1910 Résultats
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Beginning in the 1960s, Louise Bourgeois used her own clothing and that of her loved ones as components of her sculptures and designs: a reincarnation of her childhood and her past. Her art would expand into new realms in 2002 when she began to weave together scraps of iridescent-colored fabric, creating works that vary from figures of flowers to chromatic abstractions,(...)
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Beginning in the 1960s, Louise Bourgeois used her own clothing and that of her loved ones as components of her sculptures and designs: a reincarnation of her childhood and her past. Her art would expand into new realms in 2002 when she began to weave together scraps of iridescent-colored fabric, creating works that vary from figures of flowers to chromatic abstractions,(...)
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Louise Bourgeois: The fabric works
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Beginning in the 1960s, Louise Bourgeois used her own clothing and that of her loved ones as components of her sculptures and designs: a reincarnation of her childhood and her past. Her art would expand into new realms in 2002 when she began to weave together scraps of iridescent-colored fabric, creating works that vary from figures of flowers to chromatic abstractions, constituting a repertoire of interweaves. This set of images is collected here in its entirety for the first time.
Louise Bourgeois: The fabric works
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Beginning in the 1960s, Louise Bourgeois used her own clothing and that of her loved ones as components of her sculptures and designs: a reincarnation of her childhood and her past. Her art would expand into new realms in 2002 when she began to weave together scraps of iridescent-colored fabric, creating works that vary from figures of flowers to chromatic abstractions, constituting a repertoire of interweaves. This set of images is collected here in its entirety for the first time.
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Publication:
mars 2011
mars 2011
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Artist and writer Frances Stark (born 1967) addresses the doubts and anxieties of creative labor, in self-portraits that she elaborates into cross-disciplinary explorations of language as both subject matter and material. The digressive style that typifies her writing is echoed in the experience of her installations, in which themes emerge across citations from pop music(...)
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Artist and writer Frances Stark (born 1967) addresses the doubts and anxieties of creative labor, in self-portraits that she elaborates into cross-disciplinary explorations of language as both subject matter and material. The digressive style that typifies her writing is echoed in the experience of her installations, in which themes emerge across citations from pop music(...)
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This could become a gimick (sic) or an honest articulation of the workings of the mind
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Artist and writer Frances Stark (born 1967) addresses the doubts and anxieties of creative labor, in self-portraits that she elaborates into cross-disciplinary explorations of language as both subject matter and material. The digressive style that typifies her writing is echoed in the experience of her installations, in which themes emerge across citations from pop music and literature. Her works, often hand drawn, are executed with a vulnerability and fluency of composition that affirms the volume's title. This anthology offers a selection of the artist's writings from 1997 to 2006.
This could become a gimick (sic) or an honest articulation of the workings of the mind
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Artist and writer Frances Stark (born 1967) addresses the doubts and anxieties of creative labor, in self-portraits that she elaborates into cross-disciplinary explorations of language as both subject matter and material. The digressive style that typifies her writing is echoed in the experience of her installations, in which themes emerge across citations from pop music and literature. Her works, often hand drawn, are executed with a vulnerability and fluency of composition that affirms the volume's title. This anthology offers a selection of the artist's writings from 1997 to 2006.
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février 2011
février 2011
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Titre:
Food-water-life
Food-water-life
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Since founding Studio Orta in 1993, the Paris-based husband-and-wife team of Lucy and Jorge Orta has produced an extensive body of work that addresses universal concerns about community, shelter, migration, and sustainable development. Beyond merely addressing these issues artistically, their work suggests solutions by modeling fresh approaches to social dilemmas. Their(...)
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Since founding Studio Orta in 1993, the Paris-based husband-and-wife team of Lucy and Jorge Orta has produced an extensive body of work that addresses universal concerns about community, shelter, migration, and sustainable development. Beyond merely addressing these issues artistically, their work suggests solutions by modeling fresh approaches to social dilemmas. Their(...)
Titre:
Food-water-life
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Since founding Studio Orta in 1993, the Paris-based husband-and-wife team of Lucy and Jorge Orta has produced an extensive body of work that addresses universal concerns about community, shelter, migration, and sustainable development. Beyond merely addressing these issues artistically, their work suggests solutions by modeling fresh approaches to social dilemmas. Their often-playful projects incorporate elements of fashion, art, and architecture, which they combine with performances, multimedia events, and public debates. Featuring hundreds of drawings and photographs, Lucy + Jorge Orta: Food, Water, Life presents recent works that fall into the categories of food, water, and the environment. An interview by curator and critic Hou Hanru provides insight into the artists' processes and motivations.
Food-water-life
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Since founding Studio Orta in 1993, the Paris-based husband-and-wife team of Lucy and Jorge Orta has produced an extensive body of work that addresses universal concerns about community, shelter, migration, and sustainable development. Beyond merely addressing these issues artistically, their work suggests solutions by modeling fresh approaches to social dilemmas. Their often-playful projects incorporate elements of fashion, art, and architecture, which they combine with performances, multimedia events, and public debates. Featuring hundreds of drawings and photographs, Lucy + Jorge Orta: Food, Water, Life presents recent works that fall into the categories of food, water, and the environment. An interview by curator and critic Hou Hanru provides insight into the artists' processes and motivations.
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Publication:
mai 2011
mai 2011
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livres
Titre:
Anish Kapoor
Anish Kapoor
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Kapoor est l'auteur de sculptures exposées dans des lieux publics partout dans le monde, telles CLOUD GATE (2004, Millenium Park, Chicago), SKY MIRROR (2006, Rockefeller Center, New York) et TARATANTARA (1999-2000, Gateshead et Naples). Cette monographie couvre plus de trente ans de création. Elle rassemble des centaines d'illustrations en couleurs, ainsi que des(...)
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Kapoor est l'auteur de sculptures exposées dans des lieux publics partout dans le monde, telles CLOUD GATE (2004, Millenium Park, Chicago), SKY MIRROR (2006, Rockefeller Center, New York) et TARATANTARA (1999-2000, Gateshead et Naples). Cette monographie couvre plus de trente ans de création. Elle rassemble des centaines d'illustrations en couleurs, ainsi que des(...)
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Anish Kapoor
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Kapoor est l'auteur de sculptures exposées dans des lieux publics partout dans le monde, telles CLOUD GATE (2004, Millenium Park, Chicago), SKY MIRROR (2006, Rockefeller Center, New York) et TARATANTARA (1999-2000, Gateshead et Naples). Cette monographie couvre plus de trente ans de création. Elle rassemble des centaines d'illustrations en couleurs, ainsi que des maquettes et des diagrammes de ses projets les plus ambitieux. L'ouvrage offre également une chronologie complète et détaillée de la vie de l'artiste illustrée de photographies, d'esquisses et de documents, dont certains inédits.
Anish Kapoor
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Kapoor est l'auteur de sculptures exposées dans des lieux publics partout dans le monde, telles CLOUD GATE (2004, Millenium Park, Chicago), SKY MIRROR (2006, Rockefeller Center, New York) et TARATANTARA (1999-2000, Gateshead et Naples). Cette monographie couvre plus de trente ans de création. Elle rassemble des centaines d'illustrations en couleurs, ainsi que des maquettes et des diagrammes de ses projets les plus ambitieux. L'ouvrage offre également une chronologie complète et détaillée de la vie de l'artiste illustrée de photographies, d'esquisses et de documents, dont certains inédits.
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Publication:
février 2011
février 2011
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General Idea was founded in Toronto in 1969 by Felix Partz, Jorge Zontal and AA Bronson as a generic identity to free the artists "from the tyranny of individual genius." Under the leadership of their fictitious muse Miss General Idea, and inspired by William Burroughs' conception of the "image virus," the collective interrogated media image culture through now legendary(...)
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General Idea was founded in Toronto in 1969 by Felix Partz, Jorge Zontal and AA Bronson as a generic identity to free the artists "from the tyranny of individual genius." Under the leadership of their fictitious muse Miss General Idea, and inspired by William Burroughs' conception of the "image virus," the collective interrogated media image culture through now legendary(...)
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General idea: haute culture, a retrospective, 1969-1994
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General Idea was founded in Toronto in 1969 by Felix Partz, Jorge Zontal and AA Bronson as a generic identity to free the artists "from the tyranny of individual genius." Under the leadership of their fictitious muse Miss General Idea, and inspired by William Burroughs' conception of the "image virus," the collective interrogated media image culture through now legendary projects like File magazine, as well as paintings, installations, sculptures, mail art, photographs, videos, ephemera, TV programs and even a beauty pageant. General Idea came to an end in 1994, when Partz and Zontal died of AIDS. Today General Idea can be seen to anticipate the later art collectives of the 1970s as well as aspects of Relational Aesthetics in the 1990s. This volume presents an overview of the Canadian collective''s bold mingling of reality and fiction and their frequently transgressive, parodic incursions upon both art and society. Including newly commissioned essays and reprinted texts, this volume is richly illustrated with documents and reproductions of the most significant projects realized by General Idea between 1969 and 1994. Exhibited at ARC/Musée d'art moderne de la Ville de Paris and the Art Gallery of Ontario, Toronto in 2011.
General idea: haute culture, a retrospective, 1969-1994
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General Idea was founded in Toronto in 1969 by Felix Partz, Jorge Zontal and AA Bronson as a generic identity to free the artists "from the tyranny of individual genius." Under the leadership of their fictitious muse Miss General Idea, and inspired by William Burroughs' conception of the "image virus," the collective interrogated media image culture through now legendary projects like File magazine, as well as paintings, installations, sculptures, mail art, photographs, videos, ephemera, TV programs and even a beauty pageant. General Idea came to an end in 1994, when Partz and Zontal died of AIDS. Today General Idea can be seen to anticipate the later art collectives of the 1970s as well as aspects of Relational Aesthetics in the 1990s. This volume presents an overview of the Canadian collective''s bold mingling of reality and fiction and their frequently transgressive, parodic incursions upon both art and society. Including newly commissioned essays and reprinted texts, this volume is richly illustrated with documents and reproductions of the most significant projects realized by General Idea between 1969 and 1994. Exhibited at ARC/Musée d'art moderne de la Ville de Paris and the Art Gallery of Ontario, Toronto in 2011.
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Publication:
janvier 2011
janvier 2011
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Dale Chihuly has been credited with elevating blown glass from delicate decorative object to groundbreaking fine art. Through the Looking Glass focuses on the artist's pieces and installations in relation to the spaces that generate, shape and surround them. The text, a mix of critical exegesis and Chihuly's own commentary (much of it solicited specifically for this(...)
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Dale Chihuly has been credited with elevating blown glass from delicate decorative object to groundbreaking fine art. Through the Looking Glass focuses on the artist's pieces and installations in relation to the spaces that generate, shape and surround them. The text, a mix of critical exegesis and Chihuly's own commentary (much of it solicited specifically for this(...)
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Chihuly: Through the looking glass
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Dale Chihuly has been credited with elevating blown glass from delicate decorative object to groundbreaking fine art. Through the Looking Glass focuses on the artist's pieces and installations in relation to the spaces that generate, shape and surround them. The text, a mix of critical exegesis and Chihuly's own commentary (much of it solicited specifically for this book), provides a new entrée into the work, mind, and creative process of one of America's most critically and popularly acclaimed artists.
Chihuly: Through the looking glass
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Dale Chihuly has been credited with elevating blown glass from delicate decorative object to groundbreaking fine art. Through the Looking Glass focuses on the artist's pieces and installations in relation to the spaces that generate, shape and surround them. The text, a mix of critical exegesis and Chihuly's own commentary (much of it solicited specifically for this book), provides a new entrée into the work, mind, and creative process of one of America's most critically and popularly acclaimed artists.
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Publication:
mai 2011
mai 2011
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Titre:
Ed Ruscha: Road tested
Ed Ruscha: Road tested
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Since his first road trip in 1956, driving from Oklahoma City to Los Angeles, Ed Ruscha has continued to muse on America as seen from the road. Consisting of around 75 works spanning the artist's entire career, Ed Ruscha: Road Tested includes many of the artist's books, including Twenty-Six Gasoline Stations, Real Estate Opportunities, Some Los Angeles Apartments,(...)
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Since his first road trip in 1956, driving from Oklahoma City to Los Angeles, Ed Ruscha has continued to muse on America as seen from the road. Consisting of around 75 works spanning the artist's entire career, Ed Ruscha: Road Tested includes many of the artist's books, including Twenty-Six Gasoline Stations, Real Estate Opportunities, Some Los Angeles Apartments,(...)
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Ed Ruscha: Road tested
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Since his first road trip in 1956, driving from Oklahoma City to Los Angeles, Ed Ruscha has continued to muse on America as seen from the road. Consisting of around 75 works spanning the artist's entire career, Ed Ruscha: Road Tested includes many of the artist's books, including Twenty-Six Gasoline Stations, Real Estate Opportunities, Some Los Angeles Apartments, Thirty-Four Parking Lots and the groundbreaking artist's book Every Building on the Sunset Strip. Also examined here is the rarely seen Ruscha film Miracle (1975), which tells the story of a mechanic whose obsessive repair of the carburetor on a 1965 Mustang dooms his date with a beautiful woman.
Ed Ruscha: Road tested
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Since his first road trip in 1956, driving from Oklahoma City to Los Angeles, Ed Ruscha has continued to muse on America as seen from the road. Consisting of around 75 works spanning the artist's entire career, Ed Ruscha: Road Tested includes many of the artist's books, including Twenty-Six Gasoline Stations, Real Estate Opportunities, Some Los Angeles Apartments, Thirty-Four Parking Lots and the groundbreaking artist's book Every Building on the Sunset Strip. Also examined here is the rarely seen Ruscha film Miracle (1975), which tells the story of a mechanic whose obsessive repair of the carburetor on a 1965 Mustang dooms his date with a beautiful woman.
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mai 2011
mai 2011
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Gerhard Richter: landscapes
Gerhard Richter: landscapes
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No genre has fascinated Gerhard Richter so consistently throughout his career as that of landscape. Ever since his softly overpainted Views of Corsica series of 1968-69, the artist has revisited and reprised its possibilities, creating black-and-white townscapes based on newspaper picture and amateur photographs, mountain and park scenes with heavy impasto, illusionistic(...)
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No genre has fascinated Gerhard Richter so consistently throughout his career as that of landscape. Ever since his softly overpainted Views of Corsica series of 1968-69, the artist has revisited and reprised its possibilities, creating black-and-white townscapes based on newspaper picture and amateur photographs, mountain and park scenes with heavy impasto, illusionistic(...)
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mai 2011
mai 2011
Titre:
Gerhard Richter: landscapes
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No genre has fascinated Gerhard Richter so consistently throughout his career as that of landscape. Ever since his softly overpainted Views of Corsica series of 1968-69, the artist has revisited and reprised its possibilities, creating black-and-white townscapes based on newspaper picture and amateur photographs, mountain and park scenes with heavy impasto, illusionistic seascapes in subtly gradated tones and paintings worked with abstract overpainting. Frequently these paintings interrupt or quietly sabotage the transcendent horizon of the Romantic landscape, but the image presented is not exactly ironized as in other paintings of Richter's. This new edition brings us up to date with Richter's enduring fondness for this subject.
Gerhard Richter: landscapes
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No genre has fascinated Gerhard Richter so consistently throughout his career as that of landscape. Ever since his softly overpainted Views of Corsica series of 1968-69, the artist has revisited and reprised its possibilities, creating black-and-white townscapes based on newspaper picture and amateur photographs, mountain and park scenes with heavy impasto, illusionistic seascapes in subtly gradated tones and paintings worked with abstract overpainting. Frequently these paintings interrupt or quietly sabotage the transcendent horizon of the Romantic landscape, but the image presented is not exactly ironized as in other paintings of Richter's. This new edition brings us up to date with Richter's enduring fondness for this subject.
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mai 2011
mai 2011
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In August 1946, Marcel Duchamp spent five weeks in Switzerland, and stayed at the Hotel Bellevue near Chexbres, on Lake Geneva. It was here that he discovered the Forestay waterfall, which was to become the starting point for (and ultimately the landscape of) his enigmatic and final masterpiece, "Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage" ("Given: 1. The(...)
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In August 1946, Marcel Duchamp spent five weeks in Switzerland, and stayed at the Hotel Bellevue near Chexbres, on Lake Geneva. It was here that he discovered the Forestay waterfall, which was to become the starting point for (and ultimately the landscape of) his enigmatic and final masterpiece, "Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage" ("Given: 1. The(...)
Titre:
Marcel Duchamp and the Forestay Waterfall
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In August 1946, Marcel Duchamp spent five weeks in Switzerland, and stayed at the Hotel Bellevue near Chexbres, on Lake Geneva. It was here that he discovered the Forestay waterfall, which was to become the starting point for (and ultimately the landscape of) his enigmatic and final masterpiece, "Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage" ("Given: 1. The Waterfall, 2. The Illuminating Gas"). Now, for the first time, the full significance of the choice of this waterfall is explored. Among the contributors to this volume are Caroline Bachmann, Stefan Banz, Etienne Barilier, Lars Blunck, Ecke Bonk, Paul B. Franklin, Antje von Graevenitz, Dalia Judovitz, Michael Lüthy, Bernard Marcadé, Herbert Molderings, Adeena Mey, Stanislaus von Moos, Francis M. Naumann, Mark Nelson, Molly Nesbit, Dominique Radrizzani, Roman Signer, Michael R. Taylor, Hans Maria de Wolf and Philip Ursprung.
Marcel Duchamp and the Forestay Waterfall
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In August 1946, Marcel Duchamp spent five weeks in Switzerland, and stayed at the Hotel Bellevue near Chexbres, on Lake Geneva. It was here that he discovered the Forestay waterfall, which was to become the starting point for (and ultimately the landscape of) his enigmatic and final masterpiece, "Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage" ("Given: 1. The Waterfall, 2. The Illuminating Gas"). Now, for the first time, the full significance of the choice of this waterfall is explored. Among the contributors to this volume are Caroline Bachmann, Stefan Banz, Etienne Barilier, Lars Blunck, Ecke Bonk, Paul B. Franklin, Antje von Graevenitz, Dalia Judovitz, Michael Lüthy, Bernard Marcadé, Herbert Molderings, Adeena Mey, Stanislaus von Moos, Francis M. Naumann, Mark Nelson, Molly Nesbit, Dominique Radrizzani, Roman Signer, Michael R. Taylor, Hans Maria de Wolf and Philip Ursprung.
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livres
Publication:
janvier 2011
janvier 2011
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Josef Albers' rigorous investigations into color have had a decisive effect on art in the twentieth century and beyond. His teaching posts at the Bauhaus, Black Mountain College and Yale enabled him to bequeath his theories to several generations of artists and designers, from Max Bill and Mark Rothko to Eva Hesse and Ray Johnson. Published for an exhibition at the Morgan(...)
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Josef Albers' rigorous investigations into color have had a decisive effect on art in the twentieth century and beyond. His teaching posts at the Bauhaus, Black Mountain College and Yale enabled him to bequeath his theories to several generations of artists and designers, from Max Bill and Mark Rothko to Eva Hesse and Ray Johnson. Published for an exhibition at the Morgan(...)
Titre:
Josef Albers in America: Painting on paper
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Josef Albers' rigorous investigations into color have had a decisive effect on art in the twentieth century and beyond. His teaching posts at the Bauhaus, Black Mountain College and Yale enabled him to bequeath his theories to several generations of artists and designers, from Max Bill and Mark Rothko to Eva Hesse and Ray Johnson. Published for an exhibition at the Morgan library, and with an abundance of previously uncollected works, this volume unveils the full bounty of Albers' works on paper: lithographs, linocuts, woodcuts, screenprints and etchings. Since the prints lack the just-visible brushwork of Albers' paintings, allowing color to emerge without surface blemish, some have argued that they constitute a more effective illustration of his color theory.
Josef Albers in America: Painting on paper
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Josef Albers' rigorous investigations into color have had a decisive effect on art in the twentieth century and beyond. His teaching posts at the Bauhaus, Black Mountain College and Yale enabled him to bequeath his theories to several generations of artists and designers, from Max Bill and Mark Rothko to Eva Hesse and Ray Johnson. Published for an exhibition at the Morgan library, and with an abundance of previously uncollected works, this volume unveils the full bounty of Albers' works on paper: lithographs, linocuts, woodcuts, screenprints and etchings. Since the prints lack the just-visible brushwork of Albers' paintings, allowing color to emerge without surface blemish, some have argued that they constitute a more effective illustration of his color theory.
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livres
livres
Publication:
mars 2011
mars 2011
