Fine Lines: Vladimir Nabokov’s Scientific Art 1st Edition
The first comprehensive, interdisciplinary accounting of Nabokov’s scientific work, its significance in his artistry, and his contribution to evolutionary theory This landmark book is the first full appraisal of Vladimir Nabokov’s long-neglected contributions as a scientist. Although his literary achievements are renowned, until recently his scientific discoveries were ignored or dismissed by many. Nabokov created well over 1,000 technical illustrations of the anatomical structures of butterflies, seeking to understand the evolutionary diversity of small butterflies called Blues. But only lately have scientists confirmed his meticulous research and vindicated his surprising hypotheses. This volume reproduces 154 of Nabokov’s drawings, few of which have ever been seen in public, and presents essays by ten leading scientists and Nabokov specialists. The contributors underscore the significance of Nabokov’s drawings as scientific documents, evaluate his visionary contributions to evolutionary biology and systematics, and offer insights into his unique artistic perception and creativity.
About the Author
Stephen H. Blackwell is professor of Russian, University of Tennessee. He is the author of The Quill and the Scalpel: Nabokov’s Art and the Worlds of Science. He lives in Knoxville, TN. Kurt Johnson is author or coauthor of more than 200 journal articles on Lepidoptera and coauthor of Nabokov’s Blues: The Scientific Odyssey of a Literary Genius. He lives in Brooklyn, NY.
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Historically, “queer” was the slur used against those who were perceived to be or made to feel abnormal. Beginning in the 1980s, “queer” was reappropriated and embraced as a badge of honor. While queer draws its politics and affective force from the history of non-normative, gay, lesbian, and bisexual communities, it is not equivalent to these categories, nor is it an identity. Rather, it offers a strategic undercutting of the stability of identity and of the dispensation of power that shadows the assignment of categories and taxonomies. Artists who identify their practices as queer today call forth utopian and dystopian alternatives to the ordinary, adopt outlaw stances, embrace criminality and opacity, and forge unprecedented kinships, relationships, loves, and communities. Rather than a book of queer theory for artists, this is a book of artists’ queer tactics and infectious concepts. By definition, there can be no singular “queer art.” Here, in the first Documents of Contemporary Art anthology to be centered on artists’ writings, numerous conversations about queer practice are brought together from diverse individual, social and cultural contexts. Together these texts describe and examine the ways in which artists have used the concept of queer as a site of political and institutional critique, as a framework to develop new families and histories, as a spur to action, and as a basis from which to declare inassimilable difference. Artists and writers include Nayland Blake, Gregg Bordowitz, Leigh Bowery, AA Bronson, A. K. Burns, Giuseppe Campuzano, Tee Corinne, Barbara DeGenevieve, Dyke Action Machine!, Elmgreen & Dragset, Rotimi Fani-Kayode, Simon Fujiwara, Malik Gaines, Felix Gonzalez-Torres, Gran Fury, Sunil Gupta, Hahn Thi Pham, Harmony Hammond, Sharon Hayes, Hudson, Roberto Jacoby, Derek Jarman, Isaac Julien, Mahmoud Khaled, Zoe Leonard, Lesbian Avengers, Catherine Lord, Ma Liuming, LTTR, Allyson Mitchell, Zanele Muholi, Carlos Motta, Ocana, Helio Oiticica, Catherine Opie, Ridykeulous (Nicole Eisenman & A.L. Steiner), Marlon Riggs, Emily Roysdon, Prem Sahib, Assoto Saint, Tejal Shah, Amy Sillman, Jack Smith, Wolfgang Tillmans, Toxic Titties, Danh Vo, David Wojnarowicz, Wu Tsang, Yan Xing, Las Yeguas del Apocalipsis, Akram Zaatari, Sergio Zevallos”
During a career that spanned more than forty years, from the late 1960s until his death in 2012, Michael Asher created site-specific installations and institutional interventions that examined the conditions of art’s production, display, and reception. At the Art Institute of Chicago, for example, he famously relocated a bronze replica of an eighteenth-century sculpture of George Washington from the museum’s entrance to an interior gallery, thereby highlighting the disjunction between the statue’s symbolic function as a public monument and its aesthetic origins as an artwork. Today, Asher is celebrated as one of the forerunners of institutional critique. Yet because of Asher’s situation-based method of working, and his resistance to making objects that could circulate in the art market, few of his works survive in physical form. What does survive is writing by scholars and critics about his diverse practice. The essays in this volume document projects that range from Asher’s environmental works and museum displacements to his research-based presentations and reflections on urban space. ContributorsMichael Asher, Sandy Ballatore, Benjamin H. D. Buchloh, Jennifer King, Miwon Kwon, Barbara Munger, Stephan Pascher, Birgit Pelzer, Anne Rorimer, Allan Sekula
About the Author
Jennifer King is Associate Curator at the Los Angeles County Museum of Art.
This is the story of how the xerographic copier, or “Xerox machine,” became a creative medium for artists and activists during the last few decades of the twentieth century. Paper jams, mangled pages, and even fires made early versions of this clunky office machine a source of fear, rage, dread, and disappointment. But eventually, xerography democratized print culture by making it convenient and affordable for renegade publishers, zinesters, artists, punks, anarchists, queers, feminists, street activists, and others to publish their work and to get their messages out on the street. The xerographic copier adjusted the lived and imagined margins of society, Eichhorn argues, by supporting artistic and political expression and mobilizing subcultural movements. Eichhorn describes early efforts to use xerography to create art and the occasional scapegoating of urban copy shops and xerographic technologies following political panics, using the post-9/11 raid on a Toronto copy shop as her central example. She examines New York’s downtown art and punk scenes of the 1970s to 1990s, arguing that xerography — including photocopied posters, mail art, and zines — changed what cities looked like and how we experienced them. And she looks at how a generation of activists and artists deployed the copy machine in AIDS and queer activism while simultaneously introducing the copy machine’s gritty, DIY aesthetics into international art markets. Xerographic copy machines are now defunct. Office copiers are digital, and activists rely on social media more than photocopied posters. And yet, Eichhorn argues, even though we now live in a post-xerographic era, the grassroots aesthetics and political legacy of xerography persists.
About the Author
Kate Eichhorn is Associate Professor of Culture and Media Studies at the New School. She is the author of The Archival Turn in Feminism.
Written for pre-service and in-service early childhood professionals in child care, preschool, or kindergarten through third grade settings, Art & Creative Development For Young Children, 8th Edition, takes a child-centered approach to art education. Updated throughout, the book includes an in-depth discussion of technology to aid teachers in understanding the role that technology can play in children’s visual art appreciation and production. Guidelines for establishing an inclusive art program in classrooms for young children are included for early childhood professionals. Activities and recipes make the text a valuable resource for in-service teachers.
About the Author
Jill Englebright Fox is a professor of early childhood education and the Director of Assessment at the University of Houston—Victoria. After teaching kindergarten and first grade in the Texas public schools for eight years, she received her Ph.D. in Early Childhood Education from the University of North Texas. She continues to be active in early childhood classrooms as a volunteer, a professional consultant, a researcher, and a teacher educator. Robert Schirrmacher was an instructor with the San Jose/Evergreen Community College District. He received his Ph.D. in Early Childhood Education from the University of Illinois. His experience includes teaching preschool, kindergarten, and first grade as well as teaching at undergraduate and graduate levels. He has assisted in Montessori schools and directed programs for young children. Dr. Schirrmacher has served as a consultant to parent groups and public and private early childhood programs. As an advocate for developmentally appropriate education and quality care for young children, he has been involved in professional organizations at the local, state, and national levels.