1910 Résultats
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Agnes Martin (1912–2004) wrote Religion of Love, a late statement on her work and thought, sometime in the 1990s. Composed of short, aphoristic statements and paragraphs, it lucidly states her art credo and life advice: "Love makes us want to do all the good things. Get up in the morning and work for life." "The part of the mind that's aware of perfection tells us(...)
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Agnes Martin (1912–2004) wrote Religion of Love, a late statement on her work and thought, sometime in the 1990s. Composed of short, aphoristic statements and paragraphs, it lucidly states her art credo and life advice: "Love makes us want to do all the good things. Get up in the morning and work for life." "The part of the mind that's aware of perfection tells us(...)
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Agnes Martin & Richard Tuttle: religion of love
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Agnes Martin (1912–2004) wrote Religion of Love, a late statement on her work and thought, sometime in the 1990s. Composed of short, aphoristic statements and paragraphs, it lucidly states her art credo and life advice: "Love makes us want to do all the good things. Get up in the morning and work for life." "The part of the mind that's aware of perfection tells us everything that is good." "You can contact the mind by asking for help." Somewhat uncharacteristically, Martin asked her friend Richard Tuttle to illustrate it. As Tuttle writes in his introduction, "on the one hand, it reconfirms her most classical thought (Beauty is the mystery of life), and, on the other, adds new thought with an urgency only found in a mature artist of her age and persuasion." This beautiful, slim volume constitutes both an important artist's statement and a great collaboration.
Agnes Martin & Richard Tuttle: religion of love
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Agnes Martin (1912–2004) wrote Religion of Love, a late statement on her work and thought, sometime in the 1990s. Composed of short, aphoristic statements and paragraphs, it lucidly states her art credo and life advice: "Love makes us want to do all the good things. Get up in the morning and work for life." "The part of the mind that's aware of perfection tells us everything that is good." "You can contact the mind by asking for help." Somewhat uncharacteristically, Martin asked her friend Richard Tuttle to illustrate it. As Tuttle writes in his introduction, "on the one hand, it reconfirms her most classical thought (Beauty is the mystery of life), and, on the other, adds new thought with an urgency only found in a mature artist of her age and persuasion." This beautiful, slim volume constitutes both an important artist's statement and a great collaboration.
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livres
Publication:
janvier 2016
janvier 2016
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Well known for his radical "anarchitectural" interventions throughout the 1970s, Gordon Matta-Clark (1943–78) was always deeply, though less publicly, committed to drawing. His works on paper—which span three-dimensional reliefs, calligraphy and notebook entries—capture the interdisciplinary spirit that defined the art world in the 1970s, testifying to his interest in the(...)
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Well known for his radical "anarchitectural" interventions throughout the 1970s, Gordon Matta-Clark (1943–78) was always deeply, though less publicly, committed to drawing. His works on paper—which span three-dimensional reliefs, calligraphy and notebook entries—capture the interdisciplinary spirit that defined the art world in the 1970s, testifying to his interest in the(...)
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Gordon Matta-Clark: The beginning of trees and the end. Drawings and notebooks.
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Well known for his radical "anarchitectural" interventions throughout the 1970s, Gordon Matta-Clark (1943–78) was always deeply, though less publicly, committed to drawing. His works on paper—which span three-dimensional reliefs, calligraphy and notebook entries—capture the interdisciplinary spirit that defined the art world in the 1970s, testifying to his interest in the crossovers between visual and performance arts. ''Gordon Matta-Clark: The Beginning of Trees and the End'', was published on the occasion of the 2015 show at David Zwirner, New York, and documents his extraordinary accomplishment as a draftsman.
Gordon Matta-Clark: The beginning of trees and the end. Drawings and notebooks.
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Well known for his radical "anarchitectural" interventions throughout the 1970s, Gordon Matta-Clark (1943–78) was always deeply, though less publicly, committed to drawing. His works on paper—which span three-dimensional reliefs, calligraphy and notebook entries—capture the interdisciplinary spirit that defined the art world in the 1970s, testifying to his interest in the crossovers between visual and performance arts. ''Gordon Matta-Clark: The Beginning of Trees and the End'', was published on the occasion of the 2015 show at David Zwirner, New York, and documents his extraordinary accomplishment as a draftsman.
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livres
livres
Publication:
mai 2016
mai 2016
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Gordon Matta-Clark died at only 35 of pancreatic cancer and has since become a cult figure of late 20th-century art. Trained in architecture at Cornell, he went on to question the field’s conventions in vivid projects—performance and recycling pieces, space and texture works and word games—some of which excised holes into existing buildings or assembled deeds to New York(...)
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Gordon Matta-Clark died at only 35 of pancreatic cancer and has since become a cult figure of late 20th-century art. Trained in architecture at Cornell, he went on to question the field’s conventions in vivid projects—performance and recycling pieces, space and texture works and word games—some of which excised holes into existing buildings or assembled deeds to New York(...)
Publication:
août 2016
août 2016
Titre:
Gordon Matta-Clark: Experience becomes the object
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Gordon Matta-Clark died at only 35 of pancreatic cancer and has since become a cult figure of late 20th-century art. Trained in architecture at Cornell, he went on to question the field’s conventions in vivid projects—performance and recycling pieces, space and texture works and word games—some of which excised holes into existing buildings or assembled deeds to New York City alleys and curbs. The artist used a variety of media to document his work, including film, video and photography. His work and words, while sophisticated enough to make him an "artist’s artist," and colossal and outgoing enough to draw public attention and affection, were always also grounded in social or political convictions. In the early 1970s, Matta-Clark developed the idea of "anarchitecture," which encompassed his interest in voids, gaps and left-over spaces. Gordon Matta-Clark: Experience Becomes the Object collects five essays and ten individual interviews with various friends and family members of Matta-Clark’s. Together, they outline a biographical profile and offer an analysis of the historical period in which the artist developed his short but successful career. New, never-before-published material and photographs as well as an exclusive link to the documentary Crosswords: Matta-Clark’s Friends by Matias Cardone are also included.
Gordon Matta-Clark: Experience becomes the object
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Gordon Matta-Clark died at only 35 of pancreatic cancer and has since become a cult figure of late 20th-century art. Trained in architecture at Cornell, he went on to question the field’s conventions in vivid projects—performance and recycling pieces, space and texture works and word games—some of which excised holes into existing buildings or assembled deeds to New York City alleys and curbs. The artist used a variety of media to document his work, including film, video and photography. His work and words, while sophisticated enough to make him an "artist’s artist," and colossal and outgoing enough to draw public attention and affection, were always also grounded in social or political convictions. In the early 1970s, Matta-Clark developed the idea of "anarchitecture," which encompassed his interest in voids, gaps and left-over spaces. Gordon Matta-Clark: Experience Becomes the Object collects five essays and ten individual interviews with various friends and family members of Matta-Clark’s. Together, they outline a biographical profile and offer an analysis of the historical period in which the artist developed his short but successful career. New, never-before-published material and photographs as well as an exclusive link to the documentary Crosswords: Matta-Clark’s Friends by Matias Cardone are also included.
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livres
livres
Publication:
août 2016
août 2016
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livres
livres
Titre:
Jan Schoonhoven
Jan Schoonhoven
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Over the course of nearly 40 years, Dutch artist Jan Schoonhoven (1914–94) produced works on paper and sculptural reliefs, while maintaining his job as a civil servant employed by the Dutch Post Office. This new monograph places the artist, one of the most important Dutch artists of the 20th century, in an international context, arguing for his role as an influential(...)
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Over the course of nearly 40 years, Dutch artist Jan Schoonhoven (1914–94) produced works on paper and sculptural reliefs, while maintaining his job as a civil servant employed by the Dutch Post Office. This new monograph places the artist, one of the most important Dutch artists of the 20th century, in an international context, arguing for his role as an influential(...)
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Jan Schoonhoven
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Over the course of nearly 40 years, Dutch artist Jan Schoonhoven (1914–94) produced works on paper and sculptural reliefs, while maintaining his job as a civil servant employed by the Dutch Post Office. This new monograph places the artist, one of the most important Dutch artists of the 20th century, in an international context, arguing for his role as an influential player in European art after the Second World War. From his central position in the Netherlandish Informal Group, associated with Art Informel, to his later involvement with the Dutch Nul group, part of the international ZERO network, Schoonhoven participated in two of the most important currents of postwar European abstraction from his hometown of Delft. This volume features many hitherto unknown works and photographs, and sheds new light on the work of the "master of white."
Jan Schoonhoven
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Over the course of nearly 40 years, Dutch artist Jan Schoonhoven (1914–94) produced works on paper and sculptural reliefs, while maintaining his job as a civil servant employed by the Dutch Post Office. This new monograph places the artist, one of the most important Dutch artists of the 20th century, in an international context, arguing for his role as an influential player in European art after the Second World War. From his central position in the Netherlandish Informal Group, associated with Art Informel, to his later involvement with the Dutch Nul group, part of the international ZERO network, Schoonhoven participated in two of the most important currents of postwar European abstraction from his hometown of Delft. This volume features many hitherto unknown works and photographs, and sheds new light on the work of the "master of white."
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livres
livres
Publication:
mai 2016
mai 2016
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In three recent video installations, Zachary Formwalt focuses on the architecture of OMA’s new Shenzhen Stock Exchange and the Amsterdam stock and commodities exchange by H.P. Berlage. Although our economy is dictated by financial transactions, the activity of trading itself has become increasingly remote, without actual human encounter. The architecture of the two(...)
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In three recent video installations, Zachary Formwalt focuses on the architecture of OMA’s new Shenzhen Stock Exchange and the Amsterdam stock and commodities exchange by H.P. Berlage. Although our economy is dictated by financial transactions, the activity of trading itself has become increasingly remote, without actual human encounter. The architecture of the two(...)
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Zachary Formwalt: three exchanges. OMA, H.P Berlage
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In three recent video installations, Zachary Formwalt focuses on the architecture of OMA’s new Shenzhen Stock Exchange and the Amsterdam stock and commodities exchange by H.P. Berlage. Although our economy is dictated by financial transactions, the activity of trading itself has become increasingly remote, without actual human encounter. The architecture of the two buildings serves as a starting point for a investigation into the limitations of photography to represent global capital and into the interrelationships between financial capitalism and image-making.
Zachary Formwalt: three exchanges. OMA, H.P Berlage
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In three recent video installations, Zachary Formwalt focuses on the architecture of OMA’s new Shenzhen Stock Exchange and the Amsterdam stock and commodities exchange by H.P. Berlage. Although our economy is dictated by financial transactions, the activity of trading itself has become increasingly remote, without actual human encounter. The architecture of the two buildings serves as a starting point for a investigation into the limitations of photography to represent global capital and into the interrelationships between financial capitalism and image-making.
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livres
livres
Publication:
février 2016
février 2016
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A pioneering figure in kinetic and programmed art, Gianni Colombo anticipated many of the themes in today’s contemporary art. This book covers Colombo’s artistic career from 1959-1980. Colombo’s practice aimed at overcoming the traditional notion of art as an object to contemplate, in order to create work that requires the active involvement of the viewer. From his(...)
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A pioneering figure in kinetic and programmed art, Gianni Colombo anticipated many of the themes in today’s contemporary art. This book covers Colombo’s artistic career from 1959-1980. Colombo’s practice aimed at overcoming the traditional notion of art as an object to contemplate, in order to create work that requires the active involvement of the viewer. From his(...)
Publication:
février 2016
février 2016
Titre:
Gianni Colombo: the body and the space 1959-1980
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A pioneering figure in kinetic and programmed art, Gianni Colombo anticipated many of the themes in today’s contemporary art. This book covers Colombo’s artistic career from 1959-1980. Colombo’s practice aimed at overcoming the traditional notion of art as an object to contemplate, in order to create work that requires the active involvement of the viewer. From his tactile pieces and works in motion of the late 1950s, to his immersive light installations of the 1960, into his mature large-scale environments, he conceived art as the place for an experience which belongs to both the body and the mind. His investigation of space is led by this idea of changing the spectator’s conventional relationship with reality, both physically and psychically, encompassing also a broad dialogue with technology and architecture.
Gianni Colombo: the body and the space 1959-1980
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A pioneering figure in kinetic and programmed art, Gianni Colombo anticipated many of the themes in today’s contemporary art. This book covers Colombo’s artistic career from 1959-1980. Colombo’s practice aimed at overcoming the traditional notion of art as an object to contemplate, in order to create work that requires the active involvement of the viewer. From his tactile pieces and works in motion of the late 1950s, to his immersive light installations of the 1960, into his mature large-scale environments, he conceived art as the place for an experience which belongs to both the body and the mind. His investigation of space is led by this idea of changing the spectator’s conventional relationship with reality, both physically and psychically, encompassing also a broad dialogue with technology and architecture.
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livres
livres
Publication:
février 2016
février 2016
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livres
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“Everything important that I have done can be put into a little suitcase," Duchamp said in 1952: finally, that suitcase is accessible to all. One of the most important and enigmatic pieces of modernist art, Boîte-en-valise was assembled by Marcel Duchamp between 1935 and 1941. The portable suitcase contains "the sum of his artistic work" up to that point. Perhaps in(...)
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“Everything important that I have done can be put into a little suitcase," Duchamp said in 1952: finally, that suitcase is accessible to all. One of the most important and enigmatic pieces of modernist art, Boîte-en-valise was assembled by Marcel Duchamp between 1935 and 1941. The portable suitcase contains "the sum of his artistic work" up to that point. Perhaps in(...)
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Marcel Duchamp: Museum in a box
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“Everything important that I have done can be put into a little suitcase," Duchamp said in 1952: finally, that suitcase is accessible to all. One of the most important and enigmatic pieces of modernist art, Boîte-en-valise was assembled by Marcel Duchamp between 1935 and 1941. The portable suitcase contains "the sum of his artistic work" up to that point. Perhaps in premonition of the coming war, and over years without a fixed address, Duchamp reproduced his work in a format that enabled him to easily transport his "complete works" at any time. Though the artist eventually made 300 copies of his box, many are behind glass in museums and private collections. This is the first ever reinterpretation of the legendary book-object, conceptualized by French artist Mathieu Mercier and now available to a broader audience. At once a work in and of itself, and a reproduction in the Duchampian spirit, this miniature museum contains 81 reproductions of Duchamp's creations, including the famous "Fountain," "Nude Descending a Staircase" and the "Large Glass." Mercier has reproduced the bulk of the contents of Duchamp's original box in paper form, designing everything to scale. Playful and accessible, the "Boîte" reflects Duchamp's desire to display his works outside the museum and gallery system.
Marcel Duchamp: Museum in a box
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“Everything important that I have done can be put into a little suitcase," Duchamp said in 1952: finally, that suitcase is accessible to all. One of the most important and enigmatic pieces of modernist art, Boîte-en-valise was assembled by Marcel Duchamp between 1935 and 1941. The portable suitcase contains "the sum of his artistic work" up to that point. Perhaps in premonition of the coming war, and over years without a fixed address, Duchamp reproduced his work in a format that enabled him to easily transport his "complete works" at any time. Though the artist eventually made 300 copies of his box, many are behind glass in museums and private collections. This is the first ever reinterpretation of the legendary book-object, conceptualized by French artist Mathieu Mercier and now available to a broader audience. At once a work in and of itself, and a reproduction in the Duchampian spirit, this miniature museum contains 81 reproductions of Duchamp's creations, including the famous "Fountain," "Nude Descending a Staircase" and the "Large Glass." Mercier has reproduced the bulk of the contents of Duchamp's original box in paper form, designing everything to scale. Playful and accessible, the "Boîte" reflects Duchamp's desire to display his works outside the museum and gallery system.
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livres
livres
Publication:
mars 2016
mars 2016
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livres
livres
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Complete Writings 1959–1975 was first published in 1975 by The Press of the Nova Scotia College of Art and Design, and since then it has been the primary source for Donald Judd’s early writing. Working as an art critic for the magazines Arts, Arts Magazine and, later, Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and(...)
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Complete Writings 1959–1975 was first published in 1975 by The Press of the Nova Scotia College of Art and Design, and since then it has been the primary source for Donald Judd’s early writing. Working as an art critic for the magazines Arts, Arts Magazine and, later, Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and(...)
Titre:
Donald Judd: Complete writings 1959-1975
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Complete Writings 1959–1975 was first published in 1975 by The Press of the Nova Scotia College of Art and Design, and since then it has been the primary source for Donald Judd’s early writing. Working as an art critic for the magazines Arts, Arts Magazine and, later, Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects. In his reviews and essays, Judd discussed in detail the work of more than 500 artists showing in New York in the early and mid-1960s, and provided a critical account of this significant era of art in America. While addressing the social and political ramifications of art production, the writings frequently addressed the work of such artists as Jackson Pollock, Kazimir Malevich, Barnett Newman, Ad Reinhardt, Lee Bontecou, Yayoi Kusama, John Chamberlain, Dan Flavin, Kenneth Noland and Claes Oldenburg. Judd’s essay "Specific Objects," first published in 1965, remains central to the analysis of the new art developed in the early 1960s. Other essays included in this publication are "Complaints I" (1969), "Complaints II" (1973) and his previously unpublished essay "Imperialism, Nationalism and Regionalism" (1975), all of which establish the polemical importance of Judd’s writing.
Donald Judd: Complete writings 1959-1975
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Complete Writings 1959–1975 was first published in 1975 by The Press of the Nova Scotia College of Art and Design, and since then it has been the primary source for Donald Judd’s early writing. Working as an art critic for the magazines Arts, Arts Magazine and, later, Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects. In his reviews and essays, Judd discussed in detail the work of more than 500 artists showing in New York in the early and mid-1960s, and provided a critical account of this significant era of art in America. While addressing the social and political ramifications of art production, the writings frequently addressed the work of such artists as Jackson Pollock, Kazimir Malevich, Barnett Newman, Ad Reinhardt, Lee Bontecou, Yayoi Kusama, John Chamberlain, Dan Flavin, Kenneth Noland and Claes Oldenburg. Judd’s essay "Specific Objects," first published in 1965, remains central to the analysis of the new art developed in the early 1960s. Other essays included in this publication are "Complaints I" (1969), "Complaints II" (1973) and his previously unpublished essay "Imperialism, Nationalism and Regionalism" (1975), all of which establish the polemical importance of Judd’s writing.
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livres
livres
Publication:
février 2016
février 2016
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livres
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Rosalyn Drexler’s collages and large-format paintings from the 1960s open the category of Pop art to technology and politics in a way that feels contemporary today, crossing hard-edge painting with depictions of sex, violence, race and gender role-playing in film and media. ''Who Does She Think She Is?'' recovers the artist’s early sculptures, recently rediscovered and(...)
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Rosalyn Drexler’s collages and large-format paintings from the 1960s open the category of Pop art to technology and politics in a way that feels contemporary today, crossing hard-edge painting with depictions of sex, violence, race and gender role-playing in film and media. ''Who Does She Think She Is?'' recovers the artist’s early sculptures, recently rediscovered and(...)
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Rosalyn Drexler: Who does she think she is?
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Rosalyn Drexler’s collages and large-format paintings from the 1960s open the category of Pop art to technology and politics in a way that feels contemporary today, crossing hard-edge painting with depictions of sex, violence, race and gender role-playing in film and media. ''Who Does She Think She Is?'' recovers the artist’s early sculptures, recently rediscovered and not exhibited since 1960. Documentation of Drexler’s performances and theatrical work, photographs evoking her role in the downtown New York scene and a selection of her books and other archival materials present her work across multiple mediums, offering a comprehensive look at Drexler’s varied career.
Rosalyn Drexler: Who does she think she is?
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Rosalyn Drexler’s collages and large-format paintings from the 1960s open the category of Pop art to technology and politics in a way that feels contemporary today, crossing hard-edge painting with depictions of sex, violence, race and gender role-playing in film and media. ''Who Does She Think She Is?'' recovers the artist’s early sculptures, recently rediscovered and not exhibited since 1960. Documentation of Drexler’s performances and theatrical work, photographs evoking her role in the downtown New York scene and a selection of her books and other archival materials present her work across multiple mediums, offering a comprehensive look at Drexler’s varied career.
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livres
livres
Publication:
juin 2016
juin 2016
Classification:
livres
livres
Titre:
Moholy-Nagy: Future Present
Moholy-Nagy: Future Present
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This book offers a fresh and extensive examination of the work of pioneering artist Laszlo Moholy-Nagy (1894-1946). The first major American survey of his oeuvre in nearly a half century and the most extensive English-language book on the artist in thirty years, the catalogue offers an integrated presentation of Moholy's production across a range of art forms including(...)
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This book offers a fresh and extensive examination of the work of pioneering artist Laszlo Moholy-Nagy (1894-1946). The first major American survey of his oeuvre in nearly a half century and the most extensive English-language book on the artist in thirty years, the catalogue offers an integrated presentation of Moholy's production across a range of art forms including(...)
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Moholy-Nagy: Future Present
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This book offers a fresh and extensive examination of the work of pioneering artist Laszlo Moholy-Nagy (1894-1946). The first major American survey of his oeuvre in nearly a half century and the most extensive English-language book on the artist in thirty years, the catalogue offers an integrated presentation of Moholy's production across a range of art forms including painting, sculpture, photography, graphic design, film, advertising, and theater. Over 300 works are illustrated in color, including the artist's early paintings and photograms, his whimsical photomontages-all of which are reproduced together here for the first time-and late works in Plexiglas.
Moholy-Nagy: Future Present
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This book offers a fresh and extensive examination of the work of pioneering artist Laszlo Moholy-Nagy (1894-1946). The first major American survey of his oeuvre in nearly a half century and the most extensive English-language book on the artist in thirty years, the catalogue offers an integrated presentation of Moholy's production across a range of art forms including painting, sculpture, photography, graphic design, film, advertising, and theater. Over 300 works are illustrated in color, including the artist's early paintings and photograms, his whimsical photomontages-all of which are reproduced together here for the first time-and late works in Plexiglas.
Classification:
livres
livres
Publication:
mai 2016
mai 2016
