Anne Rice

Stephen King

Michel Foucault

Judith Halberstam

William Gibson

Robert Louis Stevenson

Andrew O'Hagan

Umberto Eco

Slavoj Žižek

Sigmund Freud

Jean Baudrillard

Mike Kelley

Beatriz Colomina

James Sampson Meyer

Mary Shelley

Patrick McGrath

Jeff Wall

Jacques Lacan

Marina Warner

Hal Foster

Jerry Saltz

Damien Hirst

Amelia Jones

Eve Kosofsky Sedgwick

Nancy Spector

Julia Kristeva

Edmund Burke

Mark Edmundson

Richard Dyer

Bret Easton Ellis

Edgar Allan Poe

Richard Davenport-Hines

Douglas Crimp

Gianni Jetzer

Gayatri Chakravorty Spivak

Carol J. Clover

Trevor J. Fairbrother

Anthony Vidler

Elisabeth Bronfen

Bruce Hainley

Carolyn Christov-Bakargiev

Kate Ferguson Ellis

Kobena Mercer

Stan Douglas

Alex Farquharson

Jane D. Marsching

Mark Alice Durant

Nike Bätzner

Michael Cohen (kustos.)

Tacita Dean

Christoph Grünenberg

Jonathan Jones (likovni kritik.)

Shamim Momin

Andrew Ross (Professor of Social and Cultural Analysis.)

Jaques Derrida

Part of the acclaimed 'Documents of Contemporary Art' series of anthologies. This collection of writings examines the pervasive and influential role of the Gothic in contemporary art, providing the first comprehensive overview of its uses within contemporary visual culture. The Gothic includes artists' writings by Mike Kelley, Damien Hirst, Tacita Dean, Jonathan Meese and Catherine Sullivan, complemented by literary extracts from Horace Walpole, William Gibson, Bret Easton Ellis and Stephen King, and theoretical writings by such key thinkers as Carol Clover, Beatriz Colomina, Julia Kristeva, Eve Kosofsky Sedgwick, Marina Warner and Slavoj Žižek. Artists surveyed include Matthew Barney, Louise Bourgeois, Tacita Dean, Sue de Beer, Janet Cardiff, Mark Dion, Stan Douglas, Robert Gober, Douglas Gordon, Dan Graham, Damien Hirst, Mike Kelley, Paul McCarthy, Teresa Margolles, Jonathan Meese, Raymond Pettibon, Paul Pfeiffer, Gregor Schneider, Cindy Sherman, Catherine Sullivan, Andy Warhol, and Jane and Louise Wilson. Writers include Jean Baudrillard, Elizabeth Bronfen, Edmund Burke, Carol Clover, Beatriz Colomina, Douglas Crimp, Jacques Derrida, Richard Dyer, Umberto Eco, Bret Easton Ellis, Trevor Fairbrother, Alex Farquharson, Hal Foster, Michel Foucault, Sigmund Freud, William Gibson, Christoph Grunenberg, Bruce Hainley, Judith Halberstam, Amelia Jones, Jonathan Jones, Mike Kelley, Julia Kristeva, Jacques Lacan, Patrick McGrath, Kobena Mercer, James Meyer, Edgar Allan Poe, Andrew Ross, Jerry Saltz, Eve Kosofsky Sedgwick, Mary Shelley, Nancy Spector, Robert Louis Stevenson, Anthony Vidler, Jeff Wall, Horace Walpole, Marina Warner, Anne Williams and Slavoj Žižek.

The Gothic

"In this highly readable history of minimalist art James Meyer argues that "minimalism" was not a coherent movement but a field of overlapping and sometimes opposed practices. He traces in comprehensive detail the emergence of six figures associated with the development-- Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Robert Morris, and Anne Truitt-- and how the notion of minimalism came to be constructed around their art in the 1960s. Despite distinctive differences in method and points of view, Meyer shows, these artists became equated in a series of important exhibitions and texts that led to their designation as minimalists"--Publisher's description.

Art and Polemics in the Sixties

Minimalism

James Meyer

This beautifully illustrated book is internationally recognized as the most definitive survey of Minimalism, among the most influential movements in late twentieth-century art.

Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt and Robert Morris

The Genealogy of Minimalism

Anne Truitt

Kristen Hileman

Anne Truitt, an artist based in Washington, D.C. for most of her career, remains an under-recognized force in art post-1960, which has been dominated by artists like Donald Judd and Ellsworth Kelly who have strongly influenced the movement now known as Minimalism. Part of this lack of recognition stems from the fact that Truitt pursued a staunchly independent course in her art: not only did she take a different path from the Color Field artists often associated with Washington, D.C., but she created reduced geometric abstraction that deviated from the approaches of Minimalist artists in some significant ways. For example, her highly nuanced use of colour veered dramatically from primary hues, and the titles of many of her works evoked places and events that were important to her, suggesting a complex network of references beyond and yet somehow contained by the sculpture. This volume, and the accompanying exhibition, will form an important part of the re-evaluation of Truitt's art, due to the scope of work which it presents. A wide range of three-dimensional works will be presented to showcase Truitt's exploration of colour, scale and proportion. Examples of two-dimensional series on canvas in which the artist investigated the cusp of visibility as well as the relationships between painting and sculpture, join 24 works on paper some of which date to the year that Truitt first arrived at her radical reduction of form, and others that represent a three-year period during the 1960's from which there are almost no extant sculptures. At the heart of this volume are colour plates of the columnar sculptures that became the hallmark of Truitt's profoundly focused practice, and that made her so significant to the development of minimal abstraction. Whilst Truitt's work has featured as part of larger surveys of Minimalism, as well as in Truitt's own artist's journals - Daybook (1984), Turn (1987), and Prospect (1996) - it has never before been the subject of a complete monographic survey. For this reason alone publication of Anne Truitt: Perception and Reflection in 2009 will be a major event in itself, and one that will significantly increase our understanding of post-1960's art. AUTHOR: Kristen Hileman the organizing curator of the exhibition, is associate curator, the Hirshhorn Museum and Sculpture Garden, where she recently curated The Cinema Effect: Illusion, Reality and the Moving Image, Part II: Realisms (2008), and has worked with such artists as John Baldessari, Hiroshi Sugimoto, and Wolfgang Tillmans; James Meyer is Winship Distinguished Associate Professor of Art History at Emory University and the author of Minimalism: Art & Polemics in the Sixties (Yale, 2001) and Themes & Movements: Minimalism (Phaidon, 2000). He organised the Anne Truitt exhibition at the Michael C. Carlos Museum, Emory University in 2004. He also co-authored Howard Hodgkin with Nicholas Serota (Tate Britain, 2006) 150 colour & 12 b/w illustrations *

Perception and Reflection

Critic and art historian Meyer, a leading authority on Minimalism, examines the style from its inception to its broader cultural influence. This sourcebook features an excellent selection of nearly 300 color and b&w images to illustrate the surprising variety of the work.

James Sampson Meyer

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