1871 Résultats
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Robert Smithson (1938–1973), an artist of paramount importance in postwar America, created radical new perspectives for landscape architecture, photography, art criticism, and site-specific installation. His Spiral Jetty - a 1,500-foot-long coil of rock built in 1970 at the edge of the Great Salt Lake - is widely appreciated as one of the most significant art projects of(...)
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Résumé:
Robert Smithson (1938–1973), an artist of paramount importance in postwar America, created radical new perspectives for landscape architecture, photography, art criticism, and site-specific installation. His Spiral Jetty - a 1,500-foot-long coil of rock built in 1970 at the edge of the Great Salt Lake - is widely appreciated as one of the most significant art projects of(...)
Publication:
avril 2004, New Haven / London
avril 2004, New Haven / London
Titre:
Mirror-Travels : Robert Smithson and history
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Robert Smithson (1938–1973), an artist of paramount importance in postwar America, created radical new perspectives for landscape architecture, photography, art criticism, and site-specific installation. His Spiral Jetty - a 1,500-foot-long coil of rock built in 1970 at the edge of the Great Salt Lake - is widely appreciated as one of the most significant art projects of the twentieth century. Less well known is the connection between the Jetty and the nearby Golden Spike National Historic Site, location of the completion of the first U.S. transcontinental railroad. The link between these two monuments is but one facet of an entire complex of historical reference and reflection that structures Smithson’s work. Mirror-Travels encompasses the full span of Smithson’s career, offering a close analysis of the artist’s working model of history and featuring comprehensive case studies of three of his most influential works: The Monuments of Passaic, Incidents of Mirror-Travel in the Yucatan, and the Spiral Jetty. Incorporating abundant new material from Smithson’s personal papers and library, Jennifer Roberts offers surprising new interpretations about the artist and his responses to the social, ideological, and material contradictions of his time.
Mirror-Travels : Robert Smithson and history
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Robert Smithson (1938–1973), an artist of paramount importance in postwar America, created radical new perspectives for landscape architecture, photography, art criticism, and site-specific installation. His Spiral Jetty - a 1,500-foot-long coil of rock built in 1970 at the edge of the Great Salt Lake - is widely appreciated as one of the most significant art projects of the twentieth century. Less well known is the connection between the Jetty and the nearby Golden Spike National Historic Site, location of the completion of the first U.S. transcontinental railroad. The link between these two monuments is but one facet of an entire complex of historical reference and reflection that structures Smithson’s work. Mirror-Travels encompasses the full span of Smithson’s career, offering a close analysis of the artist’s working model of history and featuring comprehensive case studies of three of his most influential works: The Monuments of Passaic, Incidents of Mirror-Travel in the Yucatan, and the Spiral Jetty. Incorporating abundant new material from Smithson’s personal papers and library, Jennifer Roberts offers surprising new interpretations about the artist and his responses to the social, ideological, and material contradictions of his time.
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Publication:
avril 2004, New Haven / London
avril 2004, New Haven / London
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Titre:
Nothing
Nothing
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This book emerges out of research for an exhibition of the same name, curated by Ele Carpenter and artist Graham Gussin. In considering content for the show, they explored a broad range of ideas about the notion of "nothing", which many of the exhibiting artists made reference to in their work.
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This book emerges out of research for an exhibition of the same name, curated by Ele Carpenter and artist Graham Gussin. In considering content for the show, they explored a broad range of ideas about the notion of "nothing", which many of the exhibiting artists made reference to in their work.
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janvier 1900, Sunderland
janvier 1900, Sunderland
Titre:
Nothing
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This book emerges out of research for an exhibition of the same name, curated by Ele Carpenter and artist Graham Gussin. In considering content for the show, they explored a broad range of ideas about the notion of "nothing", which many of the exhibiting artists made reference to in their work.
Nothing
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This book emerges out of research for an exhibition of the same name, curated by Ele Carpenter and artist Graham Gussin. In considering content for the show, they explored a broad range of ideas about the notion of "nothing", which many of the exhibiting artists made reference to in their work.
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Publication:
janvier 1900, Sunderland
janvier 1900, Sunderland
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Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement(...)
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Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement(...)
Publication:
janvier 2003, Cambridge, Mass.
janvier 2003, Cambridge, Mass.
Titre:
Conceptual art and the politics of publicity
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Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement was founded not just by the artists but also by the dealer Seth Siegelaub. Siegelaub promoted the artists, curated groundbreaking shows, organized symposia and publications, and in many ways set the stage for another kind of entrepreneur: the freelance curator. Alberro examines both Siegelaub's role in launching the careers of artists who were making "something from nothing" and his tactful business practices, particularly in marketing and advertising. Alberro draws on close readings of artworks produced by key conceptual artists in the mid- to late 1960s. He places the movement in the social context of the rebellion against existing cultural institutions, as well as the increased commercialization and globalization of the art world. The book ends with a discussion of one of Siegelaub's most material and least ephemeral contributions, the Artist's Reserved Rights Transfer and Sale Agreement, which he wrote between 1969 and 1971. Designed to limit the inordinate control of collectors, galleries, and museums by increasing the artist's rights, the Agreement unwittingly codified the overlap between capitalism and the arts.
Conceptual art and the politics of publicity
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Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement was founded not just by the artists but also by the dealer Seth Siegelaub. Siegelaub promoted the artists, curated groundbreaking shows, organized symposia and publications, and in many ways set the stage for another kind of entrepreneur: the freelance curator. Alberro examines both Siegelaub's role in launching the careers of artists who were making "something from nothing" and his tactful business practices, particularly in marketing and advertising. Alberro draws on close readings of artworks produced by key conceptual artists in the mid- to late 1960s. He places the movement in the social context of the rebellion against existing cultural institutions, as well as the increased commercialization and globalization of the art world. The book ends with a discussion of one of Siegelaub's most material and least ephemeral contributions, the Artist's Reserved Rights Transfer and Sale Agreement, which he wrote between 1969 and 1971. Designed to limit the inordinate control of collectors, galleries, and museums by increasing the artist's rights, the Agreement unwittingly codified the overlap between capitalism and the arts.
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livres
livres
Publication:
janvier 2003, Cambridge, Mass.
janvier 2003, Cambridge, Mass.
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livres
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in(...)
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in(...)
Publication:
novembre 2002, Cambridge, Mass.
novembre 2002, Cambridge, Mass.
Titre:
Robert Smithson : learning from New Jersey and elsewhere
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson’s widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson’s working life--magazines, postcards from other artists, notebooks, and perhaps most important, his library--from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson’s art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time. A central focus of Reynolds’s analysis is Smithson’s fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again, alone and with fellow artists, to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.
Robert Smithson : learning from New Jersey and elsewhere
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson’s widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson’s working life--magazines, postcards from other artists, notebooks, and perhaps most important, his library--from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson’s art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time. A central focus of Reynolds’s analysis is Smithson’s fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again, alone and with fellow artists, to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.
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livres
livres
Publication:
novembre 2002, Cambridge, Mass.
novembre 2002, Cambridge, Mass.
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livres
Titre:
Mary Miss
Mary Miss
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As sculptor, draughtsman, photographer, and environmental artist, Mary Miss straddles the fields of architecture, landscape architecture, and installation art. Her work moves from the urban bustle of New York, to the vast plains of the American Midwest, to the remote forests of Finland, and has been acclaimed worldwide for its poetry and power. Designed in association(...)
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As sculptor, draughtsman, photographer, and environmental artist, Mary Miss straddles the fields of architecture, landscape architecture, and installation art. Her work moves from the urban bustle of New York, to the vast plains of the American Midwest, to the remote forests of Finland, and has been acclaimed worldwide for its poetry and power. Designed in association(...)
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Mary Miss
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As sculptor, draughtsman, photographer, and environmental artist, Mary Miss straddles the fields of architecture, landscape architecture, and installation art. Her work moves from the urban bustle of New York, to the vast plains of the American Midwest, to the remote forests of Finland, and has been acclaimed worldwide for its poetry and power. Designed in association with the artist, this exquisitely produced monograph, a comprehensive overview of Miss's work, features thirty-five color images and over 150 duotone photographs of her projects accompanied by copious drawings by the artist. Architectural historian Daniel Abramson, who has been granted unparalleled access to the artist and her archives, addresses each of her projects in detail. An introduction by the well-known art critic Eleanor Heartney situates Miss in the context of contemporary movements in art. Architecture critic Joseph Giovannini places her work within contemporary design practice. Together, the text and images of Mary Miss provide a remarkable look at the work of this groundbreaking public artist.
Mary Miss
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As sculptor, draughtsman, photographer, and environmental artist, Mary Miss straddles the fields of architecture, landscape architecture, and installation art. Her work moves from the urban bustle of New York, to the vast plains of the American Midwest, to the remote forests of Finland, and has been acclaimed worldwide for its poetry and power. Designed in association with the artist, this exquisitely produced monograph, a comprehensive overview of Miss's work, features thirty-five color images and over 150 duotone photographs of her projects accompanied by copious drawings by the artist. Architectural historian Daniel Abramson, who has been granted unparalleled access to the artist and her archives, addresses each of her projects in detail. An introduction by the well-known art critic Eleanor Heartney situates Miss in the context of contemporary movements in art. Architecture critic Joseph Giovannini places her work within contemporary design practice. Together, the text and images of Mary Miss provide a remarkable look at the work of this groundbreaking public artist.
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Publication:
janvier 2004, New York
janvier 2004, New York
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Really important artists situated their work in the master frame of art, well aware of the importance of the material they are using and conscious of questions about paradigms or paradigm shifts in art. This occurs in a special way in the work of Olafur Eliasson and is placed in full view of the observer by the exhibition at the Kunsthaus Bregenz. Eliasson uses nature(...)
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Really important artists situated their work in the master frame of art, well aware of the importance of the material they are using and conscious of questions about paradigms or paradigm shifts in art. This occurs in a special way in the work of Olafur Eliasson and is placed in full view of the observer by the exhibition at the Kunsthaus Bregenz. Eliasson uses nature(...)
Publication:
janvier 2002, Bregenz
janvier 2002, Bregenz
Titre:
Olafur Eliasson : the mediated motion - 31.03 - 13.05.2001
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Really important artists situated their work in the master frame of art, well aware of the importance of the material they are using and conscious of questions about paradigms or paradigm shifts in art. This occurs in a special way in the work of Olafur Eliasson and is placed in full view of the observer by the exhibition at the Kunsthaus Bregenz. Eliasson uses nature and the architecture of the building as material : the result is an interplay in flux or a reversal of art and nature. In cooperation with Günter Vogt, landscape architect.
Olafur Eliasson : the mediated motion - 31.03 - 13.05.2001
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Really important artists situated their work in the master frame of art, well aware of the importance of the material they are using and conscious of questions about paradigms or paradigm shifts in art. This occurs in a special way in the work of Olafur Eliasson and is placed in full view of the observer by the exhibition at the Kunsthaus Bregenz. Eliasson uses nature and the architecture of the building as material : the result is an interplay in flux or a reversal of art and nature. In cooperation with Günter Vogt, landscape architect.
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livres
livres
Publication:
janvier 2002, Bregenz
janvier 2002, Bregenz
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livres
Titre:
Documenta 11 short guide
Documenta 11 short guide
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The short guide introduces, in alphabetical order, all participating artists and their projects. Short essays explain their individual working methods, historical conditions, and approaches to selected works. The publication also includes a list of works as well as information about the documenta film program, artists’ radio projects and Documenta_11 artists’ books. Full(...)
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The short guide introduces, in alphabetical order, all participating artists and their projects. Short essays explain their individual working methods, historical conditions, and approaches to selected works. The publication also includes a list of works as well as information about the documenta film program, artists’ radio projects and Documenta_11 artists’ books. Full(...)
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Documenta 11 short guide
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The short guide introduces, in alphabetical order, all participating artists and their projects. Short essays explain their individual working methods, historical conditions, and approaches to selected works. The publication also includes a list of works as well as information about the documenta film program, artists’ radio projects and Documenta_11 artists’ books. Full catalogue also available.
Documenta 11 short guide
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The short guide introduces, in alphabetical order, all participating artists and their projects. Short essays explain their individual working methods, historical conditions, and approaches to selected works. The publication also includes a list of works as well as information about the documenta film program, artists’ radio projects and Documenta_11 artists’ books. Full catalogue also available.
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Publication:
janvier 1900, Ostfildern
janvier 1900, Ostfildern
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$80.00
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Suzaan Boettger presents a comprehensive history of the Earthworks movement in the United States, providing a fascinating and in-depth analysis of the monumental forms that initiated the broader genre of Land Art. Examining the art, the artists, their dealers, and proponents, Boettger interprets Earthworks as a manifestation both of artists' personal stories and of the(...)
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Suzaan Boettger presents a comprehensive history of the Earthworks movement in the United States, providing a fascinating and in-depth analysis of the monumental forms that initiated the broader genre of Land Art. Examining the art, the artists, their dealers, and proponents, Boettger interprets Earthworks as a manifestation both of artists' personal stories and of the(...)
Titre:
Earthworks : art and landscape of the sixties
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Suzaan Boettger presents a comprehensive history of the Earthworks movement in the United States, providing a fascinating and in-depth analysis of the monumental forms that initiated the broader genre of Land Art. Examining the art, the artists, their dealers, and proponents, Boettger interprets Earthworks as a manifestation both of artists' personal stories and of the late 1960s social and political tumult.
Earthworks : art and landscape of the sixties
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Suzaan Boettger presents a comprehensive history of the Earthworks movement in the United States, providing a fascinating and in-depth analysis of the monumental forms that initiated the broader genre of Land Art. Examining the art, the artists, their dealers, and proponents, Boettger interprets Earthworks as a manifestation both of artists' personal stories and of the late 1960s social and political tumult.
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livres
livres
Publication:
juillet 2002, Berkeley
juillet 2002, Berkeley
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livres
livres
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This book investigates the state of panoptic art at a time when issues of security and civil liberties are on many people’s minds. Traditional imaging and tracking systems have given way to infinitely more powerful “dataveillance” technologies, as an evolving arsenal of surrogate eyes and ears in our society shifts its focus from military to domestic space. Taking as its(...)
$63.95
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This book investigates the state of panoptic art at a time when issues of security and civil liberties are on many people’s minds. Traditional imaging and tracking systems have given way to infinitely more powerful “dataveillance” technologies, as an evolving arsenal of surrogate eyes and ears in our society shifts its focus from military to domestic space. Taking as its(...)
Publication:
mars 2002, Karlsruhe, Germany / Cambridge, Massachusett
mars 2002, Karlsruhe, Germany / Cambridge, Massachusett
Titre:
CTRL (space) : rhetorics of surveillance from Bentham to big brother
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This book investigates the state of panoptic art at a time when issues of security and civil liberties are on many people’s minds. Traditional imaging and tracking systems have given way to infinitely more powerful “dataveillance” technologies, as an evolving arsenal of surrogate eyes and ears in our society shifts its focus from military to domestic space. Taking as its point of departure an architectural drawing by Jeremy Bentham that became the model for an entire social regime, CTRL [SPACE] looks at the shifting relationships between design and power, imaging and oppression, from the eighteenth to the twenty-first centuries. From the photographs taken with hidden cameras by Walker Evans and Paul Strand in the early twentieth century to the appropriation of military satellite technology by Marko Peljhan a hundred years later, the works of a wide range of artists have explored the dynamics of watching and being watched. The artists whose panoptical preoccupations are featured include, among others, Sophie Calle, Diller + Scofidio, Dan Graham, Pierre Huyghe, Michael Klier, Rem Koolhaas, Bruce Nauman, Yoko Ono, Thomas Ruff, Julia Scher, Andy Warhol, and Peter Weibel. This book, along with the exhibition it accompanies, is the first state-of-the-art survey of panopticism--in digital culture, architecture, television, video, cinema, painting, photography, conceptual art, installation work, robotics, and satellite imaging.
CTRL (space) : rhetorics of surveillance from Bentham to big brother
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This book investigates the state of panoptic art at a time when issues of security and civil liberties are on many people’s minds. Traditional imaging and tracking systems have given way to infinitely more powerful “dataveillance” technologies, as an evolving arsenal of surrogate eyes and ears in our society shifts its focus from military to domestic space. Taking as its point of departure an architectural drawing by Jeremy Bentham that became the model for an entire social regime, CTRL [SPACE] looks at the shifting relationships between design and power, imaging and oppression, from the eighteenth to the twenty-first centuries. From the photographs taken with hidden cameras by Walker Evans and Paul Strand in the early twentieth century to the appropriation of military satellite technology by Marko Peljhan a hundred years later, the works of a wide range of artists have explored the dynamics of watching and being watched. The artists whose panoptical preoccupations are featured include, among others, Sophie Calle, Diller + Scofidio, Dan Graham, Pierre Huyghe, Michael Klier, Rem Koolhaas, Bruce Nauman, Yoko Ono, Thomas Ruff, Julia Scher, Andy Warhol, and Peter Weibel. This book, along with the exhibition it accompanies, is the first state-of-the-art survey of panopticism--in digital culture, architecture, television, video, cinema, painting, photography, conceptual art, installation work, robotics, and satellite imaging.
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livres
livres
Publication:
mars 2002, Karlsruhe, Germany / Cambridge, Massachusett
mars 2002, Karlsruhe, Germany / Cambridge, Massachusett
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livres
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$98.50
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The Bridge in Tadashi Kawamata's Bridge and Archives is a long, functional bridge installation that extends between the exhibition galleries of the Museum Schloss Moyland and the castle itself. It expresses the artist's own interpretation of the particular character of the location, which houses the world's largest collection of works by Joseph Beuys and also the Joseph(...)
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The Bridge in Tadashi Kawamata's Bridge and Archives is a long, functional bridge installation that extends between the exhibition galleries of the Museum Schloss Moyland and the castle itself. It expresses the artist's own interpretation of the particular character of the location, which houses the world's largest collection of works by Joseph Beuys and also the Joseph(...)
Publication:
juin 2003, Bielefeld, Germany
juin 2003, Bielefeld, Germany
Titre:
Tadashi Kawamata : bridge and archives
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The Bridge in Tadashi Kawamata's Bridge and Archives is a long, functional bridge installation that extends between the exhibition galleries of the Museum Schloss Moyland and the castle itself. It expresses the artist's own interpretation of the particular character of the location, which houses the world's largest collection of works by Joseph Beuys and also the Joseph Beuys Archive--hence the Archive in the title. The bridge places the viewer at the center of two poles of art and represents an incongruous addition to the romantic castle ensemble. Demonstrating how the artistic work of Kawamata stands on the threshold between functional everyday object and autonomous work of art, between emergence and transience, between the individual and society, the bridge also reveals points of contact between the art of Beuys and Kawamata's own process-based and socially relevant work. Japanese artist Tadashi Kawamata has collaborated since 1986 with Dutch photographer Leo van der Kleij, who documents the artist's work in photographs.
Tadashi Kawamata : bridge and archives
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The Bridge in Tadashi Kawamata's Bridge and Archives is a long, functional bridge installation that extends between the exhibition galleries of the Museum Schloss Moyland and the castle itself. It expresses the artist's own interpretation of the particular character of the location, which houses the world's largest collection of works by Joseph Beuys and also the Joseph Beuys Archive--hence the Archive in the title. The bridge places the viewer at the center of two poles of art and represents an incongruous addition to the romantic castle ensemble. Demonstrating how the artistic work of Kawamata stands on the threshold between functional everyday object and autonomous work of art, between emergence and transience, between the individual and society, the bridge also reveals points of contact between the art of Beuys and Kawamata's own process-based and socially relevant work. Japanese artist Tadashi Kawamata has collaborated since 1986 with Dutch photographer Leo van der Kleij, who documents the artist's work in photographs.
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livres
livres
Publication:
juin 2003, Bielefeld, Germany
juin 2003, Bielefeld, Germany
