Jean Fisher

Jean Fisher lectures in Art and Art Theory at Middlesex University and the Royal College of Art, London. She is the editor of Global Visions: A New Internationalism in the Visual Arts and Reverberations: Tactics of Resistance, Forms of Agency in Trans/cultural Practices.

  • Over Here

    Over Here

    International Perspectives on Art and Culture

    Gerardo Mosquera and Jean Fisher

    Artists and scholars living and working outside of mainstream cultural circuits address the cultural entanglements of the global and the local.

    The new realities of economic globalization have created new conditions for cultural practice. At the same time, the information circuits, designed to promote the generalization of Western culture, have also become increasingly available to other, more marginalized art and cultures, enabling the local (or traditional) to circulate on the global stage. News (and culture) travels fast with the help of technology, displacing Western centers of legitimation and meaning. Over Here collects writings by curators, critics, and artists living and working outside mainstream cultural circuits in Asia, Africa, Europe, Latin America, and the Middle East. Witnessing the variety and multiplicity of cultural viewpoints and voices, this book calls for a new critical approach to address new cultural complexities. The phrase "over here" implies both distance and proximity, indeterminacy and stability. The writers—all of whom are well respected regionally and many of whom are becoming known internationally—address the cultural entanglements arising from such simultaneous displacement and placement: the effects of diaspora, transnational communities, translation (and the untranslatable). Essay titles range from "Just What Is It That Makes the Term Global-Local So Widely Cited, yet So Annoying?" and "When Was Modernism in Indian Art?" to "Forms of Resistance, Corridors of Power: Public Art on the Mexico-U.S. Border" and "Desperately Diasporic" to "Modernity as a Mad Dog: On Art and Trauma" and "Transit Visa to Postwar Lebanon" to "The Limits of Cultural Translation" and "Der Glauber Have Sept Cabecas." Also included is a 70-piece artist's project by Francis Alys, who addresses the book's themes in his own way with a work based on photographs of "walk" signs from around the world.

    • Hardcover $40.00
    • Paperback $19.95


  • Gabriel Orozco

    Gabriel Orozco

    Yve-Alain Bois

    A collection of writings on a conceptual and installation artist who has been called “one of the most important artists of the decade.”

    Gabriel Orozco's work is sometimes considered uncategorizable; but his sculpture, photography, drawing, collage, and installations are unified by their devotion to the antispectacular, to the everyday, and to the explorations of complexities that are not immediately obvious. Orozco (born in Mexico in 1962) pays meticulous attention to what he calls the “liquidity of things” as seen in mundane and evanescent objects and elements of everyday life—the momentary fog upon a polished piano top, a deflated football, tins of cat food balanced on watermelons, light through leaves, the screech of a tire, chess pieces on a chessboard. “People forget that I want to disappoint,” he has said. “I use that word deliberately. I want to disappoint the expectations of the one who waits to be amazed. When you make a decision someone is going to be disappointed because they think they know you. It is only then that the poetic can happen.” This collection of critical writings on Orozco includes two interviews with the artist and a lecture by him (this last published here for the first time in English) as well as essays by such prominent critics as Benjamin H. D. Buchloh, Briony Fer, Molly Nesbit, and the editor of the volume, Yve-Alain Bois. It serves both as the summation of critical thinking on Orozco's work up to now and as a starting point for future consideration.

    ContentsBenjamin H.D. Buchloh, Refuse and Refuge (1993) • Jean Fisher, The Sleep of Wakefulness: Gabriel Orozco (1993) • Benjamin H.D. Buchloh, Gabriel Orozco: The Sculpture of Everyday Life (1996) • Guy Brett, Between Work and World: Gabriel Orozco (1993) • Molly Nesbit, The Tempest (2000) • Gabriel Orozco Lecture (2001) • Gabriel Orozco. In Conversation with Benjamin H. D. Buchloh (2004) • Briony Fer, Spirograph: The Circular Ruins of Drawing (2004) • Benjamin H. D. Buchloh, Cosmic Reifications: Gabriel Orozco's Photographs (2004) • Gabriel Orozco and Briony Fer, Crazy about Saturn: Interview (2006)

    • Hardcover $8.75
    • Paperback $22.00
  • Exiles, Diasporas and Strangers

    Exiles, Diasporas and Strangers

    Kobena Mercer

    The first thematic and cross-cultural overview of the experiences of migration and displacement that characterize so much of twentieth-century art.

    Migration, whether freely chosen or forcibly imposed, has been a defining feature of twentieth-century modernity—and much of twentieth-century art. Exiles, Diasporas & Strangers examines life-changing journeys that transplanted artists and intellectuals from one cultural context to another, making clear the critical and creative role that migration, exile, and displacement have played in shaping the story of modern art. Whether manifested in the striking architectural innovations of Nigerian modernism in the 1920s or postmodern works by Jean-Michel Basquiat and black British filmmakers in the 1980s, the multidirectional appropriation and borrowing described in these essays give us new perspectives on twentieth-century art and modernity. Distinguishing between exile and diaspora, emigration and immigration, and “the stranger” and “the other,” the book examines the different conditions that structure the artist's experience and aesthetic strategies. From indigenous artists and the question of authorship to the influence of émigré art historians on art history, from the aesthetics of the African diaspora to Adrian Piper's metaphorical exile between philosophy and art, these connections and disconnections in a network of traveling cultures continue art history's efforts to come to terms with the postcolonial turn.

    • Paperback $35.95