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The writing of Craig Owens explored the relations among contemporary art, sexuality, race and power. During the fifteen years (1975-1990) that he lived in New York and wrote criticism for "Art in America", "October" and other publications, Owens covered a wide range of cultural practices: dance, architecture, art, literature, film, performance and theatre. Owens was trained as an art historian, but he is better described as a cultural critic and theorist, whose writings called into question established boundaries between disciplines, especially the separation of theory from practice. A major voice in postmodern culture and politics, Owens is equally well known and regarded for his contribution to debates around poststructuralism, sexual difference and gay politics.

Arts --- Politics in art. --- Arts, Modern --- Psychological aspects. --- Politics in art --- 7.01 --- Craig Owens ; Ed. by Scott Bryson ... [et al.] ; Introd. by Simon Watney --- cultuur --- feminisme --- gender studies --- kunst --- kunstkritiek --- Levine Sherrie --- maatschappij --- McCollum Allan --- opvoeding --- postmodernisme --- seksualiteit --- Wegman William --- Psychological aspects --- Art et politique. --- Psychologie de l'art. --- Política en l'art. --- Aspectes psicològics.

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Pictures that are made, not taken, are the focus of this exciting collection of works by 90 American artists who are using appropriation, computer technology, performance, and numerous other sources of inspiration to stretch the limits and expand the possibilities of photographic art. 

"Perhaps in the future," Man Ray suggested to Duchamp, "photography would replace all art." The Photography of Invention hints at that future by documenting a decade of startling new work in American photography: work that challenges the accepted hierarchy of the arts and, arguably, establishes photography as the equal of the other arts. Pictures that are made, not taken, are the focus of this exciting collection of works by 90 American artists who are using appropriation, computer technology, performance, and numerous other sources of inspiration to stretch the limits and expand the possibilities of photographic art. The selection of nontraditional pictures includes works by some of the decade's most interesting experimenters—Cindy Sherman, Sherrie Levine, Richard Prince, Barbara Kruger, William Christenberry, Louise Lawler, Stefan Roloff, and others who create or manipulate the subject photographed. Photography has traditionally been used to capture experience and create images; these works, however, examine preexisting images or image styles that dominate our culture. As Joshua Smith points out "mass media and popular culture advertising, fashion movies, television, video, and other electronic media have made the world photographic, become the common language, and shaped a generation's visual and critical viewpoint." Rather than commenting on or representing life, photography is now an independent art form that has expanded the creative vocabulary of contemporary artists. These "made" pictures encompass a variety of styles and techniques: the artists may fabricate or arrange the subject matter for the camera; invent or subvert traditional styles; present themselves in fictive roles invoking allegory or myth, fantasy and illusion; reassemble existing art objects in new contexts; make the psychic appear real and the real hyperreal. Many pictures are made in the usual optical/chemical manner, creating a tension between the obviously manipulated subject and the inherent "truth" of the photographic print; while others are made by the unconventional use of equipment, processes, and materials that intentionally deny the perfect print There are photograms, photocollages, light drawings, chemical images, marked or painted on negatives, photosilkscreens and photolithographs, and new high tech computer-generated imagery.

Photography, Artistic --- Stillman Steel --- Syrop Mitchell --- Thorne-Thomsen Ruth --- Tracey Andrée --- twintigste eeuw --- Verenigde staten --- Wasow Oliver --- Watts Todd --- Weiss Jeff --- Winokur Neil --- Witkin Joel-Peter --- Wodiczko Krzysztof --- Wood Brian --- 77.038 --- Adams Dennis --- Akin Gwen --- Augeri Lynne --- Barney Tina --- Bell Dianne --- Berman Zeke --- Bernard Cindy --- Brooks Ellen --- Bryant Elizabeth --- Bunn David --- Burson Nancy --- Callis Jo Ann --- Carey Ellen --- Carlson Lance --- Casebere James --- Charlesworth Bruce --- Charlesworth Sarah --- Chong Albert --- Christenberry William --- Clegg & Guttmann --- Coleman Judy --- Coplans John --- Cowin eileen --- Cypis Dorit --- De Sana James --- Divola John --- Dunning Jeanne --- Essay by Joshua P.Smith ; Intr. by Merry A. Foresta --- Ess Barbara --- Evergon --- Farrell John W --- fotografie --- Frailey Stephen --- Fuss Adam --- Galgiani Philip --- Gerlovina Rimma --- Goldring Nancy --- Gonzalez Maria --- Haber Sandra --- Hayden Jacqueline --- Hellebrand Nancy --- Jaar Alfredo --- Johnson Larry --- Kasten Barbara --- Kolbowski Sylvia --- Kruger Barbara --- Laster Paul --- Lawler Louise --- Leatherdale Marcus --- Legrady George --- Lemieux Annette --- Levine Sherrie --- Levinthal David --- Ludwig Allan --- Majore Frank --- Maul Tim --- McCollum Allan --- Nagatani Patrick --- Neidich Warren --- Novak Lorrie --- Perlman Hirsch --- Perna Luciano --- Potter Tina --- Prince Richard --- Rankaitis Susan --- Robbins David --- Rodan Ron --- Rodriguez Geno --- Roloff Stefan --- Rowland Anne --- Rubenstein Meridel --- Salinger Adrienne --- Sandrow Hope --- Schlesinger John --- Schrager Victor --- Schwartz Elliot --- Serrano Andres --- Sherman Cindy --- Simmons Laurie --- Skoglund Sandy --- Stark Sandra --- Starn Doug --- Starn Mike --- Exhibitions --- Photography --- photographers --- Smithsonian Institution [Washington, D.C.] --- anno 1980-1989 --- United States --- artistieke fotografie --- United States of America