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"Neither a comprehensive oral history nor a biography, this reader is an intimate collection of anecdotes, reflections and musings that cohere to form a narrative portrait of a complex man and the vehicle through which he focused his artistic energy and convictions. The man in question is the visionary artists' "dealer" behind the revered Feature Inc. gallery-the mononymous Hudson (1950-2014). The gallery, which opened and ran from 1984-88 in Chicago, and then in New York City from 1988-2014, showcased the early work of many now-prominent artists, such as Raymond Pettibon, Kay Rosen and Jeff Koons. Presented here are over 30 interviews with Hudson's artists, collectors, colleagues and friends. The book also includes additional selected written remembrances and dozens of images, many shared for the first time. Published on the 10th anniversary of Hudson's death, this book is a record of Hudson's resounding cultural impact"--

"In 1972, artist Garth Evans installed a public sculpture in Cardiff, Wales, for six months as part of the UK-wide City Sculpture Project. The next morning, he stood beside the sculpture and recorded responses to it from passersby. After being reminded decades later of the long-since forgotten tapes, he published the transcript of these responses in 2015, and he was curious: how would people respond to the sculpture in the present, nearly 45 years after its original presentation? He set out on a mission to return the work to the same location in Cardiff in order to make a second recording, and in 2019, he succeeded in doing both. Yet, while he had taken pains to replicate the making of the transcript in exactly the same manner as in 1972, everything else had changed-from cultural understandings about contemporary art; to the sculpture's physical context; to the passersby, the artist, and the work itself. The Cardiff Tapes (2019) presents the transcript of responses to the reinstalled sculpture, along with Evans' reflections on the experiment and art historian Ann Compton's discussion of the issues around the redisplay and the task of contextualizing it within public art practice since 1972. Raising questions about artistic success and failure, this book asks what the stakes are in artistic re-dos and whether they are ever really possible"--

"Hâelio Oiticica (1937-80) is widely considered one of Brazil's most significant artists, and his influence is felt across a range of disciplines including painting, film, installation and participatory art. He is well known as a key founder of the interdisciplinary movement known as Neoconcretismo, launched in Rio de Janeiro in 1959 with the collaboration of artists and writers including Lygia Clark, Lygia Pape and Ferreira Gullar. Between 1964 and 1966, moving out of his Neoconcretist period, Oiticica wrote a series of lyrical poems entitled Poâetica Secreta (Secret Poetics), and he reflected in a private notebook on their significance for his wider practice as an artist. Despite Oiticica's global fame, his "secret" poems are almost unknown and have never been published as a collection. This bilingual edition, with accompanying essays by translator Rebecca Kosick and critic Pedro Erber, uncovers the significance of poetry for Oititica's art and shows its importance to his thinking on participation, sensation and memory"--

Literary Nonfiction. Essays. Art. Edited with an introduction by Martina Droth. Afterword by David J. Getsy. Author, translator, librarian, and scholar Edmund Gosse (1849-1928) was one of the most important art critics writing about sculpture in late- nineteenth century Britain. In 1895, he published the THE PLACE OF SCULPTURE IN DAILY LIFE, a quirky, four-part series of essays that ran in the Magazine of Art under the headings "Certain Fallacies," "Sculpture in the House," "Monuments," and "Decoration." Often cited but never before reprinted, Gosse's essays sought to demystify sculpture and to promote its patronage and appreciation. Martina Droth's introduction and commentary contextualize the essays within their era, providing insight into the world of late-Victorian sculpture. David J. Getsy's afterword connects the essays' themes to the present, offering a resonant perspective on the sculpture of today.

Literary Nonfiction. Art. In the Spring of 1965, dozens of New York artists met for the two-part, invitation-only Waldorf Panels on Sculpture. Organized by Phillip Pavia, the proceedings of THE WALDORF PANELS ON SCULPTURE were published in issue #6 of his magazine, IT IS. The discussions touch on a wide range of sculptural issues ranging from the status of found objects to thoughts on spontaneity vs. design to the expanding definition of sculpture to perspectives on Surrealism and Pop Art. In addition to heavy audience participation in both panels, Panel 1 includes Herbert Ferber, Reuben Kadish, Ibram Lassaw, Phillip Pavia, James Rosati, Bernard Rosenthal, and David Slivka. Panel 2 includes Isamu Noguchi, Claes Oldenburg, Phillip Pavia, George Segal, George Sugarman, and James Wines. These transcripts, reprinted for the first time since their 1965 original publication, convey a strong sense of a genre--and an art world--in transition.

Literary Nonfiction. Art. African & African American Studies. Poetry. Exhibition curated by Daniel Tucker. ORGANIZE YOUR OWN: THE POLITICS AND POETICS OF SELF-DETERMINATION MOVEMENTS features new work by contemporary artists, poets, and writers that relates to the Black Power movement's mandate to "organize your own" community against racism. Exploring the question of what "your own" might mean, this book connects some of the concerns dealt with in the 1960s and '70s to the conversations and social movements around racial justice happening today. Far from an historical account, ORGANIZE YOUR OWN documents and expands upon an exhibition and event series of the same name that took place in Chicago and Philadelphia in early 2016. In addition to exhibition documentation and a series of commissioned texts, this book also includes transcripts from five panel discussions that were organized as part of the exhibition. Two of these discussions focus on the original Rainbow Coalition, a unique example of race and class negotiation in which organizations such as the Black Panther Party, the Young Lords, and the Young Patriots Organization joined forces. Other discussions and contributions explore poetry, performance, and socially engaged art--which, broadly speaking, finds its foundation in the histories and language of community organizing. What is the role of politics and poetics in complicating and clarifying these ongoing conversations--the ones that happen when people come together? With contributions by: Amber Art & Design, Rashayla Marie Brown, Emily Chow Bluck, Billy "Che" Brooks, Salem Collo-Julin, Irina Contreras, Brad Duncan, Bettina Escauriza, Eric J. Garcia, Maria Gaspar, Thomas Graves, Robby Herbst, Jen Hofer, Alethea Hyun-Jin Shin, Mike James, M

Literary Nonfiction. Art. On October 5, 2007, Kristin Lucas became the most current version of herself when she succeeded in legally changing her name from Kristin Sue Lucas to Kristin Sue Lucas in a Superior Court of California courtroom. REFRESH presents transcripts of courtroom discussions between Lucas and the presiding judge that enter into philosophical territory as they debate change, its perceived meaning, and its relation to law.

Literary Nonfiction. Art. Design. Information Science. Edited by Ariane Roth and Marina Schutz. Translated from the German by Alta L. Price. THE DYNAMIC LIBRARY presents essays in translation from an interdisciplinary symposium on the classification and organization of knowledge held at Sitterwerk, St.Gallen, in 2011. Home to over 25,000 volumes on art, architecture, design, and photography, the Sitterwerk's Kunstbibliothek (Art Library) began with the bequest of book collector and connoisseur Daniel Rohner (1948- 2007). The question of how to systematically organize this idiosyncratic collection into a publicly accessible library was a fundamental concern, and a solution was found in a dynamic system of organization powered by RFID technology, which relies on digital tracking. The essays gathered in THE DYNAMIC LIBRARY contextualize the Sitterwerk's associative classification system amid artistic and historical systems of order, while pointing to future methods for incorporating subjectivity and serendipity into the organization of knowledge. Contributors: Anthon Astrom, Dorothee Bauerle-Willert, Susanne Bieri, Christian Kern, Felix Lehner, Claudia Mareis, Gerhard Matter, Philipp Messner, Paul Michel, Hans Petschar, Tobias Schelling, Marina Schutz, Fabian Wegmuller, Hans Witschi, and Lukas Zimmer

"Published on the occasion of the exhibition The Hysterical Material, organized by Geof Oppenheimer with Anne Leonard at the Smart Museum of Art, the University of Chicago, and presented September 14-December 17."

Literary Nonfiction. Art. LGBT Studies. Edited by David J. Getsy. Before gaining widespread recognition for his sculpture and public art, Scott Burton produced a substantial body of art writing in the late 1960s and early 1970s. An eclectic and wide-ranging critic, he wrote such important texts as the introduction to the groundbreaking exhibition of Postminimal art Live in Your Head: When Attitudes Become Form and served as an editor for both ARTnews and Art in America. In these same years, Burton became known as a performance artist, developing themes he pursued in his writing. Yet, his role as an artist-critic has rarely been discussed.SCOTT BURTON: COLLECTED WRITINGS ON ART AND PERFORMANCE, 1965-1975 brings together for the first time Burton's essays and unpublished manuscripts from these years, tracing his work as an art critic as well as his early statements on performance. In his writing, Burton championed positions that others held as mutually exclusive and antagonistic. He advocated for reductive abstract art while defending figuration, and he argued for the urgency of time-based and ephemeral art practices in the same years that he curated exhibitions of realist painting. Distinct in these diverse texts are Burton's increasing concerns with art's appeal to affects, empathies, and subjective responses; the early formulation of his desire to make art public and demotic; and his critical grasp on the implications and exclusions of mainstream narratives of art. This collection offers rich new context for Burton's sculptural work and reveals him as an important voice in the rapidly changing art world of the 1960s and 1970s.

Literary Nonfiction. Art. Sculpture. With commentary by Jon Wood. In 1972, artist Garth Evans welcomed the opportunity to create a public sculpture in Cardiff, Wales, as part of the Peter Stuyvesant Foundation's City Sculpture Project. Concerned that the increasing demand for his work served only to reinforce the political, social, and economic status quos, Evans hoped to unsettle this dynamic by making a sculpture that would connect with an audience outside of the art world. The morning after the installation of his sculpture, Evans recorded the responses of passersby. The Beckettian transcript of the Cardiff interviews is presented here, framed by Evans's introduction and reflection. Art historian Jon Wood contextualizes THE CARDIFF TAPES within contemporaneous debates about sculpture and public space. These writings explore ideas about the social responsibilities of art and artists, and make a cogent argument for the value of "difficulty" in sculpture.

Literary Nonfiction. In 2010, Marc Fischer experienced postal trauma when he moved away from his beloved Nancy B. Jefferson Post Office on the Near West Side and became a customer of the Roberto Clemente Post Office in Chicago's Logan Square neighborhood, which was just three blocks from his apartment. "Rather than forfeit the ability to mail things close to home, I did what any normal person with access to social media would do: I kept going back there and then complained about it on the internet." Gathered together for the first time, DELIVERANCE presents all of Fischer's Facebook post office posts since 2011. Part archive and part therapeutic exercise, this collection documents Fischer's committed but fraught bond with Chicago's post offices.

Literary Nonfiction. Cultural Studies. Art, Architecture & Urban Planning. California Interest. Beginning in 1968, the University of California, Irvine, was host to an experiment in intercultural exchange and artistic and social scientific learning through practice. Located on the edges of William Pereira's California Brutalist campus, the Farm was a space for craftspeople from Guatemala, Mexico, and Samoa to demonstrate their skills; a laboratory for new methods in education and research; and an unexpected countercultural gathering site. LEARNING BY DOING AT THE FARM reflects upon this unusual experiment, which brought together Cold War politics, modern development, and indigenous peoples drawn into the strange intellectual and cultural circumstances of 1960s California. Through a critical introduction and previously unpublished archival documentation, this book offers a glimpse of various actors dreams of what the Farm could become and the collaborations that actually unfolded there. About the editors: Robert Kett's research centers on artistic and scientific knowledge-making in Mexico and the United States. His current project connects histories of archaeology, oil geology, biological sciences, and Pan-American art in twentieth-century southern Mexico to consider their collective role in the constitution of natural/cultural resources and the region itself. Kett is a doctoral candidate in anthropology at the University of California, Irvine. Anna Kryczka's research focuses on the criticism and display of mid-century American art, design, media, material culture, and architecture. Her current project examines how Cold War taste cultures shaped and were shaped by sixties discourse around domesticity, expertise, and national belonging. Kryczka holds an MA

"Rosemary Mayer ... was a prolific artist, writer, and critic, who entered the New York art scene in the late 1960s. By the early 1970s, she became known both for her large-scale fabric sculptures--inspired by the lives of historical women--and her involvement in the feminist art movement. As the decade progressed, Mayer gravitated away from sculpture as a fixed form and the gallery as the primary setting for experiencing art. In 1977, she began to create ephemeral outdoor installations using materials such as balloons, snow, paper, and fabric. Mayer called these projects 'temporary monuments,' and she intended for them to celebrate and memorialize individuals and communities through their connections to place, time, and nature."--Fla

Literary Nonfiction. Art, Architecture, and Craft. STARTING FROM 'I DON'T KNOW' documents a 2011 week-long workshop at Sitterwerk, St. Gallen, in which Studio Mumbai's Bijoy Jain joined expert craftspeople from Switzerland to share the knowledge, techniques, and insights from their own practices with students, artists, and architects. The interviews in this book explore the creative potential of hands-on learning, local knowledge, and open experimentation. Celebrating the role of chance and collaboration in the process of making, STARTING FROM 'I DON'T KNOW' makes an argument for bringing together the oft-separated areas of architecture and craft early in the design process.

"Lastgaspism: Art and Survival in the Age of Pandemic is a collection of interviews, critical essays, and artwork that consider matters of life and death having to do with breath, both allegorical and literal. Bringing into mutual proximity the ecological, public health, political, and spiritual crises that came to the fore in 2020, this book considers these compounding events and how they impact one another and asks with critical optimism what can happen in this moment of transition"--

"Collective projects are the lifeblood of Chicago's art scene. Where the Future Came From expands upon previous research by refocusing the narrative around the work of women and women-identified makers from the late 19th century to the present. The book documents a 2018-19 open-source participatory exhibition, symposium and series of accompanying programs at Columbia College Chicago that explored the roles of feminism and intersectionality in approaching this history. In addition to a chronology, transcripts and essays, the book features personal and scholarly accounts of feminist cultural work. With contributions by TJ Boisseau, Estelle Carol, Daisy Yessenia Zamora Centeno, Carol Crandall, Mary Ellen Croteau, Jory Drew, Meg Duguid, Courtney Fink, Luz Magdaleno Flores, Jeffreen M. Hayes, Tempestt Hazel, Joanna Gardner-Huggett, Sam Kirk, Rana Liu, Sharmili Majmudar, Nicole Marroquin, Meida McNeal, Beate Minkovski, Lani Montreal, Neysa Page-Lieberman, Melissa Potter, Amina Ross, Jennifer Scott, Kate Sierzputowski, Jennifer Sova, Gloria Talamantes, Kate Hadley Toftness, Arlene Turner-Crawford and Lynne Warren."--Provided by publisher.

Rosemarie Beck (1923-2003) emerged from the second generation of Abstract Expressionists, though her tenure as an abstract painter was brief. By 1958, she had moved completely away from non-objective painting into figuration, a decision that would alter the course of her career. In addition to her five decades of visual work, Beck left behind volumes of letters, journals, and essays on art--ranging from formal analysis of the canon, her own work, and the works of her peers to Letters to a Young Painter, an epistolary lecture project. In the writings gathered here, Beck approaches her subjects in the same manner as she would have approached a complex narrative painting: through a richly textured combination of literary allusion, metaphor, direct observation, and autobiography. Rosemarie Beck: Letters to a Young Painter and Other Writings brings together a selection of Beck's writings for the first time, situating her distinctive voice within the milieu of mid-century artist-writers.

Literary Nonfiction. Art. Photography. Design. HENRY AT HOME presents photographs of objects from Henry--a shop in Hudson, NY, run by Nancy Shaver--as they appear in the homes of the people who purchased them. In addition to these photographs, taken by the objects' owners, HENRY AT HOME includes artwork by Nancy Shaver, an introduction by Lucy Raven, and an interview between Shaver and Steel Stillman. "Houses and interiors have played a huge role in my life. Though they've taken a lot of my time, working on them has been a vital part of my art work. They've taught me a great deal about space and light and color. And because I've never had any money, but have always wanted to have art, my houses have taught me about looking. My houses have been laboratories where I've had visual encounters that I wouldn't have had any other way. Henry comes out of that experience"--Nancy Shaver.

Literary Nonfiction. Art Studies. Edited by Helen A. Harrison. Foreword by Irving Sandler. The absence of traditional subject matter was a primary issue for painters in mid-twentieth-century America whose imagery lacked representational references; it was also a problem for those struggling to understand modern art. Robert Goodnough (19170-2011), then a New York University graduate student and an artist deeply involved with these issues, responded to the situation in a 1950 research paper, "Subject Matter of the Artist: An Analysis of Contemporary Subject Matter in Painting as Derived from Interviews with Those Artists Referred to as the Intrasubjectivists." Goodnough's paper constitutes the first scholarly work on the artists who became known as the Abstract Expressionists and includes interviews with William Baziotes, Willem de Kooning, Adolph Gottlieb, Robert Motherwell, Barnett Newman, Jackson Pollock, and Mark Rothko. This previously unpublished study is presented here for the first time alongside related writings by Goodnough.

Literary Nonfiction. Art. In April of 1950, about two dozen of the artists who came to be known as the Abstract Expressionists met for a series of discussions about their own work as well as the contemporary scene. Nearly 60 years after the actual meetings took place, the transcript of ARTISTS' SESSIONS AT STUDIO 35 (1950) still pulses with the heated discussions around basic artistic issues like titling, process, relationship to history, community, and professionalism. Often referenced, but rarely fleshed out, this series of closed meetings allows readers fly-on-the-wall access to the artists' discussions. The goal of the current reprint is to refresh this document by giving it a new life in a new form.