Bøker av Hilton Als

"When James Baldwin died in 1987, he left behind an extraordinary body of work. Novels, poems, film scripts, and, perhaps most indelibly, essays constituted the great artist's writing, which was not divisible from his work and subsequent fame as a civil rights activist. A friend to and supporter of Martin Luther King Jr., Malcolm X, and Medgar Evers, Baldwin was the voice of a movement--a voice that struggled after his early recognition as a creator to retain the author's 'I,' while taking on the 'We' of his people."--Provided by publishe

A window into the world of 1970s painting through the work of 30 women artistsPublished to follow the landmark exhibition at Karma Gallery, New York, this catalog unites the works of 30 women painters who were active in New York City during the 1970s. The collection showcases the diverse practices and backgrounds of these artists, all of whom were deeply influenced by the transformative legacy of second-wave feminism. During this period, a new form of painting emerged, fusing elements of sculpture and textile into the medium while reevaluating its role through innovative art historical methodologies. Amid debates about the relevance of painting, women artists revitalized the practice, coinciding with a shifting political landscape characterized by the global revolt of women against their marginalized status. Artists include: Emma Amos, Ida Applebroog, Jennifer Bartlett, Betty Blayton, Vivian Browne, Cynthia Carlson, Martha Diamond, Louise Fishman, Suzan Frecon, Nancy Graves, Cynthia Hawkins, Mary Heilmann, Virginia Jaramillo, Jane Kaplowitz, Harriet Korman, Lois Lane, Helen Marden, Dindga McCannon, Ree Morton, Elizabeth Murray, Ellen Phelan, Howardena Pindell, Sylvia Plimack Mangold, Faith Ringgold, Dorothea Rockburne, Susan Rothenberg, Joan Semmel, Jenny Snider, Joan Snyder, Pat Steir.

Long awaited, the first survey of the work of one of America's foremost contemporary fine art photographers

Hilton Als grew up in a corner of Brooklyn scarred by riots, racial segregation and sexual prejudice. As a young teenager, he began to glimpse possibility in the different cultures and ways of being he encountered through high school; in the black men and white men who found ways to be together. As a burgeoning writer in a Manhattan pulsing with new culture - with hip hop, Basquiat, nightclubs and new wave - Hilton at last came together with the gay family he had longed for. The timing was not opportune: reports of a 'rare cancer' were beginning to trickle through the press. Part autobiography, part reportage, part cultural criticism, I Don't Remember weaves the impossible story of queer America in the age of the AIDs crisis. It is an elegy like no other for an unsung generation of gay men: of heroic lovers and friends, visionary makers, artists and creators. By turns lyrical, wry, and exquisite in its poetic, rapid-fire storytelling, it sings a song of the necessity of connection, and the grandness of human endeavor, especially when it comes to loving, and being loved, in the face of social limitations, stigma, and unspeakable tragedy.

Robert Gober rose to prominence in the mid-1980s and was quickly acknowledged as one of the most significant artists of his generation. In the years since, his reputation has continued to grow, commensurate with the rich and complex body of work he has produced.