Tomorrow--documentation of a two-week online conference on the role and future of art museums. Thirty scholars, artists, museum directors and curators participated in the discussion which was moderated by curator and essayist Maurice Berger for the Georgia O'Keeffe Museum's Research Center Website.
Published by Center for Art, Design and Visual Culture, UMBC. Edited by Maurice Berger.
This book traces the evolution of the style and thinking of Hans Haacke, Mary Kelly, Robert Morris, Adrian Piper and Yvonne Rainer--five artists who explore the complex relationship between form, theatricality and ideology. Minimal Politics demonstrates how their work evolved from a more minimal, formal aesthetic in the 1960s to a more overtly ideological perspective.
Published by Kunsthaus Bregenz. Edited by Eckhard Schneider. Essays by Maurice Berger, Sherman Kent, Thomas Blanton and Eckhard Schneider. Poetry by Henri Cole.
The politics of U.S. foreign policy in the Middle East is the subject of Truth Before Power, Jenny Holzer's recent Kunsthaus Bregenz project. The complicated dialectic of decision-making and public debate, as it has unfolded through the presidencies of Ronald Reagan, George H. W. Bush, William Jefferson Clinton, and George W. Bush, is explored in texts devoted to such issues as the international trade in arms and oil, the war on terrorism, 9/11, the FBI and CIA, and Congress's oversight of the intelligence community. For the most part, the installation's text has been taken verbatim from U.S. government documents--many of which were classified at the time they were written. Under the landmark Freedom of Information Act passed in 1966, all are now public record, though some remain heavily redacted. This illustrated catalogue includes selections from declassified U.S. government documents, Henri Cole's poem To the Forty-third President, and highlights from Holzer's own writing. Color photographs document Holzer's installations at the Kunsthaus and the Johanniterkirche in Feldkirch, and the eight xenon light projections staged in Vorarlberg.
PUBLISHER Kunsthaus Bregenz
BOOK FORMAT Clothbound, 11 x 12 in. / 128 pgs / 63 color / 2 bw.
PUBLISHING STATUS Pub Date 6/15/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 146
PRODUCT DETAILS ISBN 9783883758466TRADE List Price: $59.95 CDN $70.00
Published by The Center for Art, Design and Visual Culture/Georgia O'Keeffe Museum. Edited by Maurice Berger. Contributions by Robert Rosenblum, Michelle Wallace, Maxwell Anderson, Catherine Lord, Jonathan Weinberg, Olu Oguibe, Michael Leja, Dan Cameron, Yvonne Rainer, Donna deSalvo, Simon Leung, Chrissie Iles, Jennifer Gonzalez, Wendy Ewald, Kellie Jones, David Ross, and Jerry Saltz.
What is Postmodernism, and is it a useful concept for understanding American art and visual culture of the past 40 years? When and to what extent did Modernism wane as a phenomenon in American art? How have the various liberation movements, from civil rights to feminism, influenced American art and culture and contributed to the rejections of the Modernist ethos? How has globalism changed American art and culture? How have the new technologies of the past 50 years--television, personal computers, the Internet--altered the nature of progressive art in the United States? Are any of these changes intrinsically Postmodern? These issues and more were debated during the two-week online conference The Modern/Postmodern Dialectic: American Art and Culture, 1965-2000, held on the Georgia O'Keeffe Museum website during Octobert 2001. Postmodernism: A Virtual Discussion gathers the edited proceedings, with contributions from an international group of scholars, artists and curators, including Dan Cameron, Donna DeSalvo, Wendy Ewald, Chrissie Iles, Catherine Lord, Olu Oguibe, Yvonne Rainer and Robert Rosenblum.
Published by Center for Art, Design and Visual Culture, UMBC. Edited by Maurice Berger Essays by Maurice Berger, David Roediger and Patricia Williams.
Over the past 20 years, the cultural and scholarly discourse around race has exploded to include the study of whiteness and white privilege, representing a radical shift in the way we think and talk about race in the United States. Since the advent of the modern civil rights movement, people of color have usually been responsible for leading the debate and discussion about race and racism, forced to evaluate the status of their race in relation to the prejudice they experience every day--while most white people, even the most liberal, are usually oblivious to the psychological and political weight of their own color. The study of whiteness asks all Americans--and especially white people--to take stock of the political, psychological, economic and cultural implication of white skin, white entitlement and white privilege. White: Whiteness and Race in Contemporary Art, the first exhibition and book devoted to the subject, gives voice to 11 artists who explicitly address the issue of whiteness: Max Becher and Andrea Robbin, Nayland Blake, Nancy Burson, Wendy Ewald and Mike Kelley, William Kentridge, Barbara Kruger, Nikki S. Lee, Cindy Sherman and Gary Simmons. David R. Roediger, Professor of History and American Studies at the University of Minnesota, contributes an essay on whiteness in the culture at large, and Patricia J. Williams, Professor of Law at Columbia University, writes about the social and legal implications of whiteness. Curator Maurice Berger, author of White Lies: Race and the Myths of Whiteness, provides an introductory text on whiteness and art as well as individual artist essays.
Published by Center for Art, Design and Visual Culture, UMBC. Edited by John Alan Farmer and Antonia Gardner. Essays by Maurice Berger, Jennifer Gonzalez.
If social justice is Fred Wilson's subject, the museum is his medium. By placing meticulously rendered objects in environments that carefully recreate the details of a museum setting, down to their wall colors, lighting, display cases and wall labels, Wilson incisively explores the question of how the museum consciously and unconsciously perpetuates racist beliefs and behavior. From Egyptian and classical Greek and Roman sculpture to African-American memorabilia, from the primativist painting of Picasso to the uniforms worn by often black museum guards, Wilson's provocative juxtapositions speak to a complex history of museological omission, manipulation and oversight. This book marks the artist's first mid-career survey.