In memoriam - America's preeminent radical publisher
Bradley L. Garrett is a writer, photographer and researcher at the University of Oxford. After...
Conceptual Art: 'One and Three Chairs' (1965) by Joseph Kosuth
John Rapko wrote a thorough analysis of Peter Osborne’s Anywhere or Not At All: Philosophy of Contemporary Art in Notre Dame Philosophical Reviews. He deemed the book a crucial addition to current discussions of contemporary art:
This is the first book in English known to me that brings contemporary art as a whole to philosophical consideration, and thereby broadens the characteristic concern of the philosophy of art away from the puzzles associated with conceptual art. Osborne is the first philosopher known to me to have noticed and brought to rich articulation the problem of evaluating distinctively contemporary art, given the 'crisis of mediations' and the sense of any and all categorizations as non-binding. A great deal might well be done, but Osborne's efforts should provide one of the orienting points for future work.
Jean-Philippe Deranty, Associate Professor of Philosophy at Macquarie University, wrote a commending analysis of Jacques Rancière's Aisthesis in Parrhesia Journal. He writes that Aisthesis "proposes significant conceptual innovations in relation to aesthetics" and is held together by "the constellation of interlinked formal concepts and thematic threads beign woven throughout the fourteen chapters."
With the passing of André Schiffrin, the publishing world has lost a giant and Verso a much-respected author, whose razor-sharp analysis of the publishing industry has been vindicated many times over.
Culturally, intellectually and physically he inhabited two worlds: Paris/New York. The single most important influence on his life was his father Jacques Schiffrin, a refugee from St Petersburg who arrived in France in 1920 and by 1923, had established a publishing house, La Pléiade, a permanent bequest to French culture. The publishing house started by translating the Russian classics, translated into French by Schiffrin and established a strong reputation as a house of quality, that later became an imprint within Gallimard but with Jacques in complete editorial control. André was born in 1935.
André talked me into book publishing, when most of my friends were abandoning the dying planet of print for the exciting new cosmos of the Internet. He somehow managed to suggest that publishing was both doomed and indispensable. In any case, he didn’t talk much about the book “industry”—a term he hated—when we first met. Instead, he poured out a stream of questions about The Village Voice, where I was writing and editing—who are the most interesting writers?, what are they covering?, what is she saying about labor? Then questions about the media landscape—how does this compare to what Ehrenreich had written recently? Sen? Ha Joon Cha? Then history—but what about Piven’s arguments about the ‘30s? Arrighi’s? I discovered two things the first time I talked to André. One was what he wrote about his conversations with his good friend Foucault: “Simply talking to him made me feel much more intelligent than I was.” The other is that I knew nothing.
Readers interested in learning more about Allen’s work are encouraged to look at the in-depth treatment in “The Developing Conjuncture and Some Insights from Hubert Harrison and Theodore W. Allen on the Centrality of the Fight Against White Supremacy” (Cultural Logic, 2010) available at JeffreyBPerry.net (top left). For those interested in Allen’s two-volume “classic” The Invention of the White Race (Verso Books, 1994, 1997; 2012) see Vol. 1: Racial Oppression and Social Control and Vol. 2: The Origin of Racial Oppression in Anglo-America and see Allen’s online “Summary of the Argument of The Invention of the White Race” (in two parts).
What is the difference between this book and “Stay, Illusion!: The Hamlet Doctrine”by the same authors, published by Pantheon in June 2013?