Bøger i October Files serien

Critical texts that span almost fifty years, mapping Haacke's progression from engagement with biological systems to interrogation of the social and economic underpinnings of art.

"A critical primer on the film, photography, and theoretical writings of Hollis Frampton"--

A look at how new technologies can be put to use in the creation of a more just society.Artificial Intelligence (AI) is not likely to make humans redundant. Nor will it create superintelligence anytime soon. But it will make huge advances in the next two decades, revolutionize medicine, entertainment, and transport, transform jobs and markets, and vastly increase the amount of information that governments and companies have about individuals. AI for Good leads off with economist and best-selling author Daron Acemoglu, who argues that there are reasons to be concerned about these developments. AI research today pays too much attention to the technological hurtles ahead without enough attention to its disruptive effects on the fabric of society: displacing workers while failing to create new opportunities for them and threatening to undermine democratic governance itself. But the direction of AI development is not preordained. Acemoglu argues for its potential to create shared prosperity and bolster democratic freedoms. But directing it to that task will take great effort: It will require new funding and regulation, new norms and priorities for developers themselves, and regulations over new technologies and their applications.At the intersection of technology and economic justice, this book will bring together experts--economists, legal scholars, policy makers, and developers--to debate these challenges and consider what steps tech companies can do take to ensure the advancement of AI does not further diminish economic prospects of the most vulnerable groups of population.

Essential texts on the work of the influential artist Michael Snow: essays and interviews spanning more than four decades.Few filmmakers have had as large an impact on the recent avant-garde film scene as Canadian Michael Snow (b. 1928). His works in a range of media—film, installation, video, painting, sculpture, sound, photography, drawing, writing, and music—address the fundamental properties of his materials, the conditions of perception and experience, questions of authorship in technologically reproducible media, and techniques of translation through written and pictorial representation. His film Wavelength (1967) is a milestone of avant-garde cinema and possibly the most frequently discussed "structural” film ever made. This volume collects essential texts on Snow's work, with essays and interviews spanning more than four decades.From its earliest issues, October has been a primary interlocutor of Snow's work, and many of these texts first appeared in its pages. Written by such distinguished critics and scholars as Annette Michelson, Hubert Damisch, and Malcolm Turvey, they document Snow's participation in postwar discourses of minimalism, postminimalism, photo-conceptualism, and avant-garde cinema, and examine particular works. Thierry de Duve's essay on linguistics in Snow's work appears alongside Snow's response. The volume also includes other writings by Snow, images from his 1975 work Musics for Piano, Whistling, Microphone, and Tape Recorder, and an interview with the artist conducted by Annette Michelson.Essays and interviewsJean Arnaud, Érik Bullot, Hubert Damisch, Thierry de Duve, Andrée Hayum, Annette Michelson, Michael Snow, Amy Taubin, Malcolm Turvey, Kenneth White

Texts-including essays, reviews, and statements by the artist-on the work of Sherrie Levine.

Essential texts on the work of Bruce Nauman, spanning the five decades of the artist's career.

When Mary Kelly's best-known work, Post-Partum Document (1973-1979), was shown at the Institute of Contemporary Art in London in 1977, it caused a sensation¿an unexpected response to an intellectually demanding and aesthetically restrained installation of conceptual art. The reception signaled cultural resistance to the themes of the work: feminism and the cultural mythologizing of motherhood. This volume of essays and interviews begins with this foundational work, offering an early statement by the artist, a subsequent interview, and an essay situating the work within a broader feminist discourse that includes Martha Rosler and Judy Chicago. The collection examines such themes in Kelly's work as labor, war trauma, and the politics of care, while emphasizing the artist's sustained engagement with multiple feminisms, multiple histories of feminism, and multiple generations of feminists.

Essays and interviews that span Mary Kelly's career highlight the artist's sustained engagement with feminism and feminist history.

Essential texts on the work of Bruce Nauman, spanning the five decades of the artist's career.This volume collects essential texts on the work of Bruce Nauman (b. 1941), an artist of exceptional range whose work continues to probe the fundamentals of both life and art. These critical writings, scholarly essays, and an interview span five decades of Nauman's career, ranging from the first substantive feature on his work, published in 1967, to a catalog essay from his 2018 retrospective. Written by prominent critics, art historians, and curators, the individual texts consider his work in various media, from photography and artists' books to sculpture, video, and room-scaled installations.Taken together, the essays trace the arc of critical reception given to Nauman's work, charting the (somewhat uneven) path to his current eminence as one of our truly indispensable living artists.ContributorsKathryn Chiong, Fidel A. Danieli, Isabel Graw, Rosalind Krauss, Janet Kraynak, Pamela M. Lee, John Miller, Robert Pincus-Witten, Joan Simon, Robert Slifkin, Marcia Tucker, Anne M. Wagner, Taylor Walsh, and Jeffrey Weiss

A critical primer on artist Richard Serra's work.

Illustrated critical essays on the work of artist James Coleman.James Coleman has emerged in recent years as one of the most important artists of visual postmodernism. His work has transformed critical debates about the status of the image in contemporary culture and influenced an entire generation of younger artists in ways that have not yet been fully acknowledged. Until recently, Coleman has enjoyed relatively little critical attention—in part because of his refusal to comment on his projects or to allow his work to be reconstructed outside of the context of its exhibition.The illustrated essays in this book span the entirety of Coleman's career to date, from his early postminimal and conceptual experiments with memory and perception, through his work in film, video, and narrative in the 1980s, to his current ongoing series of slide projections with voice-over that he calls simply "projected images." Reflecting the interdisciplinary nature of the debates induced by Coleman's work, the essays discuss issues of subjectivity and identity, nationalism, postcolonialism, memory, spectacle culture, digitalization, and new media. The contributors are Raymond Bellour, Benjamin Buchloh, Lynne Cooke, Jean Fisher, Luke Gibbons, Rosalind Krauss, Anne Rorimer, and Kaja Silverman. Written by curators, critics, and scholars and spanning the fields of art history, literary criticism, philosophy, and film theory, the essays attest to the interdisciplinary challenge of Coleman's work.

Essays and articles about Richard Hamiton, "the intellectual father of Pop art."

The first collection of essays on Gerhard Richter, who has been called "the greatest modern painter."

Critical texts and interviews that explore the drawings, animations, and theatrical work of the South African artist William Kentridge.Since the 1970s, the South African artist William Kentridge has charted the turbulent terrain of his homeland in both personal and political terms. With erudition, absurdist humor, and an underlying hope in humankind, Kentridge's artwork has examined apartheid, humanitarian atrocities, aging, and the ambiguities of growing up white and Jewish in South Africa. This October Files volume brings together critical essays and interviews that explore Kentridge's work and shed light on the unique working processes behind his drawings, prints, stop-animation films, and theater works.The texts include an interview by the artist Carolyn Christov-Bakargiev, curator of the first major retrospective of Kentridge's work; an essay by Andreas Huyssen on the role of shadow-play in Kentridge's film series 9 Drawing for Projection; and investigations of Kentridge's work for opera and theater by Maria Gough, Joseph Leo Koerner, and Margaret Koster Koerner. An analysis by influential art historian Rosalind Krauss, the editor of this volume, argues that Kentridge's films are the result of a particularly reflexive drawing practice in which the marks on the page—particularly the smudges, smears, and erasures that characterize his stop-animations—define the act of drawing as a temporal medium. Krauss's understanding of Kentridge's work as embodying a fundamental tension between formal and sociological poles has been crucial to subsequent analyses of the artist's work, including the new essay by the anthropologist Rosalind Morris, who has collaborated with Kentridge on several projects.Essays and InterviewsCarolyn Christov-Bakargiev, Maria Gough, Andreas Huyssen, William Kentridge, Joseph Leo Koerner, Margaret Koster Koerner, Rosalind Krauss, Rosalind Morris