Tells the story of 1960s pop art through the voices of its creators In 1965, British artist and university lecturer John Jones left the United Kingdom with his wife and daughters to live in the United States for a year and interview some 100 artists. The family moved to Greenwich Village and spent three months on a road trip west to visit artists beyond the immediate reach of New York. Some of the artists, like Yoko Ono and Claes Oldenburg, became Jones's personal friends. Although Jones's daughter Nicolette was young, her memories of New York and their transAmerican adventure are vivid. Published here for the first time, this book presents a fascinating selection of Jones's edited conversations with American artists practicing in 1965-66. A foreword by Nicolette contextualizes the setting in which these interviews took place, and a further introduction amalgamated from Jones's lectures in which he drew on these conversations illustrates and explores the range of contrasting ideas behind what became known as pop art. Thanks to his personal interaction with the artists and his knowledge of their work, Jones became the foremost expert in the art of this period in the UK. Amid a unique family story, this is art presented not through the filter of art critics, but from the mouths of the practitioners. Jones's interviews explore a specific place and time: the United States in the 1960s, and are crucial reading for those wishing to understand the decade and the influence of American art and British tradition on each other, as well as anyone curious about the famous figures of the time and the thinking that gave rise to this extraordinarily fertile creative moment.

In 1969 curator, critic and former Jewish Museum director Alan Solomon interviewed Craig Kauffman, Larry Bell, James Turrell and Robert Irwin in conjunction with an exhibition he was organizing. They are the earliest in-depth interviews with each artist. Because of his untimely death they have remained in his archives and are published here for the first time. The interviews provide a rare glimpse into the early careers of these seminal artists, documenting their critical, aesthetic and intellectual concerns at a pivotal moment, allowing readers new insight into an important era of American postwar art. Solomon rose to prominence in the 1960s as a curator at the Jewish Museum in New York, where he organized a series of first solo exhibitions for the likes of Jasper Johns and Robert Rauschenberg. He also curated several major international surveys, including the 1964 Venice Biennale, where Rauschenberg won the Golden Lion. In 1968 Solomon left New York to take up a position at the fledgling University of California campus in Irvine, which was home to a dynamic group of young faculty and students. There he became acquainted with Kauffman, Bell, Turrell and Irwin, who have since been recognized as canonical participants in California Light and Space art of the 1960s. With this volume his engagement with these artists, and their roles in this important art historical episode, has finally been brought to light.

Arranged in alphabetical order, these 5 volumes encompass the history of the cultural development of America with over 2300 entries.

An enthralling play based on lost tapes between two cultural giants and friends—Andy Warhol and Truman Capote. In 1978 Andy Warhol and Truman Capote decided to write a Broadway play. Andy suggested that he record their private conversations over the period of a few months, and that these tapes would be the source material for the play. The tapes were then filed away and forgotten. Their play was never completed. Now, award-winning director Rob Roth brings their vision to life after a years-long search to unearth the eighty hours of tapes between two of the most daring artists of postwar America. WARHOLCAPOTE, based on words actually spoken by the two men, is set in the ’70s and ’80s, toward the end of their close connection and not too long before their untimely deaths. Their special, complex friendship is captured by Roth with bracing intimacy as they discuss life, love, and art and everything in between. Every word in the play comes directly from these two 20th century geniuses. The structure of the conversations springs from Roth’s imagination.

Mix Tape: The Art of Cassette Culture is the first book to focus on the unique confluence of cassette culture, featuring stories, essays and images from tapes compiled by and for friends, family and lovers over the last twenty years.

Audio journals that document Wojnarowicz's turbulent attempts to understand his anxieties and passions, and tracking his thoughts as they develop in real time. In these moments I hate language. I hate what words are like, I hate the idea of putting these preformed gestures on the tip of my tongue, or through my lips, or through the inside of my mouth, forming sounds to approximate something that's like a cyclone, or something that's like a flood, or something that's like a weather system that's out of control, that's dangerous, or alarming.... It just seems like sounds that have been uttered back and forth maybe now over centuries. And it always boils down to the same meaning within those sounds, unless you're more intense uttering them, or you precede them or accompany them with certain forms of violence. —from The Weight of the Earth Artist, writer, and activist David Wojnarowicz (1954–1992) was an important figure in the downtown New York art scene. His art was preoccupied with sex, death, violence, and the limitations of language. At the height of the AIDS epidemic, Wojnarowicz began keeping audio journals, returning to a practice he'd begun in his youth.The Weight of the Earth presents transcripts of these tapes, documenting Wojnarowicz's turbulent attempts to understand his anxieties and passions, and tracking his thoughts as they develop in real time. In these taped diaries, Wojnarowicz talks about his frustrations with the art world, recounts his dreams, and describes his rage, fear, and confusion about his HIV diagnosis. Primarily spanning the years 1987 and 1989, recorded as Wojnarowicz took solitary road trips around the United States or ruminated in his New York loft, the audio journals are an intimate and affecting record of an artist facing death. By turns despairing, funny, exalted, and angry, this volume covers a period largely missing from Wojnarowicz's written journals, providing us with an essential new record of a singular American voice.