Gary Indiana Ordre des livres

A dark yet compassionate comedy of art aspirations and friendships come to naught. First published in 2003, Gary Indiana’s turn-of-the-millennium novel traces the lives of a loosely connected group of New York artists and the dissolution of their scene. During the summer of 2001, the narrator of Do Everything in the Dark, a gallery curator, receives intermittent dispatches from his far-flung friends—many of whom resemble well-known figures in the art and intellectual worlds—who are spread out across the globe, from Istanbul to Provincetown to Santa Fe. Seeking various reprieves from a changed New York, the long-festering, glossed-over incompatibilities of these aging bohemians blossom into exotic and unbearable relief. Beneath the contemporary excesses Indiana chronicles, we can see the outlines of the earlier New York bohemia captured by Dawn Powell. Arguably Indiana’s most intimate, internal, and compassionate work to date, Do Everything in the Dark is a chilling chronicle of madness and failure, success and disappointment, and the many ways love dies in a world people find increasingly unlivable.

Whether he's describing Tracy Emin or Warhol, the films of Barbet Schroeder ('Schroeder is well aware that life is not a narrative; that we impose form on the movements of chance, contingency, and impulse....') or the installations of Barbara Kruger ('Kruger compresses the telling exchanges of lived experience that betray how skewed our lives are...'), Indiana is never just describing. Few writers could get away with saying the things Gary Indiana does. And when the writing is this good, it's also political, plus it's a riot of fun on the page.

Footloose and broke, the unnamed narrator of Gone Tomorrow hops on a plane without asking questions when his director friend offers him a role in an art film set in Colombia. But from the moment he arrives at the airport in Bogotá, only to witness a policeman beat a beggar half to death, it becomes clear that this will not be the story of gritty bohemians triumphing against the odds. The director, Paul Grosvenor, seems more interested in manipulating his cast than in shooting film. The cult star, Irma Irma, is a vamp too bored and boring to draw blood. And the beautiful, nymph-like Michael Simard doesn’t seem to be putting out. Meanwhile, the film’s shady financier is sleeping with his mother, while a serial killer skulks about the area killing tourists. Everything comes to a head when the carnaval celebration begins in nearby Cali. But once the fiesta is over, all that’s left are ghostly memories and the narrator’s insistence on telling the tale. “Unlike the majority of pointedly AIDS-era novels,” writes Dennis Cooper, “Gone Tomorrow is neither an amoral nostalgia fest nor a thinly veiled wake-up call hyping the religion of sobriety. It’s a philosophical work devised by a writer who’s both too intelligent to buy into the notion that a successful future requires the compromise of collective decision and too moral to accept bitterness as the consequence of an adventurous life.”

Village Voice, documenting, from the front lines, the 1980s New York art scene.

Focusing on the life of a notorious figure, this narrative artfully explores the rise and fall of the party boy who gained infamy for the murder of fashion icon Gianni Versace. Through a sardonic lens, the book delves into themes of celebrity culture, the fleeting nature of fame, and the complexities of identity, offering a compelling look at how one tragic event can alter the trajectory of a life and captivate the media.

Sie sind nahezu überall auf der Welt zu finden, hängen in Wohnzimmern und Küchen, und sie sind Sinnbild für eine ganze Kunstrichtung: Als Andy Warhol 1962 in seiner ersten Soloausstellung Abbilder von 32 Campbell-Suppendosen präsentierte, sprengte er die Kategorien der Hoch- und Populärkultur. Die Konserven mit dem rot-weißen Etikett traten einen beispiellosen Siegeszug an. Gary Indiana wirft einen aufregend neuen Blick auf diesen Schlüsselmoment in Warhols künstlerischem Schaffen. Sein brillanter Essay erzählt jedoch nicht nur die Geschichte jenes schicksalhaften Werkes, sondern ist zugleich unterhaltsame wie informative Einführung in Warhols Biografie und scharfsichtige Betrachtung der amerikanischen Kunstszene.

The long-awaited memoir from one of the most acclaimed radical writers in American literature.

From the Publisher: In the summer of 1962, Andy Warhol unveiled 32 Soup Cans in his first solo exhibition at the Ferus Gallery in Los Angeles-and sent the art world reeling. The responses ran from incredulity to outrage; the poet Taylor Mead described the exhibition as "a brilliant slap in the face to America." The exhibition put Warhol on the map-and transformed American culture forever. Almost single-handedly, Warhol collapsed the centuries-old distinction between "high" and "low" culture, and created a new and radically modern aesthetic. In Andy Warhol and the Can that Sold the World, the dazzlingly versatile critic Gary Indiana tells the story of the genesis and impact of this iconic work of art. With energy, wit, and tremendous perspicacity, Indiana recovers the exhilaration and controversy of the Pop Art Revolution and the brilliant, tormented, and profoundly narcissistic figure at its vanguard.

Previously unpublished plays and writings by one of today's foremost satirical authors.

Cameron Jamie's calling is tracking down extreme social phenomena and presenting them in short documentary films. His best known film, BB , documents "backyard wrestling" among working-class kids in his native San Fernando Valley. In Spook Houses , he explores a suburban Chicago community that takes a little too much pleasure in the macabre at Halloween, transforming front lawns into cemeteries and kitchens into mausoleums. And in Kranky Claus, a film about Krampus rituals in Austria, he accompanies those legendary demons on their nightmarish pre-Christmas tour, thrashing frightened children. As Jamie says of his subjects and as he proves to his audiences, "The creepiest things in the world are always the things that are considered to be the most OEormal.'"