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The Experimenters
Chance and Design at Black Mountain College
Eva Díaz
University of Chicago Press, 2014
In the years immediately following World War II, Black Mountain College, an unaccredited school in rural Appalachia, became a vital hub of cultural innovation. Practically every major artistic figure of the mid-twentieth century spent some time there: Merce Cunningham, Ray Johnson, Franz Kline, Willem and Elaine de Kooning, Robert Motherwell, Robert Rauschenberg, Dorothea Rockburne, Aaron Siskind, Cy Twombly—the list goes on and on. Yet scholars have tended to view these artists’ time at the College as little more than prologue, a step on their way to greatness. With The Experimenters, Eva Díaz reveals the importance of Black Mountain College—and especially of three key teachers, Josef Albers, John Cage, and R. Buckminster Fuller—to be much greater than that.

Díaz’s focus is on experimentation. Albers, Cage, and Fuller, she shows, taught new models of art making that favored testing procedures rather than personal expression. These methodologies represented incipient directions for postwar art practice, elements of which would be sampled, and often wholly adopted, by Black Mountain students and subsequent practitioners. The resulting works, which interrelate art and life in a way that imbues these projects with crucial relevance, not only reconfigured the relationships among chance, order, and design—they helped redefine what artistic practice was, and could be, for future generations.

Offering a bold, compelling new angle on some of the most widely studied creative figures of modern times, The Experimenters does nothing less than rewrite the story of art in the mid-twentieth century.
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Franklin Furnace and the Spirit of the Avant-Garde
A History of the Future
Toni Sant
Intellect Books, 2011

Franklin Furnace is a renowned New York–based artsorganization whose mission is to preserve, document, and present works of avant-garde art by emerging artists—particularly those whose works may be vulnerable due to institutional neglect or politically unpopular content. Over more than thirty years, Franklin Furnace has exhibited works by hundreds of avant-garde artists, some of whom—Laurie Anderson, Vito Acconci, Karen Finley, Guillermo Gómez-Peña, Jenny Holzer, and the Blue Man Group, to name a few—are now established names in contemporary art.

Here, for the first time, is a comprehensive history of this remarkable organization from its conception to the present. Organized around the major art genres that emerged in the second half of the twentieth century, this book intersperses first-person narratives with readings by artists and scholars on issues critical to the organization's success as well as Franklin Furnace's many contributions to avant-garde art.

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In and Out of Phase
An Episodic History of Art and Music in the 1960s
Michael Maizels
University of Michigan Press, 2020
Experimental artists and musicians thrived in New York, Los Angeles, and other creative hotspots in the 1960s, and those who would become major figures in the visual arts often worked closely with those who became the most recognized composers and performers of late-twentieth-century music. Yet, surprisingly little attention has been given to these connections, especially considering that such collaborations helped to shape subsequent histories of both fields.

In and Out of Phase is the first sustained look at the creative interactions between artists and musicians of this era, looking at four pairs of creators who used process-oriented ideas and techniques in their music and art: Dan Flavin and La Monte Young; Sol LeWitt and Milton Babbitt; Richard Serra and Steve Reich; and Bruce Nauman and Meredith Monk. Maizels uncovers not just the social and intellectual connections between these two groups of creators, but illuminates how the focus on repetitive actions, pattern and process, and an emphasis on “surface” created mutual influence—and stylistic change—between music and art during this period. The book’s concluding chapter briefly addresses the enduring influence of the innovations of the 1960s on more recent works.
 
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In Search of Deeper Learning
The Quest to Remake the American High School
Jal Mehta and Sarah Fine
Harvard University Press, 2019

Winner of the Grawemeyer Award

“In their brave search for depth in American high schools, scholars Jal Mehta and Sarah Fine suffered many disappointments…Undeterred, they spent 750 hours observing classes, interviewed more than 300 people, and produced the best book on high school dynamics I have ever read.”
—Jay Mathews, Washington Post

“A hopeful, easy-to-read narrative on what the best teachers do and what deep, engaging learning looks like for students. Grab this text if you’re looking for a celebration of what’s possible in American schools.”
Edutopia

“This is the first and only book to depict not just the constraints on good teaching, but also how good teachers transcend them. A superb book in every way: timely, lively, and entertaining.”
—Jonathan Zimmerman, University of Pennsylvania

What would it take to transform our high schools into places capable of supporting deep learning for students across a wide range of aptitudes and interests? To find out, Jal Mehta and Sarah Fine spent hundreds of hours observing and talking to teachers and students in and out of the classroom at thirty of the country’s most innovative schools. To their dismay, they discovered that deeper learning is more often the exception than the rule. And yet they found pockets of powerful learning at almost every school, often in extracurriculars but also in a few mold-breaking academic courses. So what must schools do to achieve the integrations that support deep learning: rigor with joy, precision with play, mastery with identity and creativity?

In Search of Deeper Learning takes a deep dive into the state of our schools and lays out an inspiring new vision for American education.

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Sensing the Future
Experiments in Art and Technology (E.A.T.)
Nancy Perloff
J. Paul Getty Trust, The, 2024
In the 1960s and '70s, collaborations between artists and engineers led to groundbreaking innovations in multisensory performance art that continue to resonate today.

In 1966, Billy Klüver and Fred Waldhauer, engineers at Bell Telephone Laboratories in New Jersey, teamed up with artists Robert Rauschenberg and Robert Whitman to form a nonprofit organization, Experiments in Art and Technology (E.A.T.). E.A.T.’s debut event, 9 Evenings: Theatre & Engineering, integrated art, theater, and groundbreaking technology in a series of performances at the 69th Regiment Armory in Manhattan. Its second major event, the 1970 Pepsi Pavilion in Osaka, Japan, presented a complex, multisensory environment for the first world exposition held in Asia. At these events, and in the hundreds of collaborations E.A.T. facilitated in between, its members—including John Cage, Lucinda Childs, Deborah Hay, Steve Paxton, Yvonne Rainer, and David Tudor—imagined innovative ways for art and science to intersect and enrich society.

Sensing the Future tells the story of how this unique organization brought artists and engineers together to pioneer technology-based artworks and performances. Through the examination of films, photographs, diagrams, and ephemera from the archives of the Getty Research Institute, this volume provides a new perspective on multimedia art in the 1960s and '70s and highlights the ways E.A.T. pushed the role of the artist beyond the traditional art world.

This volume is published to accompany an exhibition on view at the Getty Research Institute at the Getty Center from September 10, 2024, to February 23, 2025.
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Speculation, Now
Essays and Artwork
Vyjayanthi Venuturupalli Rao, with Prem Krishnamurty and Carin Kuoni, eds.
Duke University Press, 2014
Interdisciplinary in design and concept, Speculation, Now illuminates unexpected convergences between images, concepts, and language. Artwork is interspersed among essays that approach speculation and progressive change from surprising perspectives. A radical cartographer asks whether "the speculative" can be represented on a map. An ethnographer investigates religious possession in Islam to contemplate states between the divine and the seemingly human. A financial technologist queries understandings of speculation in financial markets. A multimedia artist and activist considers the relation between social change and assumptions about the conditions to be changed, and an architect posits purposeful neglect as political strategy. The book includes an extensive glossary with more than twenty short entries in which scholars contemplate such speculation-related notions as insurance, hallucination, prophecy, the paradox of beginnings, and states of half-knowledge. The book's artful, nonlinear design mirrors and reinforces the notion of contingency that animates it. By embracing speculation substantively, stylistically, seriously, and playfully, Speculation, Now reveals its subversive and critical potential.

Artists and essayists include William Darity Jr., Filip De Boeck, Boris Groys, Hans Haacke, Darrick Hamilton, Laura Kurgan, Lin + Lam, Gary Lincoff, Lize Mogel, Christina Moon, Stefania Pandolfo, Satya Pemmaraju, Mary Poovey, Walid Raad, Sherene Schostak, Robert Sember, and Srdjan Jovanović Weiss.

Published by Duke University Press and the Vera List Center for Art and Politics at The New School
 
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Technocrats of the Imagination
Art, Technology, and the Military-Industrial Avant-Garde
John Beck and Ryan Bishop
Duke University Press, 2020
In Technocrats of the Imagination John Beck and Ryan Bishop explore the collaborations between the American avant-garde art world and the military-industrial complex during the 1960s, in which artists worked with scientists and engineers in universities, private labs, and museums. For artists, designers, and educators working with the likes of Bell Labs, the RAND Corporation, and the Los Angeles County Museum of Art, experiments in art and technology presaged not only a new aesthetic but a new utopian social order based on collective experimentation. In examining these projects' promises and pitfalls and how they have inspired a new generation of collaborative labs populated by artists, engineers, and scientists, Beck and Bishop reveal the connections between the contemporary art world and the militarized lab model of research that has dominated the sciences since the 1950s.
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