Asked to sum up her artistic pursuit, the American artist Elaine Sturtevant once replied: “I create vertigo.” Since the mid-1960s, Sturtevant has been using repetition to change the way art is understood. In 1965, what seemed to be a group show by then “hot” artists (Andy Warhol, Jasper Johns, Roy Lichtenstein, George Segal, and James Rosenquist, among others) was in fact Sturtevant’s first solo exhibit, every work in it created by herself.
In Relive, leading historians of the media arts grapple with this dilemma: how can we speak of “new media” and at the same time write the histories of these arts? These scholars and practitioners redefine the nature of the field, focusing on the materials of history—the materials through which the past is mediated. Drawing on the tools of media archaeology and the history and philosophy of media, they propose a new materialist media art history.
This October Files volume gathers essays, an interview, and a roundtable discussion on the work of Robert Morris, one of the most influential American artists of the postwar period. It includes a little-known text on dance by Morris himself and a never-before-anthologized but influential catalog essay by Annette Michelson. Often associated with minimalism, Morris (b. 1931) also created important works that involved dance, process art, and conceptualism.
Light Show explores the experiential and sculptural nature of light, tracing a historical trajectory of artwork that uses light to create specific conditions of viewership. The book, which accompanies an exhibition originating at the Hayward Gallery, London, showcases more than twenty dramatic installations and sculptures from the 1960s to the present, pictured in 150 illustrations, most in color.
Although it lasted only twenty-three years (1933-1956) and enrolled fewer than 1,200 students, Black Mountain College was one of the most fabled experimental institutions in art education and practice. Faculty members included Anni Albers, Josef Albers, Ilya Bolotowsky, John Cage, Harry Callahan, Merce Cunningham, Buckminster Fuller, Walter Gropius, Clement Greenberg, Lou Harrison, Franz Kline, Willem de Kooning, Jacob Lawrence, Robert Motherwell, Roger Sessions, Ben Shahn, Aaron Siskind, Esteban Vicente, and Stefan Wolpe.
In this groundbreaking study, first published in 1983 and unavailable for over a decade, Linda Dalrymple Henderson demonstrates that two concepts of space beyond immediate perception—the curved spaces of non-Euclidean geometry and, most important, a higher, fourth dimension of space—were central to the development of modern art. The possibility of a spatial fourth dimension suggested that our world might be merely a shadow or section of a higher dimensional existence.
Louise Lawler has devoted her art practice to investigating the life cycle of art objects. Her photographs depict art in the collector’s home, the museum, the auction house, and the commercial gallery, on loading docks, and in storage closets. Her work offers a sustained meditation on the strategies of display that shape art’s reception and distribution. The cumulative effect of Lawler’s photographs is a silent insistence that context is the primary shaper of art’s meaning.
Contemporary art in the early twenty-first century is often discussed as though it were a radically new phenomenon unmoored from history. Yet all works of art were once contemporary to the artist and culture that produced them. In What Was Contemporary Art? Richard Meyer reclaims the contemporary from historical amnesia, exploring episodes in the study, exhibition, and reception of early twentieth-century art and visual culture.
For more than half a century, Erwin Panofsky’s Perspective as Symbolic Form has dominated studies of visual representation. Despite the hegemony of central projection, or perspective, other equally important methods of representation have much to tell us. Parallel projection can be found on classical Greek vases, in Pompeiian frescoes, in Byzantine mosaics; it returned in works of the historical avant-garde, and remains the dominant form of representation in China.