These essays explicitly confront a particular crisis in postwar art, seeking to examine the assumptions on which the modern commercial and museum gallery was based.

With few words and gorgeous style, a cartoonist takes aim at the hypocrisies of the art world White Cube is the Belgian cartoonist and illustrator Brecht Vandenbroucke's debut book, a collection of mostly wordless strips that follow a pair of pink-faced twins as they attempt to understand contemporary art and the gallery world. Their reactions to the art they encounter are frequently comedic, as they paint over Pablo Picasso's famous mural Guernica, and re-create a pixelated version of Edvard Munch's The Scream after receiving one too many e-mails. Lushly painted, these irreverent strips poke fun at the staid, often smug art world, offering an absurdist view on the institutions of that world—questioning what constitutes art and what doesn't, as well as how we decide what goes on the walls of the gallery and what doesn't. Vandenbroucke's distinctive work blends the highbrow with the low, drawing equally from Gordon Matta-Clark's site-specific artwork and the Three Stooges' slapstick timing. With a knowing wink at the reader, Vandenbroucke continuously uncovers something to laugh about in the stuffiness and pretentiousness of the art world.

"New Media in the White Cube and Beyond perceptively addresses the challenges inherent in the digital arts. The book will be a great asset to the study and practice of presenting media art for many years to come."--Barbara London, curator, Museum of Modern Art, New York "Provocative and original, New Media in the White Cube and Beyond represents an important contribution to the fields of new media, museum studies, and contemporary art."--Alexander Alberro, author of Conceptual Art and the Politics of Publicity

Today, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art. Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a post-cinematic age and helped to develop a novel space between the “black box” of the movie theater and the “white cube” of the art gallery. Packed with over one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.

The catalogue accompanies an exhibition that brings together many of the interests that have characterised Kiefer's work for decades, including mythology, astronomy and history. Located across the entire Bermondsey space, it features a large-scale installation and paintings that draw on the scientific concept known as string theory. 00String theory is a mathematical model that attempts to articulate the known fundamental interactions of the universe and forms of matter. In this new body of work, Kiefer has 'tried to bring together theories of seemingly extraneous principles from different cultures and histories', so that complex scientific theory is connected with subject matter from ancient mythology. In so doing, Kiefer makes visual the idea that, "Everything is connected: the missing letters, string theory, the Norns, the Gordian knot."00Exhibition: White Cube Bermondsey, London, UK (15.11.2019 - 26.01.2020).

Fiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood’s influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood’s insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today’s hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include “the paleocybernetic age,” “intermedia,” the “artist as design scientist,” the “artist as ecologist,” “synaesthetics and kinesthetics,” and “the technosphere: man/machine symbiosis.” Outstanding works are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists of the period, such as Nam June Paik, Jordan Belson, Andy Warhol, Stan Brakhage, Carolee Schneemann, Stan VanDerBeek, Les Levine, and Frank Gillette. An inspiring Introduction by the celebrated polymath and designer R. Buckminster Fuller—a perfectly cut gem of countercultural thinking in itself—places Youngblood’s radical observations in comprehensive perspective. Providing an unparalleled historical documentation, Expanded Cinema clarifies a chapter of countercultural history that is still not fully represented in the arthistorical record half a century later. The book will also inspire the current generation of artists working in ever-newer expansions of the cinematic environment and will prove invaluable to all who are concerned with the technologies that are reshaping the nature of human communication.

Gates is an artist, curator and urban activist whose work aims to galvanise communities and act as a catalyst for social change. For this exhibition, Gates created a multi-faceted installation that investigated themes of race and history through sculpture, installation, performance and two-dimensional works exhibited both inside and outside of the Bermondsey site. The exhibition furthered the artist's interest in a critique of social practice, shared economies and the question of objects in relation to political and cultural thought.

Exhibiting Craft and Design: Transgressing the White Cube Paradigm investigates the firmly-established manner in which craft and design have typically been presented by museums and galleries, what strategies curators have employed throughout the twentieth century, and especially in more recent years how exhibiting design and craft objects challenges the notion of the modernist White Cube display paradigm.