""A recommended addition to art collections providing informative commentary on contemporary artists."" -- Booklist""This provocative catalogue for an exhibition organized by the Indianapolis Museum of Art explores the nature of power and its manifestation in art over the past three decades.... The illustrations are fleshed out with fine essays... ""A -- Publishers Weekly""Now comes a provocative, tightly organized exhibition at the Indianapolis Museum of Art titled 'Power: Its Myths and Mores in American Art, 1961-1991.' The title itself exudes considerable authority, especially when you see it spelled out in metallic red on the institutional gray of the catalogue's cover.... this exhibition represents an unusually successful marriage of art and theory, of visual pleasure and intellectual skepticism. In the process, it creates a vivid portrait of late-century American society and of the different ways artists have mined it for both source material and targets."" -- The New York Times""Well done, indeed."" -- The Print Collector's NewsletterNinety works by twenty-eight artists reflect and criticize the images of power found in the mass media as well as in objects, rituals, and regalia of everyday life in the United States. From Andy Warhol and Frank Stella to Robert Longo and Jenny Holzer, the artists in this exhibit address issues of power through the use of materials and methods of mass communication.44 color plates, 76 b&w illustrations

Power: Its Myths and Mores in American Art, 1961-1991

Arts & Photography

Day, Holliday T.

Marcus, George E.

Wallis, Brian

Chave, Anna

History & Criticism

Indiana University Press

This book fully documents the 1960s Land Art movement as well as surveying later examples of environmental art to the present day. Earthworks, environments, performances and actions by artists ranging from Ana Mendieta, Robert Smithson or Walter de Maria in the 1970s-80s to Peter Fend and Mierle Laderman Ukeles in the 1990s are all illustrated with breathtaking photographs, sketches and project notes. They are accompanied by documents which chart the ideas, their critical reception and the broader philosophical and cultural context which framed them.

Land & Environmental Art (Themes and Movements)

Kastner, Jeffrey

Phaidon Press

For the past twenty years, Judith Barry has brought a critical perspective to contemporary art through her provocative work in video, performance, installation and sculpture as well as through her writing. Barry's long-standing concern with the impact of mediated environments on human identity is grounded in a deep historical understanding of architecture and spectacle--but she also has a fix on what's going inside our bodies and minds. Judith Barry, Projections, Mise en abymeelaborates on the issues central to Barry's oeuvre, and presents the scope of thought that she brings to her work via visual sources ranging from historical materials to contemporary film stills. Barry's cosmos is one of sliding signifiers collapsing notions of time, space, and identity, a universe where a 1970s science fiction film might exist on the same plane as the buildings of 18th century France. Truly epiphanic, the works presented here stare into the abyss of history and dare it to stare back.

Judith Barry: Projections, Mise En Abyme

Humor & Entertainment

Wigley, Mark

Barry, Judith

Movies

Presentation House Gallery/VAFS/Collapse

"A recommended addition to art collections providing informative commentary on contemporary artists." —Booklist"This provocative catalogue for an exhibition organized by the Indianapolis Museum of Art explores the nature of power and its manifestation in art over the past three decades.... The illustrations are fleshed out with fine essays... "Â —Publishers Weekly"Now comes a provocative, tightly organized exhibition at the Indianapolis Museum of Art titled ‘Power: Its Myths and Mores in American Art, 1961-1991.’ The title itself exudes considerable authority, especially when you see it spelled out in metallic red on the institutional gray of the catalogue’s cover.... this exhibition represents an unusually successful marriage of art and theory, of visual pleasure and intellectual skepticism. In the process, it creates a vivid portrait of late-century American society and of the different ways artists have mined it for both source material and targets." —The New York Times"Well done, indeed." —The Print Collector’s NewsletterNinety works by twenty-eight artists reflect and criticize the images of power found in the mass media as well as in objects, rituals, and regalia of everyday life in the United States. From Andy Warhol and Frank Stella to Robert Longo and Jenny Holzer, the artists in this exhibit address issues of power through the use of materials and methods of mass communication.44 color plates, 76 b&w illustrations

Power: Its Myths and Mores in American Art 1961-1991

A Village Voice Best Book of the Year, this collection of essays covers a range of topics, from “Education and Democracy” and “Politics and Election” to “Cultural Participation” and “AIDS and Democracy: A Case Study.”
 With contributions by: 
<li>Erma Bombeck</li> <li>Noam Chomsky</li> <li>Alexander Cockburn</li> <li>David Deitcher</li> <li>Lisa Duggan</li> <li>Barbara Ehrenreich</li> <li>Deirdre English</li> <li>Stuart Ewen</li> <li>Henry Louis Gates Jr.</li> <li>Group Material</li> <li>bell hooks</li> <li>Gary Indiana</li> <li>Catherine Lord</li> <li>Bill Moyers</li> <li>William Olander</li> <li>Mark P. Petracca</li> <li>Yvonne Rainer</li> <li>Vito Russo</li> <li>Ira Shor</li> <li>Tom Stoddard</li> <li>Polly Thistlethwaite</li> <li>Brian Wallis</li>
 Discussions in Contemporary Culture is an award-winning series co-published with the Dia Center for the Arts in New York City. These volumes offer rich and timely discourses on a broad range of cultural issues and critical theory. The collection covers topics from urban planning to popular culture and literature, and continually attracts a wide and dedicated readership.

Democracy: A Project by Group Material (Discussions in Contemporary Culture)

Literature & Fiction

Essays & Correspondence

The New Press

The controversial art world of Andres Serrano.

Body and Soul

Serrano, Andres

Photography & Video

Takarajimasha Inc

Drawn from the International Center of Photography’s archives, this book highlights the incomparable style and fascinating career of Weegee, one of New York City’s quintessential press photographers. For a decade between 1935 and 1946, Weegee made a name for himself snapping crime scenes, victims, and perpetrators. Armed with a Speed Graphic camera and a police-band radio, Weegee often beat the cops to the story, determined to sell his pictures to the sensation-hungry tabloids. His stark black-and-white photos were often lurid and unsettling. Yet, as this beautifully produced volume shows, they were also brimming with humanity. Designed as a series of “dossiers,” this book follows Weegee’s transformation from a freelancer to a photo-detective. It explores his relationship with the tabloid press and gangster culture and reveals his intimate knowledge of New York’s darkest corners. It provides readers with a rich historical experience―a New York City “noir” shot through the lens of one of its most iconoclastic figures.

Weegee: Murder is My Business

Prestel

From 1845 to 1862, the Boston partnership of Albert Sands Southworth and Josiah Johnson Hawes maintained the most celebrated photography studio in the United States. Taking as their subjects both the greatest personalities of the day and the natural spectacles of the American landscape, such as Niagara Falls, Southworth &amp; Hawes elevated the new medium of daguerreotype photography to the level of art. Transcending the mere recording of factual detail, their daguerreotypes reflect a quintessentially American aesthetic and embody an emerging national culture and spirit. Young America will be the most significant publication to date on Southworth &amp; Hawes, featuring full-scale color reproductions of all plates in the exhibition as well as 2,000 additional black-and-white illustrations.

Young America: The Daguerreotypes Of Southworth & Hawes

Reaves, Wendy Wick

Romer, Grant

Pierce, Sally

Steidl/ICP

These selections from the Daniel Cowin Collection make up an extraordinary group of images of African Americans in a variety of genres and poses, including formal studio portraits, casual snapshots, images of children, images of uniformed soldiers, wedding portraits and so-called "Southern-views" made for tourist consumption, all dating from 1860 to 1960. While some of the sitters are celebrities of their day, the majority are unnamed Americans posing for their portrait. They attest to photography's ability to both record personal history for private uses and to become a document--to document history in a wider context. The Daniel Cowin Collection, given to ICP in 1990 by its namesake, is made up of about 1600 photographs spanning from the mid-nineteenth century to the mid-twentieth, and spanning that era's range of commercial processes and formats--from postcards to stereographs, cartes-de-visite, tintypes, albumen prints and gelatin silver prints. Together they provide an important window into African American life during the period. African American Vernacular Photography reproduces 70 of Cowin's most exceptional color plates with essays by Brian Wallis, Director of Exhibitions and Chief Curator at the International Center of Photography, and Deborah Willis, MacArthur Fellow and author of Reflections in Black: A History of Black Photographers 1840 to the Present and, with Carla Williams, The Black Female Body: A Photographic History.

African American Vernacular Photography: Selected From the Daniel Cowin Collection

Presenting the works of 50 contemporary artists and photographers from around the world, Strangers explores the different roles the camera now plays in negotiating the boundaries between public and private life, trust and fear, intimacy and isolation. Accompanying the first recurring exhibition of its kind devoted to photography and related media at the International Center of Photography in New York, Strangers investigates the social world through images that have been created as a result of encounters with people unknown to one another. In addition to the more personal and psychological aspects of estrangement, the artists in Strangers also engage with the theme of globalization and diaspora--an especially timely subject in its geopolitical ramifications. Strangers includes illuminating biographical essays on each of the artists and their works; four original essays by ICP curators Brian Wallis, Christopher Phillips, Carol Squiers and Edward Earle that explore the ever-evolving and prescient theme of strangers; and approximately 200 images generated in a variety of media from traditional and digital processes to multimedia installations and video. Artists represented include Olivio Barbieri, Philip-Lorca diCorcia, Luc Delahaye, Rineke Dijkstra, David Goldblatt, Bill Henson, Susan Meiselas, Shirin Neshat, John Schabel and Joel Sternfeld, among others.

STRANGERS: The First ICP Triennial of Photography and Video

Phillips, Christopher

DiCorcia, Philip-Lorca

Henson, Bill

Neshat, Shirin

Steidl/International Center of Photography

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