Eleanor Heartney

Before Donald Trump was President, he was Donald Trump. The Game: All Things Trump is a journey through the world Donald Trump created for himself starting in the 1980s. His brand, his name, his casinos, his hotels, his products, his everything. Among the 1,000-plus objects (of which 500 are shown here) amassed from auctions, eBay, and word of mouth are some of Trump’s greatest hits including Trump Shuttle, Trump Vodka, Trump University, Trump Steaks and the Ego sign from the Ego Lounge at the Taj Mahal. The scope of the project is as vast as Donald Trump’s reach has been, showing that long before he became president, Donald Trump wrapped himself around America and called it his.

Offering a radical rewriting of the history of contemporary art from a feminist perspective, four distinguished authors explore the lineages of performance, abstraction, craft and ecofeminism in ways that reveal the debt these important genres owe to the work of pioneering women artists. Tracing these influences over time, Mothers of Invention underscores the enormous impact of feminist ideas on the work of contemporary artists of all genders. The painters, sculptors and performance artists featured here have shaped ideas now dominating the art world: the vulnerability of the environment, the rise of activist art, the challenge to the reign of high technology (including digital culture), and the development of a new language of abstraction. Having demolished the linear narrative of modernism, the privileging of a white male ethnocentric vision, the division of high and low art and the separation of art from larger social issues, feminist artists laid the groundwork for the globalised, multi-media, postmodern art world of today. Illustrated with a spread of work from the last sixty years (and including contextual discussion of earlier practitioners), this book makes a compelling case for placing feminist art and artists at the heart of contemporary art.

Known for his colourful, irreverent, and often politically charged paintings, Halim Flowers is a contemporary visual artist, spoken word performer, and author who has become one of the hottest newcomers in the contemporary art scene. As a minor, Flowers was arrested and wrongfully sentenced to two life sentences in Washington, DC, later to be released under a new juvenile lifer resentencing law. His experiences aired on HBO in the Emmy award-winning documentary Thug Life in DC, as well as Kim Kardashian-West’s film The Justice Project. Since his release, Flowers has produced a stunning spectrum of paintings expressing his ardent advocacy for human rights, and his resonant, up-lifting mantra “Love is the vaccine”. This beautifully illustrated volume provides the first full treatment of Flower’s artistic vision, with insightful interpretation from leading scholars of this star on the rise.

Internationally acclaimed artist Dale Chihuly’s site-specific installations in the form of architectural commissions and exhibitions Forty years of Dale Chihuly’s spectacular site-specific glass installations are captured in this large-format publication examining architectural commissions, temporary art installations, and museum exhibitions around the world. Chihuly’s installations on walls, windows, ceilings, stairways, courtyards, and fountains are closely examined. Chihuly and Architecture explores entire rooms and galleries, glasshouses and castles, and travels from the canals of Venice to the Citadel in the Old City of Jerusalem, providing rare insight into Chihuly’s inspiration and global footprint.

"Doomsday Dreams" uses international contemporary art as a lens to explore the allure, dangers and positive potential of present day apocalyptic thinking. Apocalypse is a double-edged concept, balanced between hope and despair, simultaneously encouraging the pursuit of justice and a starkly dualistic sense of good and evil. It underlies populist liberation movements and explains the attraction of authoritarian leaders. The artists discussed in "Doomsday Dreams" reflect on the ways that the modern world has been profoundly shaped by millennia-old conceptions of history as a struggle to the death between the forces of good and evil. These artists' draw on apocalyptic symbols grounded in religious conceptions of judgment, retribution, redemption and sin. They employ these ideas to ask: Why has Apocalypse become the fallback position when we are faced with calamity? How does it shape the way we deal with the world? When is Doomsday a useful metaphor and when does it foreclose more hopeful possibilities? These questions have profound implications for contemporary society. Ideas that originated in ancient Zoroastrianism and spread to the three monotheistic religions continue to define our reality today. The apocalyptic cults emerging within radical Islam are one manifestation, as are western obsessions with the "clash of civilizations." So is rhetoric of the Alt-Right that has gained currency since Donald Trump's election. Apocalyptic thinking impacts our debates over climate change, pandemics, immigration, and technology. It also underlies the popular fascination with Zombies, Armageddon and renewed fears of nuclear holocaust. The artists discussed in "Doomsday Dreams" come from diverse religious backgrounds. They employ many different media and exhibit varying degrees of religious belief. Together, they reveal how art can help us understand the complicated ideas and irresolvable contradictions that surround "Doomsday Dreams." This book brings together for the first time cultural studies, theology, world history, politics and philosophy. Heartney explores End Times symbolism, metaphor, irony and allegory in contemporary art and shows how artists are addressing the fearsome challenges that face us in a time of social, political and sectarian upheaval.

During the 1990s the United States was embroiled in deeply divisive Culture Wars. In this redesigned, re-edited, illustrated new edition of the classic study Postmodern Heretics: The Catholic Imagination in Contemporary Art, cultural commentator Eleanor Heartney offers a radically original interpretation of the extraordinary cultural and political battles that took place in the late 1980s and early 1990s. Postmodern Heretics reexamines this period from the perspective of religion revealing how the most controversial artists of that time came almost without exception from Catholic backgrounds. This book clarifies for the first time how the culture of Catholicism shaped the 1990s Culture Wars. Postmodern Heretics also challenges conventional wisdom about the relationship between contemporary art and religion. By examining the myriad ways that Catholicism has worked its way into the creations of a wide swath of contemporary visual artists; this book undermines Modernist assumptions about the inherent antagonism between creativity and religious faith. A newly researched introduction brings this cultural history up-to-date for our current deeply conflicted times. The Culture Wars have flared up again, pitting Red against Blue, urban against rural, white against non-white and agnostic against believer. By revealing the Catholic roots of some of today's most important contemporary artists, "Postmodern Heretics" suggests how a more nuanced understanding of religion provides new insight into art while helping us heal our cultural divisions.

Since its founding in 1993 by the late Pace Foods heiress Linda Pace, Artpace has become one of the premiere foundations for contemporary art. An artist residency program based in San Antonio, Texas, Artpace's goal is to give artists time and space to imagine new ways to work. Each year, nine artists (three from Texas, three from other areas of the United States, and three from abroad) are invited to the foundation to create new work. Selected by guest curators like Robert Storr and Okwui Enwezor, the artists who have undertaken residencies is impressive, prescient, and diverse, including Felix Gonzalez-Torres, Annette Messager, Tracey Moffatt, Xu Bing, Nancy Rubins, Cornelia Parker, Inigo Manglano-Ovalle, Glenn Ligon, Kendell Geers, Carolee Schneemann, Mona Hatoum, Isaac Julien, Arturo Herrera, and Christian Jankowski. Dreaming Red includes images of all the works created at Artpace since its inception; an essay by art historian Eleanor Heartney; short essays on selected artists by guest curators, including Cuauhtemoc Medina, Lynne Cooke, Chrissie Iles, and Judith Russi Kirshner; and a lengthy essay on the personal history of the foundation and its founder.

In After the Revolution, the authors concluded that "The battles may not all have been won ...but barricades are gradually coming down, and work proceeds on all fronts in glorious profusion." Now, with The Reckoning, authors Eleanor Heartney, Helaine Posner, Nancy Princenthal, and Sue Scott bring into focus the accomplishments of a new generation of women artists who have benefited from the ground-breaking efforts of their predecessors. Focusing on 2 4 of the most acclaimed international women artists born since 1960, the book is organized in four thematic sections. "Bad Girls" profiles artists whose work represents an assault on conventional notions of gender and racial difference. "History Lessons" offers reflections on the self in the context of history and globalization. "Spellbound" focuses on women's embrace of the irrational, the subjective, and the surreal, while "Domestic Disturbances" takes on women's conflicted relationship to home, family, and security. The book also examines how the institutions of the art world have changed, and how those changes affect the women artists of today. Written in lively prose and fully illustrated throughout, this remarkable book gives a uniquely informed account of the wonderful diversity of recent contemporary art by women.

El estudio mas exhaustivo del arte contemporaneo de las ultimas tres decadas. La insolita organizacion tematica facilita la navegacion a traves del inmenso caudal del arte contemporaneo. Mas de cuatrocientos de los artistas contemporaneos de mayor relieve en todo el mundo, desde los futuros valores hasta los plenamente consagrados. Los textos fluidos, amenos y bien documentados convierten este volumen en una introduccion al arte contemporaneo perfecta para estudiantes, profesionales y aficionados al mundo del arte por igual. Escrito por una critica y estudiosa del arte de prestigio internacional.

Richard Bell has established a significant reputation as a political commentator and 'enfant terrible' in Indigenous art over the past two decades. This stunningly illustrated catalogue features more than 26 colour plates of his provocative and often humorous works. With their bold use of images and text, they force viewers to face the troubling issue of racism in Australia. Bell's inspiration is complex and multi-layered. He is an avid appropriator, borrowing from other artists, periods and cultures, including Roy Lichtenstein, Jasper Johns, Jackson Pollock, and Aboriginal painter Emily Kam Kngwarreye, among others. He works across a wide range of media, including painting, performance, and video, producing powerful messages that confront and unsettle: about Aboriginal and non-Aboriginal Australians' relationship to each other, about their country's history and about art itself. Accompanies the first travelling exhibition dedicated to Richard Bell's work in the United States. Organized by the American Federation of Arts, it opens at the Tufts University Art Gallery, Medford, Massachusetts in September 2011

War and disaster have shaped the first years of the twenty-first century, both in the United States and throughout the world. "On the Margins" brings together a culturally diverse group of international artists whose work engages the platitudes associated with such troubling themes, while addressing contemporary social and political conditions through a wide spectrum of styles and media. The exhibition this catalog accompanies aims in part to underscore the contrast between the realities of disaster and how they are presented - what we see and what we don't see - through the lens of today's media. Created in the past seven years, all of the works included in "On the Margins" consider the ways in which war and conflict around the world affect - or fail to affect - our everyday life. The roster of contributing artists is diverse and talented: Adel Abidin, Laylah Ali, Paolo Canevari, Enrique Chagoya, Willie Cole, Luis Cruz Azaceta, Willie Doherty, Jane Hammond, Martha Rosler, and Do-Ho Suh. The exhibition was curated by Carmon Colangelo, and the catalog features essays by Eleanor Heartney and Paul Krainak as well as an illustrated checklist and full artist biographies.