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One of the most influential American conceptual artists of the late 1960s, Dan Graham (born 1942) is particularly celebrated for his pavilions : interactive spaces that walk the line between sculpture and architecture, many of which include the use of two-way mirrors or “looking-glasses.” These installations allow the visitor to ponder himself or herself in the mirror as(...)
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One of the most influential American conceptual artists of the late 1960s, Dan Graham (born 1942) is particularly celebrated for his pavilions : interactive spaces that walk the line between sculpture and architecture, many of which include the use of two-way mirrors or “looking-glasses.” These installations allow the visitor to ponder himself or herself in the mirror as(...)
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Dan Graham ; not yet realised, pavilion drawings
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One of the most influential American conceptual artists of the late 1960s, Dan Graham (born 1942) is particularly celebrated for his pavilions : interactive spaces that walk the line between sculpture and architecture, many of which include the use of two-way mirrors or “looking-glasses.” These installations allow the visitor to ponder himself or herself in the mirror as they walk through the pavilion, watch as others inspect their own reflections, or even catch another’s eye through the glass. Not Yet Realised : Pavilion Drawings, published on the occasion of the 2012 exhibition Dan Graham’s Pavilions at the Lisson Gallery in London, presents numerous drawings and proposals for possible future pavilions. Some of the plans are thoroughly developed, with straight lines and precise measurements, while other more quickly drawn sketches capture his initial ideas as they arise.
Dan Graham ; not yet realised, pavilion drawings
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One of the most influential American conceptual artists of the late 1960s, Dan Graham (born 1942) is particularly celebrated for his pavilions : interactive spaces that walk the line between sculpture and architecture, many of which include the use of two-way mirrors or “looking-glasses.” These installations allow the visitor to ponder himself or herself in the mirror as they walk through the pavilion, watch as others inspect their own reflections, or even catch another’s eye through the glass. Not Yet Realised : Pavilion Drawings, published on the occasion of the 2012 exhibition Dan Graham’s Pavilions at the Lisson Gallery in London, presents numerous drawings and proposals for possible future pavilions. Some of the plans are thoroughly developed, with straight lines and precise measurements, while other more quickly drawn sketches capture his initial ideas as they arise.
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books
books
Publication:
October 2012
October 2012
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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Sherrie Levine
Sherrie Levine
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The artist Sherrie Levine (b. 1947) is best known for her appropriations of work by other artists—most famously for her rephotographs of canonical images by Edward Weston, Eliot Porter, and other masters of modern photography. Since those works of the early 1980s, she has continued to work on and “after” artists whose names have come to define modernism, making sculpture(...)
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The artist Sherrie Levine (b. 1947) is best known for her appropriations of work by other artists—most famously for her rephotographs of canonical images by Edward Weston, Eliot Porter, and other masters of modern photography. Since those works of the early 1980s, she has continued to work on and “after” artists whose names have come to define modernism, making sculpture(...)
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Sherrie Levine
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The artist Sherrie Levine (b. 1947) is best known for her appropriations of work by other artists—most famously for her rephotographs of canonical images by Edward Weston, Eliot Porter, and other masters of modern photography. Since those works of the early 1980s, she has continued to work on and “after” artists whose names have come to define modernism, making sculpture after Brancusi and Duchamp, paintings after Malevich and Blinky Palermo, watercolors after Matisse and Miro, photographs after Monet and Cezanne as well as Alfred Stieglitz. Throughout, Levine's practice effectively uncompleted, decentered, and extended works of art that were once singular and finished, posing critical rebuttals to some of the basic assumptions of modernist aesthetics. Her work was central to the theorization of postmodernism in the visual arts—most notably as it emerged in the pages of October magazine.
Sherrie Levine
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The artist Sherrie Levine (b. 1947) is best known for her appropriations of work by other artists—most famously for her rephotographs of canonical images by Edward Weston, Eliot Porter, and other masters of modern photography. Since those works of the early 1980s, she has continued to work on and “after” artists whose names have come to define modernism, making sculpture after Brancusi and Duchamp, paintings after Malevich and Blinky Palermo, watercolors after Matisse and Miro, photographs after Monet and Cezanne as well as Alfred Stieglitz. Throughout, Levine's practice effectively uncompleted, decentered, and extended works of art that were once singular and finished, posing critical rebuttals to some of the basic assumptions of modernist aesthetics. Her work was central to the theorization of postmodernism in the visual arts—most notably as it emerged in the pages of October magazine.
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books
books
Publication:
September 2018
September 2018
Subject:
Art Theory
Art Theory
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books
books
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Paper: Tear, Fold, Rip, Crease, Cut focuses on all aspects of paper manipulation. The book covers a wide range of techniques including drawing, painting, sculpture, collage, paper folding, cut-out, pop-up, and installation. Paper profiles over 50 artists and designers who work with the medium, including Robert Ryan and Rachel Whiteread. Paper also offers a history of the(...)
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Paper: Tear, Fold, Rip, Crease, Cut focuses on all aspects of paper manipulation. The book covers a wide range of techniques including drawing, painting, sculpture, collage, paper folding, cut-out, pop-up, and installation. Paper profiles over 50 artists and designers who work with the medium, including Robert Ryan and Rachel Whiteread. Paper also offers a history of the(...)
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Paper: tear, fold, rip, crease, cut
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Paper: Tear, Fold, Rip, Crease, Cut focuses on all aspects of paper manipulation. The book covers a wide range of techniques including drawing, painting, sculpture, collage, paper folding, cut-out, pop-up, and installation. Paper profiles over 50 artists and designers who work with the medium, including Robert Ryan and Rachel Whiteread. Paper also offers a history of the material, from the ancient process of paper manufacture in Ancient China, to the most recent technological advances. From the traditional arts of origami, bookmaking, the humble paper aeroplane and paper plates to recent, groundbreaking product design Paper is a critical look at how paper is used today. Paper also boasts an interactive design which allows the reader to experience the art of paper firsthand--folding, cutting and manipulating the book to create their own paper objects and designs.
Paper: tear, fold, rip, crease, cut
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Paper: Tear, Fold, Rip, Crease, Cut focuses on all aspects of paper manipulation. The book covers a wide range of techniques including drawing, painting, sculpture, collage, paper folding, cut-out, pop-up, and installation. Paper profiles over 50 artists and designers who work with the medium, including Robert Ryan and Rachel Whiteread. Paper also offers a history of the material, from the ancient process of paper manufacture in Ancient China, to the most recent technological advances. From the traditional arts of origami, bookmaking, the humble paper aeroplane and paper plates to recent, groundbreaking product design Paper is a critical look at how paper is used today. Paper also boasts an interactive design which allows the reader to experience the art of paper firsthand--folding, cutting and manipulating the book to create their own paper objects and designs.
Form:
books
books
Publication:
October 2009
October 2009
Subject:
Paper and packaging design
Paper and packaging design
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books
books
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$46.95
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Jack Burnham is one of the few critics and theorists alive today who can claim to have radically altered the way we think about works of art. Burnham’s use of the term “system” (borrowed from theoretical biology) in his 1968 essay “System Aesthetics” announced the relational character of conceptual art and newer research-based projects. Trained as an art historian,(...)
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Jack Burnham is one of the few critics and theorists alive today who can claim to have radically altered the way we think about works of art. Burnham’s use of the term “system” (borrowed from theoretical biology) in his 1968 essay “System Aesthetics” announced the relational character of conceptual art and newer research-based projects. Trained as an art historian,(...)
Title:
Dissolve into comprenhension: writings and interviews, 1964-2004
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Jack Burnham is one of the few critics and theorists alive today who can claim to have radically altered the way we think about works of art. Burnham’s use of the term “system” (borrowed from theoretical biology) in his 1968 essay “System Aesthetics” announced the relational character of conceptual art and newer research-based projects. Trained as an art historian, Burnham was also a sculptor. His first book, Beyond Modern Sculpture (1968), established him as a leading commentator on art and technology. A postformalist pioneer, an influential figure in new media art history, an early champion of conceptual and ecological art, and the curator of the first exhibition of digital art, Burnham is long overdue for reevaluation. This book offers that opportunity by collecting a substantial and varied selection of his hard-to-find texts, some published here for the first time.
Dissolve into comprenhension: writings and interviews, 1964-2004
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Jack Burnham is one of the few critics and theorists alive today who can claim to have radically altered the way we think about works of art. Burnham’s use of the term “system” (borrowed from theoretical biology) in his 1968 essay “System Aesthetics” announced the relational character of conceptual art and newer research-based projects. Trained as an art historian, Burnham was also a sculptor. His first book, Beyond Modern Sculpture (1968), established him as a leading commentator on art and technology. A postformalist pioneer, an influential figure in new media art history, an early champion of conceptual and ecological art, and the curator of the first exhibition of digital art, Burnham is long overdue for reevaluation. This book offers that opportunity by collecting a substantial and varied selection of his hard-to-find texts, some published here for the first time.
Form:
books
books
Publication:
August 2015
August 2015
Subject:
Art Theory
Art Theory
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books
books
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The artist's house is a prism through which to view not only the artistic practice of its inhabitant but also to apprehend broader developments in sculpture and contemporary art in relation to domestic architecture and interior space. Based on a series of interviews and site visits with living artists about the role of their home in relation to their work,(...)
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The artist's house is a prism through which to view not only the artistic practice of its inhabitant but also to apprehend broader developments in sculpture and contemporary art in relation to domestic architecture and interior space. Based on a series of interviews and site visits with living artists about the role of their home in relation to their work,(...)
Title:
The artist's house: from workplace to artwork
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The artist's house is a prism through which to view not only the artistic practice of its inhabitant but also to apprehend broader developments in sculpture and contemporary art in relation to domestic architecture and interior space. Based on a series of interviews and site visits with living artists about the role of their home in relation to their work, Cambridge-trained art historian Kirsty Bell looks at the house as receptacle, vehicle, model, theater or dream space. In-depth analyses of these contemporary examples including Jorge Pardo, Miros aw Ba ka, Danh Vo, Gregor Schneider, Frances Stark, Marc Camille Chaimowicz, Dominique Gonzalez-Foerster, Mark Leckey, Monika Sosnowska, Gabriel Orozco and Andrea Zittel are contextualized by key artists of the 20th century such as Kurt Schwitters, Alice Neel, Edward Krasin ski, Carlo Mollino and Louise Bourgeois.
The artist's house: from workplace to artwork
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The artist's house is a prism through which to view not only the artistic practice of its inhabitant but also to apprehend broader developments in sculpture and contemporary art in relation to domestic architecture and interior space. Based on a series of interviews and site visits with living artists about the role of their home in relation to their work, Cambridge-trained art historian Kirsty Bell looks at the house as receptacle, vehicle, model, theater or dream space. In-depth analyses of these contemporary examples including Jorge Pardo, Miros aw Ba ka, Danh Vo, Gregor Schneider, Frances Stark, Marc Camille Chaimowicz, Dominique Gonzalez-Foerster, Mark Leckey, Monika Sosnowska, Gabriel Orozco and Andrea Zittel are contextualized by key artists of the 20th century such as Kurt Schwitters, Alice Neel, Edward Krasin ski, Carlo Mollino and Louise Bourgeois.
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books
books
Publication:
April 2014
April 2014
Subject:
Architectural Theory
Architectural Theory
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books
books
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Pièce majeure de la collection du MAMCO de Genève, Open House, créée à l'origine à SoHo (New York) durant le printemps 1972, est la seule œuvre de grande dimension de l'artiste américain Gordon Matta-Clark (1943-1978) conservée par une institution. Il s'agit d'un container à l'intérieur duquel a été construit un labyrinthe fait de portes et de cloisons en bois(...)
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Pièce majeure de la collection du MAMCO de Genève, Open House, créée à l'origine à SoHo (New York) durant le printemps 1972, est la seule œuvre de grande dimension de l'artiste américain Gordon Matta-Clark (1943-1978) conservée par une institution. Il s'agit d'un container à l'intérieur duquel a été construit un labyrinthe fait de portes et de cloisons en bois(...)
Publication:
March 2020
March 2020
Title:
Gordon Matta-Clark: open house (v.f.)
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Pièce majeure de la collection du MAMCO de Genève, Open House, créée à l'origine à SoHo (New York) durant le printemps 1972, est la seule œuvre de grande dimension de l'artiste américain Gordon Matta-Clark (1943-1978) conservée par une institution. Il s'agit d'un container à l'intérieur duquel a été construit un labyrinthe fait de portes et de cloisons en bois récupérées. Véritable manifeste esthétique, cette construction de fortune cristallise bien des prises de position assumées par son créateur, tant dans ses relations avec la sculpture que dans ses rapports critiques à l'architecture. Elle est ici étudiée pour la première fois par trois auteur-e-s, Sophie Costes, Thierry Davila et Lydia Yee, qui en restituent toute la richesse et la complexité. Une façon de réaffirmer l'importance de la figure de Gordon Matta-Clark pour l'art des XXe et XXIe siècles.
Gordon Matta-Clark: open house (v.f.)
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Pièce majeure de la collection du MAMCO de Genève, Open House, créée à l'origine à SoHo (New York) durant le printemps 1972, est la seule œuvre de grande dimension de l'artiste américain Gordon Matta-Clark (1943-1978) conservée par une institution. Il s'agit d'un container à l'intérieur duquel a été construit un labyrinthe fait de portes et de cloisons en bois récupérées. Véritable manifeste esthétique, cette construction de fortune cristallise bien des prises de position assumées par son créateur, tant dans ses relations avec la sculpture que dans ses rapports critiques à l'architecture. Elle est ici étudiée pour la première fois par trois auteur-e-s, Sophie Costes, Thierry Davila et Lydia Yee, qui en restituent toute la richesse et la complexité. Une façon de réaffirmer l'importance de la figure de Gordon Matta-Clark pour l'art des XXe et XXIe siècles.
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books
books
Publication:
March 2020
March 2020
Form:
books
books
Title:
Photography at MoMA / edited by Quentin Bajac, Lucy Gallun, Roxana Marcoci, Sarah Hermanson Meister.
Photography at MoMA / edited by Quentin Bajac, Lucy Gallun, Roxana Marcoci, Sarah Hermanson Meister.
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Description:
3 volumes : illustrations (some color), portraits ; 32 cm
Description:
3 volumes : illustrations (some color), portraits ; 32 cm
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New York : Museum of Modern Art, 2015-2017.
New York : Museum of Modern Art, 2015-2017.
Title:
Photography at MoMA / edited by Quentin Bajac, Lucy Gallun, Roxana Marcoci, Sarah Hermanson Meister.
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Description:
3 volumes : illustrations (some color), portraits ; 32 cm
Photography at MoMA / edited by Quentin Bajac, Lucy Gallun, Roxana Marcoci, Sarah Hermanson Meister.
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3 volumes : illustrations (some color), portraits ; 32 cm
Form:
books
books
Publication:
New York : Museum of Modern Art, 2015-2017.
New York : Museum of Modern Art, 2015-2017.
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books
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Title:
Maya Lin : boundaries
Maya Lin : boundaries
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Walking through this parklike area, the memorial appears as a rift in the earth - a long, polished black stone wall, emerging from and receding into the earth. Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site(...)
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Walking through this parklike area, the memorial appears as a rift in the earth - a long, polished black stone wall, emerging from and receding into the earth. Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site(...)
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Maya Lin : boundaries
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Walking through this parklike area, the memorial appears as a rift in the earth - a long, polished black stone wall, emerging from and receding into the earth. Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site contained by the walls of this memorial, we can barely make out the carved names upon the memorial's walls. These names, seemingly infinite in number, convey the sense of overwhelming numbers, while unifying these individuals into a whole.... So begins the competition entry submitted in 1981 by a Yale undergraduate for the design of the Vietnam Veterans Memorial in Washington, D.C. - subsequently called "as moving and awesome and popular a piece of memorial architecture as exists anywhere in the world." Its creator, Maya Lin, has been nothing less than world famous ever since. From the explicitly political to the un-ashamedly literary to the completely abstract, her simple and powerful sculpture - the Rockefeller Foundation sculpture, the Southern Poverty Law Center Civil Rights Memorial, the Yale Women's Table, Wave Field - her architecture, including The Museum for African Art and the Norton residence, and her protean design talents have defined her as one of the most gifted creative geniuses of the age. Boundaries is her first book : an eloquent visual/verbal sketchbook produced with the same inspiration and attention to detail as any of her other artworks. Like her environmental sculptures, it is a site, but one which exists at a remove so that it may comment on the personal and artistic elements that make up those works. In it, sketches, photographs, workbook entries, and original designs are held together by a deeply personal text. "Boundaries" is a powerful literary and visual statement by "a leading public artist" (Holland Carter). It is itself a unique work of art.
Maya Lin : boundaries
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Walking through this parklike area, the memorial appears as a rift in the earth - a long, polished black stone wall, emerging from and receding into the earth. Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site contained by the walls of this memorial, we can barely make out the carved names upon the memorial's walls. These names, seemingly infinite in number, convey the sense of overwhelming numbers, while unifying these individuals into a whole.... So begins the competition entry submitted in 1981 by a Yale undergraduate for the design of the Vietnam Veterans Memorial in Washington, D.C. - subsequently called "as moving and awesome and popular a piece of memorial architecture as exists anywhere in the world." Its creator, Maya Lin, has been nothing less than world famous ever since. From the explicitly political to the un-ashamedly literary to the completely abstract, her simple and powerful sculpture - the Rockefeller Foundation sculpture, the Southern Poverty Law Center Civil Rights Memorial, the Yale Women's Table, Wave Field - her architecture, including The Museum for African Art and the Norton residence, and her protean design talents have defined her as one of the most gifted creative geniuses of the age. Boundaries is her first book : an eloquent visual/verbal sketchbook produced with the same inspiration and attention to detail as any of her other artworks. Like her environmental sculptures, it is a site, but one which exists at a remove so that it may comment on the personal and artistic elements that make up those works. In it, sketches, photographs, workbook entries, and original designs are held together by a deeply personal text. "Boundaries" is a powerful literary and visual statement by "a leading public artist" (Holland Carter). It is itself a unique work of art.
Form:
books
books
Publication:
September 2006, New York
September 2006, New York
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
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$46.95
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Comment apprendre à lire les images ? Donis A. Dondis livre dans cet essai une approche précise et documentée des mécanismes à l’œuvre dans ce processus. Alors que la lecture d’une image semble relever du domaine de l’intuition, cette enseignante expérimentée démontre qu’il s’agit plutôt d’une méthode proche de l’apprentissage d’une langue, avec son alphabet, son lexique(...)
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Comment apprendre à lire les images ? Donis A. Dondis livre dans cet essai une approche précise et documentée des mécanismes à l’œuvre dans ce processus. Alors que la lecture d’une image semble relever du domaine de l’intuition, cette enseignante expérimentée démontre qu’il s’agit plutôt d’une méthode proche de l’apprentissage d’une langue, avec son alphabet, son lexique(...)
Title:
La Syntaxe de l'image : Introduction à l'alphabétisation visuelle
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Comment apprendre à lire les images ? Donis A. Dondis livre dans cet essai une approche précise et documentée des mécanismes à l’œuvre dans ce processus. Alors que la lecture d’une image semble relever du domaine de l’intuition, cette enseignante expérimentée démontre qu’il s’agit plutôt d’une méthode proche de l’apprentissage d’une langue, avec son alphabet, son lexique et sa syntaxe nécessitant un enseignement spécifique. Richement illustré, « La Syntaxe de l’image » s’adresse à toute personne souhaitant analyser l’environnement visuel qui nous entoure et comprendre les formes qui le composent. Cette réflexion théorique est accompagnée de multiples exemples et références allant de la peinture à la sculpture en passant par l’architecture, le design graphique ou le cinéma ; autant d’applications qui permettent de comprendre le fonctionnement de nos aptitudes visuelles et de les mettre en oeuvre. Le texte est accompagné d’exercices pratiques permettant à chacun·e d’exercer son regard.
La Syntaxe de l'image : Introduction à l'alphabétisation visuelle
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Comment apprendre à lire les images ? Donis A. Dondis livre dans cet essai une approche précise et documentée des mécanismes à l’œuvre dans ce processus. Alors que la lecture d’une image semble relever du domaine de l’intuition, cette enseignante expérimentée démontre qu’il s’agit plutôt d’une méthode proche de l’apprentissage d’une langue, avec son alphabet, son lexique et sa syntaxe nécessitant un enseignement spécifique. Richement illustré, « La Syntaxe de l’image » s’adresse à toute personne souhaitant analyser l’environnement visuel qui nous entoure et comprendre les formes qui le composent. Cette réflexion théorique est accompagnée de multiples exemples et références allant de la peinture à la sculpture en passant par l’architecture, le design graphique ou le cinéma ; autant d’applications qui permettent de comprendre le fonctionnement de nos aptitudes visuelles et de les mettre en oeuvre. Le texte est accompagné d’exercices pratiques permettant à chacun·e d’exercer son regard.
Form:
books
books
Publication:
October 2023
October 2023
Subject:
Art Theory
Art Theory
Form:
books
books
Title:
Renzo Piano museums
Renzo Piano museums
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$69.00
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Creating space for the display of works of art has intrigued Renzo Piano throughout his thirty-five years of architectural practice. Today he is acknowledged the pre-eminent designer in this field, entrusted with the collections of the most distinguished art institutions in the world. Renzo Piano Museums presents a portfolio of eighteen museum projects, beginning with the(...)
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Creating space for the display of works of art has intrigued Renzo Piano throughout his thirty-five years of architectural practice. Today he is acknowledged the pre-eminent designer in this field, entrusted with the collections of the most distinguished art institutions in the world. Renzo Piano Museums presents a portfolio of eighteen museum projects, beginning with the(...)
Subject:
Architecture Monographs
Architecture Monographs
Publication:
October 2007, New York
October 2007, New York
Title:
Renzo Piano museums
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$69.00
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Creating space for the display of works of art has intrigued Renzo Piano throughout his thirty-five years of architectural practice. Today he is acknowledged the pre-eminent designer in this field, entrusted with the collections of the most distinguished art institutions in the world. Renzo Piano Museums presents a portfolio of eighteen museum projects, beginning with the revolutionary Pompidou Center in Paris and continuing to the most current designs for the Los Angeles County Museum of Art, the Art Institute of Chicago, and the Museum of Contemporary Art in Sarajevo. Featured are the Menil Collection in Houston, the Fondation Beyeler on the outskirts of Basel, Switzerland, the Nasher Sculpture Center in Dallas, the High Museum of Art in Atlanta, and the Morgan Library and Museum in New York. Lush color photographs and handsome presentation drawings and plans convey the form and detail of these extraordinary buildings.
Renzo Piano museums
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Creating space for the display of works of art has intrigued Renzo Piano throughout his thirty-five years of architectural practice. Today he is acknowledged the pre-eminent designer in this field, entrusted with the collections of the most distinguished art institutions in the world. Renzo Piano Museums presents a portfolio of eighteen museum projects, beginning with the revolutionary Pompidou Center in Paris and continuing to the most current designs for the Los Angeles County Museum of Art, the Art Institute of Chicago, and the Museum of Contemporary Art in Sarajevo. Featured are the Menil Collection in Houston, the Fondation Beyeler on the outskirts of Basel, Switzerland, the Nasher Sculpture Center in Dallas, the High Museum of Art in Atlanta, and the Morgan Library and Museum in New York. Lush color photographs and handsome presentation drawings and plans convey the form and detail of these extraordinary buildings.
Form:
books
books
Publication:
October 2007, New York
October 2007, New York
Subject:
Architecture Monographs
Architecture Monographs
