$60.00
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Résumé:
Focusing on Sigmar Polke's artistic strategies of the 1970s, this volume retrieves the artist's largely forgotten series Wir Kleinbürger!, also known as We Petty Bourgeois!. This series is situated alongside other works from this era, by the artist and by his contemporaries, in media including photography, film, drawing and paintings.
juillet 2010
Polke & Co. : We pretty bourgeois
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$60.00
(disponible sur commande)
Résumé:
Focusing on Sigmar Polke's artistic strategies of the 1970s, this volume retrieves the artist's largely forgotten series Wir Kleinbürger!, also known as We Petty Bourgeois!. This series is situated alongside other works from this era, by the artist and by his contemporaries, in media including photography, film, drawing and paintings.
$55.00
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Résumé:
Mark Dion (born 1961) combs the archives of world-famous institutions, questioning the traditional classification systems with which objects from all around the world are collected and presented. This volume documents his "archaeology of education" from the collection of the Dresden Academy of Fine Arts.
juillet 2015
Mark Dion: the academy of things
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$55.00
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Résumé:
Mark Dion (born 1961) combs the archives of world-famous institutions, questioning the traditional classification systems with which objects from all around the world are collected and presented. This volume documents his "archaeology of education" from the collection of the Dresden Academy of Fine Arts.
Materiality
$33.95
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Résumé:
Materiality has reappeared as a highly contested topic in recent art. Modernist criticism tended to privilege form over matter—considering material as the essentialized basis of medium specificity—and technically based approaches in art history reinforced connoisseurship through the science of artistic materials. But in order to engage critically with the meaning, for(...)
Materiality
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Prix:
$33.95
(disponible sur commande)
Résumé:
Materiality has reappeared as a highly contested topic in recent art. Modernist criticism tended to privilege form over matter—considering material as the essentialized basis of medium specificity—and technically based approaches in art history reinforced connoisseurship through the science of artistic materials. But in order to engage critically with the meaning, for example, of hair in David Hammons’s installations, milk in the work of Dieter Roth, or latex in the sculptures of Eva Hesse, we need a very different set of methodological tools.