Lisa Phillips - Böcker

Dedicated to organizing workers from diverse racial, ethnic, and religious backgrounds, many of whom were considered "unorganizable" by other unions, the progressive New York City-based labor union District 65 counted among its 30,000 members retail clerks, office workers, warehouse workers, and wholesale workers. In this book, Lisa Phillips presents a distinctive study of District 65 and its efforts to secure economic equality for minority workers in sales and processing jobs in small, low-end shops and warehouses throughout the city. Phillips shows how organizers fought tirelessly to achieve better hours and higher wages for "unskilled," unrepresented workers and to destigmatize the kind of work they performed.  Closely examining the strategies employed by District 65 from the 1930s through the early Cold War years, Phillips assesses the impact of the McCarthy era on the union's quest for economic equality across divisions of race, ethnicity, and skill. Though their stories have been overshadowed by those of auto, steel, and electrical workers who forced American manufacturing giants to unionize, the District 65 workers believed their union provided them with an opportunity to re-value their work, the result of an economy inclining toward fewer manufacturing jobs and more low-wage service and processing jobs. Phillips recounts how District 65 first broke with the CIO over the latter's hostility to left-oriented politics and organizing agendas, then rejoined to facilitate alliances with the NAACP. In telling the story of District 65 and detailing community organizing efforts during the first part of the Cold War and under the AFL-CIO umbrella, A Renegade Union continues to revise the history of the left-led unions of the Congress of Industrial Organizations.

A rich, illustrated history of the New Museum, a pioneering, internationally renowned institution.Through a detailed chronology that captures the New York museum's legendary firsts, major milestones, groundbreaking exhibitions, and prescient curatorial thinking, this book provides the first authoritative history on an institution whose bold and experimental spirit has made it a model twenty-first-century art museum. The book traces its growth, from its beginnings in a classroom at the New School, to its role as an international institution.

The work of seminal contemporary artist Chris Burden, insightfully contextualized around major themes, illuminates a practice that is as unique as it is influential. For four decades, Chris Burden’s work has redefined the boundaries of the sculptural field. Whether subjecting himself to extremes of physical suffering or reconfiguring forgotten urban objects and toy models to create potent signifiers of a time and place, the brute force of Burden’s work in the physical realm reverberates through the psychic one. On the occasion of the New Museum’s focused survey of Burden’s work, this book provides new perspectives on his art. Organized around themes like the Myth of the American West, the Institution, Gender Roles, and Model Making, the book reexamines preoccupations that span the artist’s long career.

Jointly published by the Getty Research Institute and the New Museum.The first anthology to assemble the writings of the groundbreaking art historian, critic, and curator Marcia Tucker. These influential, hard-to-obtain texts—many of which have never before been published—by Marcia Tucker, founding director of New York’s New Museum, showcase her lifelong commitment to pushing the boundaries of curatorial practice and writing while rethinking inherited structures of power within and outside the museum. The volume brings together the only comprehensive bibliography of Tucker’s writing and highlights her critical attention to art’s relationship to broader culture and politics.  The book is divided into three sections: monographic texts on a selection of the visionary artists whom Tucker championed, among them Bruce Nauman, Joan Mitchell, Richard Tuttle, and Andres Serrano; exhibition essays from some of the formative group shows she organized, such as Anti-Illusion: Procedures/Materials (1969) and Bad Girls (1994), which expanded the canons of curating and art history; and other critical works, including lectures, that interrogated museum practice, inequities of the art world, and institutional responsibility. These texts attest to Tucker’s tireless pursuit of questions related to difference, marginalization, access, and ethics, illuminating her significant impact on contemporary art discourse in her own time and demonstrating her lasting contributions to the field.