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Defacement asks what happens when something precious is despoiled. It begins with the notion that such activity is attractive in its very repulsion, and that it creates something sacred even in the most secular of societies and circumstances. In specifying the human face as the ideal type for thinking through such violation, this book raises the issue of secrecy as the depth that seems to surface with the tearing of surface. This surfacing is made all the more subtle and ingenious, not to mention everyday, by the deliberately partial exposures involved in "the public secret"―defined as what is generally known but, for one reason or another, cannot easily be articulated. Arguing that this sort of knowledge ("knowing what not to know") is the most powerful form of social knowledge, Taussig works with ideas and motifs from Nietzsche, William Burroughs, Elias Canetti, Georges Bataille, and the ethnography of unmasking in so-called primitive societies in order to extend his earlier work on mimesis and transgression. Underlying his concern with defacement and the public secret is the search for a mode of truth telling that unmasks, but only to reenchant, thereby underlining Walter Benjamin's notion that "truth is not a matter of exposure of the secret, but a revelation that does justice to it."

Defacement asks what happens when something precious is despoiled. It begins with the notion that such activity is attractive in its very repulsion, and that it creates something sacred even in the most secular of societies and circumstances. In specifying the human face as the ideal type for thinking through such violation, this book raises the issue of secrecy as the depth that seems to surface with the tearing of surface. This surfacing is made all the more subtle and ingenious, not to mention everyday, by the deliberately partial exposures involved in "the public secret"―defined as what is generally known but, for one reason or another, cannot easily be articulated. Arguing that this sort of knowledge ("knowing what not to know") is the most powerful form of social knowledge, Taussig works with ideas and motifs from Nietzsche, William Burroughs, Elias Canetti, Georges Bataille, and the ethnography of unmasking in so-called primitive societies in order to extend his earlier work on mimesis and transgression. Underlying his concern with defacement and the public secret is the search for a mode of truth telling that unmasks, but only to reenchant, thereby underlining Walter Benjamin's notion that "truth is not a matter of exposure of the secret, but a revelation that does justice to it."

Jean-Michel Basquiat painted Defacement (The Death of Michael Stewart) on the wall of Keith Haring’s studio in 1983 to commemorate the death of a young black artist who died from injuries sustained while in police custody after being arrested for allegedly tagging a New York City subway station. Defacement is the starting point for the present volume, which focuses on Basquiat’s response to anti-black racism and police brutality. Basquiat’s “Defacement”: The Untold Story explores this chapter in the artist’s career through both the lens of his identity and the Lower East Side as a nexus of activism in the early 1980s, an era marked by the rise of the art market, the AIDS crisis and ongoing racial tensions in the city. Texts by Chaédria LaBouvier, Nancy Spector, J. Faith Almiron and Greg Tate are supplemented by commentary from artists and activists such as Luc Sante, Carlo McCormick, Jeffrey Deitch, Kenny Scharf, Fred Braithwaite and Michelle Shocked, who were part of this episode in New York City’s history, which parallels today’s urgent conversations about state-sanctioned racism. Basquiat’s painting is contextualized by ephemera related to Stewart’s death, including newspaper clippings and protest posters, samples of artwork from Stewart’s estate and work made by other artists in response to Stewart’s death and the subsequent trial, including pieces by Haring, Andy Warhol, David Hammons, George Condo and Lyle Ashton Harris.""

Remove distractions and keep students' eyes on their own work with these attractive and functional privacy shields. Made of rugged, corrugated plastic, these shields withstand rigorous use on desks and tabletops. The hard surface hinders defacement, and can be quickly cleaned with ordinary disinfecting wipes. Great for everyday classroom use, computer labs, and writer's workshops, they make a fun way to set up "offices"A? for your students, too. Ideal for both pencil-and-paper and computer-based testing (including PARCC and other standardized tests), privacy shields are a must-have for any teacher or testing coordinator. These smaller shields fit inside desks for easy storage when not in use. Enjoy them year after year! Set of six green, three-panel corrugated privacy Shields; Size: Center panel, 19" by 12"; Size: Two side panels, 14" by 12" each; 159363 Deluxe Privacy Shields Standard Set of 6 Green Plastic Deluxe Ez Store Privacy Shield Junior carrel study carrel student study carrel testing test dividers test dividers 159363 Deluxe Privacy Shields Standard Set of 6 Green Plastic Deluxe Ez Store Privacy Shield Junior carrel study carrel student study carrel testing test dividers test dividers 159363 159363 159363 159363 159363

Banksy in New York offers a first-hand account of his residency: the defacement and removal of his pieces, reactions from neighbors and building owners and interactions between Banksy's fans and foes. The author draws on his extensive knowledge of street art and graffiti in New York to assess the impact of Banksy's work from a cultural and art-historical perspective. Mock is as much a fan as a critic of the artist's work and delivers his account in the form of a personal narrative that is by turns insightful and humorous, paying homage to Banksy's wit and creativity while challenging the artist and his detractors to consider the true impact of his work. The hardcover edition of Banksy in New York features over 140 photos and illustrations on 128 pages as well as a new foreword by Brooklyn Street Art founders Jaime Rojo and Steven P. Harrington.

Banksy in New York offers a first-hand account of his residency: the defacement and removal of his pieces, reactions from neighbors and building owners and interactions between Banksy's fans and foes. The author draws on his extensive knowledge of street art and graffiti in New York to assess the impact of Banksy's work from a cultural and art-historical perspective. Mock is as much a fan as a critic of the artist's work and delivers his account in the form of a personal narrative that is by turns insightful and humorous, paying homage to Banksy's wit and creativity while challenging the artist and his detractors to consider the true impact of his work.The hardcover edition of Banksy in New York features over 140 photos and illustrations on 128 pages as well as a new foreword by Brooklyn Street Art founders Jaime Rojo and Steven P. Harrington.

Banksy in New York offers a first-hand account of his residency: the defacement and removal of his pieces, reactions from neighbors and building owners and interactions between Banksy's fans and foes. The author draws on his extensive knowledge of street art and graffiti in New York to assess the impact of Banksy's work from a cultural and art-historical perspective. Mock is as much a fan as a critic of the artist's work and delivers his account in the form of a personal narrative that is by turns insightful and humorous, paying homage to Banksy's wit and creativity while challenging the artist and his detractors to consider the true impact of his work.The hardcover edition of Banksy in New York features over 140 photos and illustrations on 128 pages as well as a new foreword by Brooklyn Street Art founders Jaime Rojo and Steven P. Harrington.

Pictorial paper covered boards with some wear to corners and to tail (see image), otherwise a clean copy with no previous owners' names or other defacements. Scarce. 11.5 x 9.25 in