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Documentation of Buren's site specific artwork which was realised for park of the Gori Collection in Prato, Italy.
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Documentation of Buren's site specific artwork which was realised for park of the Gori Collection in Prato, Italy.
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Contemporary Art Monographs
Contemporary Art Monographs
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April 2006, Prato
April 2006, Prato
Title:
Daniel Buren : cabane éclatée aux 4 salles
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Documentation of Buren's site specific artwork which was realised for park of the Gori Collection in Prato, Italy.
Daniel Buren : cabane éclatée aux 4 salles
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Documentation of Buren's site specific artwork which was realised for park of the Gori Collection in Prato, Italy.
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books
books
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April 2006, Prato
April 2006, Prato
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Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$36.50
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Vera Röhm’s name comes up in discussions of contemporary constructive art as an unorthodox example of the sculptural approach. Since the beginning of her artistic career she has been concerned with a repertoire of elementary geometric shapes. Her approach plays upon different kinds of distortion: incisions, cross-sections, mutilation and restoration/reconstruction; which(...)
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Vera Röhm’s name comes up in discussions of contemporary constructive art as an unorthodox example of the sculptural approach. Since the beginning of her artistic career she has been concerned with a repertoire of elementary geometric shapes. Her approach plays upon different kinds of distortion: incisions, cross-sections, mutilation and restoration/reconstruction; which(...)
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Contemporary Art Monographs
Contemporary Art Monographs
Publication:
April 2006, London
April 2006, London
Title:
Vera Röhm
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Vera Röhm’s name comes up in discussions of contemporary constructive art as an unorthodox example of the sculptural approach. Since the beginning of her artistic career she has been concerned with a repertoire of elementary geometric shapes. Her approach plays upon different kinds of distortion: incisions, cross-sections, mutilation and restoration/reconstruction; which bring about an increased richness of form and complexity, and challenge the viewer’s imagination. Metamorphosis of materials in "Integrations", multiplication of shapes in "Shadow Objects", not to forget her photographs of the Jaipur Observatory – all of these offer unexpected angles on the real world. When her works include written words – as is the case with her cube-series bearing the inscription "Night Is The Shadow of The Earth" – this can be associated with Concrete Poetry. Her work in general also falls within the tradition of Constructivism, although there is an almost temperamental inclination to geometrical form, which is always manifest in the rich variations of shape that inform her sculptures. This first comprehensive presentation of the artist’s work in the English language is accompanied by essays by the poet and critic Eugen Gomringer and the art historian Stephen Bann.
Vera Röhm
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Vera Röhm’s name comes up in discussions of contemporary constructive art as an unorthodox example of the sculptural approach. Since the beginning of her artistic career she has been concerned with a repertoire of elementary geometric shapes. Her approach plays upon different kinds of distortion: incisions, cross-sections, mutilation and restoration/reconstruction; which bring about an increased richness of form and complexity, and challenge the viewer’s imagination. Metamorphosis of materials in "Integrations", multiplication of shapes in "Shadow Objects", not to forget her photographs of the Jaipur Observatory – all of these offer unexpected angles on the real world. When her works include written words – as is the case with her cube-series bearing the inscription "Night Is The Shadow of The Earth" – this can be associated with Concrete Poetry. Her work in general also falls within the tradition of Constructivism, although there is an almost temperamental inclination to geometrical form, which is always manifest in the rich variations of shape that inform her sculptures. This first comprehensive presentation of the artist’s work in the English language is accompanied by essays by the poet and critic Eugen Gomringer and the art historian Stephen Bann.
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books
books
Publication:
April 2006, London
April 2006, London
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$43.95
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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(...)
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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(...)
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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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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
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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).
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books
books
Publication:
March 2006, Cambridge, Mass.
March 2006, Cambridge, Mass.
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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Catalogue covering Mark Manders' double solo show "Isolated rooms" at The Art Institute of Chicago and The Renaissance Society at The University of Chicago (9.13.2003 -1.4.2004). The book (184 pp.) is accompanied by a exhibition checklist and a 56 pp. reference book. Compilation and design : Roger Willems and Mark Manders. Texts by : James Cuno and Susanne Ghez, James(...)
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Catalogue covering Mark Manders' double solo show "Isolated rooms" at The Art Institute of Chicago and The Renaissance Society at The University of Chicago (9.13.2003 -1.4.2004). The book (184 pp.) is accompanied by a exhibition checklist and a 56 pp. reference book. Compilation and design : Roger Willems and Mark Manders. Texts by : James Cuno and Susanne Ghez, James(...)
Title:
Mark Manders : isolated rooms
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Catalogue covering Mark Manders' double solo show "Isolated rooms" at The Art Institute of Chicago and The Renaissance Society at The University of Chicago (9.13.2003 -1.4.2004). The book (184 pp.) is accompanied by a exhibition checklist and a 56 pp. reference book. Compilation and design : Roger Willems and Mark Manders. Texts by : James Cuno and Susanne Ghez, James Rondeau, Dieter Roelstraete, Mark Manders and Marije Langelaar.
Mark Manders : isolated rooms
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Catalogue covering Mark Manders' double solo show "Isolated rooms" at The Art Institute of Chicago and The Renaissance Society at The University of Chicago (9.13.2003 -1.4.2004). The book (184 pp.) is accompanied by a exhibition checklist and a 56 pp. reference book. Compilation and design : Roger Willems and Mark Manders. Texts by : James Cuno and Susanne Ghez, James Rondeau, Dieter Roelstraete, Mark Manders and Marije Langelaar.
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books
books
Publication:
February 2006, Chicago
February 2006, Chicago
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$93.95
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With contributions by Faye Hirsch, Vincent Katz, Jeremy Lewison, Raphael Rubinstein, and Phyllis Tuchman. Peter Blum was the first print publisher in the United States to introduce and promote a new generation of European, Asian, and American artists to a larger public. "Singular multiples" presents all of the works from the Blum Edition Archive, which contains completed(...)
$93.95
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With contributions by Faye Hirsch, Vincent Katz, Jeremy Lewison, Raphael Rubinstein, and Phyllis Tuchman. Peter Blum was the first print publisher in the United States to introduce and promote a new generation of European, Asian, and American artists to a larger public. "Singular multiples" presents all of the works from the Blum Edition Archive, which contains completed(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
May 2006, Houston / New Haven / London
May 2006, Houston / New Haven / London
Title:
Singular multiples : the Peter Blum edition archive 1980-1994
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With contributions by Faye Hirsch, Vincent Katz, Jeremy Lewison, Raphael Rubinstein, and Phyllis Tuchman. Peter Blum was the first print publisher in the United States to introduce and promote a new generation of European, Asian, and American artists to a larger public. "Singular multiples" presents all of the works from the Blum Edition Archive, which contains completed portfolios, single editions, books, preparatory drawings, maquettes, working and trial proofs, and printing blocks and plates, totaling more than 1,200 works. This major archive was acquired in 1996 by the Museum of Fine Arts, Houston, and is published here for the first time. This book includes thematic essays that address the various collaborations between prominent artists and Peter Blum. These essays are followed by detailed entries on the portfolios in the collection, including works by John Baldessari, Jonathan Borofsky, Louise Bourgeois, Sandro Chia, Francesco Clemente, Eric Fischl, Alex Katz, Barbara Kruger, Brice Marden, James Turrell, Terry Winters, Yukiori Yanagi, and others. "Singular multiples" also includes a listing of related proofs and drawings and discusses the collection within the art historical context of the 1980s, all of which reveals Blum’s “ability to persuade the best painters and sculptors of his day to produce prints” and his tremendous impact on the contemporary art world.
Singular multiples : the Peter Blum edition archive 1980-1994
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With contributions by Faye Hirsch, Vincent Katz, Jeremy Lewison, Raphael Rubinstein, and Phyllis Tuchman. Peter Blum was the first print publisher in the United States to introduce and promote a new generation of European, Asian, and American artists to a larger public. "Singular multiples" presents all of the works from the Blum Edition Archive, which contains completed portfolios, single editions, books, preparatory drawings, maquettes, working and trial proofs, and printing blocks and plates, totaling more than 1,200 works. This major archive was acquired in 1996 by the Museum of Fine Arts, Houston, and is published here for the first time. This book includes thematic essays that address the various collaborations between prominent artists and Peter Blum. These essays are followed by detailed entries on the portfolios in the collection, including works by John Baldessari, Jonathan Borofsky, Louise Bourgeois, Sandro Chia, Francesco Clemente, Eric Fischl, Alex Katz, Barbara Kruger, Brice Marden, James Turrell, Terry Winters, Yukiori Yanagi, and others. "Singular multiples" also includes a listing of related proofs and drawings and discusses the collection within the art historical context of the 1980s, all of which reveals Blum’s “ability to persuade the best painters and sculptors of his day to produce prints” and his tremendous impact on the contemporary art world.
Form:
books
books
Publication:
May 2006, Houston / New Haven / London
May 2006, Houston / New Haven / London
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
Title:
Art conceptuel
Art conceptuel
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Dans les années soixante, l'artiste américain Sol LeWitt propose la dénomination " Art conceptuel " pour désigner une pratique artistique qui relègue la réalisation de l'œuvre d'art à l'arrière-plan des considérations esthétiques. En revanche, l'accent y est mis sur le concept ou l'idée qui la sous-tend. Les travaux de facture artisanale sont ainsi relayés par des(...)
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Dans les années soixante, l'artiste américain Sol LeWitt propose la dénomination " Art conceptuel " pour désigner une pratique artistique qui relègue la réalisation de l'œuvre d'art à l'arrière-plan des considérations esthétiques. En revanche, l'accent y est mis sur le concept ou l'idée qui la sous-tend. Les travaux de facture artisanale sont ainsi relayés par des(...)
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Art conceptuel
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Dans les années soixante, l'artiste américain Sol LeWitt propose la dénomination " Art conceptuel " pour désigner une pratique artistique qui relègue la réalisation de l'œuvre d'art à l'arrière-plan des considérations esthétiques. En revanche, l'accent y est mis sur le concept ou l'idée qui la sous-tend. Les travaux de facture artisanale sont ainsi relayés par des esquisses, des écrits, voire des instructions qui valent œuvre à part entière. Un aspect important de l'art conceptuel est en fait la dématérialisation de l'œuvre d'art, et, partant, l'accomplissement de l'œuvre dans l'imagination du spectateur, qui en réactualise constamment le concept. Au vu de l'inhérente critique institutionnelle qui le caractérise et par sa remise en question de la conception traditionnelle de l'art, l'art conceptuel revêt une importance d'actualité en tant que modèle alternatif, notamment à une époque marquée par le déferlement incessant d'images et la réanimation de formes d'art réputées conservatrices comme la peinture.
Art conceptuel
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Dans les années soixante, l'artiste américain Sol LeWitt propose la dénomination " Art conceptuel " pour désigner une pratique artistique qui relègue la réalisation de l'œuvre d'art à l'arrière-plan des considérations esthétiques. En revanche, l'accent y est mis sur le concept ou l'idée qui la sous-tend. Les travaux de facture artisanale sont ainsi relayés par des esquisses, des écrits, voire des instructions qui valent œuvre à part entière. Un aspect important de l'art conceptuel est en fait la dématérialisation de l'œuvre d'art, et, partant, l'accomplissement de l'œuvre dans l'imagination du spectateur, qui en réactualise constamment le concept. Au vu de l'inhérente critique institutionnelle qui le caractérise et par sa remise en question de la conception traditionnelle de l'art, l'art conceptuel revêt une importance d'actualité en tant que modèle alternatif, notamment à une époque marquée par le déferlement incessant d'images et la réanimation de formes d'art réputées conservatrices comme la peinture.
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books
books
Publication:
January 2006, Cologne
January 2006, Cologne
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$62.50
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Feldman is now widely recognized, alongside John Cage and Edgard Varèse, as one of the foremost American composers of the twentieth century. Despite his reputation, he remains poorly represented in published literature. Feldman loved to talk. This lifelong passion is demonstrated in the many interviews and lectures Morton Feldman gave about his life and work. Over the(...)
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Feldman is now widely recognized, alongside John Cage and Edgard Varèse, as one of the foremost American composers of the twentieth century. Despite his reputation, he remains poorly represented in published literature. Feldman loved to talk. This lifelong passion is demonstrated in the many interviews and lectures Morton Feldman gave about his life and work. Over the(...)
Title:
Morton Feldman says : selected interviews and lectures 1964-1987
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Feldman is now widely recognized, alongside John Cage and Edgard Varèse, as one of the foremost American composers of the twentieth century. Despite his reputation, he remains poorly represented in published literature. Feldman loved to talk. This lifelong passion is demonstrated in the many interviews and lectures Morton Feldman gave about his life and work. Over the past seven years, editor Chris Villars has collected and published many of Feldman’s interviews online, a selection of which is now available for the first time in this book. The book is certainly an important addition to the literature of Feldman. Morton Feldman says can also be enjoyed for the pleasure that Feldman’s words offer, and for the illumination that they give to anyone who is making work in art or design. Morton Feldman says features 21 interviews and notes on conversations spanning 23 years of Feldman’s life, including conversations with Gavin Bryars, Kevin Volans, and Walter Zimmermann, as well as transcriptions of four Feldman’s lectures, held in Toronto (1982), Johannesburg (1983), and Darmstadt (1984). The publication also contains an introduction by the editor and the first English translation of Sebastian Claren’s biographical notes (originally published in Neither: Die Musik Morton Feldmans). A key element in the book is the photographs from Feldman’s life, which provide a rich accompaniment to the text.
Morton Feldman says : selected interviews and lectures 1964-1987
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Feldman is now widely recognized, alongside John Cage and Edgard Varèse, as one of the foremost American composers of the twentieth century. Despite his reputation, he remains poorly represented in published literature. Feldman loved to talk. This lifelong passion is demonstrated in the many interviews and lectures Morton Feldman gave about his life and work. Over the past seven years, editor Chris Villars has collected and published many of Feldman’s interviews online, a selection of which is now available for the first time in this book. The book is certainly an important addition to the literature of Feldman. Morton Feldman says can also be enjoyed for the pleasure that Feldman’s words offer, and for the illumination that they give to anyone who is making work in art or design. Morton Feldman says features 21 interviews and notes on conversations spanning 23 years of Feldman’s life, including conversations with Gavin Bryars, Kevin Volans, and Walter Zimmermann, as well as transcriptions of four Feldman’s lectures, held in Toronto (1982), Johannesburg (1983), and Darmstadt (1984). The publication also contains an introduction by the editor and the first English translation of Sebastian Claren’s biographical notes (originally published in Neither: Die Musik Morton Feldmans). A key element in the book is the photographs from Feldman’s life, which provide a rich accompaniment to the text.
Form:
books
books
Publication:
March 2006, London
March 2006, London
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$87.00
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"Whoop to the duck!" is both a comprehensive retrospective and a preview of the work of the SPLITTERWERK label, active in the conflictive context between engineering and art since 1988. The publication covers the spectrum from urbanistic designs for our “post-urban society” to the return of the ornament and the exemplary implementation of new housing designs. Frank Lloyd(...)
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"Whoop to the duck!" is both a comprehensive retrospective and a preview of the work of the SPLITTERWERK label, active in the conflictive context between engineering and art since 1988. The publication covers the spectrum from urbanistic designs for our “post-urban society” to the return of the ornament and the exemplary implementation of new housing designs. Frank Lloyd(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
December 2005, Vienna
December 2005, Vienna
Title:
Splitterwerk : whoop to the duck ! / es lebe die Ente!, buildings and projects
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"Whoop to the duck!" is both a comprehensive retrospective and a preview of the work of the SPLITTERWERK label, active in the conflictive context between engineering and art since 1988. The publication covers the spectrum from urbanistic designs for our “post-urban society” to the return of the ornament and the exemplary implementation of new housing designs. Frank Lloyd Wright’s open plan, Adolf Loos’ Raumplan or Margarete Schütte Lihotzky’s Frankfurt Kitchen find their contemporary continuation in the Graz Apartment. In the 21st century, the walls have a custom-made world of images which allows functions to be added “on demand”. The investigation of experimental surfaces has led Splitterwerk to fundamentally reassess imagery in architecture. It is a revival of a different nature for the "duck" (R. Venturi / D. Scott Brown) which calls for a further paradigm shift in architecture.
Splitterwerk : whoop to the duck ! / es lebe die Ente!, buildings and projects
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$87.00
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Summary:
"Whoop to the duck!" is both a comprehensive retrospective and a preview of the work of the SPLITTERWERK label, active in the conflictive context between engineering and art since 1988. The publication covers the spectrum from urbanistic designs for our “post-urban society” to the return of the ornament and the exemplary implementation of new housing designs. Frank Lloyd Wright’s open plan, Adolf Loos’ Raumplan or Margarete Schütte Lihotzky’s Frankfurt Kitchen find their contemporary continuation in the Graz Apartment. In the 21st century, the walls have a custom-made world of images which allows functions to be added “on demand”. The investigation of experimental surfaces has led Splitterwerk to fundamentally reassess imagery in architecture. It is a revival of a different nature for the "duck" (R. Venturi / D. Scott Brown) which calls for a further paradigm shift in architecture.
Form:
books
books
Publication:
December 2005, Vienna
December 2005, Vienna
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
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$27.95
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Summary:
This book verifies the need for the arts and the sciences to work together in order to develop more creative and conceptual approaches to innovation and presentation. By blending ethnographical case studies, scientific viewpoints and critical essays, the focus of this research inquiry is the lab context. For scientists, the lab context is one of the most important(...)
$27.95
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This book verifies the need for the arts and the sciences to work together in order to develop more creative and conceptual approaches to innovation and presentation. By blending ethnographical case studies, scientific viewpoints and critical essays, the focus of this research inquiry is the lab context. For scientists, the lab context is one of the most important(...)
Title:
artists in labs : processes of inquiry
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This book verifies the need for the arts and the sciences to work together in order to develop more creative and conceptual approaches to innovation and presentation. By blending ethnographical case studies, scientific viewpoints and critical essays, the focus of this research inquiry is the lab context. For scientists, the lab context is one of the most important educational experiences. For contemporary artists, laboratories are inspiring spaces to investigate, share know-how transfer and search for new collaboration potentials. The nine labs represented in this book are from the natural, computing and engineering sciences. An enclosed comprehensive DVD documents the results, the problems and serves as a guideline for the future of true Art/Sci experiments.
artists in labs : processes of inquiry
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This book verifies the need for the arts and the sciences to work together in order to develop more creative and conceptual approaches to innovation and presentation. By blending ethnographical case studies, scientific viewpoints and critical essays, the focus of this research inquiry is the lab context. For scientists, the lab context is one of the most important educational experiences. For contemporary artists, laboratories are inspiring spaces to investigate, share know-how transfer and search for new collaboration potentials. The nine labs represented in this book are from the natural, computing and engineering sciences. An enclosed comprehensive DVD documents the results, the problems and serves as a guideline for the future of true Art/Sci experiments.
Form:
books
books
Publication:
April 2006, Wien, New York
April 2006, Wien, New York
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$56.50
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During their decade-long collaboration (1985-1995), Kate Ericson and Mel Ziegler produced some of the most influential conceptual art projects of the time. Among their witty and stimulating installations and outdoor projects was Camouflaged History, a house painted in a U.S. Army-designed camouflage pattern using 72 commercial paint colors included in the(...)
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During their decade-long collaboration (1985-1995), Kate Ericson and Mel Ziegler produced some of the most influential conceptual art projects of the time. Among their witty and stimulating installations and outdoor projects was Camouflaged History, a house painted in a U.S. Army-designed camouflage pattern using 72 commercial paint colors included in the(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
March 2006, Cambridge, Mass.
March 2006, Cambridge, Mass.
Title:
America starts here : Kate Ericson and Mel Ziegler
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During their decade-long collaboration (1985-1995), Kate Ericson and Mel Ziegler produced some of the most influential conceptual art projects of the time. Among their witty and stimulating installations and outdoor projects was Camouflaged History, a house painted in a U.S. Army-designed camouflage pattern using 72 commercial paint colors included in the municipally-approved "authentic colors" of historic Charleston, South Carolina. The commercial name of each paint, commemorating an aspect of the city's history, is also painted on the house, revealing and illuminating the lingering Civil War-era past of the region. Like the Earthwork pioneers, Ericson and Ziegler took the whole country as their working space; but rather than impose a conspicuous work of art upon a site or situation, they devised projects that altered sites subtly, creating a patchwork of poetic narratives and histories to be excavated. The windows rescued from the old National Licorice factory in Philadelphia in the title piece America Starts Here--which takes its name from the slogan used to promote Pennsylvania tourism during the 1980s--are hung according to the location of the original windows in the factory; the cracks in the glass echo the famous cracks in two of Philadelphia's tourist attractions, the Liberty Bell and Marcel Duchamp's The Large Glass.
America starts here : Kate Ericson and Mel Ziegler
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During their decade-long collaboration (1985-1995), Kate Ericson and Mel Ziegler produced some of the most influential conceptual art projects of the time. Among their witty and stimulating installations and outdoor projects was Camouflaged History, a house painted in a U.S. Army-designed camouflage pattern using 72 commercial paint colors included in the municipally-approved "authentic colors" of historic Charleston, South Carolina. The commercial name of each paint, commemorating an aspect of the city's history, is also painted on the house, revealing and illuminating the lingering Civil War-era past of the region. Like the Earthwork pioneers, Ericson and Ziegler took the whole country as their working space; but rather than impose a conspicuous work of art upon a site or situation, they devised projects that altered sites subtly, creating a patchwork of poetic narratives and histories to be excavated. The windows rescued from the old National Licorice factory in Philadelphia in the title piece America Starts Here--which takes its name from the slogan used to promote Pennsylvania tourism during the 1980s--are hung according to the location of the original windows in the factory; the cracks in the glass echo the famous cracks in two of Philadelphia's tourist attractions, the Liberty Bell and Marcel Duchamp's The Large Glass.
Form:
books
books
Publication:
March 2006, Cambridge, Mass.
March 2006, Cambridge, Mass.
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
