1866 Résultats
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Romare Bearden (1911-1988) had a true Renaissance sensibility. He was a fine artist who also successfully turned his hand to printmaking, writing, costume and set design, as well as composing jazz music. In addition, he helped to found the Studio Museum in Harlem, New York's Cinque Gallery and the Black Academy of Arts and Letters, and was once even offered an opportunity(...)
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Romare Bearden (1911-1988) had a true Renaissance sensibility. He was a fine artist who also successfully turned his hand to printmaking, writing, costume and set design, as well as composing jazz music. In addition, he helped to found the Studio Museum in Harlem, New York's Cinque Gallery and the Black Academy of Arts and Letters, and was once even offered an opportunity(...)
Publication:
février 2008, New York
février 2008, New York
Titre:
Romare Bearden a black odyssey
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Romare Bearden (1911-1988) had a true Renaissance sensibility. He was a fine artist who also successfully turned his hand to printmaking, writing, costume and set design, as well as composing jazz music. In addition, he helped to found the Studio Museum in Harlem, New York's Cinque Gallery and the Black Academy of Arts and Letters, and was once even offered an opportunity to play professional baseball for the Philadelphia Athletics. But it is for his rich and textured collages that Bearden is best known today. In 1977, Bearden created a sequence of 20 collages based on episodes from Homer's Odyssey. It may come as a surprise to even his most avid followers that this devoted chronicler of African American culture and the Harlem Renaissance would gravitate to such a canonical text. But in the essay accompanying Romare Bearden: A Black Odyssey, scholar Robert G. O'Meally argues for their thematic consistency and suggests that, in the figures of Odysseus, Penelope, Poseidon, Nausicca and others, Bearden found themes sympathetic to the African American experience. These motifs of wandering, mourning and the questing for home--considering Bearden's scores of interiors and exteriors, country and city life and depictions of family love--emerge as the central themes of all his art. Romare Bearden: A Black Odyssey, the first in-depth consideration of these collages since they were originally exhibited 30 years ago, will prove a surprise to Bearden fans and newcomers alike.
Romare Bearden a black odyssey
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Romare Bearden (1911-1988) had a true Renaissance sensibility. He was a fine artist who also successfully turned his hand to printmaking, writing, costume and set design, as well as composing jazz music. In addition, he helped to found the Studio Museum in Harlem, New York's Cinque Gallery and the Black Academy of Arts and Letters, and was once even offered an opportunity to play professional baseball for the Philadelphia Athletics. But it is for his rich and textured collages that Bearden is best known today. In 1977, Bearden created a sequence of 20 collages based on episodes from Homer's Odyssey. It may come as a surprise to even his most avid followers that this devoted chronicler of African American culture and the Harlem Renaissance would gravitate to such a canonical text. But in the essay accompanying Romare Bearden: A Black Odyssey, scholar Robert G. O'Meally argues for their thematic consistency and suggests that, in the figures of Odysseus, Penelope, Poseidon, Nausicca and others, Bearden found themes sympathetic to the African American experience. These motifs of wandering, mourning and the questing for home--considering Bearden's scores of interiors and exteriors, country and city life and depictions of family love--emerge as the central themes of all his art. Romare Bearden: A Black Odyssey, the first in-depth consideration of these collages since they were originally exhibited 30 years ago, will prove a surprise to Bearden fans and newcomers alike.
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livres
livres
Publication:
février 2008, New York
février 2008, New York
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livres
livres
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Spartacus Chetwynd
Spartacus Chetwynd
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The British artist Spartacus Chetwynd (*1973, lives and works in London) is known for her baroque and surreal performances which, with great humor, bring together multiple image quotations from art history and pop culture. In the tradition of the grotesque she draws on elements from Giotto frescoes, characters from works by Hieronymus Bosch, or Yves Kleins(...)
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The British artist Spartacus Chetwynd (*1973, lives and works in London) is known for her baroque and surreal performances which, with great humor, bring together multiple image quotations from art history and pop culture. In the tradition of the grotesque she draws on elements from Giotto frescoes, characters from works by Hieronymus Bosch, or Yves Kleins(...)
Publication:
octobre 2007, Zurich
octobre 2007, Zurich
Titre:
Spartacus Chetwynd
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The British artist Spartacus Chetwynd (*1973, lives and works in London) is known for her baroque and surreal performances which, with great humor, bring together multiple image quotations from art history and pop culture. In the tradition of the grotesque she draws on elements from Giotto frescoes, characters from works by Hieronymus Bosch, or Yves Kleins "Anthropometries" (1960) together with heavy metal musicians, Michael Jacksons music video "Thriller," or the 1980s television series "The Hulk," and creates a unified whole. As well as performances, Chetwynd, who graduated from the Royal College of Art with an MA in painting, produced a series small canvases under the title "Bat Opera" (2004/2005), which also present quotations from pop culture, but in addition feature more romantic borrowings.
Spartacus Chetwynd
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The British artist Spartacus Chetwynd (*1973, lives and works in London) is known for her baroque and surreal performances which, with great humor, bring together multiple image quotations from art history and pop culture. In the tradition of the grotesque she draws on elements from Giotto frescoes, characters from works by Hieronymus Bosch, or Yves Kleins "Anthropometries" (1960) together with heavy metal musicians, Michael Jacksons music video "Thriller," or the 1980s television series "The Hulk," and creates a unified whole. As well as performances, Chetwynd, who graduated from the Royal College of Art with an MA in painting, produced a series small canvases under the title "Bat Opera" (2004/2005), which also present quotations from pop culture, but in addition feature more romantic borrowings.
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livres
livres
Publication:
octobre 2007, Zurich
octobre 2007, Zurich
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livres
livres
Titre:
Learning to love you more
Learning to love you more
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"Sometimes it is a relief to be told what to do," the authors of this wonderful, strange photo book explain. "We are two artists who are trying to come up with new ideas every day. But our most joyful and even profound experiences often come when we are following other people's instructions. When we are making crepes from a recipe, attempting to do a handstand in yoga(...)
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"Sometimes it is a relief to be told what to do," the authors of this wonderful, strange photo book explain. "We are two artists who are trying to come up with new ideas every day. But our most joyful and even profound experiences often come when we are following other people's instructions. When we are making crepes from a recipe, attempting to do a handstand in yoga(...)
Publication:
septembre 2007, Munich, Berlin, London, New York
septembre 2007, Munich, Berlin, London, New York
Titre:
Learning to love you more
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"Sometimes it is a relief to be told what to do," the authors of this wonderful, strange photo book explain. "We are two artists who are trying to come up with new ideas every day. But our most joyful and even profound experiences often come when we are following other people's instructions. When we are making crepes from a recipe, attempting to do a handstand in yoga class, or singing someone else's song." With this in mind, Harrell Fletcher and Miranda July started a website in 2002 called Learning to Love You More. In it they provided assignments: Take a picture of your parents kissing; reread your favorite book from fifth grade; write your life story in less than a day; take a flash photo under your bed; and many others. The responses came thick and fast (more than 5,000 and still coming) from all over the world. The authors' favorites are here reproduced, and they are wildly beautiful, imaginative, complex, funny, sad and simple.
Learning to love you more
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"Sometimes it is a relief to be told what to do," the authors of this wonderful, strange photo book explain. "We are two artists who are trying to come up with new ideas every day. But our most joyful and even profound experiences often come when we are following other people's instructions. When we are making crepes from a recipe, attempting to do a handstand in yoga class, or singing someone else's song." With this in mind, Harrell Fletcher and Miranda July started a website in 2002 called Learning to Love You More. In it they provided assignments: Take a picture of your parents kissing; reread your favorite book from fifth grade; write your life story in less than a day; take a flash photo under your bed; and many others. The responses came thick and fast (more than 5,000 and still coming) from all over the world. The authors' favorites are here reproduced, and they are wildly beautiful, imaginative, complex, funny, sad and simple.
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livres
livres
Publication:
septembre 2007, Munich, Berlin, London, New York
septembre 2007, Munich, Berlin, London, New York
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Please Listen I Have Something To Tell You About Is What is marks the first large-scale monograph by American artist Chris Johanson that began his career in the 1990s as part of the community of artists who based themselves in the bohemian community of San Franciscos Mission District (including Barry McGee and Margaret Kilgallen). Johansons first pieces were rough-hewn,(...)
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Please Listen I Have Something To Tell You About Is What is marks the first large-scale monograph by American artist Chris Johanson that began his career in the 1990s as part of the community of artists who based themselves in the bohemian community of San Franciscos Mission District (including Barry McGee and Margaret Kilgallen). Johansons first pieces were rough-hewn,(...)
Titre:
Please listen I have something to tell you about what is by Chris Johanson
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Please Listen I Have Something To Tell You About Is What is marks the first large-scale monograph by American artist Chris Johanson that began his career in the 1990s as part of the community of artists who based themselves in the bohemian community of San Franciscos Mission District (including Barry McGee and Margaret Kilgallen). Johansons first pieces were rough-hewn, painted on old wood he found in the street. However, over time his works have grown to include a diverse variety of media executed in large-scale installations. Johansons work comments on the age of consumerism as well as modern psychological phenomena such as self-help and psychotherapy. He creates a world where nudist dancers and emotionally centred people exist next to power junkies and corporate automatons, cunningly reflecting the duality of the human condition.
Please listen I have something to tell you about what is by Chris Johanson
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Please Listen I Have Something To Tell You About Is What is marks the first large-scale monograph by American artist Chris Johanson that began his career in the 1990s as part of the community of artists who based themselves in the bohemian community of San Franciscos Mission District (including Barry McGee and Margaret Kilgallen). Johansons first pieces were rough-hewn, painted on old wood he found in the street. However, over time his works have grown to include a diverse variety of media executed in large-scale installations. Johansons work comments on the age of consumerism as well as modern psychological phenomena such as self-help and psychotherapy. He creates a world where nudist dancers and emotionally centred people exist next to power junkies and corporate automatons, cunningly reflecting the duality of the human condition.
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livres
livres
Publication:
janvier 2007, Bologna
janvier 2007, Bologna
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livres
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How are you involved in the art world? Are you related to any specific scene? What would be the most productive place to present your work? What kind of curators do you like to work with, and why? What does the art market mean for your work? These are some of the questions that have been presented to every artist who has worked with Witte de With, the respected Rotterdam(...)
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How are you involved in the art world? Are you related to any specific scene? What would be the most productive place to present your work? What kind of curators do you like to work with, and why? What does the art market mean for your work? These are some of the questions that have been presented to every artist who has worked with Witte de With, the respected Rotterdam(...)
Publication:
mars 2008, Rotterdam
mars 2008, Rotterdam
Titre:
Changing roles artists' personal views and wishes
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How are you involved in the art world? Are you related to any specific scene? What would be the most productive place to present your work? What kind of curators do you like to work with, and why? What does the art market mean for your work? These are some of the questions that have been presented to every artist who has worked with Witte de With, the respected Rotterdam contemporary art center, over the past two years. This publication reflects on the ideas behind the works that the center has shown, and allows artists to voice concerns that are rarely discussed as part of a public initiative. The participants' answers serve as a model, suggesting what roles they need institutions, curators and programs to play. Contributors include Jesper Just, Erik van Lieshout, Sarah Morris and Robin Rhode. Liam Gillick was born in Aylesbury, Great Britain, in 1964 and studied at Hertfordshire College of Art, and Goldsmiths College, London. Often combining text and installation, Gillickis work frequently investigates economics and aesthetics in modern society. A finalist for the Turner Prize in 2002, his work has appeared at Documenta in 1997 and at The Museum of Modern Art, New York in 2003, as well as in numerous solo shows worldwide. He lives and works in London and New York.
Changing roles artists' personal views and wishes
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How are you involved in the art world? Are you related to any specific scene? What would be the most productive place to present your work? What kind of curators do you like to work with, and why? What does the art market mean for your work? These are some of the questions that have been presented to every artist who has worked with Witte de With, the respected Rotterdam contemporary art center, over the past two years. This publication reflects on the ideas behind the works that the center has shown, and allows artists to voice concerns that are rarely discussed as part of a public initiative. The participants' answers serve as a model, suggesting what roles they need institutions, curators and programs to play. Contributors include Jesper Just, Erik van Lieshout, Sarah Morris and Robin Rhode. Liam Gillick was born in Aylesbury, Great Britain, in 1964 and studied at Hertfordshire College of Art, and Goldsmiths College, London. Often combining text and installation, Gillickis work frequently investigates economics and aesthetics in modern society. A finalist for the Turner Prize in 2002, his work has appeared at Documenta in 1997 and at The Museum of Modern Art, New York in 2003, as well as in numerous solo shows worldwide. He lives and works in London and New York.
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livres
livres
Publication:
mars 2008, Rotterdam
mars 2008, Rotterdam
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If Euro-America, under the weight of its projected discourses, is able only to imagine the work of individual African artists as metaphor for nation, continent or race, the art of Wangechi Mutu seduces us brutally into the intricacies of the feminine as an embodiment of nation and species. It down-ends the male-centered 'big men' narratives of post-colonial Africa in(...)
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If Euro-America, under the weight of its projected discourses, is able only to imagine the work of individual African artists as metaphor for nation, continent or race, the art of Wangechi Mutu seduces us brutally into the intricacies of the feminine as an embodiment of nation and species. It down-ends the male-centered 'big men' narratives of post-colonial Africa in(...)
Titre:
Wangechi Mutu: a shady promise
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If Euro-America, under the weight of its projected discourses, is able only to imagine the work of individual African artists as metaphor for nation, continent or race, the art of Wangechi Mutu seduces us brutally into the intricacies of the feminine as an embodiment of nation and species. It down-ends the male-centered 'big men' narratives of post-colonial Africa in favor of frightfully powerful animal-spirit women and their constituent body parts. Her work forces our collective engagement with the feminine form in its various conjugations of lover, giver and receptacle, but also as predator and merciless avenger. Michael E. Veal
Wangechi Mutu: a shady promise
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If Euro-America, under the weight of its projected discourses, is able only to imagine the work of individual African artists as metaphor for nation, continent or race, the art of Wangechi Mutu seduces us brutally into the intricacies of the feminine as an embodiment of nation and species. It down-ends the male-centered 'big men' narratives of post-colonial Africa in favor of frightfully powerful animal-spirit women and their constituent body parts. Her work forces our collective engagement with the feminine form in its various conjugations of lover, giver and receptacle, but also as predator and merciless avenger. Michael E. Veal
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livres
livres
Publication:
mai 2008
mai 2008
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livres
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Painter Christopher Wool has written, "Some of the best stand-up performance I ever saw was Martin [Kippenberger] telling jokes in the back of some bar or restaurant." Which is not to dismiss the legendary German artist, who was at the forefront of the much-storied Cologne art scene of the early 1990s--Kippenberger, who died in 1997, used humor like a laser, to illuminate(...)
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Painter Christopher Wool has written, "Some of the best stand-up performance I ever saw was Martin [Kippenberger] telling jokes in the back of some bar or restaurant." Which is not to dismiss the legendary German artist, who was at the forefront of the much-storied Cologne art scene of the early 1990s--Kippenberger, who died in 1997, used humor like a laser, to illuminate(...)
Titre:
Model Martin Kippenberger: Utopia for Everyone
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Painter Christopher Wool has written, "Some of the best stand-up performance I ever saw was Martin [Kippenberger] telling jokes in the back of some bar or restaurant." Which is not to dismiss the legendary German artist, who was at the forefront of the much-storied Cologne art scene of the early 1990s--Kippenberger, who died in 1997, used humor like a laser, to illuminate power structures and taboos. One of the most important artists of the twentieth century, he not only worked in a variety of media--painting, sculpture, books and multiples--but, taking a cue from Joseph Beuys, actively tried to conceive new possibilities on which to model an art practice. This volume, published for an exhibition at Austria's acclaimed Kunsthaus Graz, includes incisive essays by curator and critic Daniel Birnbaum and linguist and writer Martin Prinzhorn, which examine the softer, more utopian side of the artist.
Model Martin Kippenberger: Utopia for Everyone
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Painter Christopher Wool has written, "Some of the best stand-up performance I ever saw was Martin [Kippenberger] telling jokes in the back of some bar or restaurant." Which is not to dismiss the legendary German artist, who was at the forefront of the much-storied Cologne art scene of the early 1990s--Kippenberger, who died in 1997, used humor like a laser, to illuminate power structures and taboos. One of the most important artists of the twentieth century, he not only worked in a variety of media--painting, sculpture, books and multiples--but, taking a cue from Joseph Beuys, actively tried to conceive new possibilities on which to model an art practice. This volume, published for an exhibition at Austria's acclaimed Kunsthaus Graz, includes incisive essays by curator and critic Daniel Birnbaum and linguist and writer Martin Prinzhorn, which examine the softer, more utopian side of the artist.
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livres
livres
Publication:
mars 2008, D
mars 2008, D
Classification:
livres
livres
Titre:
Phil Frost
Phil Frost
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Part of a whole gang of street artists--from Barry McGee to Swoon--who have broken into the art world in the last decade or so, Phil Frost's signature style is a funky tribalism--Hawaii by way of New York City--infused with a quirky sense of art history and design. In the 1990s, Frost honed his skills by painting walls, found objects and street detritus with his(...)
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Part of a whole gang of street artists--from Barry McGee to Swoon--who have broken into the art world in the last decade or so, Phil Frost's signature style is a funky tribalism--Hawaii by way of New York City--infused with a quirky sense of art history and design. In the 1990s, Frost honed his skills by painting walls, found objects and street detritus with his(...)
Publication:
mai 2008, Bologna
mai 2008, Bologna
Titre:
Phil Frost
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Part of a whole gang of street artists--from Barry McGee to Swoon--who have broken into the art world in the last decade or so, Phil Frost's signature style is a funky tribalism--Hawaii by way of New York City--infused with a quirky sense of art history and design. In the 1990s, Frost honed his skills by painting walls, found objects and street detritus with his intricate, compulsive and highly evolved form of tagging. Frost's gallery exhibitions are crowded affairs, filled with wildly patterned totemic objects and baseball bats while the walls are stacked with colorful mixed media paintings. He crafts his painstaking paintings by collaging layers of found imagery on grounds of symmetrical black-and-white patterning, which he paints with correction fluid, and that often morph into language-like glyphs or symbols. Frost states, "I believe [my work] is indigenous to myself. I believe that within every person there is an indigenous expression of themselves." Including an essay by New York journalist Carlo McCormick and notorious lowbrow artist Pusshead, this is Frost's first monograph, and an invaluable introduction to the evolution of his style.
Phil Frost
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Part of a whole gang of street artists--from Barry McGee to Swoon--who have broken into the art world in the last decade or so, Phil Frost's signature style is a funky tribalism--Hawaii by way of New York City--infused with a quirky sense of art history and design. In the 1990s, Frost honed his skills by painting walls, found objects and street detritus with his intricate, compulsive and highly evolved form of tagging. Frost's gallery exhibitions are crowded affairs, filled with wildly patterned totemic objects and baseball bats while the walls are stacked with colorful mixed media paintings. He crafts his painstaking paintings by collaging layers of found imagery on grounds of symmetrical black-and-white patterning, which he paints with correction fluid, and that often morph into language-like glyphs or symbols. Frost states, "I believe [my work] is indigenous to myself. I believe that within every person there is an indigenous expression of themselves." Including an essay by New York journalist Carlo McCormick and notorious lowbrow artist Pusshead, this is Frost's first monograph, and an invaluable introduction to the evolution of his style.
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livres
livres
Publication:
mai 2008, Bologna
mai 2008, Bologna
Classification:
livres
livres
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$34.00
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Along with Russian constructivism and surrealism, Dada stands as one of the three most significant movements of the historical avant-garde. Born in the heart of Europe in the midst of World War I, Dada displayed a raucous skepticism about accepted values. Its embrace of new materials, of collage and assemblage techniques, of the designation of manufactured objects as art(...)
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Along with Russian constructivism and surrealism, Dada stands as one of the three most significant movements of the historical avant-garde. Born in the heart of Europe in the midst of World War I, Dada displayed a raucous skepticism about accepted values. Its embrace of new materials, of collage and assemblage techniques, of the designation of manufactured objects as art(...)
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Dada: Zurich,Berlin, Hannover, Cologne, New York, Paris
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Along with Russian constructivism and surrealism, Dada stands as one of the three most significant movements of the historical avant-garde. Born in the heart of Europe in the midst of World War I, Dada displayed a raucous skepticism about accepted values. Its embrace of new materials, of collage and assemblage techniques, of the designation of manufactured objects as art objects as well as its interest in performance, sound poetry, and manifestos fundamentally shaped the terms of modern art practice and created an abiding legacy for postwar art. Yet, while the word Dada has common currency, few know much about Dada art itself. In contrast to other key avant-garde movements, there has never been a major American exhibition that explores Dada specifically in broad view. Dada--the catalogue to the exhibition on view in 2006 at the National Gallery of Art in Washington and The Museum of Modern Art in New York presents the hybrid forms of Dada art through an examination of city centers where Dada emerged: Zurich, Berlin, Cologne, Hannover, New York, and Paris. Covered here are works by some 40 artists made in the period from circa 1916, when the Cabaret Voltaire was founded in Zurich, to 1926, by which time most of the Dada groups had dispersed or significantly transformed. The city sections bring together painting, sculpture, photography, collage, photomontage, prints and graphic work. Relying on dynamic design and vivid documentary images, Dada takes us through these six cities via topical essays and extensive plate sections; an illustrated chronology of the movement; witty chronicles of events in each city center; a selected bibliography; and biographies of each artist--accompanied by Dada-era photographs.
Dada: Zurich,Berlin, Hannover, Cologne, New York, Paris
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Along with Russian constructivism and surrealism, Dada stands as one of the three most significant movements of the historical avant-garde. Born in the heart of Europe in the midst of World War I, Dada displayed a raucous skepticism about accepted values. Its embrace of new materials, of collage and assemblage techniques, of the designation of manufactured objects as art objects as well as its interest in performance, sound poetry, and manifestos fundamentally shaped the terms of modern art practice and created an abiding legacy for postwar art. Yet, while the word Dada has common currency, few know much about Dada art itself. In contrast to other key avant-garde movements, there has never been a major American exhibition that explores Dada specifically in broad view. Dada--the catalogue to the exhibition on view in 2006 at the National Gallery of Art in Washington and The Museum of Modern Art in New York presents the hybrid forms of Dada art through an examination of city centers where Dada emerged: Zurich, Berlin, Cologne, Hannover, New York, and Paris. Covered here are works by some 40 artists made in the period from circa 1916, when the Cabaret Voltaire was founded in Zurich, to 1926, by which time most of the Dada groups had dispersed or significantly transformed. The city sections bring together painting, sculpture, photography, collage, photomontage, prints and graphic work. Relying on dynamic design and vivid documentary images, Dada takes us through these six cities via topical essays and extensive plate sections; an illustrated chronology of the movement; witty chronicles of events in each city center; a selected bibliography; and biographies of each artist--accompanied by Dada-era photographs.
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livres
livres
Publication:
mars 2008, Washington
mars 2008, Washington
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livres
livres
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The street has been at the heart of many groundbreaking visual subcultures for the part thirty years. However, there is now emerging a new wave of artists who are moving in fresh directions beyong graffiti and street art. Frustrated by wholesale corporate theft of street creativity, these artists are employing different techniques in their work, different materials,(...)
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The street has been at the heart of many groundbreaking visual subcultures for the part thirty years. However, there is now emerging a new wave of artists who are moving in fresh directions beyong graffiti and street art. Frustrated by wholesale corporate theft of street creativity, these artists are employing different techniques in their work, different materials,(...)
Titre:
Street Renegades: new underground art
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The street has been at the heart of many groundbreaking visual subcultures for the part thirty years. However, there is now emerging a new wave of artists who are moving in fresh directions beyong graffiti and street art. Frustrated by wholesale corporate theft of street creativity, these artists are employing different techniques in their work, different materials, different means of dissemination and different ways of getting their work noticed.
Street Renegades: new underground art
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Résumé:
The street has been at the heart of many groundbreaking visual subcultures for the part thirty years. However, there is now emerging a new wave of artists who are moving in fresh directions beyong graffiti and street art. Frustrated by wholesale corporate theft of street creativity, these artists are employing different techniques in their work, different materials, different means of dissemination and different ways of getting their work noticed.
Classification:
livres
livres
Publication:
octobre 2007, London
octobre 2007, London
