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Many on the left lament an apathy or amnesia toward recent acts of war. Particularly during the George W. Bush administration's invasion of Iraq, opposition to war seemed to lack the heat and potency of the 1960's and 1970's, giving the impression that passionate dissent was all but dead. Through an analysis of three politically engaged works of art, Rosalyn Deutsche argues against this melancholic attitude, confirming the power of contemporary art to criticize subjectivity as well as war. Deutsche selects three videos centered on the deployment of the atomic bomb: Krzysztof Wodiczko's Hiroshima Projection (1999), made after the first Gulf War; Silvia Kolbowski's After Hiroshima mon amour (2005-2008); and Leslie Thornton's Let Me Count the Ways (2004-2008), which followed the U.S. invasion of Iraq. Each of these works confronts the ethical task of addressing historical disaster, and each explores the intersection of past and present wars. These artworks profoundly contribute to the discourse of war resistance, illuminating the complex dynamics of viewing and interpretation. Deutsche employs feminist and psychoanalytic approaches in her study, questioning both the role of totalizing images in the production of warlike subjects and the fantasies that perpetuate, especially among the left, traditional notions of political dissent. She ultimately reveals the passive collusion between leftist critique and dominant discourse in which personal dimensions of war are denied.

Art and war. --- Kolbowski, Silvia. --- Wodiczko, Krzysztof. --- Thornton, Leslie,

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Frampton, Kenneth --- Kolbowski, Silvia --- Smith-Miller+Hawkinson --- Ver. Staten van Amerika

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By emphasising the role of nuclear issues, After Hiroshima, published in 2010, provides an original history of American policy in Asia between the dropping of the atomic bombs on Japan and the escalation of the Vietnam War. Drawing on a wide range of documentary evidence, Matthew Jones charts the development of American nuclear strategy and the foreign policy problems it raised, as the United States both confronted China and attempted to win the friendship of an Asia emerging from colonial domination. In underlining American perceptions that Asian peoples saw the possible repeat use of nuclear weapons as a manifestation of Western attitudes of 'white superiority', he offers new insights into the links between racial sensitivities and the conduct of US policy, and a fresh interpretation of the transition in American strategy from massive retaliation to flexible response in the era spanned by the Korean and Vietnam Wars.

History of Asia --- History of North America --- Polemology --- anno 1940-1949 --- anno 1960-1969 --- anno 1950-1959 --- Nuclear weapons --- Government policy --- United States --- Foreign relations --- Asia --- Race relations --- Political aspects --- 1945-1989 --- Political aspects. --- Arts and Humanities --- History --- Art and war. --- Kolbowski, Silvia. --- Wodiczko, Krzysztof. --- Thornton, Leslie,

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"This groundbreaking exploration of appropriation and institutional critique assembles a wide variety of artists and mediums to offer new insight and make unprecedented connections. Exploring two parallel strands of post-conceptual art, Take It or Leave It highlights artists known for their use of appropriation and those who engage in "institutional critique." Focusing on American artists who emerged from the late 1970s to the early 1990s, the book highlights dynamic practices in a variety of media: from performance to photography; video to installation; painting to writing. Artists as wide-ranging in approach as Dara Birnbaum, Mark Dion, Robert Gober, Barbara Kruger, Zoe Leonard, Glenn Ligon, Adrian Piper, Stephen Prina, and Fred Wilson are examined within the context of the larger culture--from the political landscape to design strategies in advertising. Essays by curators Anne Ellegood and Johanna Burton as well as scholars George Baker, Julia Bryan-Wilson, Gavin Butt, and Darby English explore the historical and current terrain of appropriation and institutional critique, while pursuing topics including the downtown music scene in New York in the '80s, new strategies of painting, and theories of race after identity politics' heyday"--

Art --- video recordings --- installations [visual works] --- drawing [image-making] --- painting [image-making] --- photography [process] --- property [legal concept] --- mass media --- performance art --- art criticism --- Leonard, Zoe --- Barry, Judith --- Bender, Gretchen --- Burr, Tom --- Gonzales-Torres, Felix --- Kolbowski, Silvia --- Leavitt, William --- Steinbach, Haim --- McCarthy, Paul --- Kelley, Mike --- Durham, Jimmie --- Holzer, Jenny --- Kelly, Mary --- Birnbaum, Dara --- Dion, Mark --- Fraser, Andrea --- Green, Renée --- Kruger, Barbara --- Levine, Sherrie --- McCollum, Allan --- Mullican, Matt --- Noland, Cady --- Tiravanija, Rirkrit --- Gober, Robert --- Rosler, Martha --- Blake, Nayland --- Ligon, Glenn --- Miller, John --- Prina, Stephen --- Williams, Sue --- Wilson, Fred --- Wojnarowicz, David --- Piper, Adrian --- Williams, Christopher --- Appropriation (Art) --- Art, American --- Institutional Critique (Art movement) --- 7.038/039 --- Alves Maria Thereza --- appropriation art --- Barry Judith --- Bender Gretchen --- Birnbaum Dara --- Blake Nayland --- Burr Tom --- concept art --- conceptuele kunst --- Dion Mark --- Durham Jimmie --- eenentwintigste eeuw --- fotografie --- Fraser Andrea --- Gober Robert --- Gonzalez-Torres Felix --- Green Renée --- Holzer Jenny --- installaties --- institutionele kritiek --- Kelley Mike --- Kelly Mary --- Kolbowski Silvia --- Kruger Barbara --- kunst --- kunst en politiek --- Lawler Louise --- Leavitt William --- Leonard Zoe --- Levine Sherrie --- Ligon Glenn --- McCarthy Paul --- McCollum Allan --- Miller John --- Mullican Matt --- Noland Cady --- performances --- Piper Adrian --- Prina Stephen --- Rosler Martha --- schilderkunst --- Simon Jason --- Steinbach Haim --- tekenkunst --- Tiravanija Rirkrit --- twintigste eeuw --- Verenigde Staten --- video --- videokunst --- Williams Christopher --- Williams Sue --- Wilson Fred --- Wojnarowicz David --- Art, Modern --- Appropriated imagery --- Appropriated images --- Appropriationism (Art) --- Postmodernism --- Imitation in art --- Exhibitions --- video recordings [physical artifacts]

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The Last Picture Show: Artists Using Photography, 1960-1982 is the first major examination of photography by artists who think of themselves as artists first, rather than photographers. Focusing on roughly a twenty-year period, The Last Picture Show brings together approximately 150 works by 57 artists who took up the camera as a tool to pursue their broader artistic ideas, using photographs not only as documents of fleeting performances, staged self-portraits, temporary assemblages, or remote interventions in the landscape, but also as the actual, lasting work of art. The Last Picture Show encompasses a wide range of art practices and movements such as Conceptual Art, Minimalism, Arte Povera, and strategies of image appropriation. The broad scope of the exhibition includes diverse and unconventional photographs that demonstrate how artists have used the camera to frame critical explorations and overarching themes. These include architecture and seriality, the body, self-portraiture and identity, found images, appropriation, interventions in natural and built environments, conceptual strategies, and the absurd, among others. The exhibition was organized by Douglas Fogle, curator at the Walker Art Center, Minneapolis. The Hammer Museum is its second venue following its debut at the Walker Art Center. A richly illustrated catalogue features essays by Fogle and several artists, including Lawrence Alloway, Jeff Wall, Dan Graham, Robert Smithson, Mel Bochner, Vito Acconci, Richard Prince, and others.

Photography, Artistic --- Art and photography --- History --- 77 <064> --- 7.039 --- Douglas Fogle --- kunst --- fotografie --- kunst en fotografie --- twintigste eeuw --- Feldmann Hans-Peter --- Fischli & Weiss --- Fischli Peter --- Weiss David --- Gilbert & George --- Graham Dan --- Haacke Hans --- Huebler Douglas --- Knoebel Imi --- Klein Yves --- Kolbowski Silvia --- Koons Jeff --- Kruger Barbara --- Lamelas David --- Lawler Louise --- Levine Sherrie --- LeWitt Sol --- Long Richard --- Matta-Clark Gordon --- Mendieta Ana --- Merz Maria --- Mohamedi Nasreen --- Nauman Bruce --- Oiticica Hélio --- Oppenheim Dennis --- Paolini Giulio --- Penone Giuseppe --- Piper Adrian --- Polke Sigmar --- Prince Richard --- Ray Charles --- Rosler Martha --- Ruppersberg Allen --- Ruscha Edward --- Sherman Cindy --- Simmons Laurie --- Smithson Robert --- Van Elk Ger --- Wall Jeff --- Warhol Andy --- Watts Robert --- Wegman William --- Welling James --- Wilke Hannah --- concept art --- conceptuele kunst --- 7.038 --- 77.038 --- Fotografie--Tentoonstellingscatalogi. Museumcatalogi --- Hedendaagse kunststromingen.Post-moderne kunst --- Exhibitions --- Photographie d'art --- Art --- Photographie --- 7.039 Hedendaagse kunststromingen.Post-moderne kunst --- 77 <064> Fotografie--Tentoonstellingscatalogi. Museumcatalogi --- Artistic photography --- Photography --- Photography, Pictorial --- Pictorial photography --- Photography and art --- Aesthetics --- Photography, Artistic - History - 20th century - Exhibit --- Art and photography - History - 20th century - Exhibitions.