Michael Rush

Presents an overview of the use of new intellectual and scientific technologies in modern art, discussing the creations of such influential artists as Eadweard Muybridge, Robert Rauschenberg, and Bill Viola and incorporating into the latest edition coverage of new developments in digital work. Original.

New Media in Art

El autor presenta una historia del vídeo arte, desde la perspectiva de los artistas pioneros -Bruce Nauman o Vito Acconci, que utilizan el vídeo como una extensión de su propio cuerpo-, pasando por la larga lista de instalaciones políticas, conceptuales, personales y líricas de los años 80 y 90 -como las de Gary Hill, Bill Viola, Manglano-Ovalle, Mary Lucier y Michael Rovner, en cuyas obras se amplían las posibilidades de lo narrativo-, hasta llegar al momento presente de la revolución digital, en el que artistas como Pierre Huygue, Douglas Gordon, Rodney Graham, Doug Aitken, Eija-Liisa Ahtila y Lynn Hershman exploran la hibridación de tecnologías, combinando el vídeo con otros muchos materiales -vídeo digital, DVD, películas, arte cibernético, CD-Roms, gráficos, animación y realidad virtual- para crear nuevas expresiones artísticas.

Video Art: Shaping a history 2. Video and the conceptual body 3. Video and the new narrative 4. Extensions 5. Global groove to fully global

Laura Mulvey

Philippe-Alain Michaud

Mark Lewis’s films are remarkable, not only for their rich and highly seductive use of light and color, but also for the way in which they pay homage to both classic Hollywood cinema and the avant-garde while remaining outside of both traditions. Mark Lewis is the first book to explore this acclaimed Canadian’s art, and it features images from several of his works, including his most recent piece, Rear Projection. This film, in particular, documents a significant shift in Lewis’s practice. Actress Molly Parker, known for her roles in Six Feet Under and Deadwood, is superimposed against the bleak landscape of rural Ontario using the standard Hollywood technique of rear projection. Lewis takes what was, for old Hollywood, a tool meant to convey seamless realism, and foregrounds its essential trickery. Another piece incorporates the dreary backdrops of concrete council flats in the same way. In both settings the film takes on a painterly quality, referencing and restaging traditional portraiture to startling effect. Accompanied by essays by Philippe-Alain Michaud, Laura Mulvey, and Michael Rush that place Lewis’s work next to that of his contemporaries, Mark Lewis reaches insightful conclusions about the evolving relationship between film, technology, painting, and photography.

Mark Lewis

First published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.

An Introduction to Political Sociology

Politics and Society

Nancy Spector

James Rondeau

Dennis Scholl

Janine Antoni photographs a pair of hands joined in a Mvbius strip of long, polished fingernails; John Baldessari commingles images of politics and handguns and primary-colored spheres; John Coplans offers his feet as self-portrait; Gregory Crewdson tells the cinematic, mysterious tale of a random street in some suburbia somewhere; Thomas Demand constructs the illusion of a soundproof room; Rineke Dijkstra portrays herself as a bather at an indoor pool in Amsterdam; Anna Gaskell shows a drowning Alice (or is she treading water?); Dan Graham sites "New Houses behind Chain Link Fence, Jersey City, Ny"; and Andreas Gursky reveals the frenzy of the "Chicago Board of Trade." These photographs and many, many more form the Miami-based collection Debra and Dennis Scholl have amassed over the last two decades. Representing an important selection of the major figures in contemporary American and European photography, they are here accompanied by essays from Nancy Spector, James Rondeau, and Michael Rush, three of the most important curators of contemporary art.

The Debra and Dennis Scholl Collection : [exhibition] Contemporary Museum and Palm Beach Institute of Contemporary Art

Imperfect Innocence

This wide-ranging study, by one of the UK's leading scholars of British politics, presents a fascinating picture of the role of the MP during the last 150 years. The author examines the various roles of Members of Parliament since the middle of last century. Backbench MPs have three major roles-a partisan role, a constituency role, and a scrutiny role. They increasingly expect and are expected to support their parties; to help constituents with individual problems and look after their collective interests; and they are expected to keep a check on the government and its policies. These roles existed 150 years ago, but the balance between them has changed. The partisan role now dominates at Westminster, the constituency role has expanded beyond all recognition, and the scrutiny role is widely seen as the poor relation. Moreover, while constituency work has been virtually hived-off as a non-partisan role, the conflict between the partisan and the scrutiny role creates a dilemma at the heart of parliamentary government.

Michael Rush

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