Konstfacks bibliotek

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*00116636
*007|||||||||||||||||||||||
*008110824s2004    mau    |      001 0 eng c
*020  $a0-262-18231-9
*020  $a0-262-18231-9
*035  $a(Ko)18301
*040  $dDLC$dDLC$dG
*084  $aIn
*1001 $aRosler, Martha,$d1943-
*24510$aDecoys and disruptions :$bselected writings, 1975-2001  /$cMartha Rosler
*260  $aCambridge, Mass.  :$bMIT Press in association with International Center of Photography, New York ,$c2004.
*300  $a390 s.  :$bill.
*500  $a"An October book."
*60014$aRosler, Martha,$d1943-
*650 4$aPhotography
*650 4$aPhilosophy.
*650 4$aPhotography
*650 4$aSocial aspects.
*650 4$aVideokonst
*650 4$aFotokonst
*650 4$aDokumentärfotografi
*650 4$aDigital bildbehandling
*650 4$aCensur
*650 4$aKonst
*650 4$aKonst
*650 4$aekonomiska aspekter
*650 4$aKonst
*650 4$asociala aspekter
*8520 $cKONST - Iaa
*950  $aVideo art
*950  $aPhotography, Artistic
^

Decoys and Disruptions is the first comprehensive collection of writings by American artist and critic Martha Rosler. Best known for her videos and photography, Rosler has also been an original and influential cultural critic and theorist for over twenty-five years. The writings collected here address such key topics as documentary photography, feminist art, video, government patronage of the arts, censorship, and the future of digitally based photographic media. Taken together, these thirteen essays not only show Rosler's importance as a critic but also offer an essential resource for readers interested in the issues confronting contemporary art. The essays in this collection illustrate Rosler's ongoing investigation into means of exposing truth and provoking change, providing a retrospective of characteristic issues in her work.

Mixing analysis and wit, Rosler challenges many of the fundamental precepts of contemporary art practice. Her influential essay, "In, around, and afterthoughts: on documentary photography," almost single-handedly dismantled the myth of liberal documentary photography when it appeared. Many of the essays in this volume have had a similarly wide-ranging influence; others are published here for the first time. Illustrating the essays are 81 images by Rosler and other artists and photographers.

• Prefacep. ix
• Situated in Context
• For an Art against the Mythology of Everyday Lifep. 3
• Lookers, Buyers, Dealers, and Makers: Thoughts on Audiencep. 9
• Video: Shedding the Utopian Momentp. 53
• Strategies of Production
• The Figure of the Artist, the Figure of the Womanp. 89
• Lee Friedlander, an Exemplary Modern Photographerp. 113
• Notes on Quotesp. 133
• Photography as Image and Trace
• In, Around, and Afterthoughts (On Documentary Photography)p. 151
• Post-Documentary, Post-Photographyp. 207
• Wars and Metaphorsp. 245
• Image Simulations, Computer Manipulations: Some Considerationsp. 259
• Censorship and Power
• Theses on Defundingp. 321
• The Suppression Agenda for Artp. 335
• Place, Position, Power, Politicsp. 349
• Photo Creditsp. 379
• Indexp. 381