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What roles can art and activism play in a post-Fordist "society of the spectacle"? Can activist art effect real change? This publication asks these and other pressing questions facing contemporary activist art, through case studies by established artists and filmmakers such as Steven Cohen and Christoph Schlingensief, as well as emerging voices such as Renzo Martens and(...)
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What roles can art and activism play in a post-Fordist "society of the spectacle"? Can activist art effect real change? This publication asks these and other pressing questions facing contemporary activist art, through case studies by established artists and filmmakers such as Steven Cohen and Christoph Schlingensief, as well as emerging voices such as Renzo Martens and(...)
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Art and activism in the age of globalization : reflect #08
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What roles can art and activism play in a post-Fordist "society of the spectacle"? Can activist art effect real change? This publication asks these and other pressing questions facing contemporary activist art, through case studies by established artists and filmmakers such as Steven Cohen and Christoph Schlingensief, as well as emerging voices such as Renzo Martens and Les Chiens de Navarre. It investigates issues of urban activism and the activism of anonymous networks, giving special consideration to the effects of the War on Terror upon the activist agenda. In our era of unchecked globalization and the extreme crisis of global warming, this reader concludes by proposing a theoretical scaffolding for modern-day activism, making a passionate appeal for a truly political art.
Art and activism in the age of globalization : reflect #08
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Summary:
What roles can art and activism play in a post-Fordist "society of the spectacle"? Can activist art effect real change? This publication asks these and other pressing questions facing contemporary activist art, through case studies by established artists and filmmakers such as Steven Cohen and Christoph Schlingensief, as well as emerging voices such as Renzo Martens and Les Chiens de Navarre. It investigates issues of urban activism and the activism of anonymous networks, giving special consideration to the effects of the War on Terror upon the activist agenda. In our era of unchecked globalization and the extreme crisis of global warming, this reader concludes by proposing a theoretical scaffolding for modern-day activism, making a passionate appeal for a truly political art.
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books
books
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January 2011
January 2011
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Art Theory
Art Theory
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$56.95
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In this groundbreaking study, Nina Gurianova identifies the early Russian avant-garde (1910-1918) as a distinctive movement in its own right and not a preliminary stage to the Constructivism of the 1920s. Gurianova identifies what she terms an “aesthetics of anarchy” — art-making without rules—that greatly influenced early twentieth-century modernists. Setting the early(...)
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In this groundbreaking study, Nina Gurianova identifies the early Russian avant-garde (1910-1918) as a distinctive movement in its own right and not a preliminary stage to the Constructivism of the 1920s. Gurianova identifies what she terms an “aesthetics of anarchy” — art-making without rules—that greatly influenced early twentieth-century modernists. Setting the early(...)
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The aesthetics of anarchy : art and ideology in the early Russian avant-garde
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In this groundbreaking study, Nina Gurianova identifies the early Russian avant-garde (1910-1918) as a distinctive movement in its own right and not a preliminary stage to the Constructivism of the 1920s. Gurianova identifies what she terms an “aesthetics of anarchy” — art-making without rules—that greatly influenced early twentieth-century modernists. Setting the early Russian avant-garde movement firmly within a broader European context, Gurianova draws on a wealth of primary and archival sources by individual writers and artists, Russian theorists, theorizing artists, and German philosophers. Unlike the post-revolutionary avant-garde, which sought to describe the position of the artist in the new social hierarchy, the early Russian avant-garde struggled to overcome the boundaries defining art and to bridge the traditional gap between artist and audience. As it explores the aesthetics embraced by the movement, the book shows how artists transformed literary, theatrical, and performance practices, eroding the traditional boundaries of the visual arts and challenging the conventions of their day.
The aesthetics of anarchy : art and ideology in the early Russian avant-garde
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In this groundbreaking study, Nina Gurianova identifies the early Russian avant-garde (1910-1918) as a distinctive movement in its own right and not a preliminary stage to the Constructivism of the 1920s. Gurianova identifies what she terms an “aesthetics of anarchy” — art-making without rules—that greatly influenced early twentieth-century modernists. Setting the early Russian avant-garde movement firmly within a broader European context, Gurianova draws on a wealth of primary and archival sources by individual writers and artists, Russian theorists, theorizing artists, and German philosophers. Unlike the post-revolutionary avant-garde, which sought to describe the position of the artist in the new social hierarchy, the early Russian avant-garde struggled to overcome the boundaries defining art and to bridge the traditional gap between artist and audience. As it explores the aesthetics embraced by the movement, the book shows how artists transformed literary, theatrical, and performance practices, eroding the traditional boundaries of the visual arts and challenging the conventions of their day.
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books
books
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March 2012
March 2012
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Art Theory
Art Theory
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books
books
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$42.95
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Ce livre ne s'intéresse pas aux œuvres déjà faites, mais à des « œuvres à faire ». Il a pour objet les métamorphoses du travail de création impulsées par un dispositif original de soutien et de médiation artistique : l'action Nouveaux Commanditaires conçue par l'artiste François Hers et mis en œuvre par la Fondation de France depuis 1991. « Faire œuvre » et « faire(...)
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Ce livre ne s'intéresse pas aux œuvres déjà faites, mais à des « œuvres à faire ». Il a pour objet les métamorphoses du travail de création impulsées par un dispositif original de soutien et de médiation artistique : l'action Nouveaux Commanditaires conçue par l'artiste François Hers et mis en œuvre par la Fondation de France depuis 1991. « Faire œuvre » et « faire(...)
Title:
L'oeuvre commune: affaire d'art et de citoyen
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Ce livre ne s'intéresse pas aux œuvres déjà faites, mais à des « œuvres à faire ». Il a pour objet les métamorphoses du travail de création impulsées par un dispositif original de soutien et de médiation artistique : l'action Nouveaux Commanditaires conçue par l'artiste François Hers et mis en œuvre par la Fondation de France depuis 1991. « Faire œuvre » et « faire société » sont ici rendus indissociables.
L'oeuvre commune: affaire d'art et de citoyen
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Ce livre ne s'intéresse pas aux œuvres déjà faites, mais à des « œuvres à faire ». Il a pour objet les métamorphoses du travail de création impulsées par un dispositif original de soutien et de médiation artistique : l'action Nouveaux Commanditaires conçue par l'artiste François Hers et mis en œuvre par la Fondation de France depuis 1991. « Faire œuvre » et « faire société » sont ici rendus indissociables.
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books
books
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February 2012
February 2012
Subject:
Art Theory
Art Theory
Form:
books
books
Title:
Les deux chemins
Les deux chemins
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L'ouvrage dans lequel Ruskin explore les rapports entre la création artistique et la production industrielle, entre l'artiste et son matériau, et démontre le lien indissociable entre la formation des artisans, l'éducation esthétique du grand public et les chefs-d'œuvre de l'art européen. Traduit de l'anglais par Frédérique Campbell (titre original : The Two(...)
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L'ouvrage dans lequel Ruskin explore les rapports entre la création artistique et la production industrielle, entre l'artiste et son matériau, et démontre le lien indissociable entre la formation des artisans, l'éducation esthétique du grand public et les chefs-d'œuvre de l'art européen. Traduit de l'anglais par Frédérique Campbell (titre original : The Two(...)
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Les deux chemins
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L'ouvrage dans lequel Ruskin explore les rapports entre la création artistique et la production industrielle, entre l'artiste et son matériau, et démontre le lien indissociable entre la formation des artisans, l'éducation esthétique du grand public et les chefs-d'œuvre de l'art européen. Traduit de l'anglais par Frédérique Campbell (titre original : The Two Paths, Londres, Smith, Elder and Co., 1859). Première traduction française. Préface de Frédérique Campbell.
Les deux chemins
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L'ouvrage dans lequel Ruskin explore les rapports entre la création artistique et la production industrielle, entre l'artiste et son matériau, et démontre le lien indissociable entre la formation des artisans, l'éducation esthétique du grand public et les chefs-d'œuvre de l'art européen. Traduit de l'anglais par Frédérique Campbell (titre original : The Two Paths, Londres, Smith, Elder and Co., 1859). Première traduction française. Préface de Frédérique Campbell.
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books
books
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February 2012
February 2012
Subject:
Art Theory
Art Theory
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books
books
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$29.00
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Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples(...)
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Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples(...)
Publication:
February 2012
February 2012
Title:
In deed : certificates of authenticity in art
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Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples of artists certificates from the past fifty years, this book reveals how roles have shifted and developed, as well as how the materials and content of art have changed. With certificates by Judith Barry, Pierre Bismuth, Daniel Buren, Marcel Duchamp, Dan Flavin, Liam Gillick, Hans Haacke, Edward Kienholz, Yves Klein, Joseph Kosuth, Sol LeWitt, Piero Manzoni, Gordon Matta-Clark, Jonathan Monk, Robert Morris, Antoni Muntadas, Yoko Ono, Robert Rauschenberg, David Shrigley, Rirkrit Tiravanija, Ben Vautier, Lawrence Weiner, Franz West and others.
In deed : certificates of authenticity in art
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Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples of artists certificates from the past fifty years, this book reveals how roles have shifted and developed, as well as how the materials and content of art have changed. With certificates by Judith Barry, Pierre Bismuth, Daniel Buren, Marcel Duchamp, Dan Flavin, Liam Gillick, Hans Haacke, Edward Kienholz, Yves Klein, Joseph Kosuth, Sol LeWitt, Piero Manzoni, Gordon Matta-Clark, Jonathan Monk, Robert Morris, Antoni Muntadas, Yoko Ono, Robert Rauschenberg, David Shrigley, Rirkrit Tiravanija, Ben Vautier, Lawrence Weiner, Franz West and others.
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books
books
Publication:
February 2012
February 2012
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books
books
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$32.00
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With the emergence of conceptual art in the mid-1960s, the traditional notion of the studio became at least partly obsolete. Other sites emerged for the generation of art, leading to the idea of "post-studio practice." But the studio never went away; it was continually reinvented in response to new realities. This collection, expanding on current critical interest in(...)
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With the emergence of conceptual art in the mid-1960s, the traditional notion of the studio became at least partly obsolete. Other sites emerged for the generation of art, leading to the idea of "post-studio practice." But the studio never went away; it was continually reinvented in response to new realities. This collection, expanding on current critical interest in(...)
Title:
Documents of contemporary art : the studio
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With the emergence of conceptual art in the mid-1960s, the traditional notion of the studio became at least partly obsolete. Other sites emerged for the generation of art, leading to the idea of "post-studio practice." But the studio never went away; it was continually reinvented in response to new realities. This collection, expanding on current critical interest in issues of production and situation, looks at the evolution of studio - and "post-studio" - practice over the last half century. In recent decades many artists have turned their studios into offices from which they organize a multiplicity of operations and interactions. Others use the studio as a quasi-exhibition space, or work on a laptop computer - mobile, flexible, and ready to follow the next commission.
Documents of contemporary art : the studio
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With the emergence of conceptual art in the mid-1960s, the traditional notion of the studio became at least partly obsolete. Other sites emerged for the generation of art, leading to the idea of "post-studio practice." But the studio never went away; it was continually reinvented in response to new realities. This collection, expanding on current critical interest in issues of production and situation, looks at the evolution of studio - and "post-studio" - practice over the last half century. In recent decades many artists have turned their studios into offices from which they organize a multiplicity of operations and interactions. Others use the studio as a quasi-exhibition space, or work on a laptop computer - mobile, flexible, and ready to follow the next commission.
Form:
books
books
Publication:
March 2012
March 2012
Subject:
Art Theory
Art Theory
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books
books
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$28.95
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Summary:
Nature, as both subject and object, has been repeatedly rejected and reclaimed by artists over the last half century. With the dislocation of disciplinary boundaries in visual culture, art that is engaged with nature has also forged connections with a new range of scientific, historical, and philosophical ideas. Developing technologies make our interventions into natural(...)
$28.95
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Summary:
Nature, as both subject and object, has been repeatedly rejected and reclaimed by artists over the last half century. With the dislocation of disciplinary boundaries in visual culture, art that is engaged with nature has also forged connections with a new range of scientific, historical, and philosophical ideas. Developing technologies make our interventions into natural(...)
Title:
Nature
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Nature, as both subject and object, has been repeatedly rejected and reclaimed by artists over the last half century. With the dislocation of disciplinary boundaries in visual culture, art that is engaged with nature has also forged connections with a new range of scientific, historical, and philosophical ideas. Developing technologies make our interventions into natural systems both increasingly refined and profound. Advances in biological and telecommunication technology continually modify the way we present ourselves. So too are artistic representations of nature (human and otherwise) being transformed. This anthology addresses these issues by considering how the rise of transdisciplinary practices in the postwar era allowed for new kinds of artistic engagement with nature. These include the postminimalist inscriptions associated with Land art; environmentally engaged practices designed to propose novel forms of stewardship; and more recent projects concerned with relationships between the most subtle and minute components of life and the large-scale appearance of the world. These projects unsettle the most basic operations of “natural” personhood and identity. Including a wide range of writings by and about artists, juxtaposed with influential texts from diverse theoretical bases, this collection provides an overview of the eclectic scientific and philosophical sources that inform contemporary art’s investigations of nature.
Nature
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Nature, as both subject and object, has been repeatedly rejected and reclaimed by artists over the last half century. With the dislocation of disciplinary boundaries in visual culture, art that is engaged with nature has also forged connections with a new range of scientific, historical, and philosophical ideas. Developing technologies make our interventions into natural systems both increasingly refined and profound. Advances in biological and telecommunication technology continually modify the way we present ourselves. So too are artistic representations of nature (human and otherwise) being transformed. This anthology addresses these issues by considering how the rise of transdisciplinary practices in the postwar era allowed for new kinds of artistic engagement with nature. These include the postminimalist inscriptions associated with Land art; environmentally engaged practices designed to propose novel forms of stewardship; and more recent projects concerned with relationships between the most subtle and minute components of life and the large-scale appearance of the world. These projects unsettle the most basic operations of “natural” personhood and identity. Including a wide range of writings by and about artists, juxtaposed with influential texts from diverse theoretical bases, this collection provides an overview of the eclectic scientific and philosophical sources that inform contemporary art’s investigations of nature.
Form:
books
books
Publication:
March 2012
March 2012
Subject:
Art Theory
Art Theory
Form:
books
books
Price:
$21.95
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In The Bowery in two inadequate descriptive systems (1974–1975) Martha Rosler bridged the concerns of conceptual art with those of political documentary. The work, a series of twenty-one black-and-white photographs, twenty-four text panels and three blank panels, embraces the codes of the photo-text experiments of the late 1960s and applies them to the social reality of(...)
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In The Bowery in two inadequate descriptive systems (1974–1975) Martha Rosler bridged the concerns of conceptual art with those of political documentary. The work, a series of twenty-one black-and-white photographs, twenty-four text panels and three blank panels, embraces the codes of the photo-text experiments of the late 1960s and applies them to the social reality of(...)
Title:
Martha Rosler: the bowery in two inadequate descriptive systems
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In The Bowery in two inadequate descriptive systems (1974–1975) Martha Rosler bridged the concerns of conceptual art with those of political documentary. The work, a series of twenty-one black-and-white photographs, twenty-four text panels and three blank panels, embraces the codes of the photo-text experiments of the late 1960s and applies them to the social reality of New York’s Lower East Side. The prevailing critical view of The Bowery focuses on its implicit rejection, or critique, of established modes of documentary. In this illustrated, extended essay on the work by Rosler, Steve Edwards argues that although the critical attitude towards documentary is an important dimension of the piece, it does not exhaust the meaning of the project.
Martha Rosler: the bowery in two inadequate descriptive systems
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In The Bowery in two inadequate descriptive systems (1974–1975) Martha Rosler bridged the concerns of conceptual art with those of political documentary. The work, a series of twenty-one black-and-white photographs, twenty-four text panels and three blank panels, embraces the codes of the photo-text experiments of the late 1960s and applies them to the social reality of New York’s Lower East Side. The prevailing critical view of The Bowery focuses on its implicit rejection, or critique, of established modes of documentary. In this illustrated, extended essay on the work by Rosler, Steve Edwards argues that although the critical attitude towards documentary is an important dimension of the piece, it does not exhaust the meaning of the project.
Form:
books
books
Publication:
March 2012
March 2012
Subject:
Art Theory
Art Theory
Form:
books
books
Price:
$39.95
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Summary:
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas(...)
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Summary:
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas(...)
Title:
Artificial hells : participatory art and the politics of spectatorship
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Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
Artificial hells : participatory art and the politics of spectatorship
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Summary:
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
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books
books
Publication:
July 2012
July 2012
Form:
books
books
Price:
$13.95
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Summary:
In 1975, when political scientist Benedict Anderson reached Wat Phai Rong Wua, a massive temple complex in rural Thailand conceived by Buddhist monk Luang Phor Khom, he felt he had wandered into a demented Disneyland. One of the world's most bizarre tourist attractions, Wat Phai Rong Wua was designed as a cautionary museum of sorts; its gruesome statues depict violent and(...)
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Summary:
In 1975, when political scientist Benedict Anderson reached Wat Phai Rong Wua, a massive temple complex in rural Thailand conceived by Buddhist monk Luang Phor Khom, he felt he had wandered into a demented Disneyland. One of the world's most bizarre tourist attractions, Wat Phai Rong Wua was designed as a cautionary museum of sorts; its gruesome statues depict violent and(...)
Title:
The fate of rural hell : ascetism and desire in buddhist Thailand
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In 1975, when political scientist Benedict Anderson reached Wat Phai Rong Wua, a massive temple complex in rural Thailand conceived by Buddhist monk Luang Phor Khom, he felt he had wandered into a demented Disneyland. One of the world's most bizarre tourist attractions, Wat Phai Rong Wua was designed as a cautionary museum of sorts; its gruesome statues depict violent and torturous scenes that showcase what hell may be like. Over the next few decades, Anderson found himself transfixed by this unusual amalgamation of objects, returning several times to see attractions like the largest metal-cast Buddha figure in the world and the Palace of a Hundred Spires. The concrete statuaries and perverse art in Luang Phor Khom's personal museum of hell included, 'side by side, an upright human skeleton in a glass cabinet and a life-size replica of Michelangelo's gigantic nude David, wearing fashionable red underpants from the top of which poked part of a swollen, un-Florentine penis,' alongside dozens of statues of evildoers being ferociously punished in their afterlife. In The Fate of Rural Hell, Anderson unravels the intrigue of this strange setting, trying to discover what compels so many Thai visitors to travel to this popular spectacle and what order, if any, inspired its creation. At the same time, he notes the unexpected effects of the gradual advance of capitalism into the far reaches of rural Asia.
The fate of rural hell : ascetism and desire in buddhist Thailand
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$13.95
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Summary:
In 1975, when political scientist Benedict Anderson reached Wat Phai Rong Wua, a massive temple complex in rural Thailand conceived by Buddhist monk Luang Phor Khom, he felt he had wandered into a demented Disneyland. One of the world's most bizarre tourist attractions, Wat Phai Rong Wua was designed as a cautionary museum of sorts; its gruesome statues depict violent and torturous scenes that showcase what hell may be like. Over the next few decades, Anderson found himself transfixed by this unusual amalgamation of objects, returning several times to see attractions like the largest metal-cast Buddha figure in the world and the Palace of a Hundred Spires. The concrete statuaries and perverse art in Luang Phor Khom's personal museum of hell included, 'side by side, an upright human skeleton in a glass cabinet and a life-size replica of Michelangelo's gigantic nude David, wearing fashionable red underpants from the top of which poked part of a swollen, un-Florentine penis,' alongside dozens of statues of evildoers being ferociously punished in their afterlife. In The Fate of Rural Hell, Anderson unravels the intrigue of this strange setting, trying to discover what compels so many Thai visitors to travel to this popular spectacle and what order, if any, inspired its creation. At the same time, he notes the unexpected effects of the gradual advance of capitalism into the far reaches of rural Asia.
Form:
books
books
Publication:
April 2012
April 2012
Subject:
Art Theory
Art Theory
