342 Résultats
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Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples(...)
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Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples(...)
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février 2012
février 2012
Titre:
In deed : certificates of authenticity in art
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Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples of artists certificates from the past fifty years, this book reveals how roles have shifted and developed, as well as how the materials and content of art have changed. With certificates by Judith Barry, Pierre Bismuth, Daniel Buren, Marcel Duchamp, Dan Flavin, Liam Gillick, Hans Haacke, Edward Kienholz, Yves Klein, Joseph Kosuth, Sol LeWitt, Piero Manzoni, Gordon Matta-Clark, Jonathan Monk, Robert Morris, Antoni Muntadas, Yoko Ono, Robert Rauschenberg, David Shrigley, Rirkrit Tiravanija, Ben Vautier, Lawrence Weiner, Franz West and others.
In deed : certificates of authenticity in art
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Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples of artists certificates from the past fifty years, this book reveals how roles have shifted and developed, as well as how the materials and content of art have changed. With certificates by Judith Barry, Pierre Bismuth, Daniel Buren, Marcel Duchamp, Dan Flavin, Liam Gillick, Hans Haacke, Edward Kienholz, Yves Klein, Joseph Kosuth, Sol LeWitt, Piero Manzoni, Gordon Matta-Clark, Jonathan Monk, Robert Morris, Antoni Muntadas, Yoko Ono, Robert Rauschenberg, David Shrigley, Rirkrit Tiravanija, Ben Vautier, Lawrence Weiner, Franz West and others.
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livres
Publication:
février 2012
février 2012
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Art of the 1980s oscillated between radical and conservative, capricious and political, socially engaged and art-historically aware. This book chronicles canonical as well as nearly forgotten works of the 1980s, arguing that what has often been dismissed as cynical or ironic should be viewed as a struggle on the part of artists to articulate their needs and desires in an(...)
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Art of the 1980s oscillated between radical and conservative, capricious and political, socially engaged and art-historically aware. This book chronicles canonical as well as nearly forgotten works of the 1980s, arguing that what has often been dismissed as cynical or ironic should be viewed as a struggle on the part of artists to articulate their needs and desires in an(...)
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This will have been: art, love & politics in the 1980's
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Art of the 1980s oscillated between radical and conservative, capricious and political, socially engaged and art-historically aware. This book chronicles canonical as well as nearly forgotten works of the 1980s, arguing that what has often been dismissed as cynical or ironic should be viewed as a struggle on the part of artists to articulate their needs and desires in an increasingly commodified world. The major developments of the decade - the rise of the commercial art market, the politicization of the AIDS crisis, the increased visibility of women and gay artists and artists of colour, and the ascension of new media - are illuminated in works by Sophie Calle, Nan Goldin, Mike Kelley, Jeff Koons, Sherrie Levine, and Lorna Simpson, among others.
This will have been: art, love & politics in the 1980's
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Art of the 1980s oscillated between radical and conservative, capricious and political, socially engaged and art-historically aware. This book chronicles canonical as well as nearly forgotten works of the 1980s, arguing that what has often been dismissed as cynical or ironic should be viewed as a struggle on the part of artists to articulate their needs and desires in an increasingly commodified world. The major developments of the decade - the rise of the commercial art market, the politicization of the AIDS crisis, the increased visibility of women and gay artists and artists of colour, and the ascension of new media - are illuminated in works by Sophie Calle, Nan Goldin, Mike Kelley, Jeff Koons, Sherrie Levine, and Lorna Simpson, among others.
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Publication:
mars 2012
mars 2012
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From the time of its invention, photography has enabled artists not only to capture the world around them but also to create worlds of their own. "Utopia/Dystopia" investigates how artists from the late 19th century to the present have used photographic fragments or techniques to represent political, social, or cultural states of utopia or dystopia. Artists have employed(...)
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From the time of its invention, photography has enabled artists not only to capture the world around them but also to create worlds of their own. "Utopia/Dystopia" investigates how artists from the late 19th century to the present have used photographic fragments or techniques to represent political, social, or cultural states of utopia or dystopia. Artists have employed(...)
Publication:
avril 2012
avril 2012
Titre:
Utopia dystopia : construction and destruction in photography and collage
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From the time of its invention, photography has enabled artists not only to capture the world around them but also to create worlds of their own. "Utopia/Dystopia" investigates how artists from the late 19th century to the present have used photographic fragments or techniques to represent political, social, or cultural states of utopia or dystopia. Artists have employed a number of strategies to this end, such as cutting, fragmenting, and puncturing images as well as reassembling those culled from ready-made materials or giving a subject multiple exposures. The resulting photographs, photocollages, photomontages, and other creations question the validity of seamless pictorial images, and attempt to dismantle the notion of photography as an objective medium. This publication features approximately forty-five exemplary works by artists such as Herbert Bayer, John Heartfield, Hannah Hoch, Arata Isozaki, El Lissitzky, Carter Mull, Laszlo Moholy-Nagy, Vik Muniz, Man Ray, Okanoue Toshiko, and many others.
Utopia dystopia : construction and destruction in photography and collage
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From the time of its invention, photography has enabled artists not only to capture the world around them but also to create worlds of their own. "Utopia/Dystopia" investigates how artists from the late 19th century to the present have used photographic fragments or techniques to represent political, social, or cultural states of utopia or dystopia. Artists have employed a number of strategies to this end, such as cutting, fragmenting, and puncturing images as well as reassembling those culled from ready-made materials or giving a subject multiple exposures. The resulting photographs, photocollages, photomontages, and other creations question the validity of seamless pictorial images, and attempt to dismantle the notion of photography as an objective medium. This publication features approximately forty-five exemplary works by artists such as Herbert Bayer, John Heartfield, Hannah Hoch, Arata Isozaki, El Lissitzky, Carter Mull, Laszlo Moholy-Nagy, Vik Muniz, Man Ray, Okanoue Toshiko, and many others.
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Publication:
avril 2012
avril 2012
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This thought-provoking volume offers a critical reevaluation of the term foreclosure: it can refer not only to a forced eviction but also to processes of exclusion - a shutting down of recognition, reflection, and debate. Through work in photography, film, video, installation, and performance, the seven artists represented in this volume (Kamal Aljafari, Yto Barrada,(...)
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This thought-provoking volume offers a critical reevaluation of the term foreclosure: it can refer not only to a forced eviction but also to processes of exclusion - a shutting down of recognition, reflection, and debate. Through work in photography, film, video, installation, and performance, the seven artists represented in this volume (Kamal Aljafari, Yto Barrada,(...)
Publication:
février 2012
février 2012
Titre:
Foreclosed : between crisis and possibility
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This thought-provoking volume offers a critical reevaluation of the term foreclosure: it can refer not only to a forced eviction but also to processes of exclusion - a shutting down of recognition, reflection, and debate. Through work in photography, film, video, installation, and performance, the seven artists represented in this volume (Kamal Aljafari, Yto Barrada, Tania Bruguera, Claude Closky, Harun Farocki, Allan Sekula, and David Shrigley) investigate the expanded meaning of foreclosure by reexamining the systems that have produced crises, instead of focusing on the aftermath. Four essays from a team of international curators discuss foreclosure as both a generative concept and a curatorial strategy, allowing the text itself to become a platform for critique.
Foreclosed : between crisis and possibility
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This thought-provoking volume offers a critical reevaluation of the term foreclosure: it can refer not only to a forced eviction but also to processes of exclusion - a shutting down of recognition, reflection, and debate. Through work in photography, film, video, installation, and performance, the seven artists represented in this volume (Kamal Aljafari, Yto Barrada, Tania Bruguera, Claude Closky, Harun Farocki, Allan Sekula, and David Shrigley) investigate the expanded meaning of foreclosure by reexamining the systems that have produced crises, instead of focusing on the aftermath. Four essays from a team of international curators discuss foreclosure as both a generative concept and a curatorial strategy, allowing the text itself to become a platform for critique.
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février 2012
février 2012
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How did a small art college in Nova Scotia become the epicenter of art education - and to a large extent of the postmimimalist and conceptual art world itself - in the 1960s and 1970s ? Like the unorthodox experiments and rich human resources that made Black Mountain College an improbable center of art a generation earlier, the activities and artists at Nova Scotia(...)
$64.95
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How did a small art college in Nova Scotia become the epicenter of art education - and to a large extent of the postmimimalist and conceptual art world itself - in the 1960s and 1970s ? Like the unorthodox experiments and rich human resources that made Black Mountain College an improbable center of art a generation earlier, the activities and artists at Nova Scotia(...)
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avril 2012
avril 2012
Titre:
The last art college: Nova Scotia College of Art and Design, 1968-1978
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How did a small art college in Nova Scotia become the epicenter of art education - and to a large extent of the postmimimalist and conceptual art world itself - in the 1960s and 1970s ? Like the unorthodox experiments and rich human resources that made Black Mountain College an improbable center of art a generation earlier, the activities and artists at Nova Scotia College of Art and Design (aka NSCAD) in the 1970s redefined the means and methods of art education and the shape of art far beyond Halifax. A partial list of visiting artists and faculty members at NSCAD would include: Joseph Beuys, Sol LeWitt, Gerhard Richter, Dan Graham, Lucy Lippard, John Baldessari, Jenny Holzer and Eric Fischl. Kasper Koenig and Benjamin Buchloh ran the NSCAD Press, publishing books by Hollis Frampton, Lawrence Weiner, Donald Judd, Daniel Buren, Michael Asher, Martha Rosler, and Michael Snow, among others. The Lithography Workshop produced early works by many of today's masters, including John Baldessari, Vito Acconci, and Claes Oldenburg.
The last art college: Nova Scotia College of Art and Design, 1968-1978
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How did a small art college in Nova Scotia become the epicenter of art education - and to a large extent of the postmimimalist and conceptual art world itself - in the 1960s and 1970s ? Like the unorthodox experiments and rich human resources that made Black Mountain College an improbable center of art a generation earlier, the activities and artists at Nova Scotia College of Art and Design (aka NSCAD) in the 1970s redefined the means and methods of art education and the shape of art far beyond Halifax. A partial list of visiting artists and faculty members at NSCAD would include: Joseph Beuys, Sol LeWitt, Gerhard Richter, Dan Graham, Lucy Lippard, John Baldessari, Jenny Holzer and Eric Fischl. Kasper Koenig and Benjamin Buchloh ran the NSCAD Press, publishing books by Hollis Frampton, Lawrence Weiner, Donald Judd, Daniel Buren, Michael Asher, Martha Rosler, and Michael Snow, among others. The Lithography Workshop produced early works by many of today's masters, including John Baldessari, Vito Acconci, and Claes Oldenburg.
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livres
Publication:
avril 2012
avril 2012
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Over the past twenty years, an abundance of art forms have emerged that use aesthetics to affect social dynamics. These works are often produced by collectives or come out of a community context; they emphasize participation, dialogue, and action, and appear in situations ranging from theater to activism to urban planning to visual art to health care. Engaged with the(...)
$43.95
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Over the past twenty years, an abundance of art forms have emerged that use aesthetics to affect social dynamics. These works are often produced by collectives or come out of a community context; they emphasize participation, dialogue, and action, and appear in situations ranging from theater to activism to urban planning to visual art to health care. Engaged with the(...)
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Living as form : socially engaged art from 1991-2011
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Over the past twenty years, an abundance of art forms have emerged that use aesthetics to affect social dynamics. These works are often produced by collectives or come out of a community context; they emphasize participation, dialogue, and action, and appear in situations ranging from theater to activism to urban planning to visual art to health care. Engaged with the texture of living, these art works often blur the line between art and life. This book offers the first global portrait of a complex and exciting mode of cultural production — one that has virtually redefined contemporary art practice. This publication grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a thirty-person curatorial advisory team; each project is documented by a selection of color images. The artists include the Danish collective Superflex, who empower communities to challenge corporate interest; Turner Prize nominee Jeremy Deller, creator of socially and politically charged performance works; Women on Waves, who provide abortion services and information to women in regions where the procedure is illegal; and Santiágo Cirugeda, an architect who builds temporary structures to solve housing problems.
Living as form : socially engaged art from 1991-2011
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Over the past twenty years, an abundance of art forms have emerged that use aesthetics to affect social dynamics. These works are often produced by collectives or come out of a community context; they emphasize participation, dialogue, and action, and appear in situations ranging from theater to activism to urban planning to visual art to health care. Engaged with the texture of living, these art works often blur the line between art and life. This book offers the first global portrait of a complex and exciting mode of cultural production — one that has virtually redefined contemporary art practice. This publication grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a thirty-person curatorial advisory team; each project is documented by a selection of color images. The artists include the Danish collective Superflex, who empower communities to challenge corporate interest; Turner Prize nominee Jeremy Deller, creator of socially and politically charged performance works; Women on Waves, who provide abortion services and information to women in regions where the procedure is illegal; and Santiágo Cirugeda, an architect who builds temporary structures to solve housing problems.
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livres
livres
Publication:
mars 2012
mars 2012
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Le catalogue Incongru: quand l’art fait rire illustre la relation entre inconvenance et rire. Grâce au télescopage d’oeuvres de toutes époques, il montre la récurrence de l’incongruité dans le champ de l’histoire de l’art et l’évolution parallèle des notions d’humour, de parodie, d’ironie, de comique et de burlesque. Historiens de l’art, historiens, anthropologues et(...)
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Le catalogue Incongru: quand l’art fait rire illustre la relation entre inconvenance et rire. Grâce au télescopage d’oeuvres de toutes époques, il montre la récurrence de l’incongruité dans le champ de l’histoire de l’art et l’évolution parallèle des notions d’humour, de parodie, d’ironie, de comique et de burlesque. Historiens de l’art, historiens, anthropologues et(...)
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Incongru : quand l'art fait rire
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Le catalogue Incongru: quand l’art fait rire illustre la relation entre inconvenance et rire. Grâce au télescopage d’oeuvres de toutes époques, il montre la récurrence de l’incongruité dans le champ de l’histoire de l’art et l’évolution parallèle des notions d’humour, de parodie, d’ironie, de comique et de burlesque. Historiens de l’art, historiens, anthropologues et philosophes proposent leurs analyses de la question.
Incongru : quand l'art fait rire
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Le catalogue Incongru: quand l’art fait rire illustre la relation entre inconvenance et rire. Grâce au télescopage d’oeuvres de toutes époques, il montre la récurrence de l’incongruité dans le champ de l’histoire de l’art et l’évolution parallèle des notions d’humour, de parodie, d’ironie, de comique et de burlesque. Historiens de l’art, historiens, anthropologues et philosophes proposent leurs analyses de la question.
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livres
livres
Publication:
février 2012
février 2012
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$76.95
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The Museum of Drawers is the world's smallest museum of twentieth-century art. This unique piece has been conceived and put together by the Swiss-born artist Herbert Distel in 1970-77. It consists of an old cabinet made to hold reels of sewing silk whose twenty drawers each contain twenty-five compartments. Each of the 500 compartments houses an original miniature work of(...)
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The Museum of Drawers is the world's smallest museum of twentieth-century art. This unique piece has been conceived and put together by the Swiss-born artist Herbert Distel in 1970-77. It consists of an old cabinet made to hold reels of sewing silk whose twenty drawers each contain twenty-five compartments. Each of the 500 compartments houses an original miniature work of(...)
Titre:
The museum of drawers 1970-1977
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The Museum of Drawers is the world's smallest museum of twentieth-century art. This unique piece has been conceived and put together by the Swiss-born artist Herbert Distel in 1970-77. It consists of an old cabinet made to hold reels of sewing silk whose twenty drawers each contain twenty-five compartments. Each of the 500 compartments houses an original miniature work of art, many of which were made especially for the Museum of Drawers. The list of artists represented includes such influential pioneers as Joseph Beuys, Marcel Duchamp, Hannah Hoch, Meret Oppenheim, Pablo Picasso, and Andy Warhol. Following a first presentation as a work-in-progress at the documenta 5 in Kassel (Germany) in 1972, the Museum of Drawers caused sensation internationally. It has been shown several times in New York, including a presentation at the Museum of Modern Art (MoMA) in 1999, and at many museums around the world. After its restoration it is now part of the permanent collection of the Kunsthaus, Zurich. This new book is a comprehensive documentation of this extraordinary object. It shows all twenty drawers with their content as well as each of the 500 miniature art works individually and in true size. Essays on the history and importance of the entire work and concept complement the images.
The museum of drawers 1970-1977
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The Museum of Drawers is the world's smallest museum of twentieth-century art. This unique piece has been conceived and put together by the Swiss-born artist Herbert Distel in 1970-77. It consists of an old cabinet made to hold reels of sewing silk whose twenty drawers each contain twenty-five compartments. Each of the 500 compartments houses an original miniature work of art, many of which were made especially for the Museum of Drawers. The list of artists represented includes such influential pioneers as Joseph Beuys, Marcel Duchamp, Hannah Hoch, Meret Oppenheim, Pablo Picasso, and Andy Warhol. Following a first presentation as a work-in-progress at the documenta 5 in Kassel (Germany) in 1972, the Museum of Drawers caused sensation internationally. It has been shown several times in New York, including a presentation at the Museum of Modern Art (MoMA) in 1999, and at many museums around the world. After its restoration it is now part of the permanent collection of the Kunsthaus, Zurich. This new book is a comprehensive documentation of this extraordinary object. It shows all twenty drawers with their content as well as each of the 500 miniature art works individually and in true size. Essays on the history and importance of the entire work and concept complement the images.
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livres
livres
Publication:
mars 2012
mars 2012
Classification:
livres
livres
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$39.95
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From advertising and fashion to music and film, the psychedelic aesthetic defined the look of the 1960s. And yet neither the true scope of psychedelic art nor its key practitioners have ever been the subject of a thorough overview. "Electrical Banana" is the first definitive examination of the international language of psychedelia, focusing on the most important(...)
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From advertising and fashion to music and film, the psychedelic aesthetic defined the look of the 1960s. And yet neither the true scope of psychedelic art nor its key practitioners have ever been the subject of a thorough overview. "Electrical Banana" is the first definitive examination of the international language of psychedelia, focusing on the most important(...)
Publication:
mars 2012
mars 2012
Titre:
Electrical bananas : masters of psychedelic art
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From advertising and fashion to music and film, the psychedelic aesthetic defined the look of the 1960s. And yet neither the true scope of psychedelic art nor its key practitioners have ever been the subject of a thorough overview. "Electrical Banana" is the first definitive examination of the international language of psychedelia, focusing on the most important practitioners in their respective fields. Compiling hundreds of unseen images plus exclusive interviews and essays, it revises and expands the common perception of psychedelic art, revealing it to be more innovative, compelling and revolutionary than is usually acknowledged. "Electrical Banana" documents the great virtuosos of psychedelic art: men and women whose work combines avant-garde design with highly sophisticated image-making. Launching a million Day-glo dreams, the artists include: Marijke Koger, the Dutch artist responsible for dressing the Beatles; Mati Klarwein, who painted the cover for Miles Davis' "Bitches Brew"; Keiichi Tanaami, the Japanese master of psychedelic posters; Heinz Edelmann, the German illustrator and designer of the Beatles' animated film "Yellow Submarine"; Tadanori Yokoo, whose prints, books and fabrics defined the 1960s in Japan; Dudley Edwards, a painter, car decorator and graphic artist on the London rock scene; and the enigmatic Australian Martin Sharp, whose work for Cream and underground magazines made him a hippie household name in Europe. "Electrical Banana" features a lengthy historical essay and interviews with all of the artists.
Electrical bananas : masters of psychedelic art
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From advertising and fashion to music and film, the psychedelic aesthetic defined the look of the 1960s. And yet neither the true scope of psychedelic art nor its key practitioners have ever been the subject of a thorough overview. "Electrical Banana" is the first definitive examination of the international language of psychedelia, focusing on the most important practitioners in their respective fields. Compiling hundreds of unseen images plus exclusive interviews and essays, it revises and expands the common perception of psychedelic art, revealing it to be more innovative, compelling and revolutionary than is usually acknowledged. "Electrical Banana" documents the great virtuosos of psychedelic art: men and women whose work combines avant-garde design with highly sophisticated image-making. Launching a million Day-glo dreams, the artists include: Marijke Koger, the Dutch artist responsible for dressing the Beatles; Mati Klarwein, who painted the cover for Miles Davis' "Bitches Brew"; Keiichi Tanaami, the Japanese master of psychedelic posters; Heinz Edelmann, the German illustrator and designer of the Beatles' animated film "Yellow Submarine"; Tadanori Yokoo, whose prints, books and fabrics defined the 1960s in Japan; Dudley Edwards, a painter, car decorator and graphic artist on the London rock scene; and the enigmatic Australian Martin Sharp, whose work for Cream and underground magazines made him a hippie household name in Europe. "Electrical Banana" features a lengthy historical essay and interviews with all of the artists.
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livres
Publication:
mars 2012
mars 2012
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$67.50
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112 Greene Street was one of New York’s first alternative, artist-run venues. Started in October 1970 by Jeffrey Lew, Gordon Matta-Clark and Alan Saret, among others, the building became a focal point for a young generation of artists seeking a substitute for New York’s established gallery circuit, and provided the stage for a singular moment of artistic invention and(...)
$67.50
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112 Greene Street was one of New York’s first alternative, artist-run venues. Started in October 1970 by Jeffrey Lew, Gordon Matta-Clark and Alan Saret, among others, the building became a focal point for a young generation of artists seeking a substitute for New York’s established gallery circuit, and provided the stage for a singular moment of artistic invention and(...)
Titre:
112 Greene Street: the early years, 1970-1974
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112 Greene Street was one of New York’s first alternative, artist-run venues. Started in October 1970 by Jeffrey Lew, Gordon Matta-Clark and Alan Saret, among others, the building became a focal point for a young generation of artists seeking a substitute for New York’s established gallery circuit, and provided the stage for a singular moment of artistic invention and freedom that was at its peak between 1970 and 1974. This volume is the culmination of David Zwirner’s January 2011 exhibition of the same name, gathering a number of works exhibited at 112 Greene Street (by Matta-Clark, Vito Acconci, Tina Girouard, Suzanne Harris, Jene Highstein, Larry Miller, Alan Saret and Richard Serra among others), alongside extensive interviews with many of the artists involved, a timeline of the early years at 112 Greene Street and installation views of the 2011 exhibition.
112 Greene Street: the early years, 1970-1974
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112 Greene Street was one of New York’s first alternative, artist-run venues. Started in October 1970 by Jeffrey Lew, Gordon Matta-Clark and Alan Saret, among others, the building became a focal point for a young generation of artists seeking a substitute for New York’s established gallery circuit, and provided the stage for a singular moment of artistic invention and freedom that was at its peak between 1970 and 1974. This volume is the culmination of David Zwirner’s January 2011 exhibition of the same name, gathering a number of works exhibited at 112 Greene Street (by Matta-Clark, Vito Acconci, Tina Girouard, Suzanne Harris, Jene Highstein, Larry Miller, Alan Saret and Richard Serra among others), alongside extensive interviews with many of the artists involved, a timeline of the early years at 112 Greene Street and installation views of the 2011 exhibition.
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livres
livres
Publication:
avril 2012
avril 2012
