{"title":"MIT Press","description":null,"products":[{"product_id":"hall-of-mirrors-roy-lichtenstein-and-the-face-of-painting-in-the-1960s","title":"Hall of Mirrors: Roy Lichtenstein and the Face of Painting in the 1960s","description":"\u003cp\u003eIn\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eHall of Mirrors\u003c\/i\u003e, Graham Bader traces the development of Roy Lichtenstein's art into, through, and beyond his classic pop oeuvre of the 1960s. Bader charts the trajectory of Lichtenstein's practice from his student days in the late 1940s to his mirror paintings of the 1970s, offering new readings of such canonical paintings as \u003cem\u003eLook Mickey\u003c\/em\u003e and \u003cem\u003eGirl with Ball\u003c\/em\u003e as well as examinations of lesser-known works across a range of media.\u003c\/p\u003e\n\u003cp\u003eBader's analysis goes beyond the standard critical view of pop as a reaction to the high-culture pieties of abstract expressionism. Instead, Bader sees Lichtenstein's work as motivated by the forces of “unoriginal originality” - Lichtenstein's discovery that he could make art by “borrowing” from other images - and “disembodied bodies” - his use of flattened and schematic forms to reinvigorate figurative painting. Bader argues that 1961's \u003cem\u003eLook Mickey\u003c\/em\u003e, Lichtenstein's inaugural pop work, established a template for the tension between embodiment and disembodiment that animates much of his 1960s practice: between an evacuation of sensory experience, on the one hand, and a repeated focus on emphatic bodily acts (squeezing, kissing, crying, etc.) on the other. A similar dialectical friction exists between Lichtenstein's process and product: consistently hand-painted canvases that increasingly feign the look of industrial production.\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eHall of Mirrors\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003emoves chronologically, beginning with Lichtenstein's studies at Ohio State University and late-'50s moves toward pop, through his seminal canvases of the early 1960s, to his late-'60s experiments across sculpture, painting, installation, and film. The book ends with an examination of Lichtenstein's Mirror paintings of 1969–72. These little-discussed works, Bader argues, exemplify Lichtenstein's late-'60s shift of focus to the embodied experience of his own viewers - and thus culminate and conclude his practice of the decade.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cstrong\u003ePLEASE NOTE:\u003c\/strong\u003e This title has been remainder marked with a 'T' stamp on the lower edge - see final image.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT","offers":[{"title":"Default Title","offer_id":39399003390133,"sku":"BK-MIT-HMRL-001-P","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_8557_adab399e-e112-47cf-b25a-57433451a1f7.jpg?v=1791300901"},{"product_id":"hans-haacke-october-files-18","title":"Hans Haacke (October Files #18)","description":"\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCritical texts that span almost fifty years, mapping Haacke's progression from engagement with biological systems to interrogation of the social and economic underpinnings of art. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eFor five decades, the artist Hans Haacke (b. 1936) has created works that explore the social, political, and economic facets of the production of art. His works make plain the hidden and not-so-hidden agendas of those, from Cartier to David Koch, who support art in the service of industry; they expose such inconvenient social and economic truths as the real estate holdings of Manhattan slumlords, and the attempts to whitewash support for the Nazi regime, apartheid, or the war on terror through museum donations. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThis book gathers interviews, essays, cornerstones of institutional critique, and new critical approaches by writers that include Benjamin H. D. Buchloh, Jack Burnham, Rosalyn Deutsche, and Leo Steinberg. Haacke's 1971 Guggenheim exhibition was famously cancelled when the artist refused to withdraw several proposed works, including one exposing the business dealings of a Manhattan real estate company. \u003c\/span\u003e\u003cspan\u003eIncluded is Edward Fry's catalogue text for that show, as well as Walter Grasskamp's \u003cem\u003eAn Unpublished Text for an Unpainted Picture\u003c\/em\u003e, redacted from an exhibition catalogue in 1984 because of statements about the German collector Peter Ludwig. Other essays consider such topics as Haacke's controversial commission for the Reichstag; the activation of the spectator, from Condensation Cube to the Polls; the conceptual continuity of his practice with regard to General Systems Theory; and his delayed and problematic reception in both the United States and Europe. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eWith contemporary essays and scholarly reassessments, this collection serves as an essential guide to critical thinking on Haacke's artistic practice, from the works of the 1960s that engage with physical and biological systems to his later interrogations of the social and economic underpinnings of art. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eContributors \u003cbr\u003e\u003c\/strong\u003e\u003cspan\u003eYve-Alain Bois, Benjamin H. D. Buchloh, Jack Burnham, Douglas Crimp, Rosalyn Deutsche, Sam Durant, Edward F. Fry, Walter Grasskamp, Rosalind Krauss, Jack McGrath, Luke Skrebowski, Leo Steinberg\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003ePLEASE NOTE: Some copies have been remainder marked by the publisher - a small black marker pen dot on one edge. See images.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":43330978447618,"sku":"BK-MIT-OFHH-001-E","price":12.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_9795_276ab231-64dd-421a-af1e-2c8d96b9a898.jpg?v=1791267216"},{"product_id":"joseph-beuys-the-reader","title":"Joseph Beuys: The Reader","description":"\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eTwentieth-century artist Joseph Beuys (1921-1986) - legendary and self-mythologising, enigmatic and controversial - remains an important influence on artists today. Beuys embraced radically democratic artistic and political ideas, proclaiming \"Everyone is an artist,\" and advocating direct democracy through referenda. He famously worked with such nontraditional materials as felt, fat, and plants and animals both alive and dead. Beuys and his work - performance, drawing, painting, sculpture, installation - received perhaps the most contentious reception of any postwar artist. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eThis reader brings together the crucial writings on Beuys and his work, presenting key essays by prominent artists and critics from North America and Europe. With a foreword by Arthur C. Danto, \u003cem\u003eStyle and Salvation in the Art of Beuys\u003c\/em\u003e, Benjamin H. D. Buchloh's now classic 1980 essay, \u003cem\u003eBeuys, Twilight of the Idol\u003c\/em\u003e, and influential texts by Vera Frenkel, Thierry de Duve, Rosalind Krauss, Peter Burger, Irit Rogoff, and others, this is the most significant gathering of critical texts on this challenging artist that has ever been assembled.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":43331006955778,"sku":"BK-MIT-JBR-001-P","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_0678_8fa06983-c2ba-406f-8be4-a178e6f366c4.jpg?v=1791725008"},{"product_id":"on-by-andy-warhol","title":"ON\u0026BY Andy Warhol","description":"\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"a-text-bold\"\u003eWritings about Andy Warhol by critics, artists, cultural theorists, and Factory associates together with archival material, interviews, and texts by Warhol himself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe impact of Andy Warhol on contemporary culture is incalculable. Painter, sculptor, printmaker, filmmaker, publisher, TV personality, socialite, diarist, graphic artist, collector, curator, illustrator, rock impresario, photographer, model, and author, he was a pioneer in virtually every medium in which he worked. From blotted-line advertising illustrations for I. Miller shoes in 1950s, to photography-based paintings of car wrecks or movie stars in the 1960s, to cult films that explored homoerotic and other sexually explicit subjects, to his reinvention of the celebrity magazine in the 1970s with \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eInterview\u003c\/span\u003e\u003cspan\u003e, Warhol's work was both ahead of its time and era-defining. With dedicated Twitter feeds today that adapt his short epithets or \"Warholisms\" into 140-character snippets (\"People are so fantastic. You can't take a bad picture\"), Warhol's cultural relevance seems only to grow in the twenty-first century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEdited and introduced by art critic Gilda Williams, \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eON\u0026amp;BY Andy Warhol\u003c\/span\u003e\u003cspan\u003e brings together writers--art critics, artists, cultural theorists, and Factory associates--who have examined the influence and legacy of Warhol's life and work. Accompanying these texts are recent discoveries by Warhol senior archivist Matt Wrbican, interviews, and further writings by Warhol and his collaborators including selections from\u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003e\u003cspan\u003e \u003c\/span\u003eBlue Movie\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eExposures\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003ePopism\u003c\/span\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eAndy Warhol's Party Book\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"a-text-bold\"\u003eContributors\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eSaul Anton, Callie Angell, Art \u0026amp; Language, Roland Barthes, Gregory Battcock, Bob Colacello, John Coplans, Douglas Crimp, Rainer Crone, Thomas Crow, Arthur C. Danto, Donna DeSalvo, Jennifer Doyle, Trevor Fairbrother, Hal Foster, Michael Fried, Gérald Gassiot-Talabot, Anthony E. Grudin, Dave Hickey, Fredric Jameson, Donald Judd, Stephen Koch, Wayne Koestenbaum, Lucy R. Lippard, Richard Meyer, Stuart Morgan, Barbara Rose, Robert Rosenblum, Eve Kosof\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003ca href=\"https:\/\/www.booksaboutart.co.uk\/collections\/andy-warhol\"\u003eView more books about Warhol\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":43331039199490,"sku":"BK-MIT-OBW-001-B","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_0677_b8035865-8f54-4cbf-a9e6-b1ef90940c4f.jpg?v=1791300861"},{"product_id":"richard-hamilton-october-files-10","title":"Richard Hamilton (October Files #10)","description":"\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAs an original member of the legendary Independent Group in London in the 1950s, \u003cmeta charset=\"utf-8\"\u003eRichard Hamilton organised or participated in groundbreaking exhibitions associated with the group - in particular \u003cem\u003eThis Is Tomorrow\u003c\/em\u003e (1956), for which his celebrated collage \u003cem\u003eJust what is it that makes today's homes so different, so appealing?\u003c\/em\u003e, crystallising the postwar world of consumer capitalism, was made. With his colleagues in the Independent Group, Hamilton promoted the artistic investigation of popular culture, undertaking this analysis in paintings, prints, and texts, thus setting the stage for Pop art - indeed, he is often called the intellectual father of Pop. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eAt the same time, Hamilton was crucial to the postwar reception of Marcel Duchamp, transcribing his notes for \u003cem\u003eThe Large Glass\u003c\/em\u003e and producing a reconstruction of this epochal piece for the first Duchamp retrospective in Britain, in 1966. Over the years Hamilton has continued to develop his work, in a variety of media, on subjects ranging from the Rolling Stones to the Troubles in Northern Ireland, from new commodities and technologies to the oldest genres in Western painting. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eTrue to the mission of the October Files series, this volume collects the most telling essays on Hamilton (including several hard-to-find texts by the artist), spanning the entire range of his extraordinary career. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eContributors\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eMichael Craig-Martin, David Mellor, Greil Marcus, Hal Foster, Richard Hamilton, Stephen Bann, Mark Francis, Sarat Maharaj\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":43331161096450,"sku":"BK-MIT-OFRH-001-E","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_9792_38464c68-1163-47bd-abc5-18b5271948ed.jpg?v=1791267194"},{"product_id":"robert-rauschenberg-october-files-4","title":"Robert Rauschenberg (October Files #4)","description":"\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFrom the moment art historian Leo Steinberg championed his work in opposition to Clement Greenberg's rigid formalism, Robert Rauschenberg has played a pivotal role in the development and understanding of postmodern art. Challenging nearly all the prevailing assumptions about the visual arts of his time, he pioneered the postwar revival of collage, photography, silkscreen, technology, and performance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eThis book focuses on Rauschenberg's work during the critical period of the 1950s and 1960s. It opens with a newly prefaced version of Leo Steinberg's \u003cem\u003eReflections on the State of Criticism\u003c\/em\u003e, the first published version of his famous 1972 essay, \u003cem\u003eOther Criteria\u003c\/em\u003e, which remains the single most important text on Rauschenberg. Rosalind Krauss's \u003cem\u003eRauschenberg and the Materialized Image\u003c\/em\u003e builds on Steinberg's essay, arguing that Rauschenberg's work represents a decisive shift in contemporary art. Douglas Crimp's \u003cem\u003eOn the Museum's Ruins\u003c\/em\u003e examines Rauschenberg's silkscreens in the context of the modern museum. Helen Molesworth's \u003cem\u003eBefore Bed\u003c\/em\u003e uses psychoanalytic and economic structures to examine the artist's Black Paintings of the early 1950s. A second essay by Krauss, \u003cem\u003ePerpetual Inventory\u003c\/em\u003e, revisits both her and Steinberg's articles of nearly twenty-five years earlier. Finally, Branden Joseph's \u003cem\u003eA Duplication Containing Duplications\u003c\/em\u003e views Rauschenberg's silkscreens in relation to the artist's interests in technology, particularly television.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cstrong\u003eContributors\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eBranden W. Joseph, Leo Steinberg, Rosalind Krauss, Douglas Crimp, Helen Molesworth.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMULTI-BUY DISCOUNT\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e10% Discount on 2 or more October Files books\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003ca href=\"https:\/\/www.booksaboutart.co.uk\/collections\/october-files\"\u003eView more in the October Files series\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":43331172040962,"sku":"BK-MIT-OFRR-001-E","price":12.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_9790_41d4bb15-d49a-4cf1-92a8-f6f0e97b4cf9.jpg?v=1791267171"},{"product_id":"roy-lichtenstein-october-files-7","title":"Roy Lichtenstein (October Files #7)","description":"\u003cdiv class=\"page\" data-mce-fragment=\"1\" title=\"Page 2\"\u003e\n\u003cdiv class=\"section\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"layoutArea\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"column\" data-mce-fragment=\"1\"\u003e\n\n\n\n\u003cp\u003eThe most comprehensive collection on Lichtenstein, from the earliest reviews to recent reassessments, including several hard-to-find and previously unpublished pieces.\u003c\/p\u003e\n\u003cp\u003eRoy Lichtenstein's popular appeal—and his influence on pop culture, seen in everything from greeting cards to sitcoms—at times overshadows his importance to contemporary art. Yet, examined on its own terms, Lichtenstein's comics-inspired, deadpan artwork remains as truly unsettling to art-world orthodoxies today as when it first gained wide attention in the early 1960s. Lichtenstein (1923-1997), a central figure in Pop, consistently savaged the rules of painting—while remaining committed to the most traditional procedures and goals of the medium. (He once said, “The things that I have apparently parodied I actually admire and I really don't know what the implication of that is.”)\u003c\/p\u003e\n\u003cp\u003eThis book offers the most comprehensive collection of writings on Lichtenstein's work to appear in thirty-five years, with early reviews, artist interviews and statements (some never before published), and recent reassessments. The book includes Donald Judd's reviews of Lichtenstein's three solo Pop shows in the early 1960s, an essay on the artist's 1969 Guggenheim retrospective, interviews that touch on topics ranging from the New York art world to Monet and Matisse, the transcript of a 1995 slide presentation in which Lichtenstein surveyed three decades of his work, and an in-depth study of Lichtenstein's first Pop painting, Look Mickey (1961). The texts explore Lichtenstein's career across the boundaries of medium and period, excavating early critical discussions and surveying more recent reexaminations of his artistic practice. The collection will be an indispensable resource for those interested in Lichtenstein, Pop Art, and American culture of the 1960s.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eContributors\u003cbr\u003e\u003c\/strong\u003eGraham Bader, Yve-Alain Bois, John Coplans, David Deitcher, Hal Foster, John Jones, Donald Judd, Max Kozloff, Jean-Claude Lebensztejn, Roy Lichtenstein, Michael Lobel\u003cspan data-mce-fragment=\"1\" style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":43336448606466,"sku":"BK-MIT-OFRL-001-E","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_9793_8766792b-e7d8-4af2-b11d-effcaee039da.jpg?v=1791267153"},{"product_id":"william-kentridge-october-files-21","title":"William Kentridge (October Files #21)","description":"\u003cdiv class=\"page\" title=\"Page 2\"\u003e\n\u003cdiv class=\"section\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\n\n\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan class=\"a-text-bold\"\u003eCritical texts and interviews that explore the drawings, animations, and theatrical work of the South African artist William Kentridge.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSince the 1970s, the South African artist William Kentridge has charted the turbulent terrain of his homeland in both personal and political terms. With erudition, absurdist humour, and an underlying hope in humankind, Kentridge's artwork has examined apartheid, humanitarian atrocities, ageing, and the ambiguities of growing up white and Jewish in South Africa. This October Files volume brings together critical essays and interviews that explore Kentridge's work and shed light on the unique working processes behind his drawings, prints, stop-animation films, and theatre works.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe texts include an interview by the artist Carolyn Christov-Bakargiev, curator of the first major retrospective of Kentridge's work; an essay by Andreas Huyssen on the role of shadow-play in Kentridge's film series \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003e9 Drawing for Projection\u003c\/span\u003e\u003cspan\u003e; and investigations of Kentridge's work for opera and theater by Maria Gough, Joseph Leo Koerner, and Margaret Koster Koerner. An analysis by influential art historian Rosalind Krauss, the editor of this volume, argues that Kentridge's films are the result of a particularly reflexive drawing practice in which the marks on the page--particularly the smudges, smears, and erasures that characterise his stop-animations--define the act of drawing as a temporal medium. Krauss's understanding of Kentridge's work as embodying a fundamental tension between formal and sociological poles has been crucial to subsequent analyses of the artist's work, including the new essay by the anthropologist Rosalind Morris, who has collaborated with Kentridge on several projects.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"a-text-bold\"\u003e\u003cstrong\u003eContributors\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eCarolyn Christov-Bakargiev, Maria Gough, Andreas Huyssen, William Kentridge, Joseph Leo Koerner, Margaret Koster Koerner, Rosalind Krauss, Rosalind Morris.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003ePLEASE NOTE: This title has been remainder marked by the publisher - a small black marker pen dot on the lower edge. See images.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":43336598716674,"sku":"BK-MIT-OFWK-001-OP","price":12.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_9791_ac5cbdeb-4f41-43da-a3ec-ca24f8a816a0.jpg?v=1791267133"},{"product_id":"john-cage-october-files-12","title":"John Cage (October Files #12)","description":"\u003cp\u003e\u003cspan\u003eJohn Cage (1912-1992) defined a radical practice of composition that changed the course of modern music and shaped a new conceptual horizon for postwar art. Famous for his use of chance and silence in musical works, a pioneer in electronic music and the nonstandard use of instruments, Cage was one of the most influential composers of the last century. This volume traces a trajectory of writings on the artist, from the earliest critical reactions to the scholarship of today. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIf the first writing on Cage in the American context, often written by close associates with Cage's involvement, seemed lacking in critical distance, younger scholars a generation removed have recently begun to approach the legacy from a new perspective, with more developed theoretical frameworks and greater skepticism. This book captures that evolution.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe texts include discussions of Cage's work in the context of the New Music scene in Germany in the 1950s; Yvonne Rainer's essay looking back on Cage and New York experimentalism of the 1960s; a complex and original mapping of Cage's place in a wider avant-garde genealogy that includes Le Corbusier and Moholy-Nagy; a musicologist's account of Cage's process of defining and formalising his concept of indeterminacy; and an analysis of Cage's project that considers his strategies of self-representation as key to his unique impact on modern and postmodern art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eContributors\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHeinz-Klaus Metzger, Konrad Boehmer, Yvonne Rainer, David W. Patterson, Branden W. Joseph, Liz Kotz, Rebecca Y. Kim, Julia Robinson.\u003cspan data-mce-fragment=\"1\" style=\"color: #ff2a00;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":43487756517634,"sku":"BK-MIT-JCOF-001-OP","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_9789_206b12d6-4156-413e-a37d-ae9ffd421d80.jpg?v=1791267113"},{"product_id":"sifting-the-trash-a-history-of-design-criticism","title":"Sifting the Trash: A History of Design Criticism","description":"\u003cp\u003eThis book looks at how product design criticism has rescued some products from the trash and consigned others to the landfill.\u003c\/p\u003e\n\u003cp\u003eProduct design criticism operates at the very brink of the landfill site, salvaging some products with praise but consigning others to its depths through condemnation or indifference. When a designed product's usefulness is past, the public happily discards it to make room for the next new thing. Criticism rarely deals with how a product might be used, or not used, over time; it is more likely to play the enabler, encouraging our addiction to consumption. With\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSifting the Trash\u003c\/em\u003e, Alice Twemlow offers an especially timely reexamination of the history of product design criticism through the metaphors and actualities of the product as imminent junk and the consumer as junkie.\u003c\/p\u003e\n\u003cp\u003eTwemlow explores five key moments over the past sixty years of product design criticism. From the mid-1950s through the 1960s, for example, critics including Reyner Banham, Deborah Allen, and Richard Hamilton wrote about the ways people actually used design, and invented a new kind of criticism. At the 1970 International Design Conference in Aspen, environmental activists protested the design establishment's lack of political engagement. In the 1980s, left-leaning cultural critics introduced ideology to British design criticism. In the 1990s, dueling London exhibits offered alternative views of contemporary design. And in the early 2000s, professional critics were challenged by energetic design bloggers. Through the years, Twemlow shows, critics either sifted the trash and assigned value or attempted to detect, diagnose, and treat the sickness of a consumer society.\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":43600736387330,"sku":"BK-MIT-STT-001-G","price":12.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_2909_76d60f41-8a15-44f3-a645-90227dde41e7.jpg?v=1791459988"},{"product_id":"interplay-neo-geo-neoconceptual-art-of-the-1980s","title":"Interplay: Neo-Geo Neoconceptual Art of the 1980s","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"a-text-bold\"\u003eThe first in-depth study of a group of artists known for their irony, their theoretical impulses, and their market success in the 1980s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEmerging from New York's East Village art scene of the 1980s, the so-called neo-geo artists were a loosely associated group that included the painters Ashley Bickerton, Peter Halley, Sherrie Levine, Allan McCollum, Philip Taaffe, and Meyer Vaisman and the sculptors Jeff Koons and Haim Steinbach. Labeled neo-geo for the abstract geometric motifs that characterised only some of their work, the movement was also known variously as simulationism, neoconceptualism, neo-pop, neominimalism, and postabstraction. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAmy Brandt argues that neoconceptualism is the most precise name for their work. Brandt sees it as an art about art history, characterised by ironic adaptations of past artistic movements and styles, a tendency toward visual interplay, and a theoretical impulse driven by postmodern concerns with intertextuality, deconstruction, and poststructuralism.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBrandt investigates the East Village art scene of the 1980s and argues that the neoconceptualists' theoretical orientation distinguished them from other artists of the era. She traces the divergence in art critics' responses to the group's work and charts their market success. Brandt examines in detail the references to art history found in the work; she explores the group's formal connections to pop, minimalism, and conceptualism; and she investigates the relationships between the neoconceptual artists and another loosely connected group of artists, the Pictures generation.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":43659520999682,"sku":"BK-MIT-INT-001-J","price":12.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_9407_c743bb5d-96a1-4f1c-acf4-fed238b37c89.jpg?v=1791718115"},{"product_id":"pretense-design-surface-over-substance","title":"Pretense Design: Surface Over Substance","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eHow some design appears to be something that it is not - by beautifying, amusing, substituting, or deceiving. Pretense design pretends to be something that it is not. Pretense design includes all kinds of designed objects: a pair of glasses that looks like a fashion accessory rather than a medical necessity, a hotel in Las Vegas that simulates a Venetian ambience complete with canals and gondolas, boiler plates that look like steel but are vinyl. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn this book, Danish designer Per Mollerup defines and describes a ubiquitous design category that until now has not had a name: designed objects with an intentional discrepancy between surface and substance, between appearance and reality. pretense design, he shows us, is a type of material rhetoric; it is a way for physical objects to speak persuasively, most often to benefit users but sometimes to deceive them. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAfter explaining the means and the meanings of pretense design, Mollerup describes four pretense design applications, providing a range of examples for each: beautification, amusement, substitution, and deception. Beautification, he explains, includes sunless tanning, high heels, and even sporty accessories for a family car. Amusement includes forms of irrational otherness-columns that don't hold anything up, an old building's facade that hides a new building, a new Chinese town that mimics an old European town. Substitution pretends to be a natural thing: plastic laminate is a substitute for wood, Corian a substitute for marble, and prosthetics substitute for human organs. Deception doesn't just bend the truth; it suspends it. Soldiers wear camouflage to hide; hunters use decoys to attract their prey; malware hides in a harmless program only to wreak havoc on a user's computer. With \u003cem\u003ePretense Design\u003c\/em\u003e, Per Mollerup adds a new concept to design thinking.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePLEASE NOTE: This title has been remainder marked by the publisher - a small marker pen dot on one edge. See final images\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":43659523424514,"sku":"BK-MIT-PMPD-001-G","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_3686_e9608534-f56f-4485-b01f-a76c0818f595.jpg?v=1791459970"},{"product_id":"event-cities-4-concept-form","title":"Bernard Tschumi: Event-Cities 4 | Concept - Form (Rare edition)","description":"\u003cp\u003e\u003cstrong\u003eRare \u0026amp; Collectible\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIn \u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eEvent-Cities 4\u003c\/em\u003e Tschumi introduces the \"concept-form\": a concept generating a form, or a form generating a concept.  The book documents recently built and theoretical projects in the context of his evolving views on architecture, urbanism, and design. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis volume takes the interaction a step further, looking at a series of projects for which program or context are insufficient as a generative conceptual strategy, hence requiring a different approach. Tschumi has said, \"Over the past years, there is one word I have almost never used, except in order to attack it: 'form.'\" Here Tschumi introduces the \"concept-form\": a concept generating a form, or a form generating a concept, so that one reinforces the other. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe concept may be programmatic, technological, or social. The form may be singular or multiple, regular or irregular. Concept-forms act as organising devices or common denominators for the multiple dimensions of programs and their evolution over time, and drive the projects featured in this book. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHighlights include master plans for a pair of media-based work spaces and cultural campuses in Singapore and Abu Dhabi; a major master plan for a financial centre with 40,000 projected inhabitants in the Dominican Republic; the innovative Blue Residential Tower in New York City; a group of museums and cultural buildings in France, Abu Dhabi, Dubai, and South Korea; a pedestrian bridge in France; and a \"multi-programmatic\" furniture piece, the TypoLounger. The book contains more than twenty of the Tschumi firm's projects and forward-looking designs of one of the world's leading architectural practices.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":43671721869570,"sku":"BK-MIT-BTEC-001-D","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_7791_786389f2-27a0-4c0c-8c68-fc69f8a9e47a.jpg?v=1790761506"},{"product_id":"the-eye-of-history-when-images-take-positions","title":"The Eye of History: When Images Take Positions","description":"\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\n\n\u003cp\u003e\u003cspan class=\"a-text-bold\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe second book of the RIC Books series co-published by the MIT Press and The Image Centre at Toronto Metropolitan University, \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"a-text-bold\"\u003eexplores the interaction of aesthetics and politics in Bertolt Brecht's “photoepigrams.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrom 1938 to 1955, Bertolt Brecht created montages of images and text, filling his working journal (\u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eArbeitsjournal\u003c\/span\u003e\u003cspan\u003e) and his idiosyncratic atlas of images, \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eWar Primer,\u003c\/span\u003e\u003cspan\u003e with war photographs clipped from magazines and adding his own epigrammatic commentary. In this book, Georges Didi-Huberman explores the interaction of politics and aesthetics in these creations, explaining how they became the means for Brecht, a wandering poet in exile, to “take a position” about the Nazi war in Europe. Illustrated with pages from the \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eArbeitsjournal\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eWar Primer\u003c\/span\u003e\u003cspan\u003e and contextual images including Raoul Hausmann's poem-posters and Walter Benjamin's drawings, \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eThe Eye of History\u003c\/span\u003e\u003cspan\u003e offers a new view of important but little-known works by Brecht.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDidi-Huberman shows that Brecht took positions without taking sides; he used these montages to challenge the viewpoints of the press and propose other readings, to offer a stylistic and political response to the inescapable visibility of historical events enabled by the photographic medium. Brecht's montages disrupt and scrutinise this visibility by juxtaposing representations of war found in magazines with his own epigrams―a “documentary lyricism” that dismounts and remounts modern history. The montages created meaningful disorder, exposing the truth by disorganising―a process Didi-Huberman calls a “dialectic of the \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003emonteur\u003c\/span\u003e\u003cspan\u003e.” These works are examples of “the eyes of history”―when seeing may simultaneously deepen and critique historical knowledge. The montages Didi-Huberman argues, are Brecht's most Benjaminian works.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":43717940248834,"sku":"BK-MIT-EOH-001-T","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_1352_ceebdad8-999c-4e57-b075-86b65336fdd9.jpg?v=1791645818"},{"product_id":"modernism-s-masculine-subjects-matisse-the-new-york-school-and-post-painterly-abstraction","title":"Modernism′s Masculine Subjects: Matisse, the New York School, and Post–Painterly Abstraction","description":"\u003cdiv class=\"page\" title=\"Page 3\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\n\n\n\u003cp class=\"column\"\u003eHow postwar abstract modernist paintings came to be seen as metaphorical embodiments of masculine selfhood; an examination of the critical discourse surrounding the work of Matisse, de Kooning, Pollock, and the post-painterly Abstractionists.\u003c\/p\u003e\n\u003cp class=\"column\"\u003eIn the era of The Man in the Gray Flannel Suit - when social pressures on men to conform threatened cherished notions of masculine vitality, freedom, and authenticity - modernist paintings came to be seen as metaphorical embodiments of both idealised and highly conflicted conceptions of masculine selfhood.\u003c\/p\u003e\n\u003cp class=\"column\"\u003eIn\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eModernism's Masculine Subjects\u003c\/em\u003e, Marcia Brennan traces the formalist critical discourses in which work by such artists as Henri Matisse, Willem de Kooning, and Jackson Pollock could stand as symbolic representations that at once challenged and reproduced such prevailing cultural conceptions of masculinity. Rejecting the typical view of formalism's exclusive engagement with essentialised and purified notions of abstraction and its disengagement from issues of gender and embodiment, Brennan explores the ways in which these categories were intertwined, historically and theoretically.\u003c\/p\u003e\n\u003cp class=\"column\"\u003eBrennan makes new use of writings by Clement Greenberg and other powerful critics describing the works of Matisse, the postwar New York School abstract expressionists, and their successors, the post-painterly abstractionists. The paintings of Matisse, she argues, were represented in part as intellectually engaged and culturally respectable centerfolds. Brennan examines de Kooning's Woman series—perhaps the most significant effort to incorporate feminine presence within abstract expressionist imagery—as extended cultural metaphors for bourgeois masculinity's conflicted relationship with its feminine \"others.\" She also shows how the aggressive energy of Pollock's nonfigural painterly idiom became domesticated in the press by the repeated pairing of his work with images of Pollock in the studio and at home with his wife, the artist Lee Krasner.\u003c\/p\u003e\n\u003cp class=\"column\"\u003eFinally, discussing the rise of the post-painterly abstractionists in the sixties, Brennan shows how, both despite and because of the critical presence of Helen Frankenthaler, formalist responses to the works of Morris Louis and Kenneth Noland provided an opportunity to promote idealised conceptions of masculine creativity.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"column\"\u003e\u003cspan\u003e\u003cstrong\u003ePLEASE NOTE:\u003c\/strong\u003e \u003cstrong\u003eThis title has been remainder marked by the publisher - a small black stamp on the lower edge. \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":43722026483970,"sku":"BK-MIT-MMS-001-M","price":5.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_5229_c1798370-591a-42a6-ab2a-2af624f4f4db.jpg?v=1790589291"},{"product_id":"bruce-nauman-october-files-22","title":"Bruce Nauman (October Files #22)","description":"\u003cp class=\"p1\"\u003eThis volume collects essential texts on the work of Bruce Nauman (b. 1941), an artist of exceptional range whose work continues to probe the fundamentals of both life and art. These critical writings, scholarly essays, and an interview span five decades of Nauman's career, ranging from the first substantive feature on his work, published in 1967, to a catalog essay from his 2018 retrospective. Written by prominent critics, art historians, and curators, the individual texts consider his work in various media, from photography and artists' books to sculpture, video, and room-scaled installations.\u003c\/p\u003e\n\u003cp\u003eTaken together, the essays trace the arc of critical reception given to Nauman's work, charting the (somewhat uneven) path to his current eminence as one of our truly indispensable living artists.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eContributors\u003cbr\u003e\u003c\/strong\u003eKathryn Chiong, Fidel A. Danieli, Isabel Graw, Rosalind Krauss, Janet Kraynak, Pamela M. Lee, John Miller, Robert Pincus-Witten, Joan Simon, Robert Slifkin, Marcia Tucker, Anne M. Wagner, Taylor Walsh, and Jeffrey Weiss.\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003ePLEASE NOTE: This title has been remainder marked by the publisher - a small black marker pen dot on the lower edge. See images.\u003c\/strong\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":44048184803586,"sku":"BK-MIT-BN-001-E","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_4622_bf93ea42-1038-45b4-8aa3-98cf8c078575.jpg?v=1791267089"},{"product_id":"bleak-houses-disappointment-and-failure-in-architecture","title":"Bleak Houses: Disappointment and Failure in Architecture","description":"\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePLEASE NOTE: This title has been remainder marked by the publisher - a  marker pen dot or line on one edge. See images for example.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eThe usual history of architecture is a grand narrative of soaring monuments and heroic makers. But it is also a false narrative in many ways, rarely acknowledging the personal failures and disappointments of architects. In \u003cem\u003eBleak Houses\u003c\/em\u003e, Timothy Brittain-Catlin investigates the underside of architecture, the stories of losers and unfulfillment often ignored by an architectural criticism that values novelty, fame, and virility over fallibility and rejection. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eBrittain-Catlin tells us about Cecil Corwin, for example, Frank Lloyd Wright's friend and professional partner, who was so overwhelmed by Wright's genius that he had to stop designing; about architects whose surviving buildings are marooned and mutilated; and about others who suffered variously from bad temper, exile, lack of talent, lack of documentation, the wrong friends, or being out of fashion. As architectural criticism promotes increasingly narrow values, dismissing certain styles wholesale and subjecting buildings to a Victorian litmus test of \"real\" versus \"fake,\" Brittain-Catlin explains the effect that this superficial criticality has had not only on architectural discourse but on the quality of buildings. The fact that most buildings receive no critical scrutiny at all has resulted in vast stretches of ugly modern housing and a pervasive public illiteracy about architecture. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eArchitecture critics, Brittain-Catlin suggests, could learn something from novelists about how to write about buildings. Alan Hollinghurst in The Stranger's Child, for example, and Elizabeth Bowen in Eva Trout vividly evoke memorable houses. Thinking like novelists, critics would see what architectural losers offer: episodic, sentimental ways of looking at buildings that relate to our own experience, lessons learned from bad examples that could make buildings better.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":44661353742594,"sku":"BK-MIT-BLHO-001-G","price":12.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_0610_1_e86d0690-c3ec-4556-9b34-c751cc2df727.jpg?v=1790762292"},{"product_id":"constructing-an-avant-garde-art-in-brazil-1949-1979","title":"Constructing an Avant-Garde: Art in Brazil, 1949-1979","description":"\u003cp\u003e\u003cspan class=\"a-text-bold\"\u003eHow Brazilian postwar avant-garde artists updated modernism in a way that was radically at odds with European and North American art historical narratives.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBrazilian avant-garde artists of the postwar era worked from a fundamental but productive out-of-jointness. They were modernist but distant from modernism. Europeans and North Americans may feel a similar displacement when viewing Brazilian avant-garde art; the unexpected familiarity of the works serves to make them unfamiliar. In \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eConstructing an Avant-Garde\u003c\/span\u003e\u003cspan\u003e, Sérgio Martins seizes on this uncanny obliqueness and uses it as the basis for a reconfigured account of the history of Brazil's avant-garde. His discussion covers not only widely renowned artists and groups—including Hélio Oiticica, Lygia Clark, Cildo Meireles, and neoconcretism—but also important artists and critics who are less well known outside Brazil, including Mário Pedrosa, Ferreira Gullar, Amílcar de Castro, Luís Sacilotto, Antonio Dias, and Rubens Gerchman.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMartins argues that artists of Brazil's postwar avant-garde updated modernism in a way that was radically at odds with European and North American art historical narratives. He describes defining episodes in Brazil's postwar avant-garde, discussing crucial critical texts, including Gullar's \"Theory of the Non-Object,\" a phenomenological account of neo-concrete artworks; Oiticica, constructivity, and Mondrian; portraiture, self-portraiture, and identity; the non-visual turn and missed encounters with conceptualism; and monochrome, manifestos, and engagement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Brazilian avant-garde's hijacking of modernism, Martins shows, gained further complexity as artists began to face their international minimalist and conceptualist contemporaries in the 1960s and 1970s. Reconfiguring not only art history but their own history, Brazilian avant-gardists were able to face contemporary challenges from a unique—and oblique—standpoint.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":44661381398786,"sku":"BK-MIT-CAAG-001-A","price":17.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_0623_bea1aa06-9977-4bfd-a941-236a6af2aefc.jpg?v=1791721667"},{"product_id":"what-was-contemporary-art","title":"What Was Contemporary Art?","description":"\u003cp\u003e\u003cspan\u003eContemporary art in the early twenty-first century is often discussed as if the very idea of art that is contemporary is new. Yet all works of art were once contemporary. In \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"a-text-italic\"\u003eWhat Was Contemporary Art?\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e Richard Meyer reclaims the contemporary from historical amnesia, and gives the contemporary its own art history. By exploring episodes in the study, exhibition, and reception of early twentieth-century art and visual culture, Meyer retrieves moments in the history of once-current art and redefines “the contemporary” as a condition of being alive to and alongside other moments, artists, and objects.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA selection of images, from works of fine art to museum brochures and magazine covers, support and extend Meyer's narrative. These works were contemporary to their own moment. Now, in Meyer's account, they become contemporary to ours as well.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eChapters\u003c\/strong\u003e\u003cbr\u003eIntroduction: The Art-Historical Postmortem\u003cbr\u003eYoung Professor Barr (1927)\u003cbr\u003ePrehistoric Modern (1937)\u003cbr\u003eMidcentury Contemporary (1948)\u003cbr\u003eAfterword: Not Now (1994\/2005)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":44661529116930,"sku":"BK-MIT-WWCA-001-A","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_0626_e2e9739b-e167-4fc5-95b0-7e7337ca4430.jpg?v=1791732807"},{"product_id":"on-the-wings-of-hypothesis-collected-writings-on-soviet-cinema","title":"On the Wings of Hypothesis: Collected Writings on Soviet Cinema","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis posthumous volume gathers Annette Michelson's erudite and incisive readings of the revolutionary films of Sergei Eisenstein and Dziga Vertov, giving readers the opportunity to track her sustained investigations into their work. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMichelson introduced American audiences to Soviet cinema in the early 1970s, extending the interpretive paradigm she had used for American filmmakers of the mid-twentieth century - in which she emphasised phenomenological readings of their work - to films and writings by Eisenstein and Vertov. Over four decades, Michelson returned again and again to what she calls, following Eisenstein, \"intellectual cinema\" - the deliberate attempt to create philosophically informed analogues for consciousness.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":45705810575618,"sku":"BK-MIT-OWH-001-DE","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_5025_8281083c-07f2-4366-b72d-2a8438fcab30.jpg?v=1790858622"},{"product_id":"underground-the-secret-life-of-videocassettes-in-iran","title":"Underground: The Secret Life of Videocassettes in Iran","description":"\u003cp\u003e\u003cspan\u003eIn 1983, the Iranian government banned the personal use of home video technology. In \u003cem\u003eUnderground\u003c\/em\u003e, Blake Atwood recounts how in response to the ban, technology enthusiasts, cinephiles, entrepreneurs, and everyday citizens forged an illegal but complex underground system for video distribution. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAtwood draws on archival sources including trade publications, newspapers, memoirs, films, and laws, but at the heart of the book lies a corpus of oral history interviews conducted with participants in the underground. He argues that videocassettes helped to institutionalise the broader underground within the Islamic Republic.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":45705813623042,"sku":"BK-MIT-USLCI-001-DE","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_4664_0c3a91f4-72a1-4194-9b2c-00d35cdd5c5c.jpg?v=1790858590"},{"product_id":"flintstone-modernism-or-the-crisis-in-postwar-american-culture","title":"Flintstone Modernism: or The Crisis in Postwar American Culture","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAncient history, midcentury modernism, Cinemascope, humanism and monumentality, totalitarianism and democracy: transformations in American culture and architecture. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn \u003cem\u003eFlintstone Modernism\u003c\/em\u003e, Jeffrey Lieber investigates transformations in postwar American architecture and culture. He considers sword-and-sandal films of the 1950s and 1960s - including forgotten gems such as Land of the Pharaohs, Helen of Troy, and The Egyptian - and their protean, ideologically charged representations of totalitarianism and democracy. He connects Cinemascope and other widescreen technologies to the architectural \"glass curtain wall,\" arguing that both represented the all-encompassing eye of American Enterprise. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLieber reminds us that until recently midcentury modern American architecture was reviled by architectural historians but celebrated by design enthusiasts, just as sword-and-sandal epics are alternately hailed as cult classics or derided as camp. Lieber's argument is absorbing, exuberant, and comprehensive. Following Hannah Arendt, who looked for analogies in the classical past in order to understand midcentury's cultural crisis, Lieber terms the postwar reckoning of ancient civilizations and modern ideals \"Flintstone modernism.\" \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn new assessments of the major architects of the period, Lieber uncovers the cultural and political fantasies that animated or impinged on their work, offering surprising insights into Gordon Bunshaft's common sense classicism; Eero Saarinen's architectural narratives of ersatz empire and Marcel Breuer's mania for Egyptian monoliths; and Edward Durell Stone's romantic \"flights of fancy\" and Philip Johnson's wicked brand of cynical cultural and sociopolitical critique. Deftly moving among architecture, film, philosophy, and politics, Lieber illuminates the artifice that resulted from the conjunction of high style and mass-cultural values in postwar America.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":45705815818498,"sku":"BK-MIT-FMCP-001-I","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_3841_15ccacd6-7c66-4487-8920-3ee48bf6a5b7.jpg?v=1790761252"},{"product_id":"making-art-work-how-cold-war-engineers-and-artists-forged-a-new-creative-culture","title":"Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eArtwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In this book, W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. \u003c\/span\u003e\u003cspan\u003eMany of the biggest stars of the art world - Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage - participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognised. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket pioneer-turned-kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eToday, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. \u003cem\u003eMaking Art Work\u003c\/em\u003e reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":45705835151618,"sku":"BK-MIT-MAWCWE-001-DE","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_4526_096e1ee4-da37-482d-864f-7d3007082b01.jpg?v=1791717983"},{"product_id":"victor-papanek-designer-for-the-real-world","title":"Victor Papanek: Designer for the Real World","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"a-text-bold\"\u003eThe history and controversial roots of the social design movement, explored through the life and work of its leading pioneer, Victor Papanek.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"a-text-italic\"\u003eVictor Papanek: Designer for the Real World\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, Alison Clarke explores the social design movement through the life of its leading pioneer, the Austrian American designer, theorist, and activist Victor Papanek. Papanek's 1971 best seller, \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"a-text-italic\"\u003eDesign for the Real World: Human Ecology and Social Change\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e has been translated into twenty-two languages and never fallen out of print. Its politics of social design, anti-corporatism, and environmental sustainability have found renewed pertinence in the twenty-first century and dominate the agendas of design schools today. Drawing extensively on previously unexplored archival sources, Clarke uncovers and contextualises the movement's controversial origins and contradictions.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":45705841639682,"sku":"BK-MIT-VPDFRW-001-G","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_3843_5f6006b4-fe59-4bff-922c-83711a1d10b9.jpg?v=1791459875"},{"product_id":"networking-the-bloc-experimental-art-in-eastern-europe-1965-1981","title":"Networking the Bloc: Experimental Art in Eastern Europe 1965-1981","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ehe story of the experimental zeitgeist in Eastern European art, seen through personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThroughout the 1970s, a network of artists emerged to bridge the East-West divide, and the no less rigid divides between the countries of the Eastern bloc. Originating with a series of creative initiatives by artists, art historians, and critics and centred in places like Budapest, Poznan, and Prague, this experimental dialogue involved Western participation but is today largely forgotten in the West. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eKlara Kemp-Welch vividly recaptures this lost chapter of art history, documenting an elaborate web of artistic connectivity that came about through a series of personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. Countering the conventional Cold War narrative of Eastern bloc isolation, Kemp-Welch shows how artistic ideas were relayed among like-minded artists across ideological boundaries and national frontiers. Much of the work created was collaborative, and personal encounters were at its heart. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDrawing on archival documents and interviews with participants, Kemp-Welch focuses on the exchanges and projects themselves rather than the personalities involved. Each of the projects she examines relied for its realisation on a network of contributors. She looks first at the mobilisation of the network, from 1964 to 1972, exploring five pioneering cases: a friendship between a Slovak artist and a French critic, an artistic credo, an exhibition, a conceptual proposition, and a book. She then charts a series of way stations for experimental art from the Soviet bloc between 1972 and 1976 - points of distribution between studios, private homes, galleries, and certain cities. Finally, she investigates convergences - a succession of shared exhibitions and events in the second half of the 1970s in locations ranging from Prague to Milan to Moscow. Kemp-Welch invites us to rethink the art of the late Cold War period from Eastern European perspectives.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":45705846030594,"sku":"BK-MIT-NTB-001-A","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_4536_ada6f01f-e39d-4e77-b4c9-fef7558c2066.jpg?v=1791717963"},{"product_id":"muriel-cooper","title":"Muriel Cooper","description":"\u003cp\u003e\u003cspan\u003eMuriel Cooper (1925–1994) was the pioneering designer who created the iconic MIT Press colophon (or logo) - seven bars that represent the lowercase letters “mitp” as abstracted books on a shelf. She designed a modernist monument, the encyclopaedic volume \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eThe Bauhaus\u003c\/span\u003e\u003cspan\u003e (1969), and the graphically dazzling and controversial first edition of \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eLearning from Las Vegas\u003c\/span\u003e\u003cspan\u003e (1972). \u003c\/span\u003e\u003cspan\u003eShe used an offset press as an artistic tool, worked with a large-format Polaroid camera, and had an early vision of e-books. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCooper was the first design director of the MIT Press, the cofounder of the Visible Language Workshop at MIT, and the first woman to be granted tenure at MIT's Media Lab, where she developed software interfaces and taught a new generation of designers. She began her four-decade career at MIT by designing vibrant printed flyers for the Office of Publications; her final projects were digital. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis lavishly illustrated volume documents Cooper's career in abundant detail, with prints, sketches, book covers, posters, mechanicals, student projects, and photographs, from her work in design, teaching, and research at MIT.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Muriel Cooper is one of the most influential and inspiring yet little known figures in\u003cbr\u003e20th-century design. Until now. What a pleasure to finally read a book that describes\u003cbr\u003eCooper and her work so eloquently.\" \u003cstrong\u003eAlice Rawsthorn, author of Hello World: Where Design Meets Life\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Muriel Cooper was a theorist, a humanist, a futurist, anda deeply principled designer\u003cbr\u003ewhose work was as driven by thoughtful inquiry as by function and strategy. In a\u003cbr\u003echaotic world overrun by data and digits, her inventive contributions remain as elegant, her observations as trenchant as ever. This book is long overdue.\" \u003cstrong\u003eJessica Helfand, Yale School of Art\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":45705847144706,"sku":"BK-MIT-MUCO-001-L","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_4051_a6794605-8932-459d-b867-f218b3273835.jpg?v=1791455934"},{"product_id":"the-typographic-medium","title":"The Typographic Medium","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eTypography is everywhere and yet widely overlooked. When we read type, we fail to see type. In this book, Kate Brideau considers typography not as part of \"print media\" or \"digital media\" but as a medium of communication itself, able to transcend the life and death of particular technologies. Examining the contradiction between typographic form (often overlooked) and function (often overpowering), Brideau argues that typography is made up not of letters but of shapes, and that shape is existentially and technologically central to the typographic medium. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAfter considering what constitutes typographic form, Brideau turns to typographic function and how it relates to form. Examining typography's role in both the neurological and psychological aspects of reading, she argues that typography's functions exceed reading; typographic forms communicate, but that communication is not limited to the content they carry. To understand to what extent the design and operations of the typographic medium affect the way we perceive information, Brideau warns, we must understand the medium's own operational logic, embodied in the full diversity of typographic forms. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBrideau discusses a range of topics - from intellectual property protection for typefaces to Renaissance and Enlightenment ideal letterforms - and draws on a wide variety of theoretical work, including phenomenological ideas about comprehension, German media archaeology, and the media and communication theories of Vilém Flusser and others. Hand-drawn illustrations of typographic forms accompany the text.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":45705847570690,"sku":"BK-MIT-TTM-001-L","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_4042_1_60b14af2-9b94-4ce8-9ef0-647af97a1cc5.jpg?v=1791455910"},{"product_id":"making-design-theory","title":"Making Design Theory","description":"\u003cp\u003e\u003cspan class=\"a-text-bold\"\u003eA new approach to theory development for practice-driven research, proposing that theory is something made in and through design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTendencies toward “academisation” of traditionally practice-based fields have forced design to articulate itself as an academic discipline, in theoretical terms. In this book, Johan Redström offers a new approach to theory development in design research–one that is driven by practice, experimentation, and making. Redström does not theorise from the outside, but explores the idea that, just as design research engages in the making of many different kinds of things, theory might well be one of those things it is making.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRedström proposes that we consider theory not as stable and constant but as something unfolding―something acted as much as articulated, inherently fluid and transitional. Redström describes three ways in which theory, in particular formulating basic definitions, is made through design: the use of combinations of fluid terms to articulate issues; the definition of more complex concepts through practice; and combining sets of definitions made through design into “programs.” These are the building blocks for creating conceptual structures to support design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDesign seems to thrive on the complexities arising from dichotomies: form and function, freedom and method, art and science. With his idea of transitional theory, Redström departs from the traditional academic imperative to pick a side―theory or practice, art or science. Doing so, he opens up something like a design space for theory development within design research.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":45705889906946,"sku":"BK-MIT-MDT-001-G","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_3848_a998b8ea-8746-4d0c-9b31-7909117ec025.jpg?v=1791459858"},{"product_id":"absence-of-clutter-minimal-writing-as-art-and-literature","title":"absence of clutter: minimal writing as art and literature","description":"\u003cp\u003e\u003cspan class=\"a-text-bold\"\u003eAn exploration of minimal writing―texts generally shorter than a sentence―as complex, powerful literary and visual works.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the 1960s and 70s, minimal and conceptual artists stripped language down to its most basic components: the word and the letter. Barbara Kruger, Jenny Holzer, Carl Andre, Lawrence Weiner, and others built lucrative careers from text-based art. Meanwhile, poets and writers created works of minimal writing―visual texts generally shorter than a sentence. (One poem by Aram Saroyan reads in its entirety: eyeye.) In \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eabsence of clutter\u003c\/span\u003e\u003cspan\u003e, Paul Stephens offers the first comprehensive account of minimal writing, arguing that it is equal in complexity and power to better-known, more commercial text-based art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMinimal writing, Stephens writes, can be beguilingly simple on the surface, but can also offer iterative reading experiences on multiple levels, from the fleeting to the ponderous. “absence of clutter,” for example, the entire text of a poem by Robert Grenier, is both expressive and self-descriptive. Stephens first sets out a theoretical framework for reading and viewing minimal writing and then offers close readings of works of minimal writing by Saroyan, Grenier, Norman Pritchard, Natalie Czech, and others. He “reverse engineers” recent works by Jen Bervin, Craig Dworkin, and Christian Bök that draw on molecular biology, and explores print-on-demand books by Holly Melgard, code poetry by Nick Montfort, Twitter-based work by Allison Parrish, and the use of Instagram by Hans-Ulrich Obrist and Saroyan. Text, it seems, is becoming ever more prevalent in visual art; meanwhile, poems are getting shorter. When reading has become scanning a screen and writing tapping out a text, \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003eabsence of clutter\u003c\/span\u003e\u003cspan\u003e invites us to reflect on how we read, see, and pay attention.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":45705914843394,"sku":"BK-MIT-AOCMW-001-I","price":17.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_3836_1f016bd9-c246-4647-b2e0-68c39d571a09.jpg?v=1791724930"},{"product_id":"mel-bochner-solar-system-rest-rooms-writings-and-interviews-1965-2007","title":"Mel Bochner: Solar System \u0026 Rest Rooms - Writings and Interviews, 1965-2007","description":"\u003cp\u003e\u003cem\u003e\u003cspan class=\"a-text-italic\"\u003eSolar System \u0026amp; Rest Rooms\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e collects both Mel Bochner's writings on art and his writings \u003cem\u003eas\u003c\/em\u003e art, offering more than fifty pieces reviews, art criticism, theoretical texts, interviews, catalogue statements, notecards, and his groundbreaking magazine interventions many reproduced in facsimile. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBochner is a leading figure in conceptualism; his 1966 installation at the School of Visual Arts Gallery \u003cem\u003eWorking Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art\u003c\/em\u003e is considered to be the earliest exhibition of conceptual art. \u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003e\u003cem\u003eSolar System \u0026amp; Rest Rooms\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e chronologically documents the work and ideas of this important artist over a span of forty years, as well as providing a unique perspective on the conceptual and post-minimal art scene in New York. This book offers a rare insight into what it means to be an artist whose visual practice is inseparable from the sustained practice of writing. \u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":45705944760578,"sku":"BK-MIT-MBSSRR-001-J","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_5029_c5d5d845-06f2-4267-a0fd-0eb54563dcce.jpg?v=1791724905"},{"product_id":"louise-lawler-twice-untitled-and-other-pictures-looking-back","title":"Louise Lawler: Twice Untitled and Other Pictures (looking back) (Rare edition)","description":"\u003cp\u003e\u003cstrong\u003eRare \u0026amp; Collectible\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor decades Louise Lawler (b. 1947) has been taking photographs of art in situ, from small poignant black-and-white images of art in people's homes to large format glossy colour pictures of art in museums and in auction houses. In addition she has produced a variety of objects - paperweights, etched drinking glasses, matchbooks, gallery announcements - all of which cleverly describe how art comes to accrue value as it moves through various systems of exchange. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLawler's oeuvre was essential in creating an expanded field for photography, it was crucial in postmodern debates over theories of representation, it remains indelible within the field of institutional critique, and it has always been trenchant and witty in its sustained commitment to a feminist vision of art, art history, and contemporary art practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe very self-effacing nature of Lawler's practice - her continual suspicion about notions of authorship and her sly disregard for museological conventions have meant that she resisted the usual career retrospectives. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan class=\"a-text-italic\"\u003eTwice Untitled and Other Pictures \u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"a-text-italic\"\u003ewas\u003c\/span\u003e\u003cem\u003e\u003cspan class=\"a-text-italic\"\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003epublished in conjunction with Lawler's first major museum exhibition in the United States and eats away at the standard museum practices of chronology, linear development, and the presentation of masterpieces. Instead, it explores such dynamic themes and undercurrents of her practice as her relationship to sculpture, her long history of collaborative projects, her production of such ephemera as napkins, matchbooks, and announcement cards, and the steady political dimension of her work. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003e\u003cspan class=\"a-text-bold a-text-italic\"\u003ePLEASE NOTE: This title has been remainder marked by the publisher - a small stamp on one outer edge. See images.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":46140427469058,"sku":"BK-MIT-LLTU-001-B","price":7.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_3549_1a043213-98e7-4276-9876-897f8c1cfe48.jpg?v=1791187638"},{"product_id":"nothing-less-than-literal-architecture-after-minimalism","title":"Nothing Less Than Literal: Architecture after Minimalism","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIn \u003cem\u003eNothing Less than Literal\u003c\/em\u003e, Mark Linder shows how minimalist art of the 1960s was infiltrated by architecture, resulting in a reconfiguration of the disciplines of both art and architecture. Linder traces the exchange of concepts and techniques between architecture and art through a reading of the work of critics Clement Greenberg, Colin Rowe, Michael Fried, and the artist-writer Robert Smithson, and then locates a recuperation of \"the architecture of minimalism\"in the contemporary work of John Hejduk and Frank Gehry.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Literal\" was not only a term used by Fried to attack minimalism; it was a key term for Greenberg as well, and in both cases their use of that term coincides with discussions of the architectural qualities of art. Linder gives us the first thorough examination of the role that architectural concepts, techniques of representation, and practices played in the emergence of minimalism. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBeginning with a comparison of the \"post-cubist\" writings of Clement Greenberg and Colin Rowe, he reveals surprising affinities in their critical formulations of pictorialism - including the use by both of an analogy between cubist collage and architectural space. This is followed by an account of the sharp differences between Michael Fried and Robert Smithson; Linder contrasts the sublimation of space and refusal of architecture in Fried's concept of the \"radically abstract\" with Smithson's explicit embrace of architectural thinking and his complex concepts of space. Finally, Linder looks at particular instances in the work of two architects who, through collaboration with artists, engaged the legacy of literalism - John Hejduk's Wall House and Frank Gehry's decade-long fascination with the figure of the fish. Linder shows how the \"productive impropriety\" of trans-disciplinary borrowing in the discourses surrounding minimalism serves as a counter-example to the prevalent perception of \"disciplines\" as conservative and institutionalising.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePLEASE NOTE: This book has been remainder-marked by the publisher - a stamp on one outer edge - see final image.\u003c\/strong\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":46169079447810,"sku":"BK-MIT-NLTL-001-Q","price":5.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_4923_311809cd-696a-44ff-b3d0-82dba16882a7.jpg?v=1790525919"},{"product_id":"the-early-american-daguerreotype-cross-currents-in-art-and-technology","title":"The Early American Daguerreotype: Cross-Currents in Art and Technology","description":"\u003cp\u003e\u003cspan\u003eThe daguerreotype, invented in France, came to America in 1839. By 1851, this early photographic method had been improved by American daguerreotypists to such a degree that it was often referred to as “the American process.” The daguerreotype - now perhaps mostly associated with stiffly posed portraits of serious-visaged nineteenth-century personages - was an extremely detailed photographic image, produced though a complicated process involving a copper plate, light-sensitive chemicals, and mercury fumes. It was, as Sarah Kate Gillespie shows in this illustrated history, something wholly and remarkably new: a product of science and innovative technology that resulted in a visual object. It was a hybrid, with roots in both fine art and science, and it interacted in reciprocally formative ways with fine art, science, and technology.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGillespie maps the evolution of the daguerreotype, as medium and as profession, from its introduction to the ascendancy of the “American process,” tracing its relationship to other fields and the professionalisation of those fields. She does so by recounting the activities of a series of American daguerreotypists, including fine artists, scientists, and mechanical tinkerers. She describes, for example, experiments undertaken by Samuel F. B. Morse as he made the transition from artist to inventor; how artists made use of the daguerreotype, both borrowing conventions from fine art and establishing new ones for a new medium; the use of the daguerreotype in various sciences, particularly astronomy; and technological innovators who drew on their work in the mechanical arts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBy the 1860s, the daguerreotype had been supplanted by newer technologies. Its rise (and fall) represents an early instance of the ever-constant stream of emerging visual technologies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003ePLEASE NOTE: \u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eThis title has  been remainder marked by the publisher - a black marker pen dot on one edge - see final image.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":47285306622210,"sku":"BK-MIT-EADCC-001-I","price":17.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_1179_87904c52-cd9a-4325-9f89-aaef4bea86ce.jpg?v=1791480123"},{"product_id":"rhythm-science-by-dj-spooky-that-subliminal-kid-rare-edition","title":"Rhythm Science by Paul D. Miller aka DJ Spooky That Subliminal Kid (Rare edition)","description":"\u003cp\u003e\u003cstrong\u003eRare \u0026amp; Collectible\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIncludes free CD -  \u003cmeta charset=\"utf-8\"\u003e \u003ci\u003eRhythm Science: Excerpts and Allegories from the Sub Rosa Archives\u003c\/i\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-subtree=\"aimfl,mfl\"\u003ePaul D. Miller, known as DJ Spooky That Subliminal Kid\u003c\/span\u003e\u003cmark class=\"HxTRcb\" data-sfc-cb=\"\" data-sfc-root=\"c\"\u003e\u003cspan data-sfc-cb=\"\" data-sfc-cp=\"\" data-sfc-root=\"c\"\u003e\u003c\/span\u003e\u003c\/mark\u003e, is a New York-based conceptual artist, composer, and writer known for mixing electronic music, multimedia, and literature to explore digital culture. His work focuses on collage-based aesthetics, digital sampling, and creating immersive installations that examine data, climate change, and urban spaces.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ci\u003eRhythm Science \u003c\/i\u003edelivers a manifesto for rhythm science - the creation of art from the flow of patterns in sound and culture, \"the changing same.\" Taking the Dj's mix as template, he describes how the artist, navigating the innumerable ways to arrange the mix of cultural ideas and objects that bombard us, uses technology and art to create something new and expressive and endlessly variable. Technology provides the method and model; information on the web, like the elements of a mix, doesn't stay in one place. And technology is the medium, bridging the artist's consciousness and the outside world.\u003c\/p\u003e\n\u003cp\u003eMiller constructed his Dj Spooky persona (\"spooky\" from the eerie sounds of hip-hop, techno, ambient, and the other music that he plays) as a conceptual art project, but then came to see it as the opportunity for \"coding a generative syntax for new languages of creativity.\" For example: \"Start with the inspiration of George Herriman's Krazy Kat comic strip. Make a track invoking his absurd landscapes...What do tons and tons of air pressure moving in the atmosphere sound like? Make music that acts a metaphor for that kind of immersion or density.\" Or, for an online \"remix\" of two works by Marcel Duchamp: \"I took a lot of his material written on music and flipped it into a DJ mix of his visual material - with him rhyming!\"\u003c\/p\u003e\n\u003cp\u003eTracing the genealogy of rhythm science, Miller cites sources and influences as varied as Ralph Waldo Emerson (\"all minds quote\"), Grandmaster Flash, W. E. B Dubois, James Joyce, and Eminem. \"The story unfolds while the fragments coalesce,\" he writes.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\"Once you get into the flow of things, you're always haunted by the way that things could have turned out. This outcome, that conclusion. You get my drift. The uncertainty is what holds the story together, and that's what I'm going to talk about.\" \u003cstrong\u003ePaul D. Miller\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eAccompanying CD\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003ci\u003eRhythm Science: Excerpts and Allegories from the Sub Rosa Archives.\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eDJ Spooky remixes the catalogue of label Sub Rosa. The result is a complete re-building of the label in an unique piece of 80 minutes constructed with more than 50 parts. Here is the base of this complex architecture:\u003cbr\u003e\u003cbr\u003eYoshio Machida \"Afterimage\" mixed w\/ Sussan Deyhim \"The First Reading\" \/ Tibetan Evening Music \/ Nuuk Posse \"Poesi\" mixed w\/ Antonin Artaud \"alienation et magie noire\" \/ DJ Grazhoppa \"Milky Remix\" of Bill Laswell \/ Directions \"Encode\" mixed w\/ e.e. cummings \"Let's From Some Loud Unworld's Most Rightful Wrong \" \/ DJ Wally \"Zeta Reticulli\" mixed w\/ Gertrude Stein \"If I told him, a completed portrait of Picasso\" \/ Charles Hayward \"Accidents and Emergencies (instrumental)\" \/ Bill Laswell \"Oscillations (Vedic's live pop remix)\" \/ Vedic \"Kali Rising\" mixed w\/ Tristan Tzara \"pour compte (phases, 1949)\" \/ Oval \"April Remix\" mixed w\/ James Joyce \"anna livia plurabelle (finnegans wake)\" (needs to be louder....) \/ Oval vs Yoshiro Hanno \"April Remix\" \u0026amp; Oval vs Main \"SDII Audio Template\" \/ David Shea \"Satiricon\" mixed w\/ Marcel Duchamp \"some texts from a l'infinitif\" \/ Scola Hungarica \"Sanctus\" \/ Jean Luc Fafchamps \"Chrysanthemum haradjanii\" mixed w\/ Meira Asher \u0026amp; Guy Harries \"Girl\" \/ Darba Del Hameni \"Jilala de Tangier\" \/ Jean Luc Fafchamps \"Ground\" \/ Seefeel \"Is It Now?\" \/ DJ Wally \"Bitchley's Kow Korn\" mixed w\/ \"In Principio - extract from Easter Nocturnal Liturgy\" \/ Scanner \"Fuse\" \/ William S. Burroughs and Martin Olson \"The Five Steps\" \/ Kim Cascone\/Scanner \"Atavistic Endeavor\" \/ Scanner \"Control Phantom\" \/ Merzbow \"Lux Automobile\/Krokodil Rock Mix\" \/ Yoshio Machida \"Afterimage\" mixed w\/ Vladimir Maiakovski \"Aventure Extraordinaire Arrivée a Vladimir Maiakovski, en été a la Datc\" \/ Claude Debussy \"d'un cahier d'esquisses\" \/ David Shea +Tobias Hazan \"memoires d'un surfeur au bord du désert\" \/ Disjecta \"Bad Day for Wasps\" \/ Matik \"Indigo\" \/ Giancinto Scelsi \"Suite number 11\" \/ Bill Laswell with Trilok Gurtu \"Nothing\" \/ Luciano Berio\"\"Brin\" mixed w\/ Laswell's \"Dislocation\" \/ Brion Gysin \"One Night @ the 1001\" \/ Tibetan Evening music \/ Jon Hassel \"Map of Dusk\" \/ C.M. von Hausswolff \"With the Flow Against The Current\" \/ Jellaba Titara \"Gnaoua De Abenb Binizi\" mixed w\/ Guillaume Apollinaire \"Pont Mirabeau\" \/ Nicholas James Bullen \"Again and Again\"\"mixed w\/ violin from Brion Gysin recording \"at 1001\" \/ Gilles Deleuze \"Mille Plateaux\" \/ Nûs \"lament\" drum break mixed w\/ Morton Feldman \"Triadic Memories\" \/ Nûs \"lament\" drum break mixed w\/ David Toop \"Tricyrtis Latifalia\" \/ Mouse on Mars \"Subnubus \" \/ Current 93 \"some morning when the moon was blood\" mixed w\/ Lee Renaldo's remix of \"Konstantin Raudive\" \/ Patti Smith \"Morning High\" \/ Sussan Deyhim \"The Last Reading\".\u003cspan style=\"mso-tab-count: 1;\"\u003e           \u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":47478137553154,"sku":"BK-MIT-RSDJS-001-P","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_1603_7635485c-ddbd-4596-a2b1-57ba946801b9.jpg?v=1791129946"},{"product_id":"sol-lewitts-studio-drawings-in-the-vecchia-torre","title":"Sol LeWitt's Studio Drawings in the Vecchia Torre","description":"\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIn 1976, Sol LeWitt made a large group of pencil drawings on the internal walls of the Vecchia Torre, a medieval tower in the Umbrian town of Spoleto, Italy. These fragile drawings, made on walls that are susceptible to degradation, have rarely been seen and never been documented, yet they represent one of LeWitt's major works and a milestone in American conceptual art. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eThis groundbreaking volume brings together an extended essay on LeWitt's work by art historian Rye Dag Holmboe and a series of 60 photographic plates of the drawings by artist Joschi Herczeg, giving readers an intimate experience of this singular, site-specific work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eA visual archive, this book situates LeWitt's provisional, material, bodily, and highly personal drawings in their historical, biographical, and theoretical contexts. The result is nothing less than a reconsideration of LeWitt's lifework. At once a work of conservation and a reflection on the relationship between drawing and architecture\u003c\/span\u003e\u003cspan class=\"a-text-italic\"\u003e, Sol LeWitt's Studio Drawings in the Vecchia Torre\u003c\/span\u003e\u003cspan\u003esheds new and welcome light on an unseen masterpiece.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":47758305984770,"sku":"BK-MIT-SLSDVT-001-OP","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_3896_75a80134-9350-4c0a-a400-7376d75f4362.jpg?v=1791723271"},{"product_id":"this-great-allegory-on-world-decay-and-world-opening-in-the-work-of-art","title":"Gerhard Richter: This Great Allegory - On World-Decay and World-Opening in the Work of Art","description":"\u003cp class=\"p1\"\u003e\u003cspan\u003eThrough nine essays Gerhard Richter explores the relation between two worlds: the world in which an artwork is created, that is, a world that over time perishes or decays beyond interpretive understanding, and the new world that the artwork opens up. The multiple relations between these worlds are examined in a number of central thinkers and in various modes of aesthetic production, including poetry, painting, music, film, literature, and photography. It is precisely in and through the work of art, Richter shows, that central elements of the thinking of world as world are negotiated in the most essential and moving ways.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003eExploring the relationship between these worlds through art and European philosophy, Richter offers bold new interpretations of Karl Marx, Friedrich Nietzsche, Martin Heidegger, Maurice Blanchot, Georges Bataille, Emmanuel Levinas, Theodor W. Adorno, Walter Benjamin, and Jacques Derrida. The book also provides stimulating new insights into the works of heterogeneous artists such as Paul Celan, Friedrich Hölderlin, Werner Herzog, Arnold Schönberg, Franz Kafka, Herman Melville, Andrew Moore, Botho Strauß, Didier Eribon, and even prehistoric cave painters. In each case, Richter's readings are guided by a consideration of the conceptual constraints and singular interpretive demands imposed by the specific genre and medium.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIT Press","offers":[{"title":"Default Title","offer_id":47758325088514,"sku":"BK-MIT-TGAWDWO-001-Q","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0401\/6226\/3204\/files\/IMG_4289_609d795c-5497-4415-9b39-17e8605c96db.jpg?v=1791732614"}],"url":"https:\/\/www.booksaboutart.co.uk\/collections\/mit-press.oembed?page=2","provider":"Books About Art","version":"1.0","type":"link"}