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McDonald Keith: Contemporary Gothic and
Horror Film

Contemporary Gothic and Horror Film

Transnational Perspectives

KINO - The Russian and Soviet Cinema

Manufacturing Visions of the Indigenous Peoples of the North

A Siberian History of Soviet Film

British Film-Makers

Wendy Toye

Bloomsbury Studies in the Humanities, Ageing and Later Life

Living Forever From the Fin de Siècle to the First World War

Fictions of Radical Life Extension

Orientalist Depictions of Arab Sexuality

Richard Burton, T.E. Lawrence and the Culture of Homoerotic Desire

Art, Theatricality, and the Marketplace in France, 1697–1945

Pierrot and His World

A Life

Judy Blume

Hatje Cantz Text

Where is Charles Simonds? Throughout the 1970s, his

diminutive Dwellings, tiny architectural ruins of an imaginary civilization, could be found throughout the crumbling

infrastructure of downtown New York. Preoccupied with
the relationship between the grown and the built, the
archaeological and the urban, Simonds shared friendship
and ideas with Gordon Matta-Clark and Robert Smithson.
Like Lucy Lippard, with whom he lived during that decade,
Simonds believed in combining art and activism, always
preferring what he called the "real world" to the art world.
Yet despite taking part in many of the seminal exhibitions
and art events of 1970s New York, Simonds has left few
traces on art history. In order to explain Simonds's absence
while simultaneously arguing for his central place within it,

Jules Pelta Feldman reconsiders the decade's self-conception, finding that Simonds exemplifies much of what has

been ignored in 1970s art¿and much of what establishes
it as a unique period of experimentation and possibility.

Where is Charles Simonds? Throughout the 1970s, his

diminutive Dwellings, tiny architectural ruins of an imaginary civilization, could be found throughout the crumbling

infrastructure of downtown New York. Preoccupied with
the relationship between the grown and the built, the
archaeological and the urban, Simonds shared friendship
and ideas with Gordon Matta-Clark and Robert Smithson.
Like Lucy Lippard, with whom he lived during that decade,
Simonds believed in combining art and activism, always
preferring what he called the “real world” to the art world.
Yet despite taking part in many of the seminal exhibitions
and art events of 1970s New York, Simonds has left few
traces on art history. In order to explain Simonds’s absence
while simultaneously arguing for his central place within it,

Jules Pelta Feldman reconsiders the decade’s self-conception, finding that Simonds exemplifies much of what has

been ignored in 1970s art―and much of what establishes
it as a unique period of experimentation and possibility.

Charles Simonds and the Seventies

and the Cultural Geography of Horror

Urban Legends

100 Things

Conspiracies, mysteries and unsolved crimes

100 Things They Don't Want You To Know

Gothic Legacies

Takes stock of the extraordinary range of book-based adaptations of Mary Shelley's Frankenstein, comprising reimaginings, sequels and coquels following the novel's original publication up to the 21st century.

Contemporary Gothic and Horror Film

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

Schlagworte

Weitere Titel zum Thema