This book, the first in the Slought Books Emerging Artists Series, joins photographs by Stefan Abrams with texts by Edward O'Neill, Mary Ann Doane, and Aaron Levy."It is tempting to wonder about the archival fate of Abrams's series, beyond the issue of its mutability, in an era which believes itself to be after photography, after cinema, after television. It is even more tempting, but difficult, to imagine how these photographs will age, since they speak so clearly to our present, a present haunted by the media-annihilating possibilities of the digital. But, we can deal only with our "now," a now in which the photographs are an eloquent testimonial to the crucial imbrication of temporality, memory, and history in the technologies of representation we think we know." -- Mary Ann Doane "If the power of Abrams's images does not depend upon our memories of the films whose single frames they mobilize, it is because rather than something being remembered in Abrams's series--like one remembers the steps of a dance--something is being interrogated as a memory, as something that will not live again in our bodies: cinema and photography as they were and may never be again." -- Edward R. O'Neill

Untitled (After Cinema)

Arts & Photography

Aaron Levy

Photography & Video

Slought Networks

The second in the Slought Books Contemporary Artists Series, this book joins new and retrospective work by Marjorie Welish with contributions by Kenneth Baker, Norma Cole, Carla Harryman, Gans & Jelacic Architecture and Design, Olivier Gourvil, Ron Janssen, Joseph Masheck, Bob Perelman, Jean-Michel Rabaté, Frances Richard, Osvaldo Romberg, Keith Tuma, Chris Tysh, and Thomas Zummer. In association with the Spring 2002 Slought Foundation symposium on the artist.

Of the Diagram: The Work of Marjorie Welish

This new publication, co-published by Slought Books and the Center for Visual Culture, Bryn Mawr College, is authored by noted critic Joseph Masheck and explores the development of modernism and aesthetics through the work of postimpressionist Paul Cézanne. Masheck's innovative experiment in art criticism has been undertaken in the analytical tradition of twentieth-century philosophical thought. "In that abstract painting was made possible by a cubism whose patron saint was the postimpressionist Cézanne, what follows is a search for the implicit philosophical aesthetics of the single most crucial artist for the development of modernism. […] But I also write as a teacher who sees a generation afoot that has learned to deal with postmodernism before understanding modernism (if at all)—which might be something like the American way of starting the dinner with the salad, if one ever got some meat. So I am perhaps also doing something constructively remedial about that, attempting to think, on its own terms but perhaps ‘forward’ again, through the work of a mythic ‘founder’ whose work opened so much future. As should become evident in reading, the device of reducing the painter’s name to ‘C’ is something more than an analytical affectation: it is a way of defetishizing a name all too famous in one way (art) so that we may perhaps for once assess with some detachment what its bearer may have accomplished in other (aesthetic-philosophic) terms." -- from the preface to C’s Æsthetics

C's Aesthetics: Philosophy In The Painting

Masheck, Joseph

See the best price to sell, buy or rent books by the Slought Networks publisher. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Slought Networks

See the best price to sell, buy or rent books by the Slought Networks publisher. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Untitled (After Cinema)

Of the Diagram: The Work of Marjorie Welish

C's Aesthetics: Philosophy In The Painting