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How can a political or social movement create so many positive changes, while simultaneously developing negative connotations? Such is the central paradox of feminism for the editors of this book. The dwindling interest of students to continue an academic career after their studies has been called "cooling out" by Burton Clark. The collaborative exhibition project took(...)
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How can a political or social movement create so many positive changes, while simultaneously developing negative connotations? Such is the central paradox of feminism for the editors of this book. The dwindling interest of students to continue an academic career after their studies has been called "cooling out" by Burton Clark. The collaborative exhibition project took(...)
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Art Theory
Art Theory
Publication:
October 2007, Zürich
October 2007, Zürich
Title:
Cooling out-on the paradox of feminism
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How can a political or social movement create so many positive changes, while simultaneously developing negative connotations? Such is the central paradox of feminism for the editors of this book. The dwindling interest of students to continue an academic career after their studies has been called "cooling out" by Burton Clark. The collaborative exhibition project took this term to describe the disinterest of young women toward ideas and forms of feminism, resulting from a lack of palpable aims on the one hand, and the acceptance of existing structures on the other. The exhibition "Cooling Out" examined through the works of contemporary female and male artists the influences of the media, education, and existing social structures on the constitution of a gender identity.
Cooling out-on the paradox of feminism
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How can a political or social movement create so many positive changes, while simultaneously developing negative connotations? Such is the central paradox of feminism for the editors of this book. The dwindling interest of students to continue an academic career after their studies has been called "cooling out" by Burton Clark. The collaborative exhibition project took this term to describe the disinterest of young women toward ideas and forms of feminism, resulting from a lack of palpable aims on the one hand, and the acceptance of existing structures on the other. The exhibition "Cooling Out" examined through the works of contemporary female and male artists the influences of the media, education, and existing social structures on the constitution of a gender identity.
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books
books
Publication:
October 2007, Zürich
October 2007, Zürich
Subject:
Art Theory
Art Theory
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books
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The collection 'Positions' is dedicated to the publishing of artists' writings. John Miller's essays clearly embody the aims of this series: to question artistic and curatorial practice and theory from the singular position of an artist involved in both his own and other artist´s work.
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The collection 'Positions' is dedicated to the publishing of artists' writings. John Miller's essays clearly embody the aims of this series: to question artistic and curatorial practice and theory from the singular position of an artist involved in both his own and other artist´s work.
Title:
The Price Club: selected Writings (1977-1998)
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The collection 'Positions' is dedicated to the publishing of artists' writings. John Miller's essays clearly embody the aims of this series: to question artistic and curatorial practice and theory from the singular position of an artist involved in both his own and other artist´s work.
The Price Club: selected Writings (1977-1998)
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The collection 'Positions' is dedicated to the publishing of artists' writings. John Miller's essays clearly embody the aims of this series: to question artistic and curatorial practice and theory from the singular position of an artist involved in both his own and other artist´s work.
Form:
books
books
Publication:
October 2006, Genève
October 2006, Genève
Subject:
Art Theory
Art Theory
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books
books
Title:
Warhol's dream
Warhol's dream
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"12 February 1972--I had slept badly. I decided to go out for breakfast, but when I got down to the street, there was no one there, and I thought, Andy, you must be still dreaming. It was like New York at eight in the morning on New Year's Day. Completely deserted. Everything shut. It's my favorite time to be out, actually. I decided to go to my favorite diner, the Star(...)
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"12 February 1972--I had slept badly. I decided to go out for breakfast, but when I got down to the street, there was no one there, and I thought, Andy, you must be still dreaming. It was like New York at eight in the morning on New Year's Day. Completely deserted. Everything shut. It's my favorite time to be out, actually. I decided to go to my favorite diner, the Star(...)
Subject:
Art Theory
Art Theory
Publication:
January 1900, Paris Zurich
January 1900, Paris Zurich
Title:
Warhol's dream
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"12 February 1972--I had slept badly. I decided to go out for breakfast, but when I got down to the street, there was no one there, and I thought, Andy, you must be still dreaming. It was like New York at eight in the morning on New Year's Day. Completely deserted. Everything shut. It's my favorite time to be out, actually. I decided to go to my favorite diner, the Star Palace, on 37th and Madison. And there, sitting alone at the window was, believe it or not, Robert Smithson, who I've met a few times. They all think he's a genius. But I still can't get through the stuff he writes in Artforum. I get a headache almost right away." Saul Anton, an Editor-at-Large at Cabinet magazine who has written for Salon and Artforum, among other publications, describes an imaginary encounter between Robert Smithson and Andy Warhol, drifting together for a day through an empty New York City, talking about entropy, glamour, science fiction, cinema and the art of their times. Published in conjunction with les Presses du reel, this highly informative and witty essay on both artists' works in the form of a fiction could be considered a contemporary Platonic Symposium.
Warhol's dream
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"12 February 1972--I had slept badly. I decided to go out for breakfast, but when I got down to the street, there was no one there, and I thought, Andy, you must be still dreaming. It was like New York at eight in the morning on New Year's Day. Completely deserted. Everything shut. It's my favorite time to be out, actually. I decided to go to my favorite diner, the Star Palace, on 37th and Madison. And there, sitting alone at the window was, believe it or not, Robert Smithson, who I've met a few times. They all think he's a genius. But I still can't get through the stuff he writes in Artforum. I get a headache almost right away." Saul Anton, an Editor-at-Large at Cabinet magazine who has written for Salon and Artforum, among other publications, describes an imaginary encounter between Robert Smithson and Andy Warhol, drifting together for a day through an empty New York City, talking about entropy, glamour, science fiction, cinema and the art of their times. Published in conjunction with les Presses du reel, this highly informative and witty essay on both artists' works in the form of a fiction could be considered a contemporary Platonic Symposium.
Form:
books
books
Publication:
January 1900, Paris Zurich
January 1900, Paris Zurich
Subject:
Art Theory
Art Theory
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books
books
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$22.00
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Liam Gillick has consistently used text as a site of artistic, theoretical and political intervention in his work. This book brings together a selection of his published critical writings, focusing on his role among a group of artists who emerged in the 1990s.
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Liam Gillick has consistently used text as a site of artistic, theoretical and political intervention in his work. This book brings together a selection of his published critical writings, focusing on his role among a group of artists who emerged in the 1990s.
Title:
Proxemics: Selected Writings (1988-2006)
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Liam Gillick has consistently used text as a site of artistic, theoretical and political intervention in his work. This book brings together a selection of his published critical writings, focusing on his role among a group of artists who emerged in the 1990s.
Proxemics: Selected Writings (1988-2006)
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Liam Gillick has consistently used text as a site of artistic, theoretical and political intervention in his work. This book brings together a selection of his published critical writings, focusing on his role among a group of artists who emerged in the 1990s.
Form:
books
books
Publication:
October 2007, Zurich
October 2007, Zurich
Subject:
Art Theory
Art Theory
Form:
books
books
Title:
Espaces de savoir
Espaces de savoir
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Dans le paradigme de complexité qui est le nôtre, les contextes institutionnels dans lesquels s'exerce le savoir doivent dorénavant ouvrir sur un environnement général qui le réclame, dans l'idée d'un continuum devenu nécessaire entre les situations humaines et le savoir. C'est à cette problématique contemporaine que le présent ouvrage réfléchit. Il résulte de trois(...)
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Dans le paradigme de complexité qui est le nôtre, les contextes institutionnels dans lesquels s'exerce le savoir doivent dorénavant ouvrir sur un environnement général qui le réclame, dans l'idée d'un continuum devenu nécessaire entre les situations humaines et le savoir. C'est à cette problématique contemporaine que le présent ouvrage réfléchit. Il résulte de trois(...)
Title:
Espaces de savoir
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Dans le paradigme de complexité qui est le nôtre, les contextes institutionnels dans lesquels s'exerce le savoir doivent dorénavant ouvrir sur un environnement général qui le réclame, dans l'idée d'un continuum devenu nécessaire entre les situations humaines et le savoir. C'est à cette problématique contemporaine que le présent ouvrage réfléchit. Il résulte de trois années de travail dans le cadre d'un projet réunissant cinq contributeurs de quatre universités québécoises ainsi qu'une artiste du milieu littéraire. L'équipe s'est intéressée à faire émerger et à développer des stratégies de spatialisation permettant d'accéder de manière inédite à des environnements de savoir ainsi qu'à générer et à organiser de manière singulière de tels environnements. Il s'agit ici d'ouvrir un champ de recherche artistique sur la question de la spatialisation du savoir, dans le cadre des mises en situation individuelles et créatives dont l'efficacité et la validité répondent ainsi à des impératifs très différents de ceux commandés par des critères de multitude et d'universalité.
Espaces de savoir
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Dans le paradigme de complexité qui est le nôtre, les contextes institutionnels dans lesquels s'exerce le savoir doivent dorénavant ouvrir sur un environnement général qui le réclame, dans l'idée d'un continuum devenu nécessaire entre les situations humaines et le savoir. C'est à cette problématique contemporaine que le présent ouvrage réfléchit. Il résulte de trois années de travail dans le cadre d'un projet réunissant cinq contributeurs de quatre universités québécoises ainsi qu'une artiste du milieu littéraire. L'équipe s'est intéressée à faire émerger et à développer des stratégies de spatialisation permettant d'accéder de manière inédite à des environnements de savoir ainsi qu'à générer et à organiser de manière singulière de tels environnements. Il s'agit ici d'ouvrir un champ de recherche artistique sur la question de la spatialisation du savoir, dans le cadre des mises en situation individuelles et créatives dont l'efficacité et la validité répondent ainsi à des impératifs très différents de ceux commandés par des critères de multitude et d'universalité.
Form:
books
books
Publication:
November 2016
November 2016
Form:
books
books
Title:
Degas and his model
Degas and his model
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"Monsieur Degas, you just said some things that would make an old soldier blush!" There are many myths about Edgar Degas—from Degas the misanthrope to Degas the deviant to Degas the obsessive. But there is no single text that better stokes the fire than Degas and His Model, a short memoir by Alice Michel, who purportedly modeled for Degas. Never before translated into(...)
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"Monsieur Degas, you just said some things that would make an old soldier blush!" There are many myths about Edgar Degas—from Degas the misanthrope to Degas the deviant to Degas the obsessive. But there is no single text that better stokes the fire than Degas and His Model, a short memoir by Alice Michel, who purportedly modeled for Degas. Never before translated into(...)
Title:
Degas and his model
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"Monsieur Degas, you just said some things that would make an old soldier blush!" There are many myths about Edgar Degas—from Degas the misanthrope to Degas the deviant to Degas the obsessive. But there is no single text that better stokes the fire than Degas and His Model, a short memoir by Alice Michel, who purportedly modeled for Degas. Never before translated into English, the text’s original publication in Mercure de France in 1919, shortly after the artist’s death, has been treated as an important account of the master sculptor at work. We know that Alice was writing under a pseudonym, but who the real person behind this account was remains a mystery. Yet the descriptions seem too accurate, the anecdotes too spot-on to discount; even the dialogue captures the artist’s tone and mannerisms. What is found in these pages is at times a woman’s flirtatious recollection of a bizarre “artistic type” and at others a moving attempt to connect with a great, often tragic man. The descriptions are limpid; the dialogue is lively and intimate, not unlike reading the very best kind of gossip, with world-historical significance.
Degas and his model
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"Monsieur Degas, you just said some things that would make an old soldier blush!" There are many myths about Edgar Degas—from Degas the misanthrope to Degas the deviant to Degas the obsessive. But there is no single text that better stokes the fire than Degas and His Model, a short memoir by Alice Michel, who purportedly modeled for Degas. Never before translated into English, the text’s original publication in Mercure de France in 1919, shortly after the artist’s death, has been treated as an important account of the master sculptor at work. We know that Alice was writing under a pseudonym, but who the real person behind this account was remains a mystery. Yet the descriptions seem too accurate, the anecdotes too spot-on to discount; even the dialogue captures the artist’s tone and mannerisms. What is found in these pages is at times a woman’s flirtatious recollection of a bizarre “artistic type” and at others a moving attempt to connect with a great, often tragic man. The descriptions are limpid; the dialogue is lively and intimate, not unlike reading the very best kind of gossip, with world-historical significance.
Form:
books
books
Publication:
August 2017
August 2017
Subject:
Art Theory
Art Theory
Form:
books
books
Title:
Chardin and Rembrandt
Chardin and Rembrandt
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Long overlooked in Proust’s posthumously published writings, Chardin and Rembrandt, written when he was only twenty-four years old, not only reemphasizes the importance of visual art to his development, but contains the seeds of his later work. Proposed in 1895 by Proust to the newspaper Revue hebdomadaire (it was rejected), this essay is much more than a straightforward(...)
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Long overlooked in Proust’s posthumously published writings, Chardin and Rembrandt, written when he was only twenty-four years old, not only reemphasizes the importance of visual art to his development, but contains the seeds of his later work. Proposed in 1895 by Proust to the newspaper Revue hebdomadaire (it was rejected), this essay is much more than a straightforward(...)
Title:
Chardin and Rembrandt
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Long overlooked in Proust’s posthumously published writings, Chardin and Rembrandt, written when he was only twenty-four years old, not only reemphasizes the importance of visual art to his development, but contains the seeds of his later work. Proposed in 1895 by Proust to the newspaper Revue hebdomadaire (it was rejected), this essay is much more than a straightforward piece of art criticism. It is a literary experiment in which an unnamed narrator gives advice to a young man suffering from melancholy, taking him on an imaginary tour through the Louvre where his readings of Chardin imbue the everyday world with new meaning, and his ruminations on Rembrandt take his melancholic pupil beyond the realm of mere objects.
Chardin and Rembrandt
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Long overlooked in Proust’s posthumously published writings, Chardin and Rembrandt, written when he was only twenty-four years old, not only reemphasizes the importance of visual art to his development, but contains the seeds of his later work. Proposed in 1895 by Proust to the newspaper Revue hebdomadaire (it was rejected), this essay is much more than a straightforward piece of art criticism. It is a literary experiment in which an unnamed narrator gives advice to a young man suffering from melancholy, taking him on an imaginary tour through the Louvre where his readings of Chardin imbue the everyday world with new meaning, and his ruminations on Rembrandt take his melancholic pupil beyond the realm of mere objects.
Form:
books
books
Publication:
November 2016
November 2016
Subject:
Art Theory
Art Theory
Form:
books
books
Price:
$50.00
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Summary:
This collection of never-before-published talks at one of the leading art schools in the United States, documents an exciting decade in the development of contemporary art and arts education, featuring interviews with renowned artists, curators, and writers. Introduced in 1986 as an initiative by Richard Hertz (Chair, Academic Studies, 1979–2003), the Graduate Art(...)
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This collection of never-before-published talks at one of the leading art schools in the United States, documents an exciting decade in the development of contemporary art and arts education, featuring interviews with renowned artists, curators, and writers. Introduced in 1986 as an initiative by Richard Hertz (Chair, Academic Studies, 1979–2003), the Graduate Art(...)
Title:
Artcenter Talks: graduate seminar, the first decade, 1986-1995
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This collection of never-before-published talks at one of the leading art schools in the United States, documents an exciting decade in the development of contemporary art and arts education, featuring interviews with renowned artists, curators, and writers. Introduced in 1986 as an initiative by Richard Hertz (Chair, Academic Studies, 1979–2003), the Graduate Art Department of the ArtCenter College of Design, located in Pasadena, California, celebrates its thirtieth anniversary in 2016. This book documents the first decade of the department’s existence by presenting a selection from over three hundred talks, including a 1990 symposium conducted by renowned curator and art historian Robert Storr, as well as twelve talks from its artists and critics lecture series known as the Graduate Seminar. Discussions between students and faculty members range from what it means to be an artist and the changing role of art in society, to how artists function within an academic setting.
Artcenter Talks: graduate seminar, the first decade, 1986-1995
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Summary:
This collection of never-before-published talks at one of the leading art schools in the United States, documents an exciting decade in the development of contemporary art and arts education, featuring interviews with renowned artists, curators, and writers. Introduced in 1986 as an initiative by Richard Hertz (Chair, Academic Studies, 1979–2003), the Graduate Art Department of the ArtCenter College of Design, located in Pasadena, California, celebrates its thirtieth anniversary in 2016. This book documents the first decade of the department’s existence by presenting a selection from over three hundred talks, including a 1990 symposium conducted by renowned curator and art historian Robert Storr, as well as twelve talks from its artists and critics lecture series known as the Graduate Seminar. Discussions between students and faculty members range from what it means to be an artist and the changing role of art in society, to how artists function within an academic setting.
Form:
books
books
Publication:
February 2017
February 2017
Subject:
Art Theory
Art Theory
Form:
books
books
Title:
F.R David : spring 2017
F.R David : spring 2017
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F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names,(...)
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F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names,(...)
Title:
F.R David : spring 2017
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F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names, naming, bodies, brains, self, author, other, reader, labour.
F.R David : spring 2017
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F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names, naming, bodies, brains, self, author, other, reader, labour.
Form:
books
books
Publication:
February 2017
February 2017
Subject:
Art Theory
Art Theory
Form:
books
books
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$32.50
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Summary:
"Imaginative bodies" contains a series of in-depth conversations with dancers and choreographers, composers, visual artists, Hip Hop artists, dramaturgs, a lighting designer and a puppeteer. The overall theme is defined by the body, both in relation to the place it takes in the artist’s work, and in relation to wider debates on the body in philosophy, science, medicine,(...)
$32.50
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"Imaginative bodies" contains a series of in-depth conversations with dancers and choreographers, composers, visual artists, Hip Hop artists, dramaturgs, a lighting designer and a puppeteer. The overall theme is defined by the body, both in relation to the place it takes in the artist’s work, and in relation to wider debates on the body in philosophy, science, medicine,(...)
Title:
Imaginative bodies: dialogues in performance practices
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"Imaginative bodies" contains a series of in-depth conversations with dancers and choreographers, composers, visual artists, Hip Hop artists, dramaturgs, a lighting designer and a puppeteer. The overall theme is defined by the body, both in relation to the place it takes in the artist’s work, and in relation to wider debates on the body in philosophy, science, medicine, anthropology, and the arts. Depending on the affinities of the artist, a more specific theme has been defined for each dialogue, ranging from poetics to politics, from mythology to ecology, from intercultural studies to conflict management. The associative chains of thoughts of these talks give an intimate insight into the creative process, inspirations, sources, identity, and ways of collaborating. It is through the sentient body that we experience, know and imagine. "Imaginative bodies" reaffirms the central position of the body in many artistic practices.
Imaginative bodies: dialogues in performance practices
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$32.50
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"Imaginative bodies" contains a series of in-depth conversations with dancers and choreographers, composers, visual artists, Hip Hop artists, dramaturgs, a lighting designer and a puppeteer. The overall theme is defined by the body, both in relation to the place it takes in the artist’s work, and in relation to wider debates on the body in philosophy, science, medicine, anthropology, and the arts. Depending on the affinities of the artist, a more specific theme has been defined for each dialogue, ranging from poetics to politics, from mythology to ecology, from intercultural studies to conflict management. The associative chains of thoughts of these talks give an intimate insight into the creative process, inspirations, sources, identity, and ways of collaborating. It is through the sentient body that we experience, know and imagine. "Imaginative bodies" reaffirms the central position of the body in many artistic practices.
Form:
books
books
Publication:
February 2017
February 2017
Subject:
Art Theory
Art Theory
