3 Results
Form:
books
books
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$43.95
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Summary:
Pioneering conceptual artist Vito Acconci began his career as a poet. In the 1960s, before beginning his work in performance and video art, Acconci studied at the Iowa Writers Workshop and published poems in journals and chapbooks. Almost all of this work remains unknown; much of it appeared in the self-produced magazines of the Lower East Side's mimeo revolution, and(...)
$43.95
(available to order)
Summary:
Pioneering conceptual artist Vito Acconci began his career as a poet. In the 1960s, before beginning his work in performance and video art, Acconci studied at the Iowa Writers Workshop and published poems in journals and chapbooks. Almost all of this work remains unknown; much of it appeared in the self-produced magazines of the Lower East Side's mimeo revolution, and(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
March 2006, Cambridge, Mass.
March 2006, Cambridge, Mass.
Title:
Languages to cover a page : the early writings of Vito Acconci
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$43.95
(available to order)
Summary:
Pioneering conceptual artist Vito Acconci began his career as a poet. In the 1960s, before beginning his work in performance and video art, Acconci studied at the Iowa Writers Workshop and published poems in journals and chapbooks. Almost all of this work remains unknown; much of it appeared in the self-produced magazines of the Lower East Side's mimeo revolution, and many other pieces were never published. Language to Cover a Page collects these writings for the first time and not only shows Acconci to be an important experimental writer of the period, but demonstrates the continuity of his early writing with his later work in film, video, and performance. "Language to cover a page" documents a key moment in the unprecedented intersection of artists and poets in the late 1960s - as seen in the Dwan Gallery's series of "Language" shows (1967-1970) and in Acconci's own journal 0 to 9. Indeed, as Acconci moved from the poetry scene to the art world, his poetry became increasingly performative while his artwork was often structured and motivated by linguistic play. Acconci's early writing recalls the work of Samuel Beckett, the deadpan voice of the nouveau roman, and the jump cuts and fraught permutations of the nouvelle vague. Poems in "Language to cover a page" explore the materiality of language ("language as matter and not ideas," as Robert Smithson put it), the physical space of the page, and the physicality of source texts (phonebooks, thesauruses, dictionaries). Other poems take the space of the page as an analogue to performance space or implicate the poem in a network of activity (as in his "Dial-a-Poem" pieces).
Languages to cover a page : the early writings of Vito Acconci
Actions:
Price:
$43.95
(available to order)
Summary:
Pioneering conceptual artist Vito Acconci began his career as a poet. In the 1960s, before beginning his work in performance and video art, Acconci studied at the Iowa Writers Workshop and published poems in journals and chapbooks. Almost all of this work remains unknown; much of it appeared in the self-produced magazines of the Lower East Side's mimeo revolution, and many other pieces were never published. Language to Cover a Page collects these writings for the first time and not only shows Acconci to be an important experimental writer of the period, but demonstrates the continuity of his early writing with his later work in film, video, and performance. "Language to cover a page" documents a key moment in the unprecedented intersection of artists and poets in the late 1960s - as seen in the Dwan Gallery's series of "Language" shows (1967-1970) and in Acconci's own journal 0 to 9. Indeed, as Acconci moved from the poetry scene to the art world, his poetry became increasingly performative while his artwork was often structured and motivated by linguistic play. Acconci's early writing recalls the work of Samuel Beckett, the deadpan voice of the nouveau roman, and the jump cuts and fraught permutations of the nouvelle vague. Poems in "Language to cover a page" explore the materiality of language ("language as matter and not ideas," as Robert Smithson put it), the physical space of the page, and the physicality of source texts (phonebooks, thesauruses, dictionaries). Other poems take the space of the page as an analogue to performance space or implicate the poem in a network of activity (as in his "Dial-a-Poem" pieces).
Form:
books
books
Publication:
March 2006, Cambridge, Mass.
March 2006, Cambridge, Mass.
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
Price:
$24.50
(available to order)
Summary:
In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object.
$24.50
(available to order)
Summary:
In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object.
Title:
No medium
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$24.50
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Summary:
In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object.
No medium
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Price:
$24.50
(available to order)
Summary:
In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object.
Form:
books
books
Publication:
March 2013
March 2013
Subject:
Art Theory
Art Theory
Form:
books
books
Price:
$19.95
(available to order)
Summary:
In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object.
$19.95
(available to order)
Summary:
In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object.
Title:
No Medium
Actions:
Price:
$19.95
(available to order)
Summary:
In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object.
No Medium
Actions:
Price:
$19.95
(available to order)
Summary:
In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object.
Form:
books
books
Publication:
February 2015
February 2015
Subject:
Critical Theory
Critical Theory
