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Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also(...)
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Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
January 2006, Milwaukee
January 2006, Milwaukee
Title:
Elusive signs : Bruce Nauman works with light
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Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also aggressively convey a message. Over the first three decades of his career, Nauman used the medium of light to explore the twists and turns of perception, logic, and meaning with the earnest playfulness that characterizes all his art. "Elusive signs" focuses on the discrete body of Nauman's work that uses neon and fluorescent light in signs and room installations, and includes images of nearly all Nauman's work with light. After "Window or wall sign", Nauman embarked on a series of neons that grappled with the semiotics of body and identity, and with "My name as though it were written on the surface of the moon" (1968), he forces the viewer to contemplate the role of naming in forming identity. Language - signs and symbols - plays an important role in Nauman's art. His later neon works emphasize the neon as a sign, presenting provocative twists of language and offering harsh and humorous sociopolitical commentary in such pieces as "Run from fear, fun from rear" (1972). This series culminates in the monumental, billboard-size "One hundred live and die" (1984), which employs overwhelming scale to bombard the viewer with sardonic aphorisms. In the essays that accompany the images of Nauman's work, Joseph Ketner II of the Milwaukee Art Museum (which originated the exhibit this book accompanies) and critics Janet Kraynak and Gregory Volk analyze the works in light both as a body of work and as an access point to Nauman's entire career.
Elusive signs : Bruce Nauman works with light
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Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also aggressively convey a message. Over the first three decades of his career, Nauman used the medium of light to explore the twists and turns of perception, logic, and meaning with the earnest playfulness that characterizes all his art. "Elusive signs" focuses on the discrete body of Nauman's work that uses neon and fluorescent light in signs and room installations, and includes images of nearly all Nauman's work with light. After "Window or wall sign", Nauman embarked on a series of neons that grappled with the semiotics of body and identity, and with "My name as though it were written on the surface of the moon" (1968), he forces the viewer to contemplate the role of naming in forming identity. Language - signs and symbols - plays an important role in Nauman's art. His later neon works emphasize the neon as a sign, presenting provocative twists of language and offering harsh and humorous sociopolitical commentary in such pieces as "Run from fear, fun from rear" (1972). This series culminates in the monumental, billboard-size "One hundred live and die" (1984), which employs overwhelming scale to bombard the viewer with sardonic aphorisms. In the essays that accompany the images of Nauman's work, Joseph Ketner II of the Milwaukee Art Museum (which originated the exhibit this book accompanies) and critics Janet Kraynak and Gregory Volk analyze the works in light both as a body of work and as an access point to Nauman's entire career.
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books
books
Publication:
January 2006, Milwaukee
January 2006, Milwaukee
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
Title:
Derek Sullivan: we may be standing on the shoulder of giants but some of us are looking at the stars
Derek Sullivan: we may be standing on the shoulder of giants but some of us are looking at the stars
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Published to accompany the exhibition: "Derek Sullivan: We May Be Standing on the Shoulder of Giants but Some of Us Are Looking at the Stars", Southern Alberta Art Gallery, January 26 to March 2, 2008. Including an essay by Pamela Meredith.
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Published to accompany the exhibition: "Derek Sullivan: We May Be Standing on the Shoulder of Giants but Some of Us Are Looking at the Stars", Southern Alberta Art Gallery, January 26 to March 2, 2008. Including an essay by Pamela Meredith.
Publication:
February 2009, Alberta
February 2009, Alberta
Title:
Derek Sullivan: we may be standing on the shoulder of giants but some of us are looking at the stars
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Published to accompany the exhibition: "Derek Sullivan: We May Be Standing on the Shoulder of Giants but Some of Us Are Looking at the Stars", Southern Alberta Art Gallery, January 26 to March 2, 2008. Including an essay by Pamela Meredith.
Derek Sullivan: we may be standing on the shoulder of giants but some of us are looking at the stars
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Published to accompany the exhibition: "Derek Sullivan: We May Be Standing on the Shoulder of Giants but Some of Us Are Looking at the Stars", Southern Alberta Art Gallery, January 26 to March 2, 2008. Including an essay by Pamela Meredith.
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books
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February 2009, Alberta
February 2009, Alberta
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books
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$36.95
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Ouvrage réalisé à l'occasion de l'exposition «Philippe Parreno» présentée au Centre Pompidou, Paris, Galerie Sud, du 3 juin au 7 septembre 2009. « Ce sont des monstres. Ils m'appatiennent tous. Certains vivent en moi. D'autres vivent autour de moi. Ils sortent même quand on ne les y a pas invités. Ça leur arrive tout le temps.» Philippe Parreno
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Ouvrage réalisé à l'occasion de l'exposition «Philippe Parreno» présentée au Centre Pompidou, Paris, Galerie Sud, du 3 juin au 7 septembre 2009. « Ce sont des monstres. Ils m'appatiennent tous. Certains vivent en moi. D'autres vivent autour de moi. Ils sortent même quand on ne les y a pas invités. Ça leur arrive tout le temps.» Philippe Parreno
Title:
Parades?
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Ouvrage réalisé à l'occasion de l'exposition «Philippe Parreno» présentée au Centre Pompidou, Paris, Galerie Sud, du 3 juin au 7 septembre 2009. « Ce sont des monstres. Ils m'appatiennent tous. Certains vivent en moi. D'autres vivent autour de moi. Ils sortent même quand on ne les y a pas invités. Ça leur arrive tout le temps.» Philippe Parreno
Parades?
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Ouvrage réalisé à l'occasion de l'exposition «Philippe Parreno» présentée au Centre Pompidou, Paris, Galerie Sud, du 3 juin au 7 septembre 2009. « Ce sont des monstres. Ils m'appatiennent tous. Certains vivent en moi. D'autres vivent autour de moi. Ils sortent même quand on ne les y a pas invités. Ça leur arrive tout le temps.» Philippe Parreno
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books
books
Publication:
July 2009
July 2009
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
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$57.00
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Les sculptures publiques de Claes Oldenburg et de Coosje van Bruggen stigmatisent le grotesque urbain et architectural des mégapoles comme Chicago ou New York. Hanté par une mystique, le gratte-ciel, de Sullivan à Mies van der Rohe, devient pour les Oldenburg le symptôme du grotesque tragique ou tragi-comique de la modernité.
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Les sculptures publiques de Claes Oldenburg et de Coosje van Bruggen stigmatisent le grotesque urbain et architectural des mégapoles comme Chicago ou New York. Hanté par une mystique, le gratte-ciel, de Sullivan à Mies van der Rohe, devient pour les Oldenburg le symptôme du grotesque tragique ou tragi-comique de la modernité.
Title:
Claes Oldenburg Coosje van Bruggen: le grotesque contre le sacré
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Les sculptures publiques de Claes Oldenburg et de Coosje van Bruggen stigmatisent le grotesque urbain et architectural des mégapoles comme Chicago ou New York. Hanté par une mystique, le gratte-ciel, de Sullivan à Mies van der Rohe, devient pour les Oldenburg le symptôme du grotesque tragique ou tragi-comique de la modernité.
Claes Oldenburg Coosje van Bruggen: le grotesque contre le sacré
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Les sculptures publiques de Claes Oldenburg et de Coosje van Bruggen stigmatisent le grotesque urbain et architectural des mégapoles comme Chicago ou New York. Hanté par une mystique, le gratte-ciel, de Sullivan à Mies van der Rohe, devient pour les Oldenburg le symptôme du grotesque tragique ou tragi-comique de la modernité.
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books
books
Publication:
March 2009, Paris
March 2009, Paris
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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During the glory days of Something Else Press (1964-1974), its founder, the poet, editor and scholar Dick Higgins created the Great Bear imprint to publish pamphlets that were quickly printed and easily disseminated, guaranteeing wide distribution and accessibility. Ranging in length from 16 to 32 pages, saddle-stitched and printed on varying color stock, the Great Bear(...)
$11.50
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Summary:
During the glory days of Something Else Press (1964-1974), its founder, the poet, editor and scholar Dick Higgins created the Great Bear imprint to publish pamphlets that were quickly printed and easily disseminated, guaranteeing wide distribution and accessibility. Ranging in length from 16 to 32 pages, saddle-stitched and printed on varying color stock, the Great Bear(...)
Publication:
October 2008, New York
October 2008, New York
Title:
A great bear pamphlet # 5 incomplete requiem for W.C. Fields
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During the glory days of Something Else Press (1964-1974), its founder, the poet, editor and scholar Dick Higgins created the Great Bear imprint to publish pamphlets that were quickly printed and easily disseminated, guaranteeing wide distribution and accessibility. Ranging in length from 16 to 32 pages, saddle-stitched and printed on varying color stock, the Great Bear pamphlets showcased the work of some of the most innovative writers and artists across the twentieth century: the likes of Jackson Mac Low, Oyvind Fahlstrom, Robert Filliou, Robert Watts, Emmett Williams, Dieter Roth, David Antin and Claes Oldenburg appeared alongside predecessors such as the Italian Futurist composer Luigi Russolo and John Cage's seminal Diary: How to Improve the World (You Will Only Make Matters Worse). All pamphlets have been out of print since their original publications in the 1960s.
A great bear pamphlet # 5 incomplete requiem for W.C. Fields
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Summary:
During the glory days of Something Else Press (1964-1974), its founder, the poet, editor and scholar Dick Higgins created the Great Bear imprint to publish pamphlets that were quickly printed and easily disseminated, guaranteeing wide distribution and accessibility. Ranging in length from 16 to 32 pages, saddle-stitched and printed on varying color stock, the Great Bear pamphlets showcased the work of some of the most innovative writers and artists across the twentieth century: the likes of Jackson Mac Low, Oyvind Fahlstrom, Robert Filliou, Robert Watts, Emmett Williams, Dieter Roth, David Antin and Claes Oldenburg appeared alongside predecessors such as the Italian Futurist composer Luigi Russolo and John Cage's seminal Diary: How to Improve the World (You Will Only Make Matters Worse). All pamphlets have been out of print since their original publications in the 1960s.
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books
books
Publication:
October 2008, New York
October 2008, New York
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books
books
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Summary:
During the glory days of Something Else Press (1964-1974), its founder, the poet, editor and scholar Dick Higgins created the Great Bear imprint to publish pamphlets that were quickly printed and easily disseminated, guaranteeing wide distribution and accessibility. Ranging in length from 16 to 32 pages, saddle-stitched and printed on varying color stock, the Great Bear(...)
$11.50
(available in store)
Summary:
During the glory days of Something Else Press (1964-1974), its founder, the poet, editor and scholar Dick Higgins created the Great Bear imprint to publish pamphlets that were quickly printed and easily disseminated, guaranteeing wide distribution and accessibility. Ranging in length from 16 to 32 pages, saddle-stitched and printed on varying color stock, the Great Bear(...)
Publication:
October 2008, New York
October 2008, New York
Title:
A great bear pamphlet # 4 injun & other histories (1960)
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During the glory days of Something Else Press (1964-1974), its founder, the poet, editor and scholar Dick Higgins created the Great Bear imprint to publish pamphlets that were quickly printed and easily disseminated, guaranteeing wide distribution and accessibility. Ranging in length from 16 to 32 pages, saddle-stitched and printed on varying color stock, the Great Bear pamphlets showcased the work of some of the most innovative writers and artists across the twentieth century: the likes of Jackson Mac Low, Oyvind Fahlstrom, Robert Filliou, Robert Watts, Emmett Williams, Dieter Roth, David Antin and Claes Oldenburg appeared alongside predecessors such as the Italian Futurist composer Luigi Russolo and John Cage's seminal Diary: How to Improve the World (You Will Only Make Matters Worse). All pamphlets have been out of print since their original publications in the 1960s.
A great bear pamphlet # 4 injun & other histories (1960)
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$11.50
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Summary:
During the glory days of Something Else Press (1964-1974), its founder, the poet, editor and scholar Dick Higgins created the Great Bear imprint to publish pamphlets that were quickly printed and easily disseminated, guaranteeing wide distribution and accessibility. Ranging in length from 16 to 32 pages, saddle-stitched and printed on varying color stock, the Great Bear pamphlets showcased the work of some of the most innovative writers and artists across the twentieth century: the likes of Jackson Mac Low, Oyvind Fahlstrom, Robert Filliou, Robert Watts, Emmett Williams, Dieter Roth, David Antin and Claes Oldenburg appeared alongside predecessors such as the Italian Futurist composer Luigi Russolo and John Cage's seminal Diary: How to Improve the World (You Will Only Make Matters Worse). All pamphlets have been out of print since their original publications in the 1960s.
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books
books
Publication:
October 2008, New York
October 2008, New York
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books
books
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$17.99
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Audio CD, 24:43 Minutes. Originally released by Mass Art in 1966, the record never saw thorough distribution as the publisher went bankrupt shortly after its release. Later, in 1968, How to Make a Happening was distributed on a limited basis through Something Else Press—A laminated and silk-screened cover by Alison Knowles distinguished this edition from its(...)
$17.99
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Audio CD, 24:43 Minutes. Originally released by Mass Art in 1966, the record never saw thorough distribution as the publisher went bankrupt shortly after its release. Later, in 1968, How to Make a Happening was distributed on a limited basis through Something Else Press—A laminated and silk-screened cover by Alison Knowles distinguished this edition from its(...)
Title:
Allan Kaprow: how to make a happening
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Audio CD, 24:43 Minutes. Originally released by Mass Art in 1966, the record never saw thorough distribution as the publisher went bankrupt shortly after its release. Later, in 1968, How to Make a Happening was distributed on a limited basis through Something Else Press—A laminated and silk-screened cover by Alison Knowles distinguished this edition from its predecessor. Simple in construction, yet profound in context, How to Make a Happening is Allan Kaprow delivering 11 rules on how, and how not, to make a Happening, a movement begun by Kaprow in the late fifties that is known for its unpredictability, open scores, and constantly-evolving form.
Allan Kaprow: how to make a happening
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Audio CD, 24:43 Minutes. Originally released by Mass Art in 1966, the record never saw thorough distribution as the publisher went bankrupt shortly after its release. Later, in 1968, How to Make a Happening was distributed on a limited basis through Something Else Press—A laminated and silk-screened cover by Alison Knowles distinguished this edition from its predecessor. Simple in construction, yet profound in context, How to Make a Happening is Allan Kaprow delivering 11 rules on how, and how not, to make a Happening, a movement begun by Kaprow in the late fifties that is known for its unpredictability, open scores, and constantly-evolving form.
Form:
books
books
Publication:
January 2009
January 2009
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$54.95
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In the vibrant downtown Manhattan art scene of the late 1970s and early 1980s, the Taiwanese-American artist Tehching Hsieh made an exceptional series of artworks. Hsieh realized five separate one-year-long performances that were unprecedented in their use of physical difficulty over extreme durations and in their absolute conception of art and life as simultaneous(...)
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Summary:
In the vibrant downtown Manhattan art scene of the late 1970s and early 1980s, the Taiwanese-American artist Tehching Hsieh made an exceptional series of artworks. Hsieh realized five separate one-year-long performances that were unprecedented in their use of physical difficulty over extreme durations and in their absolute conception of art and life as simultaneous(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
March 2009, London (U.K.), Cambridge, (MA)
March 2009, London (U.K.), Cambridge, (MA)
Title:
Out of now : the Lifeworks of Tehching Hsieh
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In the vibrant downtown Manhattan art scene of the late 1970s and early 1980s, the Taiwanese-American artist Tehching Hsieh made an exceptional series of artworks. Hsieh realized five separate one-year-long performances that were unprecedented in their use of physical difficulty over extreme durations and in their absolute conception of art and life as simultaneous processes.After years of near-invisibility Hsieh has now collaborated with the writer and curator Adrian Heathfield to create this meticulous record of the complete body of his artworks from 1978-1999. This publication is the first extensive critical account of these works. Heathfield's meditation is complemented by an intensive exchange with the artist and a set of letters from art theorists Peggy Phelan and Carol Becker, and the artists Marina Abramovic, Santiago Sierra, and Tim Etchells.
Out of now : the Lifeworks of Tehching Hsieh
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In the vibrant downtown Manhattan art scene of the late 1970s and early 1980s, the Taiwanese-American artist Tehching Hsieh made an exceptional series of artworks. Hsieh realized five separate one-year-long performances that were unprecedented in their use of physical difficulty over extreme durations and in their absolute conception of art and life as simultaneous processes.After years of near-invisibility Hsieh has now collaborated with the writer and curator Adrian Heathfield to create this meticulous record of the complete body of his artworks from 1978-1999. This publication is the first extensive critical account of these works. Heathfield's meditation is complemented by an intensive exchange with the artist and a set of letters from art theorists Peggy Phelan and Carol Becker, and the artists Marina Abramovic, Santiago Sierra, and Tim Etchells.
Form:
books
books
Publication:
March 2009, London (U.K.), Cambridge, (MA)
March 2009, London (U.K.), Cambridge, (MA)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
Title:
Tatlin's tower
Tatlin's tower
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The plans for the gigantic Monument to the Third International were completed in 1920 by Vladimir Tatlin, the Russian painter and visionary designer who was a key figure of Russian constructivism. Planned as the headquarters and monument of the Comintern in Petrograd, it was to be made from industrial materials—iron, glass, and steel—as a towering symbol of modernity.(...)
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The plans for the gigantic Monument to the Third International were completed in 1920 by Vladimir Tatlin, the Russian painter and visionary designer who was a key figure of Russian constructivism. Planned as the headquarters and monument of the Comintern in Petrograd, it was to be made from industrial materials—iron, glass, and steel—as a towering symbol of modernity.(...)
Publication:
March 2009
March 2009
Title:
Tatlin's tower
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The plans for the gigantic Monument to the Third International were completed in 1920 by Vladimir Tatlin, the Russian painter and visionary designer who was a key figure of Russian constructivism. Planned as the headquarters and monument of the Comintern in Petrograd, it was to be made from industrial materials—iron, glass, and steel—as a towering symbol of modernity. Because of the political turmoil and housing shortages in Russia after the 1917 Revolution, the building was never constructed, but it remains a celebrated icon of revolutionary art. In this insightful book, the author investigates the sources and symbolism of Tatlin’s Tower and considers not only its significance but also the broader role of allegory in abstraction and as an expression of man’s highest aspirations.
Tatlin's tower
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The plans for the gigantic Monument to the Third International were completed in 1920 by Vladimir Tatlin, the Russian painter and visionary designer who was a key figure of Russian constructivism. Planned as the headquarters and monument of the Comintern in Petrograd, it was to be made from industrial materials—iron, glass, and steel—as a towering symbol of modernity. Because of the political turmoil and housing shortages in Russia after the 1917 Revolution, the building was never constructed, but it remains a celebrated icon of revolutionary art. In this insightful book, the author investigates the sources and symbolism of Tatlin’s Tower and considers not only its significance but also the broader role of allegory in abstraction and as an expression of man’s highest aspirations.
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books
books
Publication:
March 2009
March 2009
Form:
books
books
Title:
Agnes Martin
Agnes Martin
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$86.00
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Gorgeously quiet in color and composition, Agnes Martin's paintings have a distinctive grace that sets them apart from those of the Abstract Expressionists of her day and the Minimalist artists she inspired. Martin attributed her grid-based works to metaphysical motivations, lending a serene complexity to her oeuvre that has defied any easy categorization. Perhaps for(...)
$86.00
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Gorgeously quiet in color and composition, Agnes Martin's paintings have a distinctive grace that sets them apart from those of the Abstract Expressionists of her day and the Minimalist artists she inspired. Martin attributed her grid-based works to metaphysical motivations, lending a serene complexity to her oeuvre that has defied any easy categorization. Perhaps for(...)
Title:
Agnes Martin
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$86.00
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Gorgeously quiet in color and composition, Agnes Martin's paintings have a distinctive grace that sets them apart from those of the Abstract Expressionists of her day and the Minimalist artists she inspired. Martin attributed her grid-based works to metaphysical motivations, lending a serene complexity to her oeuvre that has defied any easy categorization. Perhaps for this reason, critical and scholarly analysis of her paintings has been scarce--until now. This important new anthology brings together the most current scholarship on Martin's paintings by twelve multidisciplinary essayists who consider various aspects of the artist's four-decade career. Organized by Dia Art Foundation, whose extensive holdings of Martin's paintings and ambitions to support in-depth research on the works are unparalleled, the publication brings renewed focus and energy to Martin's career and her contributions to the art historical narrative
Agnes Martin
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$86.00
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Gorgeously quiet in color and composition, Agnes Martin's paintings have a distinctive grace that sets them apart from those of the Abstract Expressionists of her day and the Minimalist artists she inspired. Martin attributed her grid-based works to metaphysical motivations, lending a serene complexity to her oeuvre that has defied any easy categorization. Perhaps for this reason, critical and scholarly analysis of her paintings has been scarce--until now. This important new anthology brings together the most current scholarship on Martin's paintings by twelve multidisciplinary essayists who consider various aspects of the artist's four-decade career. Organized by Dia Art Foundation, whose extensive holdings of Martin's paintings and ambitions to support in-depth research on the works are unparalleled, the publication brings renewed focus and energy to Martin's career and her contributions to the art historical narrative
Form:
books
books
Publication:
July 2009
July 2009
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
