Her art embodies two developments in the art world: the impact of postmodern theory on art practice; and the rise of photography and mass-media techniques as modes of artistic expression.

    His essays--several of which have never before been translated into English--are collected here for the first time. The Mind's Eye features Cartier-Bresson's famous text on "the decisive moment" as well as his observations on Moscow, Cuba and China during turbulent times. These essays ring with the same immediacy and visual intensity that characterize his photography.

    From his early paintings and assemblages, which built upon the work of Jasper Johns and Joseph Cornell, to his set designs for LeRoi Jone's The Dutchman and Frank O'Hara's The General Returns from One Place to Another; from his comic book collaborations with various poets, C Comics and C Comics 2, to his later drawing, collage, painting, and assemblage work, Brainard exemplified the link between avant-garde art, writing, and theater that defined the New York School. In addition to a checklist and bibliographies of work by and about Brainard, this exhibition catalogue includes the artist's published and unpublished writings, as well as interviews and letters. Also included are essays by John Ashbery, Carter Ratcliff, and Constance Lewallen, who chronicles Joe Brainard's formative years in Oklahoma and move to New York City, his involvement with Pop Art, assemblage and painting, and his literary and artistic associations.

    In Formless: A User's Guide, Yve-Alain Bois and Rosalind Krauss present a rich and compelling panorama of the formless. They chart its persistence within a history of modernism that has always repressed it in the interest of privileging formal mastery, and they assess its destiny within current artistic production. In the domain of practice, they analyze it as an operational tool, the structural cunning of which has repeatedly been suppressed in the service of a thematics of art. Neither theme nor form, formless is, as Bataille himself expressed it, a job. The job of Formless: A User's Guide is to explore the power of the informe. A stunning new map of twentieth-century art emerges from this reconceptualization and from the brilliantly original analyses of the work of Jackson Pollock, Andy Warhol, Cy Twombly, Lucio Fontana, Cindy Sherman, Claes Oldenburg, Jean Dubuffet, Robert Smithson, and Gordon Matta-Clark, among others.

    Once branded the bad boy of American modernism, Rauschenberg has taken a revolutionary approach to traditional art forms and worked in an extraordinarily diverse range of mediums. This volume, which explores the entire scope of his achievement, accompanies the first retrospective exhibition of Rauschenberg's work held since 1976, opening at the Guggenheim Museum, New York, in September 1997 and traveling to Houston in early 1998 and then to Europe and Asia. Four essays by leading scholars and curators interpret and analyze Rauschenberg's art while emphasizing his unique contribution across disciplines. Two essays by former collaborators provide insight into his involvement with avant-garde performance and technology. And more than 500 illustrations reproduce Rauschenberg's challenging art, from his revolutionary all-white paintings and acclaimed Combines to prints, photographs, and the recent overseas projects that Rauschenberg has pursued in the belief that art and collaboration have the power to bring about social change. This comprehensive book, which includes an illustrated chronology of Rauschenberg's life and work and up-to-date exhibition and performance histories, will be the essential monograph on Robert Rauschenberg.

    Dubbed Edgar Allan Poe with a camera, his haunting images captured -- like nothing before or since -- the weathered elegance and dreamy decadence of Louisiana's homes, streets, and cemeteries. In 1948, his book on Louisiana plantation architecture, Ghosts Along the Mississippi, vaulted him into the pantheon of great American photographers -- and went on to sell an astounding 100,000 copies.This new volume, compiled by the Historic New Orleans Collection, brings together the best of the photographer's previously unpublishedimages -- an eerie gallery of French Quarter facades and ironwork, funerary sculpture, Spanish moss, and other details that summon up the Acadian gothic. With essay by six distinguished writers, Haunter of Ruins will be the only book currently available on this incomparable American original.

    Evocative and haunting, they capture what Carter calls the "little askew moments" that allow viewers to see beyond the surface reality.This book brings together seventy-five photographs chosen by Carter to represent the range of his work since the 1970s. Many of the images in this book have never been published before, while others come from Carter's previous books. A. D. Coleman's introduction traces the development of Carter's work and maps his affinities with other artists and writers who are strongly influenced by the sense of place. In his own words, Keith Carter describes his maturation as a self-taught photographer in his hometown of Beaumont, Texas. He provides insights into his choice of subject matter, his methods of working, and his philosophy of what art should be and do.For the many people who have already discovered Keith Carter's photography, this book offers a visually compelling summation of his career to date. Those who have not yet had that pleasure will find it here.