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Avec cette installation de Yinka Shonibare, le visiteur est invité à pénétrer dans un labyrinthe qui évoque les parcours galants des jardins à la française rococo. Il surprendra trois groupes d'amants où l'on reconnaît des tableaux peints pour la marquise du Barry par Jean Honoré Fragonard moins de vingt ans avant la Révolution française : «La Lettre d'Amour», «L'Amant(...)
mai 2007, Paris
Yinka Shonibare, MBA : jardin d'amour / garden of love
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Avec cette installation de Yinka Shonibare, le visiteur est invité à pénétrer dans un labyrinthe qui évoque les parcours galants des jardins à la française rococo. Il surprendra trois groupes d'amants où l'on reconnaît des tableaux peints pour la marquise du Barry par Jean Honoré Fragonard moins de vingt ans avant la Révolution française : «La Lettre d'Amour», «L'Amant couronné», «La Poursuite» (1771-1773). Leurs vêtements aristocratiques ont été réalisés avec ces cotonnades «wax» que l'industrie textile européenne destinait à l'Indonésie et qui ont été largement adoptés en Afrique de l'Ouest. Aujourd'hui elles symbolisent, par leur fantaisie exubérante, le continent africain. L'artiste souligne avec humour et acuité la frivolité insouciante d'une société qui avait bâti sa prospérité sur l'exploitation coloniale et l'esclavage et qui se trouvera bientôt condamnée à la décapitation.
Olafur Eliasson
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Né au Danemark, Eliasson travaille aujourd hui à Berlin. Il reconstitue dans l'espace de la galerie les fragments d'une contrée lointaine et transforme en sculptures des sensations immatérielles ou des phénomènes invisibles. Une simple ouverture circulaire au plafond d'une galerie de Los Angeles, par exemple, suffit à donner l'illusion d'un pâle soleil scandinave et à(...)
juin 2007, Paris
Olafur Eliasson
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Né au Danemark, Eliasson travaille aujourd hui à Berlin. Il reconstitue dans l'espace de la galerie les fragments d'une contrée lointaine et transforme en sculptures des sensations immatérielles ou des phénomènes invisibles. Une simple ouverture circulaire au plafond d'une galerie de Los Angeles, par exemple, suffit à donner l'illusion d'un pâle soleil scandinave et à fabriquer un cadran solaire géant, évoquant à la fois les découpes architecturales de Gordon Matta-Clark et l'oculus du Panthéon de Rome. Les ouvres sereines et magnifiques d'Eliasson, inspirées par les thèmes de la nature, de la solitude et de l'introspection, ont été présentées dans les grandes manifestations internationales d'art contemporain, dont la Biennale de Venise en 1999. Dans son essai, la conservatrice Madeleine Grynsztejn étudie la démarche singulière d un artiste qui mêle l'innovation technologique à son art. Le critique et conservateur Daniel Birnbaum s'entretient avec l'artiste de l'implantation des ouvres et de leur environnement immédiat, dans et à l'extérieur du musée. Dans «Focus», le théoricien de l'architecture Michael Speaks se penche sur l'intervention d'Eliasson «Green river» (1998), qu'il compare au film tourné par Antonioni en 1964, «Le Désert rouge». L'artiste a choisi un extrait de L'Évolution créatrice d'Henri Bergson (1907) qui traite de notre rapport subjectif et visuel à la nature, thème également central de son art. Les écrits d'Olafur Eliasson rassemblent un essai sur le plus banal des sujets, le temps qu il fait, et une lettre ouverte intitulée «Chers tous», adressée à tous les spectateurs de ses ouvres sensuelles et sophistiquées.
New canvas
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Daniel Gordon cuts, builds, experiments and photographs. Gordon’s relationship to photography is intrinsically linked to his working process. Like a painter or sculptor, he has an intense studio practice. He imagines and creates his images from scratch, literally and figuratively. This book, arguably the most comprehensive monograph of the artist to date, focuses on both(...)
New canvas
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Daniel Gordon cuts, builds, experiments and photographs. Gordon’s relationship to photography is intrinsically linked to his working process. Like a painter or sculptor, he has an intense studio practice. He imagines and creates his images from scratch, literally and figuratively. This book, arguably the most comprehensive monograph of the artist to date, focuses on both Gordon’s final works and the process that leads to the end result, by emphasizing on the different layers that compose his photographs.
Gego: Measuring infinity
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Accompanying the first major museum retrospective exhibition of Gego’s work in the US in more than 15 years, this expansive, definitive catalog charts the evolution of Gego’s singular approach to abstraction through organic forms, linear structures and systematic spatial investigations. Featuring nearly 300 images, including more than 160 sculptures, drawings, prints,(...)
juin 2023
Gego: Measuring infinity
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Accompanying the first major museum retrospective exhibition of Gego’s work in the US in more than 15 years, this expansive, definitive catalog charts the evolution of Gego’s singular approach to abstraction through organic forms, linear structures and systematic spatial investigations. Featuring nearly 300 images, including more than 160 sculptures, drawings, prints, artist’s books, textiles and installations made between the early 1950s and the early 1990s, this volume also presents 11 illustrated essays by experts in the field of modern and contemporary Latin American art that trace Gego’s artistic development across various mediums and disciplines, including her significant contributions to architecture and design; ground her practice in various art movements that materialized in Latin America, Europe and the US during her lifetime; and consider the pedagogical influence of her two-decade teaching career in Caracas. This essential publication advances an expanded understanding and appreciation of the artist’s work within the context of 20th-century modernism.
For Zitkála-Šá
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Paying tribute to Yankton Dakota writer, musician, and activist Zitkála-Šá (b.1876), this publication is structured through a series of scores for thirteen contemporary female Indigenous performing artists: Laura Ortman, Cheryl L’Hirondelle, Suzanne Kite, Barbara Croall, Jacqueline Wilson, Autumn Chacon, Heidi Senungetuk, Ange Loft, Joy Harjo, Carmina Escobar, Olivia(...)
For Zitkála-Šá
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Paying tribute to Yankton Dakota writer, musician, and activist Zitkála-Šá (b.1876), this publication is structured through a series of scores for thirteen contemporary female Indigenous performing artists: Laura Ortman, Cheryl L’Hirondelle, Suzanne Kite, Barbara Croall, Jacqueline Wilson, Autumn Chacon, Heidi Senungetuk, Ange Loft, Joy Harjo, Carmina Escobar, Olivia Shortt, Candice Hopkins, and Buffy Sainte-Marie. ''For Zitkála-Šá'' is supplemented by texts by each artist and a contextualizing essay by Chacon.
Queuejumping
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Encyclopaedic in form, Marina Roy’s ''Queuejumping'' eloquently unspools manifestations of capitalist, colonialist, agrologic, and scientific impulses, all within the context of the letter Q. Roy enlists art writing, poetry, lists, found images, and essays on humankind’s hunger to supersede the Other (in order to uphold what she calls ''the vertically directed world'') in(...)
Queuejumping
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Encyclopaedic in form, Marina Roy’s ''Queuejumping'' eloquently unspools manifestations of capitalist, colonialist, agrologic, and scientific impulses, all within the context of the letter Q. Roy enlists art writing, poetry, lists, found images, and essays on humankind’s hunger to supersede the Other (in order to uphold what she calls ''the vertically directed world'') in this artfully academic work. From queens, queers, quadrupeds, and the Quran, to quick, quiddity, and quotidian, and from millions of years of organic decay to contemplating contemporary art, dive into the origins of hegemonic forces, what is lost by winning, and what can be gained by stepping out of line.
Phllip Metten: Five works
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Combining a genuine interest in contemporary and historical architecture with a desire to make sculpture functional, these five projects form a distinct body of work within Philip Metten’s practice: ‘Bar’ (2013), ‘153. Stanton’ (2015), ‘The Corner Show’ (2015), ‘Cinema’ (2017), and ‘Essen’ (2016–2021). Wouter Davidts’s analysis of ‘Untitled’ (2014) sets the tone, a work(...)
Phllip Metten: Five works
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Combining a genuine interest in contemporary and historical architecture with a desire to make sculpture functional, these five projects form a distinct body of work within Philip Metten’s practice: ‘Bar’ (2013), ‘153. Stanton’ (2015), ‘The Corner Show’ (2015), ‘Cinema’ (2017), and ‘Essen’ (2016–2021). Wouter Davidts’s analysis of ‘Untitled’ (2014) sets the tone, a work that seems to anticipate the complex interplay between drawing, sculpture, and architecture apparent in Metten’s other projects, where he gives spaces with a distinct social programme and scale a sculptural transformation. With photos by Jan Kempenaers and drawings by Kris Kimpe and Samyra Moumouh.
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The Ravestijn Gallery brings together new work by Dutch artists Ruth van Beek and Mariken Wessels. Their mutual interest in exploring the act of creation and their interventions in existing material overlap to form a powerful reflection on the female artist. In Van Beek’s spatial installation of collages, ordinary objects take on a body and life of their own. She explores(...)
janvier 2023
Ruth van Beek & Mariken Wessels - Fruits of Labor
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The Ravestijn Gallery brings together new work by Dutch artists Ruth van Beek and Mariken Wessels. Their mutual interest in exploring the act of creation and their interventions in existing material overlap to form a powerful reflection on the female artist. In Van Beek’s spatial installation of collages, ordinary objects take on a body and life of their own. She explores the thin borders between studio and domestic life, the repetition of daily tasks, and the origins of her interest in manuals and household books. In the new series of sculptures and collage works by Wessels, it is the female body that becomes matter. With poems by Basje Boer and an essay by Robert Petzoldt.
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In 1976, Sol LeWitt made a large group of pencil drawings on the internal walls of the Vecchia Torre, a medieval tower in the Umbrian town of Spoleto, Italy. These fragile drawings, made on walls that are susceptible to degradation, have rarely been seen and never been documented, yet they represent one of LeWitt's major works and a milestone in American conceptual art.(...)
Sol Lewitt's studio drawings in the Vecchia Torre
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In 1976, Sol LeWitt made a large group of pencil drawings on the internal walls of the Vecchia Torre, a medieval tower in the Umbrian town of Spoleto, Italy. These fragile drawings, made on walls that are susceptible to degradation, have rarely been seen and never been documented, yet they represent one of LeWitt's major works and a milestone in American conceptual art. This groundbreaking volume brings together an extended essay on LeWitt's work by art historian Rye Dag Holmboe and a series of 60 photographic plates of the drawings by artist Joschi Herczeg, giving readers an intimate experience of this singular, site-specific work. A visual archive, this book situates LeWitt's provisional, material, bodily, and highly personal drawings in their historical, biographical, and theoretical contexts. The result is nothing less than a reconsideration of LeWitt's lifework. At once a work of conservation and a reflection on the relationship between drawing and architecture, the volume sheds new and welcome light on an unseen masterpiece.
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Working at the intersection of natural science, technology, and art, Austrian-French artist duo Christa Sommerer and Laurent Mignonneau pioneered the ''Art of interface''—innovative technical interfaces that enable physical interaction between simulative visual worlds and the world of natural sensory organs. Early on, the pair used algorithms to represent not only forms(...)
février 2023
Christa Sommerer & Laurent Mignonneau: The artwork as a living system 1992-2022
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Working at the intersection of natural science, technology, and art, Austrian-French artist duo Christa Sommerer and Laurent Mignonneau pioneered the ''Art of interface''—innovative technical interfaces that enable physical interaction between simulative visual worlds and the world of natural sensory organs. Early on, the pair used algorithms to represent not only forms of the living but also their evolution and growth. In the artists’ installations, which are possible only through interactions with the viewer, devices designed by the artist couple produce novel virtual realities and immersive environments. In ''Portrait on the fly,'' for instance, a viewer stands in front of an interactive plasma screen, behind which a swarm of thousands of flies is moving. Gradually, the flies settle on the shadowed areas of the projection, thereby collectively reproducing the person’s likeness. Works such as these, now almost classics of digital art, open a new horizon in which artworks can function as living systems.