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A fresh take on the group of artists known as the Pictures Generation, reinterpreting their work as haunted by the history of fascism, the threat of its return, and the effects of its recurring representation in postwar American culture.

The artists of the Pictures Generation, converging on New York City in the late 1970s, indelibly changed the shape of American art. Rebelling against abstraction, they borrowed liberally from the aesthetics of mass media and sometimes the work of other artists. It has long been thought that the group’s main contribution was to upend received conceptions of authorial originality. In Pictures and the Past, however, art critic and historian Alexander Bigman shows that there is more to this moment than just the advent of appropriation art. He presents us with a bold new interpretation of the Pictures group’s most significant work, in particular its recurring evocations of fascist iconography.

In the wake of the original Pictures show, curated by Douglas Crimp in 1977, artists such as Sarah Charlesworth, Jack Goldstein, Troy Brauntuch, Robert Longo, and Gretchen Bender raised pressing questions about what it means to perceive the world historically in a society saturated by images. Bigman argues that their references to past cataclysms—to the violence wrought by authoritarianism and totalitarianism—represent not only a coded form of political commentary about the 1980s but also a piercing reflection on the nature of collective memory. Throughout, Bigman situates their work within a larger cultural context including parallel trends in music, fashion, cinema, and literature. Pictures and the Past probes the shifting relationships between art, popular culture, memory, and politics in the 1970s and ’80s, examining how the specter of fascism loomed for artists then—and the ways it still looms for us today.

Playing Real: Mimesis, Media, and Mischief explores the integration and interaction of mimetic theatricality and representational media in twentieth- and twenty‑first-century performance. It brings together carefully chosen sites of performance—including live broadcasts of theatrical productions, reality television, and alternate-reality gaming—in which mediatization and mimesis compete and collude to represent the real to audiences. Lindsay Brandon Hunter reads such performances as forcing confrontation between notions of authenticity, sincerity, and spontaneity and their various others: the fake, the feigned, the staged, or the rehearsed.

Each site examined in Playing Real purports to show audiences something real—real theater, real housewives, real alternative scenarios—which is simultaneously visible as overtly constructed, adulterated by artifice and artificiality. The integration of mediatization and theatricality in these performances, Hunter argues, exploits the proclivities of both to conjure the real even as they risk corrupting the perception of authenticity by imbricating it with artifice and overt manipulation.

Although the performances analyzed obscure boundaries separating actual from virtual, genuine from artificial, and truth from fiction, Hunter rejects the notion that these productions imperil the “real.” She insists on uncertainty as a fertile site for productive and pleasurable mischief—including relationships to realness and authenticity among both audience and participants.

An updated edition of this essential work.

Since its initial publication, Policing Desire has proved to be an unparalleled analysis of “the cacophony of voices which sounds through every institution of our society on the subject of AIDS.” For the third edition Simon Watney has provided a new preface, a compelling new concluding essay, and a directory for AIDS information that includes electronic resources.

Power Beyond Scrutiny uncovers the forces which distort and limit public debate in the media. From the misuse of politicians' expenses to recent phone hacking scandals, establishment corruption has never been more in the headlines. Yet amidst the din there have been seismic silences.

Justin Schlosberg interrogates these silences - why did a plea bargain which allowed Britain’s biggest arms company to escape bribery prosecution go almost entirely unchallenged in television news? Why did journalists routinely endorse the official explanation of how intelligence analyst David Kelly died, whilst all but ignoring mounting evidence which undermined it? Why, in 2010, did broadcasters offer an unchallenged platform to critics of Wikileaks but not its supporters?

These are some of the questions and imbalances that Schlosberg seeks to address as he explains the nature of public debate in the digital age. In doing so he uncovers a range of news blockages that are more than just accidents of a fragmented, chaotic mediascape. They are ultimately ideological forces which ensure that contestability and dissent remain within definable limits.