It's been nearly a century since Marcel Duchamp exhibited a urinal and called it art. Since then, painting has been declared dead several times over, and contemporary art has now expanded to include just about any object, action, or event: dance routines, slideshows, functional hair salons, seemingly random accretions of waste. In the meantime, being an artist has gone from a join-the-circus fantasy to a plausible vocation for scores of young people in America. But why--and how and by whom--does all this art get made? How is it evaluated? And for what, if anything, will today's artists be remembered? In The Contemporaries, Roger White, himself a young painter, serves as our spirited, skeptical guide through this diffuse creative world.From young artists trying to elbow their way in to those working hard at dropping out, White's essential book offers a once-in-a-generation glimpse of the inner workings of the American art world at a moment of unparalleled ambition, uncertainty, and creative exuberance.

Offers an intimate look at the world of American contemporary art, looking at the schools, scenes, and artists through the eyes of a working artist.

Reprint of the original, first published in 1840.

Recollections of Proust, Piaf, Colette, and a host of luminaries from Bohemian Paris For almost 50 years up until his death in 1963, Jean Cocteau held a unique place in French cultural life. The breadth of his artistic success bears witness to the astounding variety of his talents. In the fields of theater, cinema, art, ballet, and literature, Cocteau made many lifelong friends. Intimate portraits of some of the greatest artists of his age are included in this memorable memoir. Jean Cocteau was drawn to larger-than-life or seemingly unreal characters. He believed that their unreality was often the clue to the secrets of their personality. In descriptions of his contemporaries, Cocteau is able to illustrate everything that is accessible, sympathetic, memorable, durable, all-pervading, or dazzling about them. Ranging from the moving and atmospheric (the dying Proust in his cork-lined chamber) to the hilariously camp (Colette being carried from her apartment by sedan chair to have lunch across the road), it is in these portraits that the essence of his own work can be found. The portraits include Proust, Picasso, Piaf, Colette, Chaplin, and many more.

Althusser and His Contemporaries alters and expands understanding of Louis Althusser and French philosophy of the 1960s and 1970s. Thousands of pages of previously unpublished work from different periods of Althusser's career have been made available in French since his death in 1990. Based on meticulous study of the philosopher's posthumous publications, as well as his unpublished manuscripts, lecture notes, letters, and marginalia, Warren Montag provides a thoroughgoing reevaluation of Althusser's philosophical project. Montag shows that the theorist was intensely engaged with the work of his contemporaries, particularly Foucault, Derrida, Deleuze, and Lacan. Examining Althusser's philosophy as a series of encounters with his peers' thought, Montag contends that Althusser's major philosophical confrontations revolved around three themes: structure, subject, and beginnings and endings. Reading Althusser reading his contemporaries, Montag sheds new light on structuralism, poststructuralism, and the extraordinary moment of French thought in the 1960s and 1970s.

Despite his towering presence in premodern Persian letters, Shams al-Din Muhammad Hafiz of Shiraz (d. 1390) remains an elusive and opaque character for many. In order to look behind the hyperbole that surrounds Hafiz's poetry and penetrate the quasi-hagiographical film that obscures the poet himself, this book attempts a contextualisation of Hafiz that is at once socio-political, historical, and literary. Here, Hafiz's ghazals (short, monorhyme, broadly amorous lyric poems) are read comparatively against similar texts composed by his less-studied rivals in the hyper competitive, imitative, and profoundly intertextual environment of fourteenth-century Shiraz. By bringing Hafiz's lyric poetry into productive, detailed dialogue with that of the counterhegemonic satirist, 'Ubayd Zakani (d. 1371), and the marginalised Jahan-Malik Khatun (d. after 1391; the most prolific female poet of premodern Iran), our received understanding of this most iconic of stages in the development of the Persian ghazal is disrupted, and new avenues for literary exploration open up. Looking beyond the particular milieu of Shiraz, this study re-assesses Hafiz's place in the Persian poetic canon through reading his poems alongside those produced by professional poets in other major centres of Persian literary activity who enjoyed comparable fame in the fourteenth century. Recognising the aesthetic achievements of his contemporaries does not diminish the splendour of Hafiz's, rather it forces us to accept that Hafiz was but one member of a band of poets who jostled for the limelight in competing, often intersecting, patronage and reception networks that facilitated intense cultural exchange between the cities of post-Mongol Iran and Iraq. Hafiz's ghazals, characterised as they are by conscious and deliberate hybridity, ambiguity, and polysemy, are products of a creative mind bent on experimenting with genre. While in no way seeking to deny the mystical stratum of the Persian ghazal in its fourteenth-century manifestation, this study emphasises the courtly and profane dimensions of the form, and regards Hafiz through a sober lens with keen attention to his dynamic role at the heart of a vibrant poetic community that was at once both fiercely local and boldly cosmopolitan.