Brian Wallis

A Project by Martha Rosler (Discussions in Contemporary Culture , No 6)

If You Lived Here : The City in Art, Theory, and Social Activism 

John Vachon

Accompanied by original essays and facsimiles of handwritten letters by Vachon, presents dozens of candid photographs taken by the "Look" magazine photographer of Marilyn Monroe in the Canadian Rockies in 1953.

The Lost Look Photos by John Vachon

Marilyn, August 1953

Jeffrey Kastner

The definitive survey of Land Art and contemporary environmental art, now available in paperback

Land & Environmental Art

Nick Cave

Richard Prince

Carolyn Christov-Bakargiev

Miroslav Tichý

Roman Buxbaum

Few stories in the history of photography are as astonishing and compelling as that of the octogenarian Czech photographer Miroslav TichyÌ. With crude homemade cameras fashioned out of cardboard and duct tape, TichyÌ took several thousand pictures of the women of his Moravian hometown of Kyjov throughout the 1960s and 70s. These pictures of women going about their daily business are at once banal and extraordinary, transforming the ordinary moments of work and leisure into small epiphanies. Blurred and off-kilter, his photographs have a striking contemporaneity, resembling the early paintings of Gerhard Richter or the photographs of Sigmar Polke. Printed imperfectly and deliberately battered, they evince a surprisingly retrograde or even antimodernist feeling, which, in the context of the Cold War atmosphere of provincial Czechoslovakia, just before and after the liberalizing moment of the Prague Spring (1968), undoubtedly constituted a kind of oblique political provocation, a nose-thumbing response to the progressive realist perfectionism of official Soviet culture. After studying at the Academy of Arts in Prague, Miroslav TichyÌ (born 1926) withdrew to a life in isolation in his hometown of Kyjov, Moravia, Czech Republic. In the late 1950s, he quit painting and became a distinctive Diogeneslike figure, in part as a political response to the social repressions of Czech communism. It is only in the past five years that his intensely private work has gained international public attention. Co-published with International Center of Photography, New York.

Hal Foster

Museum of Contemporary Art (Chicago, Ill.)

Howard N. Fox

Robert Longo

Katherine Dieckmann

International Center of Photography

Works by more than 40 artists and photographers from 20 countries, documenting recent environmental disasters and exploring the effects of environmental change around the world through their art.

The Second ICP Triennial of Photography and Video

Ecotopia

Coco Fusco

Changing Visions of the American Self

Only Skin Deep

Caroline Schneider

Always There offers a comprehensive survey of American artist Julia Scher's work. The artist's installations and performances have always featured a complex relation to techno-social control, demonstrating our complicity in the proliferating technologies used to surveil both our physical and virtual identities. As Brian Wallis writes in his introduction, "Scher's work breaks linguistic codes of security, analyzing the rhetorics of surveillance discourse to allow the savvy user to manipulate and reconstitute those 'bits'. This approach is... akin to that of hackers, who, like Scher, invert the notion of usability, turning the practical on its head. On one level, this radical reversibility undoubtedly stems from some fundamental technoskepticism, but it also shows the artist's more complicated skepticism about the visual and geographical determinants of contemporary space and how they impact the practices of everyday life." The texts discuss how in the aftermath of 9-11, issues of surveillance, data harvesting and scoptophilia have acquired a new meaning. According to author Andrew Ross, "Scher is a wholly political artist with a keen eye and ear for the iconography and poetry of power, especially when it crystallizes into the operational jargon of aggressive intelligence systems." Contributors Bill Horrigan, Andrew Hultkrans, Giovanni Intra, Avital Ronell, Andrew Ross

Julia Scher, Always There

El derrumbamiento del movimiento moderno en las artes ha suscitado un asombroso repertorio de respuestas artísticas y críticas. Los veinticinco ensayos que recoge Arte después de la modernidad proporcionan una perspectiva general de las direcciones más interesantes que han seguido el arte y la crítica recientes, al abordar temas como el declive de la ideología moderna en las artes o la emergencia de una amplia gama de prácticas artísticas posmodernas. las corrientes actuales en pintura, cine, vídeo y fotografía. las investigaciones de artistas pertenecientes al ámbito de las artes plásticas en torno a los medios de comunicación y el tipo de imágenes que emplean. o la dinámica del tejido social en el que se produce y se difunde el arte. Esta compilación es una guía indispensable para comprender tanto las ideas como los temas que animan el arte contemporáneo, ese giro cultural de gran alcance que se ha dado en llamar posmodernidad.

Arte después de la modernidad

Marianne Hirsch

Tina Campt

Gil Hochberg

As a crucial extension of its ongoing investigation of vernacular photography, the Walther Collection has collaborated with key scholars and critical thinkers in the history of photography, women's studies, queer theory, Africana studies, and curatorial practice to interrogate vernacular's theoretical limits, as well as to conduct case studies of a striking array of objects and images, many from the collection's holdings.

Imagining Everyday Life: Engagements with Vernacular Photography

Edward Earle

Presenting the works of forty contemporary artists from around the world, Strangers: The First ICP Triennial of Photography and Video explores the different roles that photography now plays in negotiating the boundaries between trust and fear, intimacy and isolation, and public and private life. Accompanying a major exhibition organized by the International Center of Photography in New York, Strangers investigates, as well, the social consequences of globalization through images emanating from encounters between people unknown to one another. Strangers includes original essays. There are, in addition, illuminating commentaries on each of the artists, and reproductions of approximately 200 works in a variety of mediums, from traditional photographic processes and to multimedia installations and video. Among the artists included in the exhibition are Philip-Lorca DiCorcia, Luc Delahaye, David Goldblatt, Bill Henson, Chien-Chi Chang, Susan Meiselas, Harun Farocki, and Shirin Neshat.

The First ICP Triennial of Photography and Video

Strangers

The definitive survey of Land Art and contemporary environmental art.

Brian Wallis

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