Marcia Tucker

  • Bad Girls

    Bad Girls

    Marcia Tucker

    Examines the issues and controversies raised by the recent exhibitions "Bad Girls" and "Bad Girls West" in New York and Los Angeles.

    With essays by Marcia Tucker, Marcia Tanner, Linda Goode Bryant, and Cheryl Dunye Unconventional and distinctly "unladylike," Bad Girls considers many issues and controversies raised by the recent exhibitions "Bad Girls" and "Bad Girls West," mounted in New York and Los Angeles respectively. But the central issues it examines are humor, transgression, and the critical and constructive potential of laughter in the work of a new generation of Bad Girls. Humor is the connecting force between the 45 artists in "Bad Girls," and it is clear that they express themselves in ways that their mothers probably would not have approved of. But they don't care. Bad Girls addresses questions of gender, race, class, age, and sex by challenging conventional ideas about motherhood, food, fashion, beauty, work, marriage, and psychoanalysis. Using humor as a subversive weapon and having a field day with cosmetic aids and transgressive bodies, the artists in Bad Girls draw from the issues that concern artists like Barbara Kruger, Jenny Holzer, Hannah Wilke, and Cindy Sherman while taking these in new directions. In one of the book's four essays, Marcia Tucker, founder and director of The New Museum of Contemporary Art, discusses the relationship between work centering on gender and feminist issues and the carnivalesque, the female/lesbian/cross-dressed body in relation to the "grotesque body," mass culture and popular culture, and the evolution of a female comic sensibility. Marcia Tanner, independent curator for "Bad Girls West" in Los Angeles, focuses on foremothers who include Yoko Ono, Sherrie Levine, and Louise Bougeoise. Linda Goode Bryant, freelance writer and researcher, takes on the etymology of the world "bad" in black culture. And Cheryl Dunye, curator, lecturer, and self-described black lesbian bad girl filmmaker, addreses transgressive women's videos. You're less apt to be a bad girl if: You're reasonably sure you could survive in the suburbs without taking Prozac. You're more apt to be a bad girl if: Someone made your hair a primary color and you didn't sue Sybil Sage/Wall Texts, 1994.

    • Paperback $27.00
  • Discourses

    Conversations in Postmodern Art and Culture

    Russell Ferguson, Karen Fiss, William Olander, and Marcia Tucker

    This anthology of interviews and discussions documents the polemical positions and strategies of contemporary critical thought in the making. Engaging nearly 100 artists, theorists, and critics from a variety of fields, these conversations focus on the most contested areas within contemporary critical debate: the relationship between theory and artistic production, the role of art in the community, the meaning of postmodernism, the effects of representation on racial and sexual stereotypes, the relationship between high art and popular culture, and the responsibilities of art institutions. Reflecting the breadth of the postmodern debate, Discourses includes the voices of filmmakers, artists who work outside traditional art contexts, social activists, novelists, drag performers, architects, and musicians. Participants in the discussions include Michel Foucault, Edward Said, Gayatri Spivak, Greil Marcus, Vito Russo, Edmund White, M. C. Lyte, Roland Barthes, Kate Millett, Malcolm McLaren, Richard Hell, Philip Johnson, and Laurie Anderson. With A Photographic Sketchbook by John Baldessari.

    • Hardcover $40.00
    • Paperback $24.50


  • Impresario


    Malcolm McLaren and the British New Wave

    Paul Taylor

    Malcolm McLaren didn't invent Punk. All he did was envisage it, design it, clothe it, publicize it, and sell it.

    Preface by Marcia Tucker and William Olander Malcolm McLaren didn't invent Punk. All he did was envisage it, design it, clothe it, publicize it, and sell it. In the film, "The Great Rock'n Roll Swindle," he appears in a black rubber garment and mask of his own design and whispers the above in a conspiratorial voice. Thus begins the story of how he went on to swindle a fortune from the British music industry.Impresario takes a lively and provocative look at the interface between popular culture as orchestrated by the controversial figure of Malcolm McLaren, the arena of High Culture, and the ever increasing public for both.Essays by Paul Taylor, Jane Withers, Jon Savage, and Dan Graham trace McLaren's career as a pop entrepreneur at 430 Kings Road (the London boutique also known as Let It Rock SEX, and Seditionaries), as the mastermind behind the Sex Pistols, Adam and the Ants, and Bow Wow Wow, which earned him the title, "Svengali of Punk" and as the manipulator of media who turned himself into his own product with the launching of the prescient album Duck Rock and the brilliant pastiche, Fans.

    The more than 50 illustrations comprise a visual biography of McLaren, encompassing the full range of his work as designer, filmmaker, musician, and cultural theorist. By focusing on McLaren's career as well as on the collaborative and crossover character of his work Impresario challenges and ultimately broadens our accepted notions of art.

    A publication of The New Museum of Contemporary Art, New York Distributed by The MIT Press.

    • Paperback $15.95