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Glenn Ligon’s iconic Untitled (I am a Man) (1988) remembers the signs carried by striking African-American sanitation workers in Memphis, Tennessee in 1968. In this study of the painting Gregg Bordowitz discusses its relevance to representations of self, race and gender, with reference to other key works by Ligon such as the Profile Series (1990-91) as well as Narratives and Runaways (both 1993).

At this moment of political upheaval and dissent against the resurgence of fascism in the United States, Bordowitz’s timely account cites historical figures ranging from Sojourner Truth, who delivered her famous speech ‘Ain’t I A Woman?’ in 1851, to Bo Diddley, whose song ‘I’m a Man’ came out in 1955. Examining the theoretical writings of André Green, Stuart Hall and Charles Sanders Peirce, the author makes a case for Thirdness as a function, operation or law of meaning-making, not limited by the viewer's gender, sexuality, race, class or personal history.

This title is part of the One Work book series, which focuses on the artworks that have significantly shaped the way we understand art and its history.

Art --- Ligon, Glenn

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Sida et art. --- Art --- Sida --- Sida et arts. --- Affiches --- SIDA. --- Thème artistique. --- Dans l'art. --- Thèmes, motifs. --- General Idea (groupe).

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Paul Scheerbart (1863-1915) was a visionary German novelist, theorist, poet, and artist who made a lasting impression on such icons of modernism as Walter Benjamin, Bruno Taut, and Walter Gropius. Fascinated with the potential of glass architecture, Scheerbart's satirical fantasies envisioned an electrified future, a world composed entirely of crystalline, colored glass.In 1912, Scheerbart published The Light Club of Batavia, a Novelle about the formation of a club dedicated to building a spa for bathing-not in water, but in light-at the bottom of an abandoned minesh

Scheerbart, Paul,

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This engaging and richly illustrated book comprehensively examines the life and art of David Wojnarowicz (1954-1992), who came to prominence in New York's East Village art world of the 1980s, actively embracing all media and forging an expansive range of work both fiercely political and highly personal. First displayed in raw storefront galleries, his work achieved national attention at the same moment that the AIDS epidemic was affecting a generation of artists, himself included. In a thoughtful overview essay, David Breslin looks at the breadth of the artist's work as well as Wojnarowicz's broad range of interests and influences, situating the artist in the art-historical canon and pushing beyond the biographical focus that has characterized much of the scholarship on Wojnarowicz to fully assess his paintings, photographs, installations, performances, and writing. A close examination of groups of works by David Kiehl sheds new light on the artist's process and the context in which the works were created.

schilderkunst --- fotografie --- performances --- installaties --- literatuur --- 7.071 WOJNAROWICZ --- AIDS --- homoseksualiteit --- film --- gender studies --- Goldin Nan --- Hujar Peter --- kunst --- New York --- tekenkunst --- twintigste eeuw --- Verenigde Staten --- Wojnarowicz David --- Exhibitions --- Wojnarowicz, David --- Art --- Contemporary [style of art] --- Wojnarowicz, David.

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African American photographers --- Cross-cultural studies --- Photography --- Photography, Artistic --- Vernacular photography --- Social aspects --- Harris, Lyle Ashton, --- Friends and associates.