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In "The World as I Found It" Alain Paiement revisits his photographic mapping of the building at 5012 Boulevard Saint-Laurent in Montréal, the building where he has lived and worked for over ten years. Entitled "Parages(Vicinity) 2002", this work was originally presented as an installation of multiple suspended banners, first at Galerie de l'UQAM in Montréal, and later at(...)
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In "The World as I Found It" Alain Paiement revisits his photographic mapping of the building at 5012 Boulevard Saint-Laurent in Montréal, the building where he has lived and worked for over ten years. Entitled "Parages(Vicinity) 2002", this work was originally presented as an installation of multiple suspended banners, first at Galerie de l'UQAM in Montréal, and later at(...)
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January 2003, New York
January 2003, New York
Title:
Alain Paiement : the world as I found it
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In "The World as I Found It" Alain Paiement revisits his photographic mapping of the building at 5012 Boulevard Saint-Laurent in Montréal, the building where he has lived and worked for over ten years. Entitled "Parages(Vicinity) 2002", this work was originally presented as an installation of multiple suspended banners, first at Galerie de l'UQAM in Montréal, and later at the Pratt Manhattan Gallery in New York. The book is formatted like a travel guide. The images presented are signposts to "Parages", marking a number of points of interest. Included with the book is a map that presents "Parages" in its entirety.
Alain Paiement : the world as I found it
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In "The World as I Found It" Alain Paiement revisits his photographic mapping of the building at 5012 Boulevard Saint-Laurent in Montréal, the building where he has lived and worked for over ten years. Entitled "Parages(Vicinity) 2002", this work was originally presented as an installation of multiple suspended banners, first at Galerie de l'UQAM in Montréal, and later at the Pratt Manhattan Gallery in New York. The book is formatted like a travel guide. The images presented are signposts to "Parages", marking a number of points of interest. Included with the book is a map that presents "Parages" in its entirety.
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books
books
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January 2003, New York
January 2003, New York
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Challenging European cultural conventions, the work of Swiss-Bolivian artist Carmen Perrin is infused with fine undertones and references to her Latin American roots. In her preference for industrial mass-produced materials she transposes electric wire, cables and building materials into a subtle, ambiguous imagery and sculptures which activate the surrounding space.(...)
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Challenging European cultural conventions, the work of Swiss-Bolivian artist Carmen Perrin is infused with fine undertones and references to her Latin American roots. In her preference for industrial mass-produced materials she transposes electric wire, cables and building materials into a subtle, ambiguous imagery and sculptures which activate the surrounding space.(...)
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Contemporary Art Monographs
Contemporary Art Monographs
Publication:
August 2004, Basel
August 2004, Basel
Title:
Carmen Perrin : contexts public situations
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Challenging European cultural conventions, the work of Swiss-Bolivian artist Carmen Perrin is infused with fine undertones and references to her Latin American roots. In her preference for industrial mass-produced materials she transposes electric wire, cables and building materials into a subtle, ambiguous imagery and sculptures which activate the surrounding space. This publication presents 15 of her most important art-in-architecture interventions: in the Zurich headquarters of the Swiss National Bank, the Dock Midfield Terminal of Zurich-Kloten Airport, Lucerne's Gynaecological Hospital and further projects in France, Brazil, USA (New York) and Switzerland. Carmen Perrin, born in Bolivia in 1953,immigrated to Switzerland in 1960.She now lives in France and teaches at Geneva's École Supérieure des Beaux-Arts.
Carmen Perrin : contexts public situations
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Challenging European cultural conventions, the work of Swiss-Bolivian artist Carmen Perrin is infused with fine undertones and references to her Latin American roots. In her preference for industrial mass-produced materials she transposes electric wire, cables and building materials into a subtle, ambiguous imagery and sculptures which activate the surrounding space. This publication presents 15 of her most important art-in-architecture interventions: in the Zurich headquarters of the Swiss National Bank, the Dock Midfield Terminal of Zurich-Kloten Airport, Lucerne's Gynaecological Hospital and further projects in France, Brazil, USA (New York) and Switzerland. Carmen Perrin, born in Bolivia in 1953,immigrated to Switzerland in 1960.She now lives in France and teaches at Geneva's École Supérieure des Beaux-Arts.
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books
books
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August 2004, Basel
August 2004, Basel
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Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$55.95
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A fully illustrated 200- page book produced by The Museum of Contemporary Art, Los Angeles, and distributed by Distributed Art Publishers, New York. The publication includes essays by the organizing curators Grant Arnold (Vancouver), Connie Butler (Los Angeles) and Jessica Bradley (Toronto), and guest writers Lynne Cooke (New York), Diedrich Diederichsen (Berlin), Sara(...)
$55.95
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A fully illustrated 200- page book produced by The Museum of Contemporary Art, Los Angeles, and distributed by Distributed Art Publishers, New York. The publication includes essays by the organizing curators Grant Arnold (Vancouver), Connie Butler (Los Angeles) and Jessica Bradley (Toronto), and guest writers Lynne Cooke (New York), Diedrich Diederichsen (Berlin), Sara(...)
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Contemporary Art Monographs
Contemporary Art Monographs
Publication:
January 1900, Toronto
January 1900, Toronto
Title:
Rodney Graham : a little thought
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A fully illustrated 200- page book produced by The Museum of Contemporary Art, Los Angeles, and distributed by Distributed Art Publishers, New York. The publication includes essays by the organizing curators Grant Arnold (Vancouver), Connie Butler (Los Angeles) and Jessica Bradley (Toronto), and guest writers Lynne Cooke (New York), Diedrich Diederichsen (Berlin), Sara Krajewski (Seattle) and Shepherd Steiner (Vancouver).
Rodney Graham : a little thought
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A fully illustrated 200- page book produced by The Museum of Contemporary Art, Los Angeles, and distributed by Distributed Art Publishers, New York. The publication includes essays by the organizing curators Grant Arnold (Vancouver), Connie Butler (Los Angeles) and Jessica Bradley (Toronto), and guest writers Lynne Cooke (New York), Diedrich Diederichsen (Berlin), Sara Krajewski (Seattle) and Shepherd Steiner (Vancouver).
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books
books
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January 1900, Toronto
January 1900, Toronto
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
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$41.95
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Peu importe de statuer sur la relation de Rita McBride au minimalisme, ou de constater qu'elle flirte avec le design ou l'architecture, l'intérêt de son travail réside dans ce que Jean-Marc Huitorel nomme "la richesse sémantique" de l'œuvre, dans le questionnement sur le statut des objets, le statut des œuvres dialectiques plus qu'ambigu auquel elle nous invite,(...)
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Peu importe de statuer sur la relation de Rita McBride au minimalisme, ou de constater qu'elle flirte avec le design ou l'architecture, l'intérêt de son travail réside dans ce que Jean-Marc Huitorel nomme "la richesse sémantique" de l'œuvre, dans le questionnement sur le statut des objets, le statut des œuvres dialectiques plus qu'ambigu auquel elle nous invite,(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
May 2004, Villeurbanne
May 2004, Villeurbanne
Title:
Rita McBride : croissance générale / general growth
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Peu importe de statuer sur la relation de Rita McBride au minimalisme, ou de constater qu'elle flirte avec le design ou l'architecture, l'intérêt de son travail réside dans ce que Jean-Marc Huitorel nomme "la richesse sémantique" de l'œuvre, dans le questionnement sur le statut des objets, le statut des œuvres dialectiques plus qu'ambigu auquel elle nous invite, bousculant tranquillement nos certitudes d'héritiers de la croissance générale, de la société industrielle du XXe siècle.
Rita McBride : croissance générale / general growth
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Peu importe de statuer sur la relation de Rita McBride au minimalisme, ou de constater qu'elle flirte avec le design ou l'architecture, l'intérêt de son travail réside dans ce que Jean-Marc Huitorel nomme "la richesse sémantique" de l'œuvre, dans le questionnement sur le statut des objets, le statut des œuvres dialectiques plus qu'ambigu auquel elle nous invite, bousculant tranquillement nos certitudes d'héritiers de la croissance générale, de la société industrielle du XXe siècle.
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books
books
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May 2004, Villeurbanne
May 2004, Villeurbanne
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$32.95
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This volume is a revised and expanded version of a special issue of the journal October (Winter 1997) that was devoted to the work of the Situationist International (SI). The first section of the issue contained previously unpublished critical texts, and the second section contained translations of primary texts that had previously been unavailable in English. The(...)
$32.95
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This volume is a revised and expanded version of a special issue of the journal October (Winter 1997) that was devoted to the work of the Situationist International (SI). The first section of the issue contained previously unpublished critical texts, and the second section contained translations of primary texts that had previously been unavailable in English. The(...)
Publication:
April 2009, Cambridge, Massachusetts
April 2009, Cambridge, Massachusetts
Title:
Guy Debord and the situationist international
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This volume is a revised and expanded version of a special issue of the journal October (Winter 1997) that was devoted to the work of the Situationist International (SI). The first section of the issue contained previously unpublished critical texts, and the second section contained translations of primary texts that had previously been unavailable in English. The emphasis was on the SI’s profound engagement with the art and cultural politics of their time (1957–1972), with a strong argument for their primarily political and activist stance by two former members of the group, T. J. Clark and Donald Nicholson-Smith. Guy Debord and the Situationist International supplements both sections. It reprints important, hard to find essays by Giorgio Agamben, Libero Andreotti, Jonathan Crary, Thomas Y. Levin, Greil Marcus, and Tom McDonough and doubles the number of translations of primary texts, which now encompass a broader and more representative range of the SI’s writings on culture and language. In a field still dominated by hagiography, the critical texts were selected for their willingness to confront critically the history and legacy of the SI. They examine the group within the broader framework of the historical and neo-avant-gardes and, beyond that, the postwar world in general. The translations trace the SI’s reflections on the legacy of the avant-garde in art and architecture, particularly on the linguistic and spatial significance of montage aesthetics. Many of the translated works are by Guy Debord (1932–1994), the impresario of the SI, especially known for his book "The Society of the Spectacle".
Guy Debord and the situationist international
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This volume is a revised and expanded version of a special issue of the journal October (Winter 1997) that was devoted to the work of the Situationist International (SI). The first section of the issue contained previously unpublished critical texts, and the second section contained translations of primary texts that had previously been unavailable in English. The emphasis was on the SI’s profound engagement with the art and cultural politics of their time (1957–1972), with a strong argument for their primarily political and activist stance by two former members of the group, T. J. Clark and Donald Nicholson-Smith. Guy Debord and the Situationist International supplements both sections. It reprints important, hard to find essays by Giorgio Agamben, Libero Andreotti, Jonathan Crary, Thomas Y. Levin, Greil Marcus, and Tom McDonough and doubles the number of translations of primary texts, which now encompass a broader and more representative range of the SI’s writings on culture and language. In a field still dominated by hagiography, the critical texts were selected for their willingness to confront critically the history and legacy of the SI. They examine the group within the broader framework of the historical and neo-avant-gardes and, beyond that, the postwar world in general. The translations trace the SI’s reflections on the legacy of the avant-garde in art and architecture, particularly on the linguistic and spatial significance of montage aesthetics. Many of the translated works are by Guy Debord (1932–1994), the impresario of the SI, especially known for his book "The Society of the Spectacle".
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books
books
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April 2009, Cambridge, Massachusetts
April 2009, Cambridge, Massachusetts
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$45.50
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In the 1960s art fell out of time; both artists and critics lost their temporal bearings in response to what E. M. Cioran called "not being entitled to time." This anxiety and uneasiness about time, which Pamela Lee calls "chronophobia," cut across movements, media, and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films. Despite its(...)
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In the 1960s art fell out of time; both artists and critics lost their temporal bearings in response to what E. M. Cioran called "not being entitled to time." This anxiety and uneasiness about time, which Pamela Lee calls "chronophobia," cut across movements, media, and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films. Despite its(...)
Title:
Chronophobia : on time in the art of the 1960's
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In the 1960s art fell out of time; both artists and critics lost their temporal bearings in response to what E. M. Cioran called "not being entitled to time." This anxiety and uneasiness about time, which Pamela Lee calls "chronophobia," cut across movements, media, and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films. Despite its pervasiveness, the subject of time and 1960s art has gone largely unexamined in historical accounts of the period. Chronophobia is the first critical attempt to define this obsession and analyze it in relation to art and technology. Lee discusses the chronophobia of art relative to the emergence of the Information Age in postwar culture. The accompanying rapid technological transformations, including the advent of computers and automation processes, produced for many an acute sense of historical unknowing; the seemingly accelerated pace of life began to outstrip any attempts to make sense of the present. Lee sees the attitude of 1960s art to time as a historical prelude to our current fixation on time and speed within digital culture. Reflecting upon the 1960s cultural anxiety about temporality, she argues, helps us historicize our current relation to technology and time.
Chronophobia : on time in the art of the 1960's
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Summary:
In the 1960s art fell out of time; both artists and critics lost their temporal bearings in response to what E. M. Cioran called "not being entitled to time." This anxiety and uneasiness about time, which Pamela Lee calls "chronophobia," cut across movements, media, and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films. Despite its pervasiveness, the subject of time and 1960s art has gone largely unexamined in historical accounts of the period. Chronophobia is the first critical attempt to define this obsession and analyze it in relation to art and technology. Lee discusses the chronophobia of art relative to the emergence of the Information Age in postwar culture. The accompanying rapid technological transformations, including the advent of computers and automation processes, produced for many an acute sense of historical unknowing; the seemingly accelerated pace of life began to outstrip any attempts to make sense of the present. Lee sees the attitude of 1960s art to time as a historical prelude to our current fixation on time and speed within digital culture. Reflecting upon the 1960s cultural anxiety about temporality, she argues, helps us historicize our current relation to technology and time.
Form:
books
books
Publication:
May 2004, Cambridge, Mass.
May 2004, Cambridge, Mass.
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$67.50
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Ed Ruscha is among the most popular American artists working today. His evocations of commonplace subjects have earned him a reputation as a Pop artist, while his interest in language and typography has aligned him with Conceptual art. This book, published to accompany Ruscha's first museum retrospective of drawings, showcases his singular vision and his wide range of(...)
$67.50
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Summary:
Ed Ruscha is among the most popular American artists working today. His evocations of commonplace subjects have earned him a reputation as a Pop artist, while his interest in language and typography has aligned him with Conceptual art. This book, published to accompany Ruscha's first museum retrospective of drawings, showcases his singular vision and his wide range of(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
June 2004, New York
June 2004, New York
Title:
Cotton puffs, Q-tips, smoke and mirrors : the drawings of Ed Ruscha
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Ed Ruscha is among the most popular American artists working today. His evocations of commonplace subjects have earned him a reputation as a Pop artist, while his interest in language and typography has aligned him with Conceptual art. This book, published to accompany Ruscha's first museum retrospective of drawings, showcases his singular vision and his wide range of highly personal mediums and techniques.
Cotton puffs, Q-tips, smoke and mirrors : the drawings of Ed Ruscha
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$67.50
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Ed Ruscha is among the most popular American artists working today. His evocations of commonplace subjects have earned him a reputation as a Pop artist, while his interest in language and typography has aligned him with Conceptual art. This book, published to accompany Ruscha's first museum retrospective of drawings, showcases his singular vision and his wide range of highly personal mediums and techniques.
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books
books
Publication:
June 2004, New York
June 2004, New York
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
Title:
Circumventions
Circumventions
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This book as been published on the occasion of the Dena Foundation Art Award 2003.
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This book as been published on the occasion of the Dena Foundation Art Award 2003.
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January 1900, Paris
January 1900, Paris
Title:
Circumventions
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This book as been published on the occasion of the Dena Foundation Art Award 2003.
Circumventions
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This book as been published on the occasion of the Dena Foundation Art Award 2003.
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January 1900, Paris
January 1900, Paris
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Title:
Public art : a reader
Public art : a reader
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$49.50
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An indispensable handbook on art in the public sphere with profoundly thoughtful texts by curators, artists, and art historians. Few topics in the visual arts have created such controversy recently as the debate surrounding the significance and potential of public art. In response to this, "Public Art" was published in a bilingual edition and quickly sold out. The book(...)
$49.50
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Summary:
An indispensable handbook on art in the public sphere with profoundly thoughtful texts by curators, artists, and art historians. Few topics in the visual arts have created such controversy recently as the debate surrounding the significance and potential of public art. In response to this, "Public Art" was published in a bilingual edition and quickly sold out. The book(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
January 2004, Ostfildern-Ruit
January 2004, Ostfildern-Ruit
Title:
Public art : a reader
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$49.50
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An indispensable handbook on art in the public sphere with profoundly thoughtful texts by curators, artists, and art historians. Few topics in the visual arts have created such controversy recently as the debate surrounding the significance and potential of public art. In response to this, "Public Art" was published in a bilingual edition and quickly sold out. The book has now been republished in separate language editions. In this handbook, over fifty authors take a critical look at the subject of public art: the result is a fascinating compendium of opinions and statements, experiences and reports. The wide-ranging material by curators, art historians, and artists is divided into "Art and the City", "Art and Architecture", "Art and History", "Art and Society", "Art and the Exhibition", and "Art and the Public". Contributors include Vito Acconci, Daniel Buren, Dan Graham, Walter Grasskamp, Hans Haacke, Ilya Kabakov, Kasper König, Joseph Kosuth, Florian Matzner, Ulrich Rückriem, Lawrence Weiner among many others.
Public art : a reader
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$49.50
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Summary:
An indispensable handbook on art in the public sphere with profoundly thoughtful texts by curators, artists, and art historians. Few topics in the visual arts have created such controversy recently as the debate surrounding the significance and potential of public art. In response to this, "Public Art" was published in a bilingual edition and quickly sold out. The book has now been republished in separate language editions. In this handbook, over fifty authors take a critical look at the subject of public art: the result is a fascinating compendium of opinions and statements, experiences and reports. The wide-ranging material by curators, art historians, and artists is divided into "Art and the City", "Art and Architecture", "Art and History", "Art and Society", "Art and the Exhibition", and "Art and the Public". Contributors include Vito Acconci, Daniel Buren, Dan Graham, Walter Grasskamp, Hans Haacke, Ilya Kabakov, Kasper König, Joseph Kosuth, Florian Matzner, Ulrich Rückriem, Lawrence Weiner among many others.
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books
books
Publication:
January 2004, Ostfildern-Ruit
January 2004, Ostfildern-Ruit
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
Price:
$37.50
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Summary:
Ed Ruscha is one of the first Americans to introduce a critique of popular culture and an examination of language into the visual arts. Although he first made his reputation as a painter, Ruscha is also celebrated for his drawings (made both with conventional materials and with food, blood, gunpowder, and shellac), prints, films, photographs, and books. He is often(...)
$37.50
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Summary:
Ed Ruscha is one of the first Americans to introduce a critique of popular culture and an examination of language into the visual arts. Although he first made his reputation as a painter, Ruscha is also celebrated for his drawings (made both with conventional materials and with food, blood, gunpowder, and shellac), prints, films, photographs, and books. He is often(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
April 2004, Cambridge, Mass.
April 2004, Cambridge, Mass.
Title:
Leave any information at the signal : writings, interviews, bits, pages
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$37.50
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Ed Ruscha is one of the first Americans to introduce a critique of popular culture and an examination of language into the visual arts. Although he first made his reputation as a painter, Ruscha is also celebrated for his drawings (made both with conventional materials and with food, blood, gunpowder, and shellac), prints, films, photographs, and books. He is often associated with Los Angeles as a Pop and Conceptualist hub, but tends to regard such labels with a satirical, if not jaundiced, eye. Indeed, his work is characterized by the tensions between high and low, solemn and irreverent, and serious and nonsensical, and it draws on popular culture as well as Western art traditions. "Leave Any Information at the Signal" not only documents the work of this influential artist as he rose to prominence but also contains his writings and commentaries on other artistic developments of the period. The book is divided into three parts, each of which is arranged chronologically. Part one contains statements, letters, and other writings. Part two consists of more than fifty interviews, some of which have never before been published or translated into English. Part three contains sketchbook pages, word groupings, and other notes that chart how Ruscha develops ideas and solves artistic problems. They are published here for the first time. The book also contains more than eighty illustrations, selected and arranged by the artist.
Leave any information at the signal : writings, interviews, bits, pages
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$37.50
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Summary:
Ed Ruscha is one of the first Americans to introduce a critique of popular culture and an examination of language into the visual arts. Although he first made his reputation as a painter, Ruscha is also celebrated for his drawings (made both with conventional materials and with food, blood, gunpowder, and shellac), prints, films, photographs, and books. He is often associated with Los Angeles as a Pop and Conceptualist hub, but tends to regard such labels with a satirical, if not jaundiced, eye. Indeed, his work is characterized by the tensions between high and low, solemn and irreverent, and serious and nonsensical, and it draws on popular culture as well as Western art traditions. "Leave Any Information at the Signal" not only documents the work of this influential artist as he rose to prominence but also contains his writings and commentaries on other artistic developments of the period. The book is divided into three parts, each of which is arranged chronologically. Part one contains statements, letters, and other writings. Part two consists of more than fifty interviews, some of which have never before been published or translated into English. Part three contains sketchbook pages, word groupings, and other notes that chart how Ruscha develops ideas and solves artistic problems. They are published here for the first time. The book also contains more than eighty illustrations, selected and arranged by the artist.
Form:
books
books
Publication:
April 2004, Cambridge, Mass.
April 2004, Cambridge, Mass.
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
