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Over the last 50 years, the America House in Berlin has been the focal point of cultural and political discussions and international controversies. Protected by barbed wire, it was attacked with eggs and Molotov cocktails; Robert Kennedy and Willy Brandt visited; millions of Berliners gained access to information in its library and at screenings of films; Lyonel Feininger(...)
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Over the last 50 years, the America House in Berlin has been the focal point of cultural and political discussions and international controversies. Protected by barbed wire, it was attacked with eggs and Molotov cocktails; Robert Kennedy and Willy Brandt visited; millions of Berliners gained access to information in its library and at screenings of films; Lyonel Feininger(...)
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The America House Berlin: pop, politics, and propaganda
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Over the last 50 years, the America House in Berlin has been the focal point of cultural and political discussions and international controversies. Protected by barbed wire, it was attacked with eggs and Molotov cocktails; Robert Kennedy and Willy Brandt visited; millions of Berliners gained access to information in its library and at screenings of films; Lyonel Feininger and Robert Rauschenberg exhibited their works there. In addition, the building is an architectural gem. Built in 1956-57 by Bruno Grimmek, the delicate, open structure is based on the concept of the "idea of space"-a fluid space that is borne by a transparent exterior membrane. In fall 2014 the building will be the new home of C/O Berlin, the exhibition center for photography and visual media.
The America House Berlin: pop, politics, and propaganda
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Over the last 50 years, the America House in Berlin has been the focal point of cultural and political discussions and international controversies. Protected by barbed wire, it was attacked with eggs and Molotov cocktails; Robert Kennedy and Willy Brandt visited; millions of Berliners gained access to information in its library and at screenings of films; Lyonel Feininger and Robert Rauschenberg exhibited their works there. In addition, the building is an architectural gem. Built in 1956-57 by Bruno Grimmek, the delicate, open structure is based on the concept of the "idea of space"-a fluid space that is borne by a transparent exterior membrane. In fall 2014 the building will be the new home of C/O Berlin, the exhibition center for photography and visual media.
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April 2015
April 2015
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$87.00
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On 4 May 1968, a few hours after angry student protesters in Paris had caused the Sorbonne to be evacuated, the exhibition ''50 Years Bauhaus'' opened at the Württembergischer Kunstverein. Conceived by Herbert Bayer, Ludwig Grote, Hans Maria Wingler and Dieter Honisch, the then director of the Kunstverein, the show is still regarded as the most influential post-war(...)
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On 4 May 1968, a few hours after angry student protesters in Paris had caused the Sorbonne to be evacuated, the exhibition ''50 Years Bauhaus'' opened at the Württembergischer Kunstverein. Conceived by Herbert Bayer, Ludwig Grote, Hans Maria Wingler and Dieter Honisch, the then director of the Kunstverein, the show is still regarded as the most influential post-war(...)
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September 2023
September 2023
Title:
50 Years after 50 Years of the Bauhaus
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On 4 May 1968, a few hours after angry student protesters in Paris had caused the Sorbonne to be evacuated, the exhibition ''50 Years Bauhaus'' opened at the Württembergischer Kunstverein. Conceived by Herbert Bayer, Ludwig Grote, Hans Maria Wingler and Dieter Honisch, the then director of the Kunstverein, the show is still regarded as the most influential post-war exhibition on the Bauhaus. Fifty years after the opening of '50 Years Bauhaus'', the Württembergischer Kunstverein undertook a critical re-reading of the 1968 exhibition, with a particular focus on the ambiguous relationship that various prominent members of the Bauhaus had with National Socialism and the murky connections between the art avant-gardes and the military-industrial complex. While the 1968 exhibition historicized the reception of the Bauhaus, reducing it to West Germany and the US, the publication 50 Years After 50 Years of the Bauhaus reflects on the famous school in the context of artistic movements like the International Movement for an Imaginist Bauhaus and the Situationist International.
50 Years after 50 Years of the Bauhaus
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On 4 May 1968, a few hours after angry student protesters in Paris had caused the Sorbonne to be evacuated, the exhibition ''50 Years Bauhaus'' opened at the Württembergischer Kunstverein. Conceived by Herbert Bayer, Ludwig Grote, Hans Maria Wingler and Dieter Honisch, the then director of the Kunstverein, the show is still regarded as the most influential post-war exhibition on the Bauhaus. Fifty years after the opening of '50 Years Bauhaus'', the Württembergischer Kunstverein undertook a critical re-reading of the 1968 exhibition, with a particular focus on the ambiguous relationship that various prominent members of the Bauhaus had with National Socialism and the murky connections between the art avant-gardes and the military-industrial complex. While the 1968 exhibition historicized the reception of the Bauhaus, reducing it to West Germany and the US, the publication 50 Years After 50 Years of the Bauhaus reflects on the famous school in the context of artistic movements like the International Movement for an Imaginist Bauhaus and the Situationist International.
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September 2023
September 2023
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$108.00
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How the modernist avant-gardes from Dada to constructivism reconceived their roles, working as propagandists, advertisers, publishers, graphic designers, curators and more, to create new visual languages for a radically changed world. These “engineers,” “agitators,” “constructors,” “photomonteurs,” “workers”—all designations adopted by the artists themselves—turned away(...)
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How the modernist avant-gardes from Dada to constructivism reconceived their roles, working as propagandists, advertisers, publishers, graphic designers, curators and more, to create new visual languages for a radically changed world. These “engineers,” “agitators,” “constructors,” “photomonteurs,” “workers”—all designations adopted by the artists themselves—turned away(...)
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May 2020
May 2020
Title:
Engineer, agitator, constructor: the artist reinvented
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How the modernist avant-gardes from Dada to constructivism reconceived their roles, working as propagandists, advertisers, publishers, graphic designers, curators and more, to create new visual languages for a radically changed world. These “engineers,” “agitators,” “constructors,” “photomonteurs,” “workers”—all designations adopted by the artists themselves—turned away from traditional forms of painting and sculpture and invented new visual languages. Central among them was photomontage, in which photographs and images from newspapers and magazines were cut, remixed, and pasted together. Working as propagandists, advertisers, publishers, editors, architects, theater designers and curators, these artists engaged with expanded audiences in novel ways, establishing distinctive infrastructures for presenting and distributing their work. Published in conjunction with a major exhibition, this publication marks the transformative addition to MoMA from the Merrill C. Berman Collection, one of the great private collections of political art. Illuminating the essential role of women in avant-garde activities while mapping vital networks across Europe, this richly illustrated book presents the social engagement, fearless experimentation and utopian aspirations that defined the early 20th century, and how these strategies still reverberate today.
Engineer, agitator, constructor: the artist reinvented
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How the modernist avant-gardes from Dada to constructivism reconceived their roles, working as propagandists, advertisers, publishers, graphic designers, curators and more, to create new visual languages for a radically changed world. These “engineers,” “agitators,” “constructors,” “photomonteurs,” “workers”—all designations adopted by the artists themselves—turned away from traditional forms of painting and sculpture and invented new visual languages. Central among them was photomontage, in which photographs and images from newspapers and magazines were cut, remixed, and pasted together. Working as propagandists, advertisers, publishers, editors, architects, theater designers and curators, these artists engaged with expanded audiences in novel ways, establishing distinctive infrastructures for presenting and distributing their work. Published in conjunction with a major exhibition, this publication marks the transformative addition to MoMA from the Merrill C. Berman Collection, one of the great private collections of political art. Illuminating the essential role of women in avant-garde activities while mapping vital networks across Europe, this richly illustrated book presents the social engagement, fearless experimentation and utopian aspirations that defined the early 20th century, and how these strategies still reverberate today.
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May 2020
May 2020
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160 p.
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160 p.
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Lyon : ENBA Lyon 2019.
Lyon : ENBA Lyon 2019.
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Découper le temps en son lieu / Cutting out time in its place. Parcours expérimental / Experimental journey. Yann Annicchiarico; Bernhard Rüdiger.
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160 p.
Découper le temps en son lieu / Cutting out time in its place. Parcours expérimental / Experimental journey. Yann Annicchiarico; Bernhard Rüdiger.
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160 p.
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Lyon : ENBA Lyon 2019.
Lyon : ENBA Lyon 2019.
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403 pages : illustrations ; 31 cm
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403 pages : illustrations ; 31 cm
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New York : Stewart, Tabori & Chang : Professional Imaging, Eastman Kodak Company, 1992., New York : Workman Publishing, Tokyo : Toppan Printing Company
New York : Stewart, Tabori & Chang : Professional Imaging, Eastman Kodak Company, 1992., New York : Workman Publishing, Tokyo : Toppan Printing Company
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The New York School : photographs, 1936-1963 / Jane Livingston.
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403 pages : illustrations ; 31 cm
The New York School : photographs, 1936-1963 / Jane Livingston.
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403 pages : illustrations ; 31 cm
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New York : Stewart, Tabori & Chang : Professional Imaging, Eastman Kodak Company, 1992., New York : Workman Publishing, Tokyo : Toppan Printing Company
New York : Stewart, Tabori & Chang : Professional Imaging, Eastman Kodak Company, 1992., New York : Workman Publishing, Tokyo : Toppan Printing Company
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$75.00
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Reasoned catalogue edited by MUSAC. It deals with the presentation of the first volume of the MUSAC Collection, composed of more than 900 works. The 700 page edition is bilingual. Editorial Coordination was under Isabel Yáñez and Carlos Ordás and design by Ipsum Planet. The catalogue is structured around six critical texts, written by Estrella de Diego, Octavio Zaya,(...)
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Reasoned catalogue edited by MUSAC. It deals with the presentation of the first volume of the MUSAC Collection, composed of more than 900 works. The 700 page edition is bilingual. Editorial Coordination was under Isabel Yáñez and Carlos Ordás and design by Ipsum Planet. The catalogue is structured around six critical texts, written by Estrella de Diego, Octavio Zaya,(...)
Publication:
March 2006, Barcelona
March 2006, Barcelona
Title:
MUSAC : Museo de arte comtemporaneo de Castilla y Leon, coleccion Vol. I
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Reasoned catalogue edited by MUSAC. It deals with the presentation of the first volume of the MUSAC Collection, composed of more than 900 works. The 700 page edition is bilingual. Editorial Coordination was under Isabel Yáñez and Carlos Ordás and design by Ipsum Planet. The catalogue is structured around six critical texts, written by Estrella de Diego, Octavio Zaya, Agustín Pérez Rubio, Carlos Ordás, Tania Pardo y Javier Hernando. The section of reasoned works presents in alphabetical order the 153 artists of this first volume. Together with a short biography of each one of the artists, images accompanied by technical data are shown. These data have been elaborated by Carlos Ordás, Tania Pardo, Belén Sola, Kristine Guzmán e Isabel Yáñez.
MUSAC : Museo de arte comtemporaneo de Castilla y Leon, coleccion Vol. I
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Reasoned catalogue edited by MUSAC. It deals with the presentation of the first volume of the MUSAC Collection, composed of more than 900 works. The 700 page edition is bilingual. Editorial Coordination was under Isabel Yáñez and Carlos Ordás and design by Ipsum Planet. The catalogue is structured around six critical texts, written by Estrella de Diego, Octavio Zaya, Agustín Pérez Rubio, Carlos Ordás, Tania Pardo y Javier Hernando. The section of reasoned works presents in alphabetical order the 153 artists of this first volume. Together with a short biography of each one of the artists, images accompanied by technical data are shown. These data have been elaborated by Carlos Ordás, Tania Pardo, Belén Sola, Kristine Guzmán e Isabel Yáñez.
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March 2006, Barcelona
March 2006, Barcelona
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$32.00
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Espaces blancs : essais, créations et dérives dresse un portrait réflexif portant sur les cinq éditions de l'événement biennal Espace blanc, conçues et réalisées par le centre d'artistes Caravansérail, entre 2005 et 2012 à Rimouski, Québec.
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Espaces blancs : essais, créations et dérives dresse un portrait réflexif portant sur les cinq éditions de l'événement biennal Espace blanc, conçues et réalisées par le centre d'artistes Caravansérail, entre 2005 et 2012 à Rimouski, Québec.
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Espaces blancs : essais, créations et dérives / essays, artworks and tangeants
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Espaces blancs : essais, créations et dérives dresse un portrait réflexif portant sur les cinq éditions de l'événement biennal Espace blanc, conçues et réalisées par le centre d'artistes Caravansérail, entre 2005 et 2012 à Rimouski, Québec.
Espaces blancs : essais, créations et dérives / essays, artworks and tangeants
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Espaces blancs : essais, créations et dérives dresse un portrait réflexif portant sur les cinq éditions de l'événement biennal Espace blanc, conçues et réalisées par le centre d'artistes Caravansérail, entre 2005 et 2012 à Rimouski, Québec.
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February 2013
February 2013
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$65.00
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This groundbreaking exploration of appropriation and institutional critique assembles a wide variety of artists and mediums to offer new insight and make unprecedented connections. Exploring two parallel strands of post-conceptual art, Take It or Leave It highlights artists known for their use of appropriation and those who engage in "institutional critique." Focusing on(...)
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This groundbreaking exploration of appropriation and institutional critique assembles a wide variety of artists and mediums to offer new insight and make unprecedented connections. Exploring two parallel strands of post-conceptual art, Take It or Leave It highlights artists known for their use of appropriation and those who engage in "institutional critique." Focusing on(...)
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March 2014
March 2014
Title:
Take it or leave it: institution, image, ideology
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This groundbreaking exploration of appropriation and institutional critique assembles a wide variety of artists and mediums to offer new insight and make unprecedented connections. Exploring two parallel strands of post-conceptual art, Take It or Leave It highlights artists known for their use of appropriation and those who engage in "institutional critique." Focusing on American artists who emerged from the late 1970s to the early 1990s, the book highlights dynamic practices in a variety of media: from performance to photography; video to installation; painting to writing. Artists as wide-ranging in approach as Dara Birnbaum, Mark Dion, Robert Gober, Barbara Kruger, Zoe Leonard, Glenn Ligon, Adrian Piper, Stephen Prina, and Fred Wilson are examined within the context of the larger culture— from the political landscape to design strategies in advertising. Essays by curators Anne Ellegood and Johanna Burton as well as scholars George Baker, Julia Bryan-Wilson, Gavin Butt, and Darby English explore the historical and current terrain of appropriation and institutional critique, while pursuing topics including the downtown music scene in New York in the '80s, new strategies of painting, and theories of race after identity politics' heyday.
Take it or leave it: institution, image, ideology
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This groundbreaking exploration of appropriation and institutional critique assembles a wide variety of artists and mediums to offer new insight and make unprecedented connections. Exploring two parallel strands of post-conceptual art, Take It or Leave It highlights artists known for their use of appropriation and those who engage in "institutional critique." Focusing on American artists who emerged from the late 1970s to the early 1990s, the book highlights dynamic practices in a variety of media: from performance to photography; video to installation; painting to writing. Artists as wide-ranging in approach as Dara Birnbaum, Mark Dion, Robert Gober, Barbara Kruger, Zoe Leonard, Glenn Ligon, Adrian Piper, Stephen Prina, and Fred Wilson are examined within the context of the larger culture— from the political landscape to design strategies in advertising. Essays by curators Anne Ellegood and Johanna Burton as well as scholars George Baker, Julia Bryan-Wilson, Gavin Butt, and Darby English explore the historical and current terrain of appropriation and institutional critique, while pursuing topics including the downtown music scene in New York in the '80s, new strategies of painting, and theories of race after identity politics' heyday.
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March 2014
March 2014
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xi, 171 pages : illustrations ; 21 cm
Description:
xi, 171 pages : illustrations ; 21 cm
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Cambridge, Mass. : MIT Press, ©2012.
Cambridge, Mass. : MIT Press, ©2012.
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Toward a minor architecture / Jill Stoner.
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xi, 171 pages : illustrations ; 21 cm
Toward a minor architecture / Jill Stoner.
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xi, 171 pages : illustrations ; 21 cm
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Cambridge, Mass. : MIT Press, ©2012.
Cambridge, Mass. : MIT Press, ©2012.
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xiii, 537 pages : illustrations ; 24 cm
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xiii, 537 pages : illustrations ; 24 cm
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Cambridge [Cambridgeshire] ; New York : Cambridge University Press, 1987.
Cambridge [Cambridgeshire] ; New York : Cambridge University Press, 1987.
Title:
The correspondence of John Ruskin and Charles Eliot Norton / edited by John Lewis Bradley and Ian Ousby.
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xiii, 537 pages : illustrations ; 24 cm
The correspondence of John Ruskin and Charles Eliot Norton / edited by John Lewis Bradley and Ian Ousby.
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xiii, 537 pages : illustrations ; 24 cm
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books
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Cambridge [Cambridgeshire] ; New York : Cambridge University Press, 1987.
Cambridge [Cambridgeshire] ; New York : Cambridge University Press, 1987.
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