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À travers près de 300 illustrations, cette publication explore un chapitre méconnu de l'histoire de l'avant-garde russe : la rencontre de Marc Chagall avec les protagonistes de l'art abstrait El Lissitzky et Kazimir Malévitch, autour du projet d'une École populaire d'art fondée par Chagall dans sa ville natale, Vitebsk. Chacun des trois artistes élabore à sa façon, aux(...)
Chagall Lissitzky Malevitch : l'avant-garde russe à Vitebsk, 1918-1922
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À travers près de 300 illustrations, cette publication explore un chapitre méconnu de l'histoire de l'avant-garde russe : la rencontre de Marc Chagall avec les protagonistes de l'art abstrait El Lissitzky et Kazimir Malévitch, autour du projet d'une École populaire d'art fondée par Chagall dans sa ville natale, Vitebsk. Chacun des trois artistes élabore à sa façon, aux côtés des étudiants, un art nouveau - un art révolutionnaire. Une anthologie de textes inédits et une chronologie détaillée complètent l'ouvrage.
L'art de la lecture
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Chaque livre raconte une histoire, mais l’objet livre peut lui aussi être au cœur d’un récit mystérieux, fascinant et familier. Cet ouvrage en témoigne : le livre est tour à tour symbole de l’intellect dans des portraits, allégorie de la piété dans les tableaux religieux, sujet d’étude dans les natures mortes, ou encore matière première dans les installations(...)
L'art de la lecture
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Chaque livre raconte une histoire, mais l’objet livre peut lui aussi être au cœur d’un récit mystérieux, fascinant et familier. Cet ouvrage en témoigne : le livre est tour à tour symbole de l’intellect dans des portraits, allégorie de la piété dans les tableaux religieux, sujet d’étude dans les natures mortes, ou encore matière première dans les installations contemporaines. "L’Art de la lecture" présente des œuvres issues de musées ou de collections du monde entier, rassemblées dans un superbe hommage à l’écriture et à son rôle majeur dans le monde.
Hairy Who? 1966-1969
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This illustrated catalogue explores the history and significance of the Hairy Who, a group of six Chicago artists who transformed imagery from popular culture into highly personal works of art in a variety of media. New scholarship based on documentary materials—including exhibition checklists, installation views, and artist-made ephemera—reconstructs the group's six(...)
October 2018
Hairy Who? 1966-1969
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This illustrated catalogue explores the history and significance of the Hairy Who, a group of six Chicago artists who transformed imagery from popular culture into highly personal works of art in a variety of media. New scholarship based on documentary materials—including exhibition checklists, installation views, and artist-made ephemera—reconstructs the group's six exhibitions, held between 1966 and 1969, and offers a reassessment of the Hairy Who's idiosyncratic place within the cultural and political context of its time and place.
Russian Dada 1914-1924
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This is the first book to approach Russian avant-garde art from the perspective of the anti-art canons associated with the international Dada movement. The works described and documented in Russian Dada were produced at the height of Dada's flourishing, between World War I and the death of Vladimir Lenin—who, incidentally, was a frequent visitor to Cabaret Voltaire in(...)
September 2018
Russian Dada 1914-1924
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This is the first book to approach Russian avant-garde art from the perspective of the anti-art canons associated with the international Dada movement. The works described and documented in Russian Dada were produced at the height of Dada's flourishing, between World War I and the death of Vladimir Lenin—who, incidentally, was a frequent visitor to Cabaret Voltaire in Zurich, the founding site of Dada. Like the Dadaists, the Russian avant-gardists whose works appear in this volume strove for internationalism, fused the verbal and visual, and engaged in eccentric practices and pacifist actions, including outrageous performances and anti-war campaigns. ''Russian Dada'', which accompanies a major exhibition at the Museo Reina Sofia, Madrid, includes 250 images and essays by leading art historians.
Myths of the marble
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"Myths of the Marble" documents a group exhibition that took place in 2017 at the Henie Onstad Kunstsenter, Norway (HOK) and the Institute of Contemporary Art, University of Pennsylvania (ICA). Coorganized by curators Alex Klein (ICA) and Milena Hoegsberg (HOK), the exhibition reflects upon how the virtual has been engaged by contemporary artists as a way to consider the(...)
March 2018
Myths of the marble
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"Myths of the Marble" documents a group exhibition that took place in 2017 at the Henie Onstad Kunstsenter, Norway (HOK) and the Institute of Contemporary Art, University of Pennsylvania (ICA). Coorganized by curators Alex Klein (ICA) and Milena Hoegsberg (HOK), the exhibition reflects upon how the virtual has been engaged by contemporary artists as a way to consider the world as a site of possibility and limitation that both permeates physical space and online experience.
From the air we share
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Le Street Art s'invite au musée à l'occasion des 20 ans du musée d'Art moderne et contemporain de Strasbourg. Depuis quelques années, cet « art de la rue » d’abord réservé à quelques initiés s'est démocratisé : les street artists sont aujourd'hui des artistes réputés et reconnus, y compris par les institutions muséales, à l'instar de l'artiste engagé Banksy, du(...)
From the air we share
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Le Street Art s'invite au musée à l'occasion des 20 ans du musée d'Art moderne et contemporain de Strasbourg. Depuis quelques années, cet « art de la rue » d’abord réservé à quelques initiés s'est démocratisé : les street artists sont aujourd'hui des artistes réputés et reconnus, y compris par les institutions muséales, à l'instar de l'artiste engagé Banksy, du photographe parisien JR ou encore du mosaïste Invader. En 2018 à Strasbourg, le musée d'Art moderne et contemporain accueille sur ses façades extérieures une fresque du collectif FAILE. Ce duo basé à Brooklyn et composé des street artists nord-américains Patrick McNeil et Patrick Miller investit depuis une vingtaine d'années l'espace public de grandes métropoles, de New York à Londres en passant par Lisbonne, avec des procédés aussi divers que le collage, le pochoir, l'installation ou encore la sculpture.
DHC / Art Libre
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The publication chronicles the evolution of DHC/ART – since its launch in 2007 by Phoebe Greenberg – and through its story provides a platform for critical essays that open up larger questions about the potential for innovative institutional models to develop contemporary art audiences for the future.
December 2018
DHC / Art Libre
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The publication chronicles the evolution of DHC/ART – since its launch in 2007 by Phoebe Greenberg – and through its story provides a platform for critical essays that open up larger questions about the potential for innovative institutional models to develop contemporary art audiences for the future.
The cabinet of traces
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''The Cabinet of Traces'' is a collection of 73 traces that were left behind by various artists in residency at Air Antwerp from 2012 onwards. The traces presented in this publication form a diverse collection of objects, drawings, little art works, letters, and clothes. Likewise a catalogue of an ethnographic collection, this publication provides all standard technical(...)
September 2018
The cabinet of traces
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''The Cabinet of Traces'' is a collection of 73 traces that were left behind by various artists in residency at Air Antwerp from 2012 onwards. The traces presented in this publication form a diverse collection of objects, drawings, little art works, letters, and clothes. Likewise a catalogue of an ethnographic collection, this publication provides all standard technical details with each trace: material, dimensions, title and the artist who created it. Each trace bears its own story. ''The Cabinet of Traces'' remembers these stories, while feeding new ones. Memories are constructions and the traces in the publication form the basis from which these memories can be created. ''The Cabinet of Traces'' is a tool that feeds the imagination. It will be passed on to future artists in residency in order to evoke a reaction. New artists will extend the collection.
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Celebrating tapestry, embroidery, stitching, textiles, knitting, and knotting as used by visual artists worldwide, "Vitamin T" is the latest in the celebrated series in which leading curators, critics, and art professionals nominate living artists for inclusion. As boundaries between art and craft have blurred, artists have increasingly embraced these materials and(...)
Vitamin T: threads and textiles in contemporary art
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Celebrating tapestry, embroidery, stitching, textiles, knitting, and knotting as used by visual artists worldwide, "Vitamin T" is the latest in the celebrated series in which leading curators, critics, and art professionals nominate living artists for inclusion. As boundaries between art and craft have blurred, artists have increasingly embraced these materials and methods, with the resulting works being coveted by collectors and exhibited in museums worldwide. Vitamin T is a vibrant and incredibly timely survey – the first of its kind.
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Wassily Kandinsky is often recognized as the first artist to paint shapes and colors without regard to visual references in the world. However, abstract paintings were being produced even before Kandinsky’s experiments with the form. In the middle of the nineteenth century, in England, Sweden, and Switzerland, respectively, Georgiana Houghton, Hilma af Klint, and Emma(...)
March 2019
World receivers: Georgianna Houghton, Hilma af Klint, Emma Kunz
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Wassily Kandinsky is often recognized as the first artist to paint shapes and colors without regard to visual references in the world. However, abstract paintings were being produced even before Kandinsky’s experiments with the form. In the middle of the nineteenth century, in England, Sweden, and Switzerland, respectively, Georgiana Houghton, Hilma af Klint, and Emma Kunz each developed their own abstract pictorial language. Though working completely independently from one another, these three artists shared a desire to make visible the laws of nature, the intellect, and the supernatural. Working within the context of the spiritual movements of their times—Houghton in Spiritism, AF Klint in theosophy, and Kunz in naturopathy—they each produced abstract paintings that bore witness to a “mediumistic” praxis.