Interdisciplinary artist and writer Coco Fusco is one of North America's leading interpreters of intercultural theory and practice. This volume gathers together her finest writings since 1995 and includes critical essays by Jean Fisher and Caroline Vercoe that interpret her work. Engaging and provocative, these essays, interviews, performance scripts and fotonovelas take readers on a tour of our current multicultural landscape. Fusco explores such issues as sex tourism in Cuba as a barometer of the island's entry into the global economy, Frantz Fanon's theorization of metropolitan blackness, and artistic and net activist responses to the effects of free trade on the Mexican populace. She interviews such postcolonial personnae as Isaac Julien, Hilton Als and Tracey Moffatt. Approaching the dynamics of cultural fusion from many angles, Fusco's satires, commentaries, and sociological inquiries collapse boundaries, and form a sustained meditation on how the forces of globalization impact upon the making of art.
John Betjeman was by far the most popular poet of the twentieth century; his collected poems sold more than two million copies. As poet laureate of England, he became a national icon, but behind the public man were doubts and demons. The poet best known for writing hymns of praise to athletic middle-class girls on the tennis courts led a tempestuous emotional life. For much of his fifty-year marriage to Penelope Chetwode, the daughter of a field marshal, Betjeman had a relationship with Elizabeth Cavendish, the daughter of the Duke of Devonshire and lady-in-waiting to Princess Margaret. Betjeman, a devout Anglican, was tormented by guilt about the storms this emotional triangle caused. Betjeman, published to coincide with the hundredth anniversary of the poet's birth, is the first to use fully the vast archive of personal material relating to his private life, including literally hundreds of letters written by his wife about their life together and apart. Here too are chronicled his many friendships, ranging from "Bosie" Douglas to the young satirists of Private Eye, from the Mitford sisters to the Crazy Gang. This is a celebration of a much-loved poet, a brave campaigner for architecture at risk, and a highly popular public performer. Betjeman was the classic example of the melancholy clown, whose sadness found its perfect mood music in the hymns of a poignant Anglicanism.
This book investigates how British contemporary artists who work with clay have managed, in the space of a single generation, to take ceramics from niche-interest craft to the pristine territories of the contemporary art gallery. This development has been accompanied (and perhaps propelled) by the kind of critical discussion usually reserved for the 'higher' discipline of sculpture. Ceramics is now encountering and colliding with sculpture, both formally and intellectually. Laura Gray examines what this means for the old hierarchies between art and craft, the identity of the potter, and the character of a discipline tied to a specific material but wanting to participate in critical discussions that extend far beyond clay.