Glenn Phillips – författare

"I am interested only in expressing basic human emotions - tragedy, ecstasy, doom," - Mark Rothko (1903 - 1970) said of his paintings. "If you are moved only by their colour relationships, then you miss the point." Throughout his career, Rothko was concerned with what other people experienced when they looked at his canvases. As his work shifted from figurative imagery to luminous fields of colour, his concern expanded to the setting in which his paintings were exhibited. In a series of analytic, personal, and even poetic essays by contemporary scholars, this volume explains how Rothko's most compelling creations elicit such profound and varied responses. This volume also reproduces, for the first time, Rothko's "Scribble Book," in which he jotted down his ideas on teaching art to children, and a sketchbook, both dating to the early years of the artist's career. "Seeing Rothko" includes essays by David Antin, Dore Ashton, Thomas Crow, John Elderfield, Briony Fer, Charles Harrison, Miguel Lopez-Remiro, Sarah Rich, and Jeffrey Weiss, an introduction by Glenn Phillips, and a bibliography of Rothko's own writings.

Published to accompany a landmark exhibition on view at the J. Paul Getty Museum from March 15 through June 18, 2008, California Video presents the first comprehensive survey of the history of video art in California. Since the late 1960s, California artists have been at the forefront of an international movement that has expanded video into the realm of fine art. Whether designing complex video installations, devising lush projections, experimenting with electronic psychedelia, creating conceptual and performance art, generating guerilla video, or producing works that promote feminism and other social issues, these artists have utilized video technology to express revolutionary ideas. This illustrated volume focuses on fifty-eight artists, from early video pioneers such as John Baldessari, Bruce Nauman, and William Wegman, to Martha Rosler, Diana Thater, Bill Viola, and other established and emerging talents. Thirty-five recent interviews shed new light on these artists--their influences, creative processes, and impact. Together with commissioned essays, rare reprints, and unpublished video transcripts, California Video chronicles a distinctly West Coast aesthetic located within the broader history of video art.

Straight Talk for Veterans: A Guide to Success in College answers the call by veterans and practitioners to move away from academic volumes that don't resonate with the reader and frankly fall short of really helping veterans succeed in college. Veteran-friendliness is a straightforward concept that is, in most contexts, more lip-service than action and is rarely achieved. Conceptualizing veteran-friendliness is best done in plain language, the way veterans talk to each other, and is about improving the cultural competency of non-veterans. Too many volumes written by people that either aren't veterans or do not really understand veterans have left the field wanting for a text that can both inform practitioners who intend to help veterans succeed and speak in no-nonsense language that veterans prefer. Straight Talk for Veterans is a straight-forward guide primarily intended for those transitioning from the military to higher education, but also for general veteran transitions to civilian life. Designed as a companion text aligned with veteran transition curricula, it serves the dual purpose of guiding veterans through the initial culture shock that can come with joining and academic community directly from the military and guiding practitioners to be able to support veterans through a more culturally competent lens. Straight talk's diverse chapter authors deliver a comprehensive array of accessible information that covers concepts of negotiating transitions, navigating higher education, skills assessment and translation, and a series of fresh perspectives on concepts frequently misunderstood or mischaracterized by civilians. This text is most valuable to the student veteran or the campus that wants to focus their energies on the real success of student veterans: graduating and finding a job. Written in a style that speaks directly to the student, this is not an attempt to over analyze student veterans with anecdotal observations and small-scale research. Expert chapter authors come from positions of extensive experience as either veterans, those who have served veterans for a long time, those who have conducted meaningful research on the experiences of student veterans, or a combination of these. These elite scholars include Kevin Jones, Janine Wert, Aynsley Diamond, Adam Fullerton, Sharon Young, Michael Kirchner, Sarah Minnis, Glenn Phillips, and Sosanya Jones. The end-state of attending college for veterans is not simply to earn a degree, but to improve prospects for a career that will move a veteran forward to increasing economic prosperity. As such, the book takes a progressive approach from transitioning out of the military, into and through higher education and out into the work world. The reader's time is not spent rehashing the original GI Bill and its history, or education benefits - topics that have been well-trodden in the field. This book combines proven research, best practices and first-hand experience to deliver on what every student veteran needs: solid advice on how to succeed in the transition through college to the workplace.

Born in Bern, Switzerland in 1933, Harald Szeemann was a crucial force in identifying, exhibiting, and writing about the important new movements in postwar contemporary art. This collection of seventy-four texts from the curator's vast body of written work-which includes essays, lectures, studio notes, reviews, interviews, correspondence, and transcripts-introduces the depth of his method, insight, and inclusive artistic interests. The pieces have been translated from German and French and collected in an informed, authoritative edition, making this the first time Szeemann's work is accessible in English. The first two sections of this volume republish Szeemann's anthologies "Museum der Obsessionen" (1981) and "Individuelle Mythologien" (1985). The final part assembles important writing from 1986 until his death in 2005 to represent the later years of his career and round out a record of his contribution to and dialogue with later twentieth century art and artists. The book's publication coincides with the opening of the Getty Research Institute's exhibition Harald Szeemann: Museum of Obsessions, as well as a satellite show that recreates on Szeemann's "Grandfather exhibition" at the Institute of Contempoary Art, Los Angeles.

Harald Szeemann is associated with some of the most important artistic developments of the postwar era. A passionateadvocate of avant-garde movements like conceptualism and post minimalism, he collaborated with artists such as JosephBeuys, Bruce Nauman, Richard Serra, and Cy Twombly, developing new ways of presenting art that reflected hissweeping vision of contemporary culture.Szeemann once stated that his goal as an exhibition maker was to create a "Museum of Obsessions." This richlyillustrated volume is a virtual collection catalogue for that imaginary institution, tracing the evolution of his curatorialmethod through the materials he collected and produced while researching and organising his exhibitions, includingletters, drawings, personal datebooks, installation plans, artists' books, posters, photographs, and handwritten notes.This book documents all phases of Szeemann's career, from his early stint as director of the Kunsthalle Bern, where heorganized the seminal Live in Your Head: When Attitudes Become Form (1969); to documenta 5 (1972) and the intenselypersonal exhibition he staged in his own apartment using the belongings of his hairdresser grandfather (1974); to hisreinvention as a freelance curator who realised projects on wide-ranging themes until his death in 2005.The book contains essays exploring Szeemann's curatorial approach as well as interviews with collaborators. Its morethan 350 illustrations include previously unpublished installation photographs and exhibition documents as well as manyother materials from the curator's archive.

Ever innovative and predictably diverse in their physical formats, artists' books occupy a creative space between the familiar four-cornered object and challenging works of art that effectively question every preconception of what a book can be. Many artists specialize in producing self-contained art projects in the form of books, like Ken Campbell and Susan King, or they establish small presses, like Simon Cutts and Erica Van Horn's Coracle Press or Harry and Sandra Reese's Turkey Press. Countless others who are primarily known as sculptors, painters, or performance artists carry on a parallel practice in artists' books, including Anselm Kiefer, Annette Messager, Ed Ruscha, and Richard Tuttle. Artists and Their Books / Books and Their Artists includes eighty important examples selected from the Getty Research Institute's Special Collections of more than six thousand editions and unique artists' books. This elegant catalogue also presents precursors to the artist's book, such as Joris Hoefnagel's sixteenth-century calligraphy masterpiece; single-sheet episodes from Albrecht DuIA rer's Life of Mary, designed to be either broadsides or a book; early illustrated scientific works; and avant-garde publications. Twentieth-century works reveal the impact of artists' books on Pop art, Fluxus, Conceptual, feminist art, and postmodernism. The selection of books by an international range of artists who have chosen to work with texts and images on paper provokes new inquiry into the nature of art and books in contemporary culture.

With insightful essays and interviews, this volume examines how artists have experimented with the medium of video across different regions of Latin America since the 1960s. The emergence of video art in Latin America is marked by multiple points of development, across more than a dozen artistic centers, over a period of more than twenty-five years. When it was first introduced during the 1960s, video was seen as empowering: the portability of early equipment and the possibility of instant playback allowed artists to challenge and at times subvert the mainstream media. Video art in Latin America was--and still is--closely related to the desire for social change. Themes related to gender, ethnic, and racial identity as well as the consequences of social inequality and ecological disasters have been fundamental to many artists' practices. This compendium explores the history and current state of artistic experimentation with video throughout Latin America. Departing from the relatively small body of existing scholarship in English, much of which focuses on individual countries, this volume approaches the topic thematically, positioning video artworks from different periods and regions throughout Latin America in dialogue with each other. Organized in four broad sections--Encounters, Networks and Archives, Memory and Crisis, and Indigenous Perspectives--the book's essays and interviews encourage readers to examine the medium of video across varied chronologies and geographies.