The shopping mall was invented in the United States just less than sixty years ago and quickly spread throughout the world. Due to urban planning’s increasing orientation toward the automobile, the mall became a substitute for lost urbanity. Yet what direction is the development of the shopping mall taking today?
Japanese Tattoos explains the imagery featured in Japanese tattoos so that readers can avoid getting ink they don’t understand or, worse, that they’ll regret. This photo-heavy book will also trace the history of Japanese tattooing, putting the iconography and kanji symbols in their proper context so readers will be better informed as to what they mean and have a deeper understanding of irezumi
Following the death of industrial Europe, rave emerged as Europe’s last big youth movement. This book considers the social, political and economic conditions that led to the advent of rave as a ‘counterculture’ across Europe, as well as its aesthetics, ideologies and influence on contemporary art and beyond
The book examines cultural contexts and stereotypes with visual examples. It demonstrates that communication tools are never neutral, and encourages its users to rethink global cultural understanding. Additional works by contemporary artists and designers show that political awareness does not limit creativity, but opens up new explorations for a critical visual culture
Each of the essay in the book explores a different case study: ‘anti-Indianism’ in New Mexico, influence of Israeli policing structures on the LAPD, New York city’s strategy to rely more on invasive policing than on mass incarceration, LA Skid Row as a testing ground for police practices that will be exported to the world, links between criminalization of poverty and real estate speculation, state violence and gentrification in El Salvador, etc.
From painting to digital technologies to crowdsourcing, over the last few decades the means of making artworks have become more extraordinary and diverse. Yet we rarely consider the implications of how art is made
Through the course of these lifeworks, Hsieh moved from a year of solitary confinement in a cell to a year in which he punched a worker’s time clock in his studio every hour on the hour to a year spent living without shelter in Manhattan to a year in which he was tied by a rope to artist Linda Montano and finally to a year of total abstention from all art activities. In 1986 Hsieh announced that he would spend the next thirteen years making art but not showing it publicly