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This publication is an up-to-the-minute survey of current global developments in contemporary sculpture and its close relative, installation. The book is presenting a cross-generational survey of contemporary artists from 27 countries. Chosen from more than 500 nominations by international critics, curators, art historians and creative writers, Vitamin 3-D’s 117(...)
Vitamin 3-D : new perspective in sculpture and installation
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This publication is an up-to-the-minute survey of current global developments in contemporary sculpture and its close relative, installation. The book is presenting a cross-generational survey of contemporary artists from 27 countries. Chosen from more than 500 nominations by international critics, curators, art historians and creative writers, Vitamin 3-D’s 117 established and emerging artists were selected on the basis that they have made a significant contribution to sculpture and installation (in their broadest sense) in the last five years. Vitamin 3-D allows the reader to look at the medium in detail, to study sculpture’s unique properties in relation to itself, in relation to contemporary art and in relation to the world at large. An ongoing fascination with the key issues of modern sculpture, from the readymade to the specific object, today drives many artists to return to those issues again and again, with fresh and often surprising results.
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Like the most recent exhibitions curated by Daniel Birnbaum, the Art Biennale 2009 will present worlds in the making. A work of art is more than an object, he says, more than a commodity. It represents a vision of the world, and, if taken seriously, it can be seen as a way of world-making. It is Birnbaum’s ambition to create a show that, although articulated into(...)
novembre 2009
Making worlds: 53rd Venice Biennale
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Like the most recent exhibitions curated by Daniel Birnbaum, the Art Biennale 2009 will present worlds in the making. A work of art is more than an object, he says, more than a commodity. It represents a vision of the world, and, if taken seriously, it can be seen as a way of world-making. It is Birnbaum’s ambition to create a show that, although articulated into individual zones of intensity, remains fundamentally a unique exhibition.
$108.00
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This publication is the first volume to address an overlooked art form that is neither artist's book nor ephemera, but is entirely its own unique entity: the artist's serial publication. Across such groundswell moments as the small press boom of the 1960s, the correspondence art movement of the early 1970s and the DIY zine culture of the 1980s and early 1990s, artists(...)
mars 2010
In numbers : serial publications by artists since 1955
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This publication is the first volume to address an overlooked art form that is neither artist's book nor ephemera, but is entirely its own unique entity: the artist's serial publication. Across such groundswell moments as the small press boom of the 1960s, the correspondence art movement of the early 1970s and the DIY zine culture of the 1980s and early 1990s, artists have seized on magazine and postcard formats as forms in themselves. These are not publications that print criticism, manifestos or reproductions of artworks; rather, they are themselves artworks, in large part they are produced by younger artists operating at the peripheries of mainstream art cultures, or by established artists looking for an alternative to the marketplace. Dating from 1955 to the present, "In Numbers" begins with Wallace Berman's Semina and continues through Joe Brainard's C Comics, Situationist Times, Eleanor Antin's 100 Boots, Ian Hamilton Finlay's Poor.Old.Tired.Horse, Fluxus, amid contemporary examples such as North Drive Press, LTTR and Continuous Project.
Avalanche
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Willoughby Sharp and Liza Béar founded Avalanche shortly after they met in 1968 in New York. Avalanche focused on art from the perspective of artists rather than critics, and investigated new forms of art that were developing in the U.S. and Europe with probing interviews, extensive use of photography and dynamic layouts. This boxed facsimile edition of Avalanche's(...)
mars 2010
Avalanche
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Willoughby Sharp and Liza Béar founded Avalanche shortly after they met in 1968 in New York. Avalanche focused on art from the perspective of artists rather than critics, and investigated new forms of art that were developing in the U.S. and Europe with probing interviews, extensive use of photography and dynamic layouts. This boxed facsimile edition of Avalanche's complete run reproduces the first eight issues individually, and the final five in a single newsprint paperback.
Not to play with dead things
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From its Futurist and Dadaist origins to the body art of the 1970s and more recent developments in the genre, the history of Performance art is oriented around a fairly consistent set of elements: movements, speech, the body, impermanence, audience participation. But artists have also produced installations and performative objects for their performances, whose status(...)
mars 2010
Not to play with dead things
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From its Futurist and Dadaist origins to the body art of the 1970s and more recent developments in the genre, the history of Performance art is oriented around a fairly consistent set of elements: movements, speech, the body, impermanence, audience participation. But artists have also produced installations and performative objects for their performances, whose status becomes ambiguous once the action is over. Not to Play with Dead Things pays overdue attention to these frequently orphaned props of performance art, documenting works from the 1960s to the present by artists as diverse as Richard Jackson, Paul McCarthy, Roman Signer, Mike Kelley, Franz West, Jim Shaw, Guy de Cointet, John Bock, Spartacus Chetwynd, Catherine Sullivan and Erwin Wurm. Not to Play with Dead Things asks: are these objects relics of their own making? And is their hybridity a kind of resistance to the streamlining of art?
$66.00
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Kiosk, Christoph Keller's famous art publications archive, has been exhibited at 27 institutions and biennials internationally since 2001, including the ICA (London), the Witte de With (Rotterdam), Artists' Space (NY), the Emily Carr Institute (Vancouver), MUDAM (Luxembourg) and biennials such as Manifesta 4, the 25th Graphic Biennial of Ljubljana and the Istanbul(...)
février 2010
Kiosk: Modes of multiplication
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Kiosk, Christoph Keller's famous art publications archive, has been exhibited at 27 institutions and biennials internationally since 2001, including the ICA (London), the Witte de With (Rotterdam), Artists' Space (NY), the Emily Carr Institute (Vancouver), MUDAM (Luxembourg) and biennials such as Manifesta 4, the 25th Graphic Biennial of Ljubljana and the Istanbul Biennial. To date, it contains more than 7,000 publications by approximately 500 independent art publishing projects, from magazines, fanzines, newspapers, journals, audio and video labels to institutional publishing, covering the entire bandwidth of publishing possibilities. On the occasion of the archive's final public presentation at the Kunstbibliothek, Berlin, this overview on independent art publishing activities today surveys the Kiosk project. This catalogue contains documentary illustrations and provides information on the contributing publishing projects.
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This publication intends to show different aspects of the mural art form. It features the work of the Soninke women of Mauritania, the paintings in dots of clay on a red ground by the Thai artist Sakarin Krue-On, and artists who generally intervene in public places.
juin 2010
Murals: pràtiques, murals, contemporànies
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This publication intends to show different aspects of the mural art form. It features the work of the Soninke women of Mauritania, the paintings in dots of clay on a red ground by the Thai artist Sakarin Krue-On, and artists who generally intervene in public places.
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S’il est indéniable que les droits et les acquis des femmes ont fait un bond vertigineux depuis plus d’un siècle en Occident, il n’en reste pas moins que la lutte pour l’égalité femme/homme n’est pas un chemin pavé de roses où les droits les plus fondamentaux sont sanctuarisés et acquis pour toujours. Aujourd’hui l’art n’est plus un interdit lorsqu’on naît de sexe féminin(...)
décembre 2022
Les femmes artistes sont (de plus en plus) dangereuses
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S’il est indéniable que les droits et les acquis des femmes ont fait un bond vertigineux depuis plus d’un siècle en Occident, il n’en reste pas moins que la lutte pour l’égalité femme/homme n’est pas un chemin pavé de roses où les droits les plus fondamentaux sont sanctuarisés et acquis pour toujours. Aujourd’hui l’art n’est plus un interdit lorsqu’on naît de sexe féminin mais ce n’est pas pour autant que les obstacles sont tous levés. Ces femmes ont des destins extraordinaires, la force morale et psychique dont elles ont du faire preuve pour continuer à créer malgré les épreuves force l’admiration comme le constat qu’elles n’ont pas mis leur énergie à se faire connaître mais plutôt à persévérer.
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Published to celebrate 10 years of The Public Domain Review, this very special book of images gathers over 500 prints, paintings, illustrations, sketches, photographs, doodles, and everything in between, exploring connections across more than two millennia of visual culture. The seasoned PDR reader will meet many favourites across the pages, but also a whole array of(...)
Affinities: A journey through images from the public domain review
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Published to celebrate 10 years of The Public Domain Review, this very special book of images gathers over 500 prints, paintings, illustrations, sketches, photographs, doodles, and everything in between, exploring connections across more than two millennia of visual culture. The seasoned PDR reader will meet many favourites across the pages, but also a whole array of as-of-yet unshared delights dusted off especially for this volume. Assembled according to a dreamlike logic, the images unfurl in a single unbroken sequence, through a play of visual echoes and evolving thematic threads.
$63.00
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Just Above Midtown (or JAM) was a New York art gallery and self-described laboratory for experimentation established in 1974 by Linda Goode Bryant with the intention of presenting African American artists “on the same platform with other established artists.” A hub for conceptual art, abstraction, performance, and video, JAM was a Black space open to artists of different(...)
novembre 2022
Just above midtown: Changing spaces
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Just Above Midtown (or JAM) was a New York art gallery and self-described laboratory for experimentation established in 1974 by Linda Goode Bryant with the intention of presenting African American artists “on the same platform with other established artists.” A hub for conceptual art, abstraction, performance, and video, JAM was a Black space open to artists of different races, generations, and educational backgrounds. The gallery, which was open until 1986, cultivated debate and prioritized process, collaboration, and the needs of artists over the demands of the art market. Published in conjunction with a path-making exhibition at The Museum of Modern Art, this richly illustrated catalogue provides the most complete account to date of the gallery’s history, with an emphasis on rarely seen artworks, archival materials, and the recollections of those who were there.