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Artists include: Xenobia Bailey, Raphaël Barontini, Sanford Biggers, Karina Bisch, Zoë Buckman, Nick Cave, Enoch Cheng, Sylvie Fleury, Jeffrey Gibson, Annette Messager, Mark Newport, Raul de Nieves, Wanda Raimundi Ortiz, Jacolby Satterwhite, Devan Shimoyama, Yinka Shonibare, Mary Sibande, Franz Erhard Walther and Saya Woolfalk.","brand":"WoB","offers":[{"title":"US \/ GOOD \/ SBYB","offer_id":49723913765137,"sku":"CIN1646570073G","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ NEW \/ INGRAM","offer_id":52118763962641,"sku":"NIN9781646570072","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52141487784209,"sku":"NLS9781646570072","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1646570073.jpg?v=1751120311"},{"product_id":"come-as-you-are-book-alexandra-schwartz-9780520282889","title":"Come as You Are","description":"Come as You Are: Art of the 1990s is the first major museum survey to historicize art made in the United States during this pivotal decade. Showcasing approximately sixty-five works by forty-five artists, the book includes installations, paintings, sculptures, drawings, prints, video, sound, and digital art. Come as You Are offers an overview of art made in the United States between 1989 and 2001, a period bookended by two indelible events: the fall of the Berlin Wall and 9\/11. The book is organized around three principal themes - the identity politics\" debates, the digital revolution, and globalization; its title refers to the 1992 song by Nirvana and to the issues of identity that were complicated by effects of new technologies and global migration.  All the artists in the exhibition made their initial entry into the art historical discourse during the 1990s, and they reflect the increasingly heterogeneous nature of the art world during this time, when many women artists and artists of color attained unprecedented prominence. Contributors include Huey Copeland, Jennifer Gonzalez, Suzanne Hudson, Joan Kee, Frances Jacobus-Parker, Kris Paulsen, Paulina Pobocha, and John Tain. Published in association with the Montclair Art Museum.","brand":"WoB","offers":[{"title":"US \/ GOOD \/ SBYB","offer_id":49801880043793,"sku":"CIN0520282884G","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":53024962183441,"sku":"CIN0520282884VG","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ WELL_READ \/ SBYB","offer_id":53388975309073,"sku":"CIN0520282884A","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0520282884.jpg?v=1750815405"},{"product_id":"as-in-nature-book-alexandra-schwartz-9780300229288","title":"As in Nature","description":"Helen Frankenthaler (1928–2011) was a pioneer of Abstract Expressionism and of the later Color Field movement. 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With beautiful illustrations of works from Louis-Dreyfus’s collection, as well as several from the Helen Frankenthaler Foundation, this publication makes a significant contribution to the study of works from this later period in Frankenthaler’s illustrious career.      Distributed for the Clark Art Institute  Exhibition Schedule:  Clark Art Institute  (07\/01\/17–10\/09\/17)","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":50462385930513,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ GOOD \/ SBYB","offer_id":50462387765521,"sku":"CIN0300229283G","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0300229283.jpg?v=1751164430"},{"product_id":"ed-ruscha-s-los-angeles-book-alexandra-schwartz-9780262013642","title":"Ed Ruscha's Los Angeles","description":"The first critical examination of the groundbreaking work of the artist who exemplifies West Coast cool.Ed Ruscha was born in Nebraska and raised in Oklahoma, but he belongs to Los Angeles in a way that few other artists do. Since the 1960s, Ruscha's iconic images of the cityscape and culture of Los Angeles--freeway gas stations, parking lots, palm trees, motels, swimming pools, and billboards--have both reflected and shaped popular perceptions of Hollywood and the city that surrounds it. In Ed Ruscha's Los Angeles, Alexandra Schwartz views Ruscha's groundbreaking early work as a window onto the radically shifting cultural and political landscape in which it was produced. Schwartz examines Ruscha's diverse body of work, including paintings, drawings, prints, photographs, books, and films, and discusses his relationship with other artists--including John Altoon, Ed Kienholz, Billy Al Bengston, and Dennis Hopper, all of them associated with the famous Ferus Gallery--with whom he sparked the movement known as West Coast pop. She also explores his links to the mainstream film industry, then evolving into the experimental New Hollywood of the late 1960s and early 1970s; his association with emerging discourse on L.A. architecture and urbanism; and his participation in the politics of the L.A. art world, where his presentation and self-marketing reflected contemporary attitudes toward gender, race, and class. Despite Ruscha's fame, this is the first comprehensive critical consideration of his art, and the first to consider it in the context of L.A.'s tumultuous 1960s and 1970s. 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He is also one of the first Americans to introduce a critique of popular culture and an examination of language into the visual arts. Although he first made his reputation as a painter, Ruscha is also celebrated for his drawings (made both with conventional materials and with food, blood, gunpowder, and shellac), prints, films, photographs, and books. He is often associated with Los Angeles as a Pop and Conceptualist hub, but tends to regard such labels with a satirical, if not jaundiced, eye. Indeed, his work is characterized by the tensions between high and low, solemn and irreverent, and serious and nonsensical, and it draws on popular culture as well as Western art traditions. \u003ci\u003eLeave Any Information at the Signal\u003c\/i\u003e not only documents the work of this influential artist as he rose to prominence but also contains his writings and commentaries on other artistic developments of the period. \u003c\/p\u003e\u003cp\u003eThe book is divided into three parts, each of which is arranged chronologically. Part one contains statements, letters, and other writings. Part two consists of more than fifty interviews, some of which have never before been published or translated into English. Part three contains sketchbook pages, word groupings, and other notes that chart how Ruscha develops ideas and solves artistic problems. They are published here for the first time. 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