Essays by Steve Cannon, Tom Finkelpearl, and Kellie Jones Photographs by Dawoud Bey and Bruce Talamon Rousing the Rubble celebrates two decades of work by artist David Hammons, who has risen to prominence while at the same time consciously ducking the attention of critics, galleries, and museums, preferring to "do things in the street." A recipient of both a MacArthur Foundation "genius" award and a Prix de Rome, Hammons places himself as an artist between Arte Povera and Marcel Duchamp. He makes his art from refuse and the detritus of African-American life: chicken wings, Thunderbird and Night Train bottles, clippings from dreadlocks, basketball hoops. Hammons's deeply felt political views on race and cultural stereotypes give his witty and elegant sculptures, installations, and body prints an integrity that promises to keep the focus on his art rather than on his career. Illustrated with nearly 100 photographs (both black and white and color), Rousing the Rubble covers the full range of Hammons's art and his methods of creating it. Steve Cannon's rap poem takes the reader on a freewheeling bicycle ride from Harlem to the Lower East Side in New York and is joyously infused with the same energies and inspirations as Hammons' work. Tom Finkelpearl discusses the power of the dirty, used objects Hammons prefers and how they relate to the clean" art exhibited in conventional gallery settings. And Kellie Jones examines how Hammons's art evolved from Los Angeles in the 1960s to New York and Rome in the present day.

David Hammons: Rousing the Rubble

Arts & Photography

Jones, Kellie

Finkelpearl, Tom

Cannon, Steve

Individual Artists

Mit Pr

Dialogues in Public Art

By the 1990s, public art had evolved far beyond the lonely monument on an open plaza. Now public artists might design the entire plaza, create an event to alter the social dynamics of an urban environment, or help to reconstruct a neighborhood. Dialogues in Public Art presents a rich blend of interviews with the people who create and experience public art—from an artist who mounted three bronze sculptures in the South Bronx to the bureaucrat who led the fight to have them removed; from an artist who describes his work as a "cancer" on architecture to a pair of architects who might agree with him; from an artist who formed a coalition to convert twenty-two derelict row houses into an art center/community revitalization project to a young woman who got her life back on track while living in one of the converted houses. The twenty interviews are divided into four parts: Controversies in Public Art, Experiments in Public Art as Architecture and Urban Planning, Dialogues on Dialogue-Based Public Art Projects, and Public Art for Public Health. Tom Finkelpearl's introductory essay provides a concise overview of changing attitudes toward the city as the site of public art. Interviewees: Vito Acconci, John Ahearn, David Avalos, Rufus L. Chaney, Mel Chin, Douglas Crimp, Paulo Freire, Andrew Ginzel, Linnea Glatt, Louis Hock, Ron Jensen, Kristin Jones, Maya Lin, Rick Lowe, Jackie McLean, Frank Moore, Jagoda Przybylak, Denise Scott Brown, Assata Shakur, Michael Singer, Elizabeth Sisco, Arthur Symes, Mierle Laderman Ukeles, Robert Venturi, Krzysztof Wodiczko

Acconci, Vito

History & Criticism

Interviews with the artists who create public art and the people whose lives are changed by it.
By the 1990s, public art had evolved far beyond the lonely monument on an open plaza. Now public artists might design the entire plaza, create an event to alter the social dynamics of an urban environment, or help to reconstruct a neighborhood. Dialogues in Public Art presents a rich blend of interviews with the people who create and experience public art―from an artist who mounted three bronze sculptures in the South Bronx to the bureaucrat who led the fight to have them removed; from an artist who describes his work as a "cancer" on architecture to a pair of architects who might agree with him; from an artist who formed a coalition to convert twenty-two derelict row houses into an art center/community revitalization project to a young woman who got her life back on track while living in one of the converted houses. The twenty interviews are divided into four parts: Controversies in Public Art, Experiments in Public Art as Architecture and Urban Planning, Dialogues on Dialogue-Based Public Art Projects, and Public Art for Public Health. Tom Finkelpearl's introductory essay provides a concise overview of changing attitudes toward the city as the site of public art.
Interviewees : Vito Acconci, John Ahearn, David Avalos, Rufus L. Chaney, Mel Chin, Douglas Crimp, Paulo Freire, Andrew Ginzel, Linnea Glatt, Louis Hock, Ron Jensen, Kristin Jones, Maya Lin, Rick Lowe, Jackie McLean, Frank Moore, Jagoda Przybylak, Denise Scott Brown, Assata Shakur, Michael Singer, Elizabeth Sisco, Arthur Symes, Mierle Laderman Ukeles, Robert Venturi, Krzysztof Wodiczko

What We Made: Conversations on Art and Social Cooperation

In What We Made, Tom Finkelpearl examines the activist, participatory, coauthored aesthetic experiences being created in contemporary art. He suggests social cooperation as a meaningful way to think about this work and provides a framework for understanding its emergence and acceptance. In a series of fifteen conversations, artists comment on their experiences working cooperatively, joined at times by colleagues from related fields, including social policy, architecture, art history, urban planning, and new media. Issues discussed include the experiences of working in public and of working with museums and libraries, opportunities for social change, the lines between education and art, spirituality, collaborative opportunities made available by new media, and the elusive criteria for evaluating cooperative art. Finkelpearl engages the art historians Grant Kester and Claire Bishop in conversation on the challenges of writing critically about this work and the aesthetic status of the dialogical encounter. He also interviews the often overlooked co-creators of cooperative art, "expert participants" who have worked with artists. In his conclusion, Finkelpearl argues that pragmatism offers a useful critical platform for understanding the experiential nature of social cooperation, and he brings pragmatism to bear in a discussion of Houston's Project Row Houses.
Interviewees. Naomi Beckwith, Claire Bishop, Tania Bruguera, Brett Cook, Teddy Cruz, Jay Dykeman, Wendy Ewald, Sondra Farganis, Harrell Fletcher, David Henry, Gregg Horowitz, Grant Kester, Mierle Laderman Ukeles, Pedro Lasch, Rick Lowe, Daniel Martinez, Lee Mingwei, Jonah Peretti, Ernesto Pujol, Evan Roth, Ethan Seltzer, and Mark Stern

Duke University Press Books

On Value is a collaboration between Triple Canopy and choreographer/artist Ralph Lemon. The book is a multifarious conversation about the value of artworks and the labor and bodies that make them, especially as defined by institutions with whom artists have often had fraught relationships. In essays, poems, interviews and artworks, 19 contributors consider artworks that resist institutional parameters; how and why performers, choreographers and dancers might go about making art institutions into proper venues for their works; and how race figures into assessments of value. On Value emerges from Value Talks, a series of private conversations organized by Lemon in 2013 and 2014 at MoMA.

Triple Canopy and Ralph Lemon: On Value

Moten, Fred

Bishop, Claire

Bither, Philip

Lowry, Glenn

Rainer, Yvonne

Edwards, Adrienne

Ligon, Glenn

Lax, Thomas

Beasley, Kevin

Court, Paula

Janevski, Ana

La Rocco, Claudia

Michelson, Sarah

Pendleton, Adam

Rawls, William

Triple Canopy

Five Works presents a much broader look at the American artist's oeuvre than its name suggests. This first major exhibition of Jonas's work in a New York museum includes a selection of the artist's works in installation and video, drawings, photographs and sketchbooks. Curated by Valerie Smith, QMA Director of Exhibitions, the show brings together five key works (aha!) from Jonas's career including Organic Honey's Visual Telepathy, Organic Honey: Vertical Roll (1972-1994), The Juniper Tree (1976-1978), Volcano Saga (1985-1994), Revolted by the Thought of Known Places...  (1992-2003), and Lines in the Sand (2002) . Also included are her portable My New Theater series (1997-1999), drawings and sketches. All of the works in the exhibition are presented in color and this catalogue which also includes an interview with Jonas and poet/scholars Susan Howe and Jeanne Heuving.

Joan Jonas: Five Works

Smith, Valerie

Queens Museum of Art

An international array of artists including Isamu Noguchi, Jenny Holzer and Vito Acconci have been using the garden as a vehicle for commentary on social and political issues, in both public and private realms. The lush Down the Garden Path offers a critical history of their and other artists' garden work from the 1940s to the present, and verdant examples in categories including paradise; the memorial; private and public gardens; and ecologies, their alternatives and Schreber gardens. Among pieces that readers won't likely see elsewhere are Paula Hayes's Plantpack 2000, a miniature garden in a Snugli, and five newly commissioned gardens for Queens. With essays by Jamaica Kincaid among others.

Down the Garden Path: The Artist's Garden After Modernism

KINCAID, Jamaica

Agyeman, Julian

Franzen, Brigitte

Wolschke-Bulmahn, Joachim

Collections, Catalogs & Exhibitions

In an increasingly globalized cultural landscape, artists are often asked to represent their "home" country. But what if identifying home is a complex matter? The Queens Museum of Art organized the exhibition Generation 1.5 with this sort of ambiguity of origin in mind. With a title taking its name from the Korean-American phrase describing people who moved to a new country between the ages of 12 and 18, Generation 1.5 featured eight artists who made this transition--Ellen Harvey, Pablo Helguera, Emily Jacir, Lee Mingwei, Shirin Neshat, Seher Shah, Rirkrit Tiravanija and Nari Ward. This volume examines Generation 1.5 and the featured artists through interviews and essays that address cultural representation, cosmopolitanism, personal expression, alienation, the pain of transition, immigration, exile, and the complexity and limitations of identity politics. With essays and interviews by Man Booker Prize winner Kiran Desai, Pulitzer Prize finalist Suketu Mehta plus noted sociologists, artists, writers and curators.

Generation 1.5

Harvey, Matthea

Mehta, Suketu

Balaghi, Shiva

DESAI, KIRAN

Kokache, Moukhtar

This volume brings expert opinion and first-hand testimony to bear upon the events surrounding the creation and destruction of Andy Warhol's Thirteen Most Wanted Men at the 1964 New York World's Fair. The complex constellation of art, politics and gay life surrounding Warhol's mural and its painting-over comes alive in 13 interviews―with historian Hilary Ballon, critic Douglas Crimp, poet Diane di Prima, 1964 World's Fair head of television Albert Fisher, poet John Giorno, art historian Anthony Grudin, civil rights historian Felicia Kornbluh, former Warhol assistant and poet Gerard Malanga, filmmaker Jonas Mekas, art historian Richard Meyer, former Warhol assistant and photographer Billy Name, Rockefeller biographer Richard Norton Smith and architect and critic Mark Wigley. The interviews are introduced by the show's co-curator Larissa Harris, and accompanied by reproductions of all of the Thirteen Most Wanted Men; photographs of Warhol and the Fair by Factory regulars and photojournalists; and rarely seen archival documents from Warhol's Time Capsules.

13 Most Wanted Men: Andy Warhol and the 1964 World's Fair: Conversations

Giorno, John

Crimp, Douglas

Name, Billy

Meyer, Richard

Ballon, Hilary

Chambers, Nicholas

Elman, Dick

Fisher, Albert

Frye, Brian

Grudin, Anthony

Kornbluh, Felicia

Malanga, Gerard

Mekas, Jonas

Mennel, Timothy

Di Prima, Diane

Queens Museum/The Andy Warhol museum

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Books by Finkelpearl, Tom