My Morandi
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One of the most beloved and critically acclaimed artists of the twentieth century, Giorgio Morandi painted serial and permutational arrangements of everyday objects that elevated the quotidian into the sublime. In 1940, he struck up a decades-long friendship with entrepreneur, musicologist, art historian, and collector Luigi Magnani. "My Morandi" is the first full-length(...)
My Morandi
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One of the most beloved and critically acclaimed artists of the twentieth century, Giorgio Morandi painted serial and permutational arrangements of everyday objects that elevated the quotidian into the sublime. In 1940, he struck up a decades-long friendship with entrepreneur, musicologist, art historian, and collector Luigi Magnani. "My Morandi" is the first full-length English translation of Magnani’s memoir reflecting on his bond with the artist and his long-standing academic and personal interest in Morandi’s paintings. Magnani recounts the artist’s aloofness from artistic trends and his dedication to painting for a small, discerning audience. He locates Morandi within the art-historical canon as well as chronicles their artistic and intellectual kinship, which led to a unique, rich collection of Morandi’s work at Magnani’s villa in Mamiano, now the Magnani Rocca Foundation.
Art Theory
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''Paying Attention'' gathers nearly seventy of the best and varied examples of Lynne Tillman’s writings in reference to art and culture published over the course of forty years. In essays that operate outside typical categories or genres, Tillman reflects on forms including film, painting, photography, poetry, and fiction, as well as notions of fame, originality, embodied(...)
Lynne Tillman: Paying attention
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''Paying Attention'' gathers nearly seventy of the best and varied examples of Lynne Tillman’s writings in reference to art and culture published over the course of forty years. In essays that operate outside typical categories or genres, Tillman reflects on forms including film, painting, photography, poetry, and fiction, as well as notions of fame, originality, embodied viewing and thinking, collective activity, aging, illness, American identity, cultural politics, modernity, strangeness, and time. Such is the stuff that relates art to life, and life to art. Collected mainly from museum and gallery catalogues, artists’ books and monographs, her column in ''Frieze'', and magazines including ''Aperture'' and ''Artforum'', these meditations on artists and writers, in the broadest sense of these labels, collide as a portrait of our cultural moment. Tillman’s inventive use of language and lateral thought, her ability to evoke conditions of the larger world in often just two thousand words on a specific artwork or individual, make her one of the most significant critics of our time. As she acknowledges, in a piece on the artist Robert Gober, “In writing on art, words reach for other words, phrases, idioms, and through them more images and ideas leap out.” In her introduction, Elizabeth Schambelan notes that a hallmark of Tillman’s writing alongside artists is an “elegant rendering of complexity,” and in approaching Tillman’s body of work and thought, Schambelan herself deftly imbricates the art, voice, and language of criticism.
Art Theory
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The Swedish artist Hilma af Klint is one of the art world’s major rediscoveries of the twenty-first century. While the Russian artist Wassily Kandinsky has famously been credited for creating the first abstract artwork, this designation has been called into question with the resurfacing and renewed study of af Klint’s non-figurative paintings. In this captivating volume,(...)
Art Theory
January 2026
Hilma af Klint and Wassily Kandinsky: Dreams of the future
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The Swedish artist Hilma af Klint is one of the art world’s major rediscoveries of the twenty-first century. While the Russian artist Wassily Kandinsky has famously been credited for creating the first abstract artwork, this designation has been called into question with the resurfacing and renewed study of af Klint’s non-figurative paintings. In this captivating volume, the af Klint biographer and scholar Julia Voss and the curator and writer Daniel Birnbaum convey in depth the two artists’ nearly parallel development away from figuration and into the liberating, mystical vision of art. In this engrossing account of the affinities and divergences between af Klint and Kandinsky’s lives and work, supported by more than 100 illustrations, we are invited to witness the conditions in which the art world was forever changed.
Art Theory
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Since her death in 2009, Mendelssohn's work has gained the interest of audiences through anincreasing array of publication and exhibition contexts. CAConrad (they/them) has spent timeamong the University of Sussex's archives that hold an extraordinary store of Mendelssohn's distinctive drawn and hand written manuscripts. They have prepared nine of their own poems to be(...)
CAConrad & Anna Mendelssohn - the poem that could not
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Since her death in 2009, Mendelssohn's work has gained the interest of audiences through anincreasing array of publication and exhibition contexts. CAConrad (they/them) has spent timeamong the University of Sussex's archives that hold an extraordinary store of Mendelssohn's distinctive drawn and hand written manuscripts. They have prepared nine of their own poems to be presented in what's become their trademark larger-than-human display size. CAConrad has worked with curator-poet Iain Morrison to select work of Mendelssohn's that resonates with the voice and form of their own work. This exhibition adopts CAConrad's method of reproducing their poems in scaled spatial installations to similarly present and interpolate nine unpublishedMendelssohn poem-drawings.
Art Theory
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Who are all these Evas? They puncture and disrupt the domestic space and equilibrium of the narrator, who alternately relies upon them or administers their care. Foam is the latest boundary-blurring, genre-resistant, strange and speculative new fiction from Kate Zambreno, the inimitable and relentless literary stylist and conceptualist. Inspired by the absurdities of Eva(...)
Foam
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Who are all these Evas? They puncture and disrupt the domestic space and equilibrium of the narrator, who alternately relies upon them or administers their care. Foam is the latest boundary-blurring, genre-resistant, strange and speculative new fiction from Kate Zambreno, the inimitable and relentless literary stylist and conceptualist. Inspired by the absurdities of Eva Hesse and other soft sculpture, these are speculative art essays and textures, a document of precarity and slippery time—mischievous, moody, estranged—a masterwork of tone and atmosphere.
Art Theory
Brackish waters
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"Brakish waters" is the third of three projects to engage the resource industries of Vancouver Island (mining, forestry, and fishing), through contemporary art and writing. Brackish waters mingle the fresh with the salt. Departing from industrial ports and shoreline ecosystems, this publication crosses oceanic worlds of extraction and distribution. It responds to marine(...)
Brackish waters
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"Brakish waters" is the third of three projects to engage the resource industries of Vancouver Island (mining, forestry, and fishing), through contemporary art and writing. Brackish waters mingle the fresh with the salt. Departing from industrial ports and shoreline ecosystems, this publication crosses oceanic worlds of extraction and distribution. It responds to marine environments diffracted by the perspectives of artists, writers, Indigenous Elders, fish and fishers, biologists, citizen scientists, whales, physicists, boat builders, ship workers, sailors, pirates, brittle stars, and other creatures of the deep. Nanaimo Art Gallery is located on Snuneymuxw territory, one block from the city’s harbor, a place that has seen the forced displacement of Snuneymuxw villages, the arrival of precarious mine workers from China, the UK, and Scandinavia, and the World War II internment of Japanese Canadians who ran herring salteries and shipyards there.
Art Theory
Brancusi's trinity
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In "Brancusi's Trinity," sculptor Richard Clements focuses on a proposed Hermetic cosmology between three of Constantin Brancusi’s sculptures: Endless Column (1918-1937), Table of Silence (1937), and Cup (1918-1925), positing them as an inseparable and holistic Trinity. Avoiding the traditional art historical lens that looks at an artist’s biography, historical context,(...)
Brancusi's trinity
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In "Brancusi's Trinity," sculptor Richard Clements focuses on a proposed Hermetic cosmology between three of Constantin Brancusi’s sculptures: Endless Column (1918-1937), Table of Silence (1937), and Cup (1918-1925), positing them as an inseparable and holistic Trinity. Avoiding the traditional art historical lens that looks at an artist’s biography, historical context, or symbolic/psychoanalytical interpretations, Clements instead approaches these works by focusing on their interrelated formation, formal and phenomenological relationship to each other, and their intrinsic numerological or occult concerns. As such, the sculptures form a trinity where each is seen in and through the others, simultaneously tripartite (hypostases) and singular (homoousion). Clements proposes that in their reception they open a site for latent esoteric intelligences to appear, focused around the Hermetic Principle of Correspondence: “As Above, So Below.” Extensive diagrams show the increasingly enfolded and enmeshed relationships between these three sculptures and detail how they appear in, and inform, one another.
Art Theory
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"Can we design the conditions for culture?" The aim of this report is to challenge and enrich the conceptual basis on which the nature of cultural infrastructure is understood. Its three sections; "Inhabiting Cultural Infrastructure"; "Designing Cultural Infrastructure"; and "Conceptualising Cultural Infrastructure" represent distinct ways of achieving this aim. They can(...)
Art Theory
September 2019
Making cultural infrastructure
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"Can we design the conditions for culture?" The aim of this report is to challenge and enrich the conceptual basis on which the nature of cultural infrastructure is understood. Its three sections; "Inhabiting Cultural Infrastructure"; "Designing Cultural Infrastructure"; and "Conceptualising Cultural Infrastructure" represent distinct ways of achieving this aim. They can be read together, or as self-contained treatises.
Art Theory
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Between the disciplines of art history and the history of science lies a growing field of inquiry into what science and art share as both image-making and knowledge-producing activities. The contributors of Picturing Science, Producing Art occupy this intermediate zone to analyze both scientific and aesthetic representations, utilizing disciplinary perspectives that range(...)
Picturing science producing art
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Between the disciplines of art history and the history of science lies a growing field of inquiry into what science and art share as both image-making and knowledge-producing activities. The contributors of Picturing Science, Producing Art occupy this intermediate zone to analyze both scientific and aesthetic representations, utilizing disciplinary perspectives that range from art history to sociology, history and philosophy of science to gender studies, cultural history to the philosophy of mind. Organized in five sites--Styles, The Body, Seeing Wonders, Objectivity/Subjectivity, and Cultures of Vision--their topics extend from Cinquecento theories of female reproduction to the technologies of cloning, from medieval depictions of the stigmata to electrical metaphors for sex, from astronomical drawings to radioencephalography, from Phoenician griffons carved in ivory to factories cast in concrete. The internationally renowned contributors go beyond both science wars and culture wars by exploring substantive links between systems of visual representation and knowledge in science and art. Contributors include Svetlana Alpers, Jonathan Crary, Arnold Davidson, Carlo Ginzburg, Donna Haraway, Bruno Latour, and Simon Schaffer.
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June 1998
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Art and technics
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With a new introduction by Casey Nelson Blake
Art and technics
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With a new introduction by Casey Nelson Blake
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May 2000, New York
Art Theory