More manifesto than polite discussion, more call to action than criticism, The Invisible Dragon aims squarely at the hyper-institutionalism that, in Hickey’s view, denies the real pleasures that draw us to art in the first place. Deploying the artworks of Warhol, Raphael, Caravaggio, and Mapplethorpe and the writings of Ruskin, Shakespeare, Deleuze, and Foucault, Hickey takes on museum culture, arid academicism, sclerotic politics, and more—all in the service of making readers rethink the nature of art. A new introduction provides a context for earlier essays—what Hickey calls his "intellectual temper tantrums." A new essay, "American Beauty," concludes the volume with a historical argument that is a rousing paean to the inherently democratic nature of attention to beauty.Written with a verve that is all too rare in serious criticism, this expanded and refurbished edition of The Invisible Dragon will be sure to captivate a new generation of readers, provoking the passionate reactions that are the hallmark of great criticism.

    This revised text covers movements in art since 1945.

    From the 1893 Chicago World's Fair to the 2000 Whitney Biennial, a rapid succession of art movements and different styles reflected theextreme changes in American culture and society, as well as America's position within the international art world.This exciting new look at twentieth century American art explores the relationships between American art, museums, and audiences in the century that came to be called the American century. Extending beyond New York, it covers the emergence of Feminist art in Los Angeles in the 1970s; the Blackart movement; the expansion of galleries and art schools; and the highly political public controversies surrounding arts funding. All the key movements are fully discussed, including early American Modernism, the New Negro movement, Regionalism, Abstract Expressionism, Pop Art, andNeo-Expressionism.

    His influential work spans many practices over a 23-year period, from music packaging to installation work to printmaking. Here, he reveals his personal notebooks, photographs, sketches, and abandoned routes to iconic Radiohead artworks. Arranged chronologically, each chapter is dedicated to a major work—whether an album cover, promotional piece, or a personal project—and is presented as a step-by-step working case study. Featuring commentary by Thom Yorke and never-before-seen archival material, this is the first deep dive into Donwood’s creative practice and the artistic freedom afforded to him by working for a major music act. It is a must-have for fans of the band and anyone interested in graphic design and popular culture.