In 1983, the Socialist Review asked Donna Haraway to write a few pages about the tentative future of socialist feminism during the Reagan era. Two years later, she published “A Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980’s,” a difficult, rococo text that not only announced but luxuriated in the enmeshing between human and machine, the leakages between organic matter and artificial intelligence, the prosthetic extension of the subject and its diffusion into fractal assemblages.
As early as 1945, the art dealers Sidney and Harriet Janis offered an astute remark about Marcel Duchamp, who had supposedly resigned from art-making roughly twenty years earlier.
Catalogue raisonnés, by surveying the totality of the work of a single artist, have traditionally served as resources for specialists, such as art historians and dealers.
Packed with luxurious images, Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965 traces the movement of mid-century artists who, rather than cater to the city’s traditional artistic and financial procedures for gallery exhibition broke the mold of established creative practice by establishing their own group gallery spaces.