Kirjahaku

How a generation of women artists is transforming photography with analogue techniques. Beginning in the 1990s, a series of major artists imagined the expansion of photography, intensifying its ideas and effects while abandoning many of its former medium constraints. Simultaneous with this development in contemporary art, however, photography was moving toward total digitalization. Lateness and Longing presents the first account of a generation of artists—focused on the work of Zoe Leonard, Tacita Dean, Sharon Lockhart, and Moyra Davey—who have collectively transformed the practice of photography, using analogue technologies in a dissident way and radicalizing signifiers of older models of feminist art. All these artists have resisted the transition to the digital in their work. Instead—in what amounts to a series of feminist polemics—they return to earlier, incomplete, or unrealized moments in photography’s history, gravitating toward the analogue basis of photographic mediums. Their work announces that photography has become—not obsolete—but “late,” opened up by the potentially critical forces of anachronism. Through a strategy of return—of refusing to let go—the work of these artists proposes an afterlife and survival of the photographic in contemporary art, a formal lateness wherein photography finds its way forward through resistance to the contemporary itself.

A new theory of the readymade via a new reading of Picabia and a new writing of Dada.The artist Francis Picabia-notorious dandy, bon vivant, painter, poet, filmmaker, and polemicist-has emerged as the Dadaist with postmodern appeal, and one of the most enigmatic forces behind the enigma that was Dada. In this first book in English to focus on Picabia's work in Paris during the Dada years, art historian and critic George Baker reimagines Dada through Picabia's eyes. Such reimagining involves a new account of the readymade-Marcel Duchamp's anti-art invention, which opened fine art to mass culture and the commodity. But in Picabia's hands, Baker argues, the Dada readymade aimed to reinvent art rather than destroy it. Picabia's readymade opened art not just to the commodity, but to the larger world from which the commodity stems: the fluid sea of capital and money that transforms all objects and experiences in its wake. The book thus tells the story of a set of newly transformed artistic practices, claiming them for art history-and naming them-for the first time: Dada Drawing, Dada Painting, Dada Photography, Dada Abstraction, Dada Cinema, Dada Montage. Along the way, Baker describes a series of nearly forgotten objects and events, from the almost lunatic range of the Paris Dada "manifestations" to Picabia's polemical writings; from a lost work by Picabia in the form of a hole (called, suggestively, The Young Girl) to his "painting" Cacodylic Eye, covered in autographs by luminaries ranging from Ezra Pound to Fatty Arbuckle. Baker ends with readymades in prose: a vast interweaving of citations and quotations that converge to create a heated conversation among Picabia, Andre Breton, Tristan Tzara, James Joyce, Friedrich Nietzsche, Jacques Derrida, Gilles Deleuze, and others. Art history has never looked like this before. But then again, Dada has never looked like art history.

This book has been a labor of love that, in retrospect, came easy to me. I drew from sixteen years of daily contact with Coach Carpenter. I also garnered the thoughts of his friends, players, and opponents. We laughed long and hard almost every day. We passed along inside jokes that only he and I understood, most of which I cannot repeat in the interest of decorum.We traveled the world. We won and lost and suffered the outrageous slings and arrows of disgruntled fans. We tasted the sweet wine of victory and we left an indelible mark in the annals of small college football that is remarkable. He was, in the vernacular of my south Georgia upbringing, "much of a man!"

Taking My Time tells both the tall tale of George Baker's life as a jockey, and the story of a second life emerging from the aftermath of his horror fall on the White Turf at St Moritz in 2017. As a rider, George scaled the highest of highs in the saddle with St Leger victory aboard Harbour Law cementing his place among the sport's elite, despite having the body of a man surely destined for another occupation. Tortuous battles with the scales were ultimately won, popularity among peers and punters was assured and life was good and getting better. Until the terrible accident which left him with serious head injuries forced him to restart; he had to live again. He was the same person but different. New obstacles had to be cleared and trauma both physical and mental needed to be met and overcome. The story is told with the wit and wisdom that has come to characterise George Baker, and his wife Nicola recounts, with humour and humility, the toll taken on the those closest to him and the perilous nature of life at his side.

Reprint of the original, first published in 1859. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.

Reprint of the original, first published in 1859. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.