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Designers and advertisers continually have to interpret design briefs, produce new solutions to familiar problems and work to keep their clients’ brands high in the public consciousness. This highly informative guide brings together for the first time discussions and case studies that illustrate the working methods of major advertising and graphic design firms. Each(...)
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Summary:
Designers and advertisers continually have to interpret design briefs, produce new solutions to familiar problems and work to keep their clients’ brands high in the public consciousness. This highly informative guide brings together for the first time discussions and case studies that illustrate the working methods of major advertising and graphic design firms. Each(...)
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Problem solved : a primer in design and communication
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Designers and advertisers continually have to interpret design briefs, produce new solutions to familiar problems and work to keep their clients’ brands high in the public consciousness. This highly informative guide brings together for the first time discussions and case studies that illustrate the working methods of major advertising and graphic design firms. Each chapter explores a different theme of ‘problem solving’, and concludes with a case study to illustrate a particular solution in detail. Themes include: producing innovative work, avoiding repetition, standing out in the market place, reinventing a tired brand, communicating essential facts in a culture of information overload, keeping a brand young and trendy, dealing sensitively with propaganda, the use of shock tactics, and word-based advertising in a world over-run with images and sound-bites. Examples featured are taken from classic and contemporary international advertising. Designers and agencies whose work is discussed in the book include Chermayeff and Geismar, Saatchi and Saatchi, BMP, Minale Tattersfield, Derek Birdsall, Niklaus Troxler, Bob Gill, Wieslan Walkuski, Makoto Saito, Paul Fishlock, and Pentagram.
Problem solved : a primer in design and communication
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Designers and advertisers continually have to interpret design briefs, produce new solutions to familiar problems and work to keep their clients’ brands high in the public consciousness. This highly informative guide brings together for the first time discussions and case studies that illustrate the working methods of major advertising and graphic design firms. Each chapter explores a different theme of ‘problem solving’, and concludes with a case study to illustrate a particular solution in detail. Themes include: producing innovative work, avoiding repetition, standing out in the market place, reinventing a tired brand, communicating essential facts in a culture of information overload, keeping a brand young and trendy, dealing sensitively with propaganda, the use of shock tactics, and word-based advertising in a world over-run with images and sound-bites. Examples featured are taken from classic and contemporary international advertising. Designers and agencies whose work is discussed in the book include Chermayeff and Geismar, Saatchi and Saatchi, BMP, Minale Tattersfield, Derek Birdsall, Niklaus Troxler, Bob Gill, Wieslan Walkuski, Makoto Saito, Paul Fishlock, and Pentagram.
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books
books
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October 2002, London
October 2002, London
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Graphic Design and Typography
Graphic Design and Typography
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"Merz to Emigre and Beyond" is a historical survey of avant-garde cultural and political magazines and newspapers from the early twentieth century to the present. The book features a unique selection of international publications from Europe and the U.S.A. including "Merz" (1920's), "View" (1940's), "East Village Other" (1960's), "Punk" (1970's), "Raw" (1980's) and(...)
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"Merz to Emigre and Beyond" is a historical survey of avant-garde cultural and political magazines and newspapers from the early twentieth century to the present. The book features a unique selection of international publications from Europe and the U.S.A. including "Merz" (1920's), "View" (1940's), "East Village Other" (1960's), "Punk" (1970's), "Raw" (1980's) and(...)
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Merz to Emigre and beyond : avant-garde magazine design of the twentieth century
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"Merz to Emigre and Beyond" is a historical survey of avant-garde cultural and political magazines and newspapers from the early twentieth century to the present. The book features a unique selection of international publications from Europe and the U.S.A. including "Merz" (1920's), "View" (1940's), "East Village Other" (1960's), "Punk" (1970's), "Raw" (1980's) and "Emigre" (1990's). The design of these magazines, often raucous and undisciplined, was as ground-breaking as the ideas they disseminated. Many were linked with controversial art, literary and political movements such as Dada, Surrealism, Modernism, the New Left and Deconstruction. They contain the work of many leading experimental artists and designers of their time from Kurt Schwitters and El Lissitzky in the 1920's and 30's, to Art Spiegelman and Rudy Vanderlans in the 1980's and 90's.
Merz to Emigre and beyond : avant-garde magazine design of the twentieth century
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"Merz to Emigre and Beyond" is a historical survey of avant-garde cultural and political magazines and newspapers from the early twentieth century to the present. The book features a unique selection of international publications from Europe and the U.S.A. including "Merz" (1920's), "View" (1940's), "East Village Other" (1960's), "Punk" (1970's), "Raw" (1980's) and "Emigre" (1990's). The design of these magazines, often raucous and undisciplined, was as ground-breaking as the ideas they disseminated. Many were linked with controversial art, literary and political movements such as Dada, Surrealism, Modernism, the New Left and Deconstruction. They contain the work of many leading experimental artists and designers of their time from Kurt Schwitters and El Lissitzky in the 1920's and 30's, to Art Spiegelman and Rudy Vanderlans in the 1980's and 90's.
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books
books
Publication:
April 2003, London
April 2003, London
Subject:
Graphic Design and Typography
Graphic Design and Typography
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books
books
Title:
Infinity and perspective
Infinity and perspective
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Much postmodern rhetoric, suggests Karsten Harries, can be understood as a symptom of our civilization's discontent, born of regret that we are no longer able to experience our world as a cosmos that assigns us our place. But dissatisfaction with the modern world may also spring from a conviction that modernism has failed to confront the challenge of an inevitably open(...)
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Much postmodern rhetoric, suggests Karsten Harries, can be understood as a symptom of our civilization's discontent, born of regret that we are no longer able to experience our world as a cosmos that assigns us our place. But dissatisfaction with the modern world may also spring from a conviction that modernism has failed to confront the challenge of an inevitably open(...)
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Infinity and perspective
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Much postmodern rhetoric, suggests Karsten Harries, can be understood as a symptom of our civilization's discontent, born of regret that we are no longer able to experience our world as a cosmos that assigns us our place. But dissatisfaction with the modern world may also spring from a conviction that modernism has failed to confront the challenge of an inevitably open future. Such conviction has frequently led to a critique of modernity's founding heroes. Challenging that critique, Harries insists that modernity is supported by nothing other than human freedom. But more important to Harries is to show how modernist self-assertion is shadowed by nihilism and what it might mean to step out of that shadow. Looking at a small number of medieval and Renaissance texts, as well as some paintings, he uncovers the threshold that separates the modern from the premodern world. At the same time, he illuminates that other, more questionable threshold, between the modern and the postmodern. Two spirits preside over the book: Alberti, the Renaissance author on art and architecture, whose passionate interest in perspective and point of view offers a key to modernity; and Nicolaus Cusanus, the fifteenth-century cardinal, whose work shows that such interest cannot be divorced from speculations on the infinity of God. The title Infinity and Perspective connects the two to each other and to the shape of modernity.
Infinity and perspective
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Much postmodern rhetoric, suggests Karsten Harries, can be understood as a symptom of our civilization's discontent, born of regret that we are no longer able to experience our world as a cosmos that assigns us our place. But dissatisfaction with the modern world may also spring from a conviction that modernism has failed to confront the challenge of an inevitably open future. Such conviction has frequently led to a critique of modernity's founding heroes. Challenging that critique, Harries insists that modernity is supported by nothing other than human freedom. But more important to Harries is to show how modernist self-assertion is shadowed by nihilism and what it might mean to step out of that shadow. Looking at a small number of medieval and Renaissance texts, as well as some paintings, he uncovers the threshold that separates the modern from the premodern world. At the same time, he illuminates that other, more questionable threshold, between the modern and the postmodern. Two spirits preside over the book: Alberti, the Renaissance author on art and architecture, whose passionate interest in perspective and point of view offers a key to modernity; and Nicolaus Cusanus, the fifteenth-century cardinal, whose work shows that such interest cannot be divorced from speculations on the infinity of God. The title Infinity and Perspective connects the two to each other and to the shape of modernity.
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books
books
Publication:
October 2002, Cambridge, Mass.
October 2002, Cambridge, Mass.
Subject:
Architectural Theory
Architectural Theory
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books
books
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$67.50
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The book looks at the cultural and architectural context in which Behrens worked, his early career, and the relation of his own house in Darmstadt to his ideal of a society where life is formed as art. It also looks at his directorship of the School of Arts and Crafts in Düsseldorf, where he drew on the work of such brilliant historiographers of art and architecture as(...)
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The book looks at the cultural and architectural context in which Behrens worked, his early career, and the relation of his own house in Darmstadt to his ideal of a society where life is formed as art. It also looks at his directorship of the School of Arts and Crafts in Düsseldorf, where he drew on the work of such brilliant historiographers of art and architecture as(...)
Subject:
Architecture Monographs
Architecture Monographs
Publication:
October 2002, Cambridge, Massachusetts
October 2002, Cambridge, Massachusetts
Title:
Peter Behrens and a new architecture for the twentieth century
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The book looks at the cultural and architectural context in which Behrens worked, his early career, and the relation of his own house in Darmstadt to his ideal of a society where life is formed as art. It also looks at his directorship of the School of Arts and Crafts in Düsseldorf, where he drew on the work of such brilliant historiographers of art and architecture as Alois Riegl and August Schmarsow. In his conclusion, Anderson considers Behrens' melancholy in the face of modern industrial society and his avoidance of a direct address of life, despite, or rather because of, his professed commitment to express life as art.
Peter Behrens and a new architecture for the twentieth century
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The book looks at the cultural and architectural context in which Behrens worked, his early career, and the relation of his own house in Darmstadt to his ideal of a society where life is formed as art. It also looks at his directorship of the School of Arts and Crafts in Düsseldorf, where he drew on the work of such brilliant historiographers of art and architecture as Alois Riegl and August Schmarsow. In his conclusion, Anderson considers Behrens' melancholy in the face of modern industrial society and his avoidance of a direct address of life, despite, or rather because of, his professed commitment to express life as art.
Form:
books
books
Publication:
October 2002, Cambridge, Massachusetts
October 2002, Cambridge, Massachusetts
Subject:
Architecture Monographs
Architecture Monographs
Form:
books
books
Title:
Four books on architecture
Four books on architecture
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Renaissance architect Andrea Palladio was one of the most influential figures that the field of architecture has ever produced. For classical architects, the term Palladian stands for a vocabulary of architectural forms embodying perfection and beauty. Of even greater significance than Palladio's buildings is his treatise I quattro libri dell'architettura (The Four Books(...)
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Renaissance architect Andrea Palladio was one of the most influential figures that the field of architecture has ever produced. For classical architects, the term Palladian stands for a vocabulary of architectural forms embodying perfection and beauty. Of even greater significance than Palladio's buildings is his treatise I quattro libri dell'architettura (The Four Books(...)
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Four books on architecture
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Renaissance architect Andrea Palladio was one of the most influential figures that the field of architecture has ever produced. For classical architects, the term Palladian stands for a vocabulary of architectural forms embodying perfection and beauty. Of even greater significance than Palladio's buildings is his treatise I quattro libri dell'architettura (The Four Books On Architecture), the most successful architectural treatise of the Renaissance and one of the two or three most important books in the literature of architecture. This is the first English translation of Palladio in over 250 years, making it the only translation available in modern English. This new translation by Robert Tavernor and Richard Schofield contains Palladio's original woodcuts, reproduced in facsimile and positioned correctly, adjacent to the text. The book also contains a glossary that explains technical terms in their original context, a bibliography of recent Palladio research, and an introduction to Palladio and his times.
Four books on architecture
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Renaissance architect Andrea Palladio was one of the most influential figures that the field of architecture has ever produced. For classical architects, the term Palladian stands for a vocabulary of architectural forms embodying perfection and beauty. Of even greater significance than Palladio's buildings is his treatise I quattro libri dell'architettura (The Four Books On Architecture), the most successful architectural treatise of the Renaissance and one of the two or three most important books in the literature of architecture. This is the first English translation of Palladio in over 250 years, making it the only translation available in modern English. This new translation by Robert Tavernor and Richard Schofield contains Palladio's original woodcuts, reproduced in facsimile and positioned correctly, adjacent to the text. The book also contains a glossary that explains technical terms in their original context, a bibliography of recent Palladio research, and an introduction to Palladio and his times.
Form:
books
books
Publication:
October 2002
October 2002
Subject:
Treatises
Treatises
Form:
books
books
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$39.95
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Summary:
Focusing on Los Angeles, this book looks at urban transformation through the architecture and land development of large-scale residential projects. The author demonstrates the inherent instability of very large sites. Cuff explores five cases that span the period from the 1930s, when federal support for slum clearance and public housing caused convulsions near(...)
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Focusing on Los Angeles, this book looks at urban transformation through the architecture and land development of large-scale residential projects. The author demonstrates the inherent instability of very large sites. Cuff explores five cases that span the period from the 1930s, when federal support for slum clearance and public housing caused convulsions near(...)
Title:
The provisional city : Los Angeles stories of architecture and urbanism
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Focusing on Los Angeles, this book looks at urban transformation through the architecture and land development of large-scale residential projects. The author demonstrates the inherent instability of very large sites. Cuff explores five cases that span the period from the 1930s, when federal support for slum clearance and public housing caused convulsions near downtown, to a huge 1990s mixed-use development on one of Los Angeles' last remaining wetlands. The story takes us from the refined modernist architecture of Richard Neutra to the self-conscious populism of the New Urbanism. The cases illuminate the relationship of housing architecture to issues of race, class, urban design, geography, and political ideology.
The provisional city : Los Angeles stories of architecture and urbanism
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Focusing on Los Angeles, this book looks at urban transformation through the architecture and land development of large-scale residential projects. The author demonstrates the inherent instability of very large sites. Cuff explores five cases that span the period from the 1930s, when federal support for slum clearance and public housing caused convulsions near downtown, to a huge 1990s mixed-use development on one of Los Angeles' last remaining wetlands. The story takes us from the refined modernist architecture of Richard Neutra to the self-conscious populism of the New Urbanism. The cases illuminate the relationship of housing architecture to issues of race, class, urban design, geography, and political ideology.
Form:
books
books
Publication:
October 2002, Cambridge, Mass.
October 2002, Cambridge, Mass.
Subject:
Urban Theory
Urban Theory
Form:
books
books
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$42.00
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"The Unknown City" takes its place in the emerging architectural literature that looks beyond design process and buildings to discover new ways of looking at the urban experience. A multistranded contemplation of the notion of "knowing a place," it is about both the existence and the possibilities of architecture and the city. An important inspiration for the book is(...)
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"The Unknown City" takes its place in the emerging architectural literature that looks beyond design process and buildings to discover new ways of looking at the urban experience. A multistranded contemplation of the notion of "knowing a place," it is about both the existence and the possibilities of architecture and the city. An important inspiration for the book is(...)
Subject:
Urban Theory
Urban Theory
Publication:
October 2002, Cambridge, Massachusetts
October 2002, Cambridge, Massachusetts
Title:
The unknown city : contesting architecture and social space
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$42.00
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"The Unknown City" takes its place in the emerging architectural literature that looks beyond design process and buildings to discover new ways of looking at the urban experience. A multistranded contemplation of the notion of "knowing a place," it is about both the existence and the possibilities of architecture and the city. An important inspiration for the book is the work of Henri Lefebvre, in particular his ideas on space as a historical production. Many of the essays also draw on the social critique and tactics of the Situationist movement. The international gathering of contributors includes art, architectural, and urban historians and theorists; urban geographers; architects, artists, and filmmakers; and literary and cultural theorists. The essays range from abstract considerations of spatial production and representation to such concrete examples of urban domination as video surveillance and Regency London as the site of male pleasure. Although many of the essays are driven by social, cultural, and urban theory, they also tell real stories about real places. Each piece is in some way a critique of capitalism and a thought experiment about how designers and city dwellers working together can shape the cities of tomorrow.
The unknown city : contesting architecture and social space
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$42.00
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Summary:
"The Unknown City" takes its place in the emerging architectural literature that looks beyond design process and buildings to discover new ways of looking at the urban experience. A multistranded contemplation of the notion of "knowing a place," it is about both the existence and the possibilities of architecture and the city. An important inspiration for the book is the work of Henri Lefebvre, in particular his ideas on space as a historical production. Many of the essays also draw on the social critique and tactics of the Situationist movement. The international gathering of contributors includes art, architectural, and urban historians and theorists; urban geographers; architects, artists, and filmmakers; and literary and cultural theorists. The essays range from abstract considerations of spatial production and representation to such concrete examples of urban domination as video surveillance and Regency London as the site of male pleasure. Although many of the essays are driven by social, cultural, and urban theory, they also tell real stories about real places. Each piece is in some way a critique of capitalism and a thought experiment about how designers and city dwellers working together can shape the cities of tomorrow.
Form:
books
books
Publication:
October 2002, Cambridge, Massachusetts
October 2002, Cambridge, Massachusetts
Subject:
Urban Theory
Urban Theory
Form:
books
books
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$44.95
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CIAM (Congrès Internationaux d'Architecture Moderne), founded in Switzerland in 1928, was an avant-garde association of architects intended to advance both modernism and internationalism in architecture. CIAM saw itself as an elite group revolutionizing architecture to serve the interests of society. Its members included some of the best-known architects of the twentieth(...)
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CIAM (Congrès Internationaux d'Architecture Moderne), founded in Switzerland in 1928, was an avant-garde association of architects intended to advance both modernism and internationalism in architecture. CIAM saw itself as an elite group revolutionizing architecture to serve the interests of society. Its members included some of the best-known architects of the twentieth(...)
Subject:
Urban Theory
Urban Theory
Publication:
October 2002, Cambridge, Massachusetts
October 2002, Cambridge, Massachusetts
Title:
The CIAM discourse on urbanism, 1928-1960
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CIAM (Congrès Internationaux d'Architecture Moderne), founded in Switzerland in 1928, was an avant-garde association of architects intended to advance both modernism and internationalism in architecture. CIAM saw itself as an elite group revolutionizing architecture to serve the interests of society. Its members included some of the best-known architects of the twentieth century, such as Le Corbusier, Walter Gropius, and Richard Neutra, but also hundreds of others who looked to it for doctrines on how to shape the urban environment in a rapidly changing world. In this first book-length history of the organization, architectural historian Eric Mumford focuses on CIAM's discourse to trace the development and promotion of its influential concept of the "Functional City." He views official doctrines and pronouncements in relation to the changing circumstances of the members, revealing how CIAM in the 1930s began to resemble a kind of syndicalist party oriented toward winning over any suitable authority, regardless of political orientation. Mumford also looks at CIAM's efforts after World War II to find a new basis for a socially engaged architecture and describes the attempts by the group of younger members called Team 10 to radically revise CIAM's mission in the 1950s, efforts that led to the organization's dissolution in 1959.
The CIAM discourse on urbanism, 1928-1960
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CIAM (Congrès Internationaux d'Architecture Moderne), founded in Switzerland in 1928, was an avant-garde association of architects intended to advance both modernism and internationalism in architecture. CIAM saw itself as an elite group revolutionizing architecture to serve the interests of society. Its members included some of the best-known architects of the twentieth century, such as Le Corbusier, Walter Gropius, and Richard Neutra, but also hundreds of others who looked to it for doctrines on how to shape the urban environment in a rapidly changing world. In this first book-length history of the organization, architectural historian Eric Mumford focuses on CIAM's discourse to trace the development and promotion of its influential concept of the "Functional City." He views official doctrines and pronouncements in relation to the changing circumstances of the members, revealing how CIAM in the 1930s began to resemble a kind of syndicalist party oriented toward winning over any suitable authority, regardless of political orientation. Mumford also looks at CIAM's efforts after World War II to find a new basis for a socially engaged architecture and describes the attempts by the group of younger members called Team 10 to radically revise CIAM's mission in the 1950s, efforts that led to the organization's dissolution in 1959.
Form:
books
books
Publication:
October 2002, Cambridge, Massachusetts
October 2002, Cambridge, Massachusetts
Subject:
Urban Theory
Urban Theory
Form:
books
books
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$27.95
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Our culture is dominated by the visual. Yet most writing on design reflects a narrow preoccupation with products, biographies, and design influences. Maud Lavin approaches design from the broader field of visual culture criticism, asking challenging questions about about who really has a voice in the culture and what unseen influences affect the look of things designers(...)
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Summary:
Our culture is dominated by the visual. Yet most writing on design reflects a narrow preoccupation with products, biographies, and design influences. Maud Lavin approaches design from the broader field of visual culture criticism, asking challenging questions about about who really has a voice in the culture and what unseen influences affect the look of things designers(...)
Subject:
Graphic Design and Typography
Graphic Design and Typography
Publication:
October 2002, Cambridge, Massachusetts
October 2002, Cambridge, Massachusetts
Title:
Clean new world : culture, politics, and graphic design
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Our culture is dominated by the visual. Yet most writing on design reflects a narrow preoccupation with products, biographies, and design influences. Maud Lavin approaches design from the broader field of visual culture criticism, asking challenging questions about about who really has a voice in the culture and what unseen influences affect the look of things designers produce. Lavin shows how design fits into larger questions of power, democracy, and communication. Many corporate clients instruct designers to convey order and clarity in order to give their companies the look of a clean new world. But since designers cannot clean up messy reality, Lavin shows, they often end up simply veiling it. Lacking the power to influence the content of their commercial work, many designers work simultaneously on other, more fulfilling projects. Lavin is especially interested in the graphic designer’s role in shaping cultural norms. She examines the anti-Nazi propaganda of John Heartfield, the modernist utopian design of Kurt Schwitters and the neue ring werbegestalter, the alternative images of women by studio ringl + pit, the activist work of such contemporary designers as Marlene McCarty and Sheila Levrant de Bretteville, and the Internet innovations of David Steuer and others. Throughout the book, Lavin asks how designers can expand the pleasure, democracy, and vitality of communication.
Clean new world : culture, politics, and graphic design
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Our culture is dominated by the visual. Yet most writing on design reflects a narrow preoccupation with products, biographies, and design influences. Maud Lavin approaches design from the broader field of visual culture criticism, asking challenging questions about about who really has a voice in the culture and what unseen influences affect the look of things designers produce. Lavin shows how design fits into larger questions of power, democracy, and communication. Many corporate clients instruct designers to convey order and clarity in order to give their companies the look of a clean new world. But since designers cannot clean up messy reality, Lavin shows, they often end up simply veiling it. Lacking the power to influence the content of their commercial work, many designers work simultaneously on other, more fulfilling projects. Lavin is especially interested in the graphic designer’s role in shaping cultural norms. She examines the anti-Nazi propaganda of John Heartfield, the modernist utopian design of Kurt Schwitters and the neue ring werbegestalter, the alternative images of women by studio ringl + pit, the activist work of such contemporary designers as Marlene McCarty and Sheila Levrant de Bretteville, and the Internet innovations of David Steuer and others. Throughout the book, Lavin asks how designers can expand the pleasure, democracy, and vitality of communication.
Form:
books
books
Publication:
October 2002, Cambridge, Massachusetts
October 2002, Cambridge, Massachusetts
Subject:
Graphic Design and Typography
Graphic Design and Typography
Form:
books
books
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$52.50
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Summary:
Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement(...)
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Summary:
Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
January 2003, Cambridge, Mass.
January 2003, Cambridge, Mass.
Title:
Conceptual art and the politics of publicity
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Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement was founded not just by the artists but also by the dealer Seth Siegelaub. Siegelaub promoted the artists, curated groundbreaking shows, organized symposia and publications, and in many ways set the stage for another kind of entrepreneur: the freelance curator. Alberro examines both Siegelaub's role in launching the careers of artists who were making "something from nothing" and his tactful business practices, particularly in marketing and advertising. Alberro draws on close readings of artworks produced by key conceptual artists in the mid- to late 1960s. He places the movement in the social context of the rebellion against existing cultural institutions, as well as the increased commercialization and globalization of the art world. The book ends with a discussion of one of Siegelaub's most material and least ephemeral contributions, the Artist's Reserved Rights Transfer and Sale Agreement, which he wrote between 1969 and 1971. Designed to limit the inordinate control of collectors, galleries, and museums by increasing the artist's rights, the Agreement unwittingly codified the overlap between capitalism and the arts.
Conceptual art and the politics of publicity
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Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement was founded not just by the artists but also by the dealer Seth Siegelaub. Siegelaub promoted the artists, curated groundbreaking shows, organized symposia and publications, and in many ways set the stage for another kind of entrepreneur: the freelance curator. Alberro examines both Siegelaub's role in launching the careers of artists who were making "something from nothing" and his tactful business practices, particularly in marketing and advertising. Alberro draws on close readings of artworks produced by key conceptual artists in the mid- to late 1960s. He places the movement in the social context of the rebellion against existing cultural institutions, as well as the increased commercialization and globalization of the art world. The book ends with a discussion of one of Siegelaub's most material and least ephemeral contributions, the Artist's Reserved Rights Transfer and Sale Agreement, which he wrote between 1969 and 1971. Designed to limit the inordinate control of collectors, galleries, and museums by increasing the artist's rights, the Agreement unwittingly codified the overlap between capitalism and the arts.
Form:
books
books
Publication:
January 2003, Cambridge, Mass.
January 2003, Cambridge, Mass.
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
