Lucy R. Lippard

LaMonte s highly charged works embody a challenge to historic conceptions of the female nude. Integrated into a comprehensive monograph are 250 images of her acclaimed series from glass, ceramic, bronze, and rusted iron-draped female figures to timely explorations in climatology and biomimetics. In this definitive look at a vital contemporary artist, essays by award-winning authors frame LaMonte s work in the context of female identity, music, art history, and science, placing her alongside other contemporary sculptors who have adopted the human body as an vehicle for expressing the human condition.

Distinguished photographer Edward Ranney presents nearly one hundred extraordinary photographs of the Peruvian huacas--the sacred rock shrines carved by Inca artisans roughly between 1440 and 1532 AD.Ranney's photographs evoke the sacred power that the highland landscape around Cuzco held for the Incas, revealing how aspects of nature such as caves and springs, in addition to rock outcrops, were integral to Inca culture and served as a focus of ritual attention. This extended to items on a more intimate scale, as with special stones or unusual landscape details. The book concludes with an extensive series of pictures featuring the shrines and landscape of Machu Picchu. In her closing essay, Lucy R. Lippard discusses the cultural context of the huacas and how contemporary research and thinking view this unique achievement of ancient America.

Colorfully written and illustrated memoir of the activist art writer Lucy Lippard Stuff: Instead of a Memoir is a short, abundantly illustrated autobiography of the American art writer, activist, and sometime curator Lucy R. Lippard. Describing tchotchkes, photographs, and art in her unpretentious New Mexico home, the author informally narrates key events and relationships in her 86-year-long, highly creative life, starting with her family roots and her childhood in New York, Louisiana, Virginia, and Maine. Through anecdotal and often humorous memories, we follow the author through her youth, adulthood, relationships, and her thirty-five years in New York City, where she organized dozens of exhibitions, authored hundreds of articles, and co-founded Heresies: A Feminist Journal of Art and Politics, the artist's-book center Printed Matter, and activist artists group PAD/D. Lippard touches on the roles she played in Conceptual Art and the Feminist Art movement in the 1960s through the 1980s. Her accounts of more recent years focus on the art, landscape, culture, and communities of the American Southwest, where she moved in the early 1990s. This "anti-memoir" also mentions Lippard's twenty-five books, but few of her many honors.

Dive into the art world of the closely allied artists Mark Dion & Alexis Rockman. Mark Dion and Alexis Rockman: Journey to Nature’s Underworld accompanies the first two-person survey exhibition of these closely allied artists, offering a compelling tour through ecological concerns central to their celebrated careers and into the shadowy depths of the threatened natural world. Mark Dion and Alexis Rockman were among the earliest contemporary artists to address, and even anticipate, the epic ecological problems we now face. This publication unites some twenty-five sculptures and paintings by both artists along with selected works on paper and a major new collaborative diorama. As explored in the book’s introduction, an essay by Lucy R. Lippard, and a new joint interview, the artists probe our strained relationship with the environment and the consequences of reigning ideologies about nature.

A spirited memoir by artist Aviva Rahmani, offering a relatable narrative to discuss trigger point theory and the importance of eco-art activism. Divining Chaos is an intimate personal memoir of unparalleled transparency into the moments in Rahmani's life that shaped her as an artist and activist. Detailing the history that led her to two seminal projects—Ghost Nets, restoring a coastal town dump to flourishing wetlands, and The Blued Trees Symphony, which applied her premises to challenge natural gas pipelines with a novel legal theory about land use—Rahmani shares the decisions that shaped her life's work and thinking. Her discussions about trigger point theory argue for how to predict, confront, and determine outcomes to the ecological challenges we face today.

A spirited memoir by artist Aviva Rahmani, offering a relatable narrative to discuss trigger point theory and the importance of eco-art activism. Divining Chaos is an intimate personal memoir of unparalleled transparency into the moments in Rahmani's life that shaped her as an artist and activist. Detailing the history that led her to two seminal projects—Ghost Nets, restoring a coastal town dump to flourishing wetlands, and The Blued Trees Symphony, which applied her premises to challenge natural gas pipelines with a novel legal theory about land use—Rahmani shares the decisions that shaped her life's work and thinking. Her discussions about trigger point theory argue for how to predict, confront, and determine outcomes to the ecological challenges we face today.

A candid and generous color-illustrated account of women artists creating politically and personally effective art works, exhibitions, and actions over two tumultuous decades This abundantly illustrated personal narrative takes readers through twenty-two years of activism in the women's art movements in New York City during a period of great cultural change. Author Sabra Moore vividly recounts life in this era of social upheaval in which women artists responded to war, racial tension and reconciliation, cultural and aesthetic inequality, and struggles for reproductive freedom. We learn intimately how she and fellow women artists found ways to create politically and personally effective art works, exhibitions, actions, and institutions. The book features Moore's involvement in pivotal art organizations of this time and her own development as an artist, counterbalanced with her connections to family in rural East Texas and friends in New Mexico. Moore was a member of the Heresies Collective, an influential feminist activist group, became editor of their art and politics journal Heresies, and was president of the NYC/Women's Caucus for Art. She helped coordinate and curate many of the earliest large-scale exhibitions of women artists in NYC, including Views by Women Artists (1982), and the collaborative shows Reconstruction Project and Connections Project/Conexus. Moore was a principle organizer of the 1984 demonstration against MoMA over their lack of inclusion of women artists and was a member of various groundbreaking collaborative arts groups in the 1970s, including Atlantic Gallery and WAR (Women Artists in Revolution). While Openings is an historical narrative of women artists' actions, organizations, and ideas, it also candidly describes their periods of challenge, including the death of sculptor Ana Mendieta and the indictment of her husband and the author's own attempted murder by her former art teacher. The book is illustrated throughout by a treasure of 950 color and black & white images of the art from this momentous period: a valuable collection that is concurrently being archived by Barnard College along with papers, letters, show cards, posters, original artworks, and other documents. This eye-opening book includes forewords by renowned art critic Lucy Lippard and poet/activist Margaret Randall.

A candid and generous color-illustrated account of women artists creating politically and personally effective art works, exhibitions, and actions over two tumultuous decades This abundantly illustrated personal narrative takes readers through twenty-two years of activism in the women's art movements in New York City during a period of great cultural change. Author Sabra Moore vividly recounts life in this era of social upheaval in which women artists responded to war, racial tension and reconciliation, cultural and aesthetic inequality, and struggles for reproductive freedom. We learn intimately how she and fellow women artists found ways to create politically and personally effective art works, exhibitions, actions, and institutions. The book features Moore's involvement in pivotal art organizations of this time and her own development as an artist, counterbalanced with her connections to family in rural East Texas and friends in New Mexico. Moore was a member of the Heresies Collective, an influential feminist activist group, became editor of their art and politics journal Heresies, and was president of the NYC/Women's Caucus for Art. She helped coordinate and curate many of the earliest large-scale exhibitions of women artists in NYC, including Views by Women Artists (1982), and the collaborative shows Reconstruction Project and Connections Project/Conexus. Moore was a principle organizer of the 1984 demonstration against MoMA over their lack of inclusion of women artists and was a member of various groundbreaking collaborative arts groups in the 1970s, including Atlantic Gallery and WAR (Women Artists in Revolution). While Openings is an historical narrative of women artists' actions, organizations, and ideas, it also candidly describes their periods of challenge, including the death of sculptor Ana Mendieta and the indictment of her husband and the author's own attempted murder by her former art teacher. The book is illustrated throughout by a treasure of 950 color and black & white images of the art from this momentous period: a valuable collection that is concurrently being archived by Barnard College along with papers, letters, show cards, posters, original artworks, and other documents. This eye-opening book includes forewords by renowned art critic Lucy Lippard and poet/activist Margaret Randall.

This book is a visual exploration of Ancestral Pueblo sites at Chacon Canyon and its extension throughout the San Juan Basin into the northern reaches of Mesa Verde. Pairing early photographs of the Chacoan world with contemporary rephotographic images, Goin sets out to examine how "ruins", which J B Jackson famously wrote bring a sense of time scale to the landscape, are constructed and interpreted according to cultural ideas held by archaeologists and preservationists bound by the limits of their disciplines and sense of cultural ownership. The book asks, "why save things, and what should be saved"? Lucy R Lippard's detailed text draws on the vast literature and ongoing research on the so-called "mysteries" of Chaco. Conflicting narratives stem from the differing ways time is measured in different cultures -- astronomically, historically, and environmentally. The stories that have come down from the many Native nations that are heirs to the Chaco and Mesa Verde worlds (Including Keres, Zuni, Tewa, Navajo and Ute) are juxtaposed, like the photographs, against the "scientific" views of those who control the sites and the literature today, raising the question of cultural ownership. Whose story is it to tell? To whom does the past belong? Time and Time Again offers a kaleidoscopic view, considering the multiple truths that are known and can be hypothesised about Chaco and Mesa Verde. The juxtaposition of historical photographs with contemporary images attempts to go beneath the surface to investigate the role of time in archaeological sites, especially those that have been "preserved" and reconstructed. The idea that two photographs can stop time without considering the intervening years is intriguing. The photographs -- primarily from the period of the late 19th century through the 1930s -- and rephotographed by Peter Goin provide two arbitrary points, paralleling the equally arbitrary choices made by historic preservationists working on ancient sites. The rephotograph shows what has happened but gives no hint about the interim or causes. Photography and tourism add another layer to the disjunctions between what is known and what is told. Another factor is an inquiry into how we measure time in these places -- astronomically, historically, as a narrative of natural change, and through stories told by generations of Hopi, Navajo, Keres and Tewa Pueblo people, who are variously heirs to the sites and the cultures. There is also the question of cultural "ownership". Whose story is it to tell? Whose ancestors built these structures and lived there? To whom does the past belong?

The Galisteo Basin is an ancient seabed, site of volcanic upheaval. The fertile basin provided temporary hunting and farming grounds for wanderers, and then became the home of Pueblo peoples who survived drought, warfare, disease, and invasion for almost a thousand years before the arrival of the Spanish. Down Country is the history of five centuries of the Southern Tewa Pueblo Indian culture that rose, faltered, reasserted itself, and ultimately, perished in the Galisteo. The basin, twenty-two miles south of Santa Fe, is widely regarded as one of the richest archaeological regions of the country. It is unknown where the Galisteo Basin's very first permanent settlers came from, nor the exact origins of the Tano, or Southern Tewa. The Indians of the northern Rio Grande referred to the basin as the "Down Country Place" or "Place Near the Sun". Into this place the Tano Indians entered about 1250 AD and for three centuries made the place a centre for culture and trade before they were finally expelled by the Spanish in 1782. Their story is a powerful human history that is a microcosm of New Mexico's dramatic, complex history of pre-European settlement and post-Spanish occupation. Renowned writer and Galisteo resident Lucy R Lippard synthesises archaeological and historical research to create this landmark study ten years in the making, weaving together the many viewpoints of a century of study and research. Acclaimed New Mexico photographer Edward Ranney contributes a portfolio of eighty documentary images of the Galisteo Basin's ancient sites, shrines, rock art, and striking landscape.

In America today there is a little-known explosion of creative art by women and men from many different ethnic backgrounds. Mixed Blessings is the first book to discuss the crosscultural process taking place in the work of Latino, Native-, African-, and Asian-American artists. Rich with illustrations of artworks in many different mediums, and filled with incisive quotes and unsettling reports, it is more than a book about art, it is a complex meditation on the relationships of people to their cultures.Lucy R. Lippard, one of our most original and insightful writers on art, challenges conventional approaches and explores the role of images in a changing society. Among her subjects are the uncertainty of exile; the confusion of identity in attempts to climb out of the melting pot; and art that speaks for itself, reversing stereotypes and reclaiming history and memory. Mixed Blessings is a book that will affect how we think of ourselves and each other.

In Six Years Lucy R. Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology into which is woven a rich collection of original documents--including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists--a historical survey and essential reference book for the period.

In Partial Recall, twelve Native American artists and writers look deep into the images that have shaped our ideas of "Indianness," and explore the complex relationship of photography to identity. For this volume, edited and introduced by Lucy Lippard, each contributor has chosen one or two photographs as the point of departure for their original poetic, historical, political, or autobiographical essays. With an additional portfolio of more than sixty photographs drawn from around the country, Partial Recall is a unique and valuable anthology.