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It unpacks questions caught up in constructs of autobiography, fiction, ideas and images of remote control, and the relation of RBL to the aftermath of the Situationist International, concluding with the RBL’s socially urgent inquiry into experiences—and culturally pharmacological contestations—of violence.   Royal Book Lodge   The Royal Book Lodge emerged from a collaboration between artists Juli Susin and Veronique Bourgoin in mid-1980's expanding its Collection and Archive and other activities after the turn of the millennium with the assistance of Yasha Gofman. For more than three decades RBL’s projects have been sparked by a porous but a distractedly nimble network of artists from France, Germany, Russia, Iceland, Paraguay, and other locations, working with painting, sculpture, photography, film, installations, ceramics, writing, publishing, and curating.     RBL affiliates include: Raisa Aid, Kai Althoff, Abel Auer, Linda Bilda, André Butzer, matali crasset, Les Schlag (Grems, Tex, Virassamy), Gudny Guðmundsdóttir, Beate Günther, Tobias Hauser, Andy Hope 1930, Hekla Dögg Jónsdóttir, Dorota Jurczak, Bruce Kalberg, Armin Krämer, Alexandre Kalinkine, Lutz Krüger, Charlet Kugel, Jean-Louis Leibovitch, Anne Lefebvre, Jochen Lempert, Jonathan Meese, Birgit Mergele, Anna Parkina, Raymond Pettibon, Jason Rhoades, Lucia Sotnikova, Julia Rublow, Ralph Rumney, Gianfranco Sanguinetti.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":49744177496337,"sku":"NGR9783775751384","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/3775751386.jpg?v=1751449091"},{"product_id":"mike-kelley-book-john-c-welchman-9780714838342","title":"Mike Kelley","description":"Mike Kelley (b.1954) is one of the best contemporary examples of an artist who, like Yves Klein, Piero Manzoni and Vito Acconci before him, combines sculpture with performance. Best known for his assemblage sculptures made from stuffed children's toys, often set upon the 'stage' of a homemade Afghan rug, Kelley draws upon the Modernist traditions of the found object and collage in his colourful, irreverent sculptures.   Childhood and adolescence are referenced with all the sexual ambiguity, tastelessness and low humour associated with those age groups. His attitude of aesthetic disobedience, bridging 'low' (crafts) and 'high' (sculpture, painting) forms of art, has its roots in the rejection of the social and moral fabric of American culture.   Despite his subversion and anti-art tactics, Kelley has been recognized since the 1980s by the international art world as one of the most significant and representative artists working today in the United States, and his work has been shown at venues as diverse as the Los Angeles County Museum of Art and Paris's Musee du Louvre.  In the Survey, California-based art historian and critic John C. Welchman exmaines Kelley's relationship to 1970s post-Minimalism, American popular cultures, 1980s appropriation and the conceptual vernacular of the 1990s. German art critic and editor Isabelle Graw discusses with the artist his aesthetic and symbolic strategies in the cultural contexts of America and Europe. In the Focus, architectural theorist Anthony Vidler explores the psycho-geography of Kelley's Educational Complex (1995), an architectural model based on the artist's memory traces of his educational environs. For the Artist's Choice, Kelley has selected two early twentieth-century texts that have influenced his investigations of primal psychological drives and aesthetics: The Use Value of D. A. F. de Sade (An Open Letter to My Current Comrades) (1929) by Georges Bataille and The Book of the Damned (1919) by Charles Fort. Mike Kelley's writings include project descriptions and accompanying texts from his major works; a retrospective view of his radical rock band Destroy All Monsters; and essays on prevailing themes, such as caricature, in the cultural history of representation.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49877974057233,"sku":"GOR009220121","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":51684935991569,"sku":"CIN0714838349VG","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0714838349.jpg?v=1750848405"},{"product_id":"on-the-last-afternoon-book-john-c-welchman-9783956794445","title":"On the Last Afternoon","description":null,"brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":49960954495249,"sku":"NGR9783956794445","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/3956794443.jpg?v=1751189959"},{"product_id":"art-after-appropriation-book-john-c-welchman-9789057010439","title":"Art After Appropriation","description":"\u003cp\u003eBeginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, \u003cem\u003eArt After Appropriation\u003c\/em\u003e suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. \u003cem\u003eArt After Appropriation\u003c\/em\u003e also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. \u003cem\u003eArt After Appropriation\u003c\/em\u003e concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium.\u003cbr\u003eJohn Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of\u0026gt;\u003cem\u003eModernism Relocated\u003c\/em\u003e (1995) and\u0026gt;\u003cem\u003eInvisible Colors\u003c\/em\u003e (1997); and editor of\u0026gt;\u003cem\u003eRethinking Borders\u003c\/em\u003e (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich\u003c\/p\u003e","brand":"WoB","offers":[{"title":"US \/ GOOD \/ SBYB","offer_id":50406188810513,"sku":"CIN9057010437G","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/9057010437.jpg?v=1751033688"},{"product_id":"guillaume-bijl-book-guillaume-bijl-9783037644683","title":"Guillaume Bijl","description":"Self-taught artist Guillaume Bijl is mostly recognized for his alternative take on conceptual art, his desire to directly engage the viewer, and his Transformation Installations started in the late 1970s.In these works he realizes meticulous imitations of everyday realities in galleries and museums, mainly focusing on trade and exchange locations--whether in commodities, information, or skills.One of his most famous pieces is his groundbreaking Lustrerie Media installation shown in Art Basel in June 1984 for which he transformed the entire booth of his gallery into a light shop.Bijl's practice is however much richer and more diverse and largely goes beyond this landmark series. This reference monograph thus reveals the scope of his thinking and art during the last four decades.Built around a comprehensive essay by notable art historian and writer, John C. Welchman this book spans the early Treatments (1975-1978) to the on-going Transformation Installations, Situation Installations, Compositions Trouv#65533;es, and Sorry bodies of work.Grounded in and marked by a number of economic, social, and cultural conditions Bijl's works are a stimulating reflection and synthesis of our current times.Published with Cultuurcentrum Mechelen, Mechelen","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":50888066269457,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ NEW \/ GARDNERS","offer_id":50888067776785,"sku":"NGR9783037644683","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/3037644680.jpg?v=1751427441"},{"product_id":"richard-jackson-book-john-c-welchman-9783906915098","title":"Richard Jackson","description":"This extensive appraisal of Richard Jackson's œuvre is a key resource on one of America's major contemporary artists, combining critical analysis of Jackson's work with wit and wisdom from the artist himself.  This massive appraisal of Jackson’s art, authored by art historian John C. Welchman and featuring an in-depth illustrated chronology by Dagny Corcoran, layers analysis of Jackson's work with reflections by the artist himself, drawn from extensive interviews and placed alongside new materials from Jackson's archive. Welchman’s text is the primary resource on the career of one of America's major contemporary artists.  Corcoran’s chronology―pulling from extensive new research and interviews with figures such as Paul McCarthy, Bruce Nauman and Rosamund Felsen―traces the important events in Jackson’s life.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":51064575951121,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":51064578277649,"sku":"NIN9783906915098","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/3906915093.jpg?v=1762598204"},{"product_id":"aesthetics-of-risk-book-john-c-welchman-9783905770551","title":"The Aesthetics of Risk","description":"This anthology of essays, images and dialogues exploring contemporary art's engagements with risk--physical, social, political and aesthetic--brings readers into the conference from which the book takes its title, a third annual collaboration between the Getty Research Institute and the Southern California Consortium of Art Schools (SoCAS). Some content there was so intense that it came with a warning label: Contains graphic depictions of violence, nudity and bodily functions. No one under the age of 18 years will be admitted. \u003ci\u003eThe Aesthetics of Risk\u003c\/i\u003e showcases conversations between Catherine Opie and Douglas Crimp, Paul McCarthy and Kristine Stiles, and presentations including Aestheticizing Risk in Wartime: The SLA to Iraq. Featured artists include Brock Enright and Steve Kurtz. Featured critics and commentators include Jane Blocker of the University of Minnesota, independent curator Rachel Greene, Richard Shiff of the University of Texas at Austin and Stiles, Professor at Duke University. Editor John C. Welchman is professor of modern and contemporary art history and theory at the University of California, San Diego, and the editor of the most recent title in this series, \u003ci\u003eInstitutional Critique and After.\u003c\/i\u003e","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":51731876577553,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":51731876675857,"sku":"GOR014382769","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ GOOD \/ SBYB","offer_id":53368694440209,"sku":"CIN3905770555G","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/3905770555.jpg?v=1751065184"},{"product_id":"homing-in-sharing-knowledge-book-john-c-welchman-9789083532523","title":"Homing In, Sharing Knowledge","description":"\u003cp\u003e\u003cb\u003eA \"behind the scenes\" look at a decade of collaboration between the acclaimed art critic John C. Welchman and the beloved Belgian art institution HISK\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThe essays, conversations, emails and occasional text messages collected here sample a decade or more of work by noted art historian and critical theorist John C. Welchman. The excerpts are taken from his studio visits, lectures, workshops and other collaborations with HISK (Higher Institute for Fine Arts Advanced Studies \u0026amp; Practice-based Research in Visual Arts) until its defunding in 2022.\u003cbr\u003e\u003cb\u003eArtists include: \u003c\/b\u003e Femmy Otten, Chloé Op de Beeck, Lisa Wilkens, Ariane Loze, buren, Vesna Faassen, Lukas Verdijk, Adja Yunkers, Indrikis Gelzis, Katya Ev.\u003cbr\u003e\u003cb\u003eJohn C. Welchman\u003c\/b\u003e (born 1958) is an artist and a professor of modern and contemporary art at the University of California San Diego. He has edited and authored numerous books including \u003ci\u003eRoyal Book Lodge\u003c\/i\u003e (Hatje Cantz, 2023) and \u003ci\u003eStopgap Measures: Writings on Mike Kelley\u003c\/i\u003e (Hatje Cantz, forthcoming).\u003c\/p\u003e","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":52155514814737,"sku":"NGR9789083532523","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":53562115522833,"sku":"NIN9789083532523","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/9789083532523.jpg?v=1770374172"},{"product_id":"rethinking-borders-book-john-c-welchman-9780333565803","title":"Rethinking Borders","description":"The condition of borders has been crucial to many recent exhibitions, conferences and publications. But there does not yet exist a convincing critical frame for the discussion of border discourses. Rethinking Borders offers just such an introduction. It develops important contexts in art and architectural theory, contemporary film-making, criticism and cultural politics, for the proliferation of 'border theories' and 'border practices' that have marked a new stage in the debates over postmodernism, cultural studies and postcolonialism.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ INGRAM","offer_id":52586784391441,"sku":"NLS9780333565803","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":52734995071249,"sku":"NIN9780333565803","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/9780333565803.jpg?v=1761055124"},{"product_id":"rethinking-borders-book-john-c-welchman-9781349127276","title":"Rethinking Borders","description":"The condition of borders has been crucial to many recent exhibitions, conferences and publications. 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They separate objects from their contexts, group them with other objects, both similar and dissimilar, and often serve to reinforce their intrinsic or aesthetic values. The vitrine has much in common with the picture frame, the plinth and the gallery, but it has not yet received the kind of detailed art historical and theoretical discussion that has been brought to these other modes of formal display. The twelve contributions to this volume examine some of the points of origin of the vitrine and the various relations it brokers with sculpture, first in the Wunderkammer and cabinet of curiosities and then in dialog with the development of glazed architecture beginning with Paxton's Crystal Palace (1851). The collection offers close discussions of the role of the vitrine and shop window in the rise of commodity culture and their apposition with Constructivist design in the work of Frederick Kiesler; as well as original readings of the use of vitrines in Surrealism and Fluxus, and in work by Joseph Beuys, Paul Thek, Claes Oldenburg and his collaborators, Jeff Koons, Mike Kelley, Dan Graham, Vito Acconci, Damien Hirst and Josephine Meckseper, among others. Sculpture and the Vitrine also raises key questions about the nature and implications of vitrinous space, including its fronts onto desire and the spectacle; transparency and legibility; and onto ideas and practices associated with the archive: collecting, preserving and ordering.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ INGRAM","offer_id":52615646937361,"sku":"NLS9781409435273","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/9781409435273.jpg?v=1761524754"},{"product_id":"art-after-appropriation-book-john-c-welchman-9781138139237","title":"Art After Appropriation","description":"Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium. John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich","brand":"WoB","offers":[{"title":"- \/ - \/ INTERNAL","offer_id":52654191804689,"sku":null,"price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ NEW \/ INGRAM","offer_id":52654192066833,"sku":"NLS9781138139237","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/9781138139237.jpg?v=1762214886"},{"product_id":"sculpture-and-the-vitrine-book-john-c-welchman-9781138246263","title":"Sculpture and the Vitrine","description":"Vitrines and glass cabinets are familiar apparatuses that have in large part defined modern modes of display and visibility, both within and beyond the museum. 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The collection offers close discussions of the role of the vitrine and shop window in the rise of commodity culture and their apposition with Constructivist design in the work of Frederick Kiesler; as well as original readings of the use of vitrines in Surrealism and Fluxus, and in work by Joseph Beuys, Paul Thek, Claes Oldenburg and his collaborators, Jeff Koons, Mike Kelley, Dan Graham, Vito Acconci, Damien Hirst and Josephine Meckseper, among others. 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Lowe employs wit and satire to create work that is both entertaining and seductive as well as intellectually provocative. Lowe is an American pop\/conceptual multimedia artist whose work carefully and humorously unpacks the ironies and challenges of our 21st century culture. This will be the first museum exhibition of Lowe’s work since 2000 and the first publication on her work to include scholarly essays by two art historians.   Dating from 2003-2020, the exhibition consists of fourteen separate installations: Empire Style, 2003; Dr’s Notes, 2004; Baby Grand, 2005; Love for Sale and Look 20 Years Younger, 2008-11; Discount Barn, 2008-2020; Bookshelf Prints, 2013;  Last Call, 2013-20; Posters and Pallet, 2014; Last Call, 2017-21, Forgotten Corner, 2019; Garden Carpet, 2019; Art and About with Bill Mackelry, 2019-2020, Town Crier (Self-Portrait as Analog), 2020, and POW!, 2021. Lowe’s installations are primarily comprised of unpretentious media such as papier-mâché and paint, which are coupled with a sophisticated and literary use of language, and a loose painterly style. Room-sized and incorporating artist made furniture, rugs, and even pianos, these beautifully-staged installations are often overwhelming, playing both on sensory overload and the irony of abundance as presented daily in our consumer culture. Through her work Lowe references European art, especially German Baroque and French Empire style, for their exceptionally ornamental and theatrical style. By conflating the French Empire style with the stylistics of American consumer culture, and big box store marketing, Lowe offers up a striking, thoughtful and revealing comparison of cultural contexts.  POW! (2020) and Art and About with Bill Mackelry (2019-2020), shown for the first time in this exhibition, look at the imbalance of male to female power in the art-world. Art and About with Bill Mackelry is a video piece in which Lowe stars as a mock male interviewer named Bill Mackelry, who interviews the artist Jean Lowe on a visual arts talk show. The installation POW! will be filled with ersatz portraits of women as fierce, crazy hags by painters such as Picasso, Willem De Kooning, and Frances Bacon painted directly on the wall.  Your Place in the Multiverse: Jean Lowe  is organized by Executive Director and Chief Curator Katie Lee-Koven for the Nora Eccles Harrison Museum of Art. This fully illustrated accompanying publication, of the same title, will be the first to include art historical essays with in-depth analysis of Lowe’s work written by USU Art History Assistant Professor Marissa Vigneault and John C. Welchman, professor of Art History and Critical Studies at the University of California, San Diego.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ INGRAM","offer_id":52821129134353,"sku":"NLS9781646422197","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/9781646422197.jpg?v=1764331212"},{"product_id":"invisible-colours-book-john-c-welchman-9780300065305","title":"Invisible Colours","description":"This text presents a critical history of how modern artworks receive their titles. 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