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Categories
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Reading
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Thelonious Monk: The Life and Times of an American Original
Robin Kelley
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Believing Is Seeing: Observations on the Mysteries of Photography
Errol Morris
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The Man Who Mistook His Wife For A Hat and Other Clinical Tales
Oliver Sacks
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Not Here, Not Now, Not That!: Protest over Art and Culture in America
Steven J. Tepper
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Graphic Design: Now In Production
Walker Art Center
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The Art Life: On Creativity and Career
Stuart Horodner
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The Great Northern Brotherhood of Canadian Cartoonists
Seth
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Dreams from My Father: A Story of Race and Inheritance
Barack Obama
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VW Bus and Pick-Up: Special Models
David Eccles, Michael Steinke
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Soul Mining: A Musical Life
Daniel Lanois
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Category Archives: situationist
On the Passage of a Few People Through a Rather Brief Moment in Time
Edited by Elizabeth Sussman (1989)
These photographs, essays, drawings, and original texts document the rich agit-art legacy of the Situationist International, a group of European artists and writers who emerged from such avant-garde movements as COBRA, Lettrisme, and the Imaginary Bauhaus and from the breakup of surrealism to launch a strategy of art as cultural critique.
Posted in art, history, situationist, theory
T.A.Z. the Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism
By Hakim Bey (1985)
The underground cult bestseller! Essays that redefine the psychogeographical nooks of autonomy. Recipes for poetic terror, anarcho black magic, post-situ psychotropic surgery, denunciations of spiritual addictions to vapid infotainment cults this is the bastard classic, the watermark impressed upon our minds. Where conscience informs praxis, and action infects consciousness, T.A.Z. is beginning to worm its way into above-ground culture.
Posted in counterculture, culture, situationist, theory
Lipstick Traces: A Secret History of the 20th Century
By Greil Marcus (1989)
Acclaimed rock reviewer/author Marcus offers up a fascinating thesis: that modern consciousness is to a great extent shaped by events or documents “insignificant” of themselves but collectively very important indeed, perhaps even definitive. While spending much of its time on the impact of the Sex Pistols, this is not purely a “rock-music” book–along the way one encounters various ranters, Dadaists, nihilists, whatever–even Theodore Dreiser. If it lacks the rigor demanded of academic historiography, Marcus’s book is still great popular culture, and academic historians would do well to be interested. Meanwhile, the cross-referential treatment gives a seeming (at least) validity that sheer facts wouldn’t to the idea of a “secret history” that permeates unobtrusively and yields more meaning than many would like to believe.