The collected writings of artist and filmmaker Hollis Frampton, including all the essays from the long-unavailable Circles of Confusion along with rare additional material. As Hollis Frampton's photographs and celebrated experimental films were testing the boundaries of “the camera arts” in the 1960s and 1970s, his provocative and highly literate writings were attempting to establish an intellectually resonant form of discourse for these critically underexplored fields. It was a time when artists working in diverse disciplines were beginning to pick up cameras and produce films and videotapes, well before these practices were understood or embraced by institutions of contemporary art. This collection of Frampton's writings presents his critical essays (many written for Artforum and October) along with additional material, including lectures, correspondence, interviews, and production notes and scripts. It replaces—and supersedes—the long-unavailable Circles of Confusion, published in 1983. Frampton ranged widely over the visual arts in his writing, and the texts in this collection display his unique approaches to photography, film, and video, as well as the plastic and literary arts. They include critically acclaimed essays on Edward Weston and Eadweard Muybridge as well as appraisals of contemporary photographers; the influential essay, “For a Metahistory of Film,” along with scripts, textual material, and scores for his films; writings on video that constitute a prehistory of the digital arts; a dialogue with Carl Andre (his friend and former Phillips Andover classmate) from the early 1960s; and two inventive, almost unclassifiable pieces that are reminiscent of Borges, Joyce, and Beckett.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.

First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

In documenting this transformation in American photography, Disappearing Witness forcefully rethinks the history of photography itself.

This volume assembles some of the most distinguished scholars in the field of Deleuze studies in order to provide both an accessible introduction to key concepts in Deleuze's thought and to test them in view of the issue of normativity. This includes not only the law, but also the question of norms and values in the broader ethical, political and methodological sense. The volume argues that Deleuze's philosophy rejects the unitary vision of the subject as a self-regulating rationalist entity and replaces it with a process-oriented relational vision of the subject. But what can we do exactly with this alternative nomadic vision? What modes of normativity are available outside the parameters of liberal, self-reflexive individualism on the one hand and the communitarian model on the other? This interdisciplinary volume explores these issues in three directions that mirror Deleuze and Guattari's defense of the parallelism between philosophy, science, and the arts. The volume therefore covers socio-political and legal theory; the epistemological critique of scientific discourse and the cultural, artistic and aesthetic interventions emerging from Deleuze's philosophy.

Art Forum’s Best of the Year List A panoramic look at art in America in the second half of the twentieth century, through the eyes of the visionary curator who helped shape it. An innovative, iconoclastic curator of contemporary art, Walter Hopps founded his first gallery in L.A. at the age of twenty-one. At twenty-four, he opened the Ferus Gallery with then-unknown artist Edward Kienholz, where he turned the spotlight on a new generation of West Coast artists. Ferus was also the first gallery ever to show Andy Warhol’s Campbell’s Soup Cans and was shut down by the L.A. vice squad for a show of Wallace Berman’s edgy art. At the Pasadena Art Museum in the sixties, Hopps mounted the first museum retrospectives of Marcel Duchamp and Joseph Cornell and the first museum exhibition of Pop Art--before it was even known as Pop Art. In 1967, when Hopps became the director of Washington’s Corcoran Gallery of Art at age thirty-four, the New York Times hailed him as "the most gifted museum man on the West Coast (and, in the field of contemporary art, possibly in the nation)." He was also arguably the most unpredictable, an eccentric genius who was chronically late. (His staff at the Corcoran had a button made that said WALTER HOPPS WILL BE HERE IN TWENTY MINUTES.) Erratic in his work habits, he was never erratic in his commitment to art. Hopps died in 2005, after decades at the Menil Collection of art in Houston for which he was the founding director. A few years before that, he began work on this book. With an introduction by legendary Pop artist Ed Ruscha, The Dream Colony is a vivid, personal, surprising, irreverent, and enlightening account of his life and of some of the greatest artistic minds of the twentieth century.