Whether regaled as "America's Suburb" or ridiculed as the capital of mini-malls and Valley Girls, the San Fernando Valley is one of Los Angeles's most misunderstood and stereotyped areas. Despite a population of more than 1.8 million living in a region that covers about 225 square miles, the Valley's sheer size has not garnered the place much attention, especially when it comes to LA's cultural history. The Valley's artwork has been all but overlooked. Even in the much-heralded Pacific Standard Time initiative sponsored by The Getty, which incorporated exhibitions in more than 60 art organizations in the region, no exploration of art from the San Fernando Valley was featured. Could it be that Valley Standard Time is a zone of its own when it comes to art? VALLEY VISTA answers this question for the first time. The book and the exhibition it catalogs examines the art history of the Valley, looking beyond all stereotypes.

Following the critical scepticism surrounding the notion of the ‘self’ as a singular entity during the 1960s, many artists and writers sought to test the apparent problem posed by autobiography as both a traditional genre and as a way of working. Considering the consequent emergence of autotheory, Lifework traces this shift in artistic and literary production during the late twentieth century and beyond, examining a set of diverse practices that mine the line between what it is to make art and what it is to live life. The book’s chapters connect a variety of artistic strategies that cut across medium, geography and time, uncovering how the historical marginalisation of first-person experience has taken on larger social, cultural and political implications in the contemporary moment and how the work of living might still relate to the work of art.

Based on documentary film made by the author about artists in downtown Los Angeles.

A journalist and native son of the San Fernando Valley, arguably America's quintessential suburb, returns to his old neighborhoods and discovers a long, rich history filled with the sort of lore and traditions that make a place a home.

The British divided and quit India in 1947. The partition of India and the creation of Pakistan uprooted entire communities and left unspeakable violence in its trail. This volume tells the story of partition through the events that led up to it, the terrors that accompanied it, to migration and resettlement. In a new shift in the understanding of this seminal moment, the book also explores the legacies of partition which continue to resonate today in the fractured lives of individuals and communities, and more broadly in the relationship between India and Pakistan and the ongoing conflict over contested sites. In conclusion, the book reflects on the general implications of partition as a political solution to ethnic and religious conflict. The book, which is accompanied by photographs, maps and a chronology of major events, is intended for students as a portal into the history and politics of the Asian region.

Vern Blosum does not exist. The story can be told in just a few lines: in 1961 an artist paints five canvases inspired by pages in a horticulture book; then came parking meters bearing temporal commentaries, water hydrants, and animals.Some of them were shown at Leo Castelli Gallery, sold to collectors and public institutions, included in seminal exhibitions or books on Pop art: a seemingly normal progression in an artist's career, were it not for a rumor that emerged regarding his true identity.Alfred H. Barr, the Director of MoMA, New York, started to worry about it in 1964 and, after extensive inquiries, came to the conclusion that Vern Blosum did not exist. His paintings were taken down or sent back to storage, and the artist's name fell into obscurity. Vern Blosum does not exist, but his work does. And that is precisely what this book aims to reveal.Published in the HAPAX series with the Kunsthalle Bern.

Performance art is a major contemporary art form and California is recognized internationally as a pivotal area for innovative performance art activity. This updated edition of Performance Anthology offers an extraordinary documentation of California performance art from 1970 through 1989. The anthology provides a chronicle of the literature of artists' publications, art journals, major books, and catalogues; introductions and original essays by artists and leading historians and critics of performance art in California; and photographs illustrating major works by California artists. Through the documentation of the literature, a framework is established of the artists, events, organizations and spaces that have been instrumental in launching and sustaining the performance art scene in California.

Featuring essays by, and interviews with, more than sixty professionals, educators, and critics, the book provides an in-depth view of the art, business, and history of comics art. Readers will learn about a wide variety of genres, from editorial cartoons, political comics, and comic strips to graphic novels, superhero sagas, and alternative comics. Other featured topics include the role of comic art in related fields such as animation, design, and illustration; lesson plans by top teachers; and essays on how to thrive and grow as a creative comic artist.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.

This collection attempts to integrate work pertaining to a fundamental question in plant evolution: What are the molecular underpinnings for the origin of different plant forms? Among the many facets this question touches are the transition to land, the emergence of vascular plants, the origin of the seed and the origin and diversification of floral form. We aim to bring to the forefront the most salient and original plant systems and approaches within an inclusive phylogenetic context that encompasses representatives of the major lineages of land plants.