1904 Résultats
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This book verifies the need for the arts and the sciences to work together in order to develop more creative and conceptual approaches to innovation and presentation. By blending ethnographical case studies, scientific viewpoints and critical essays, the focus of this research inquiry is the lab context. For scientists, the lab context is one of the most important(...)
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This book verifies the need for the arts and the sciences to work together in order to develop more creative and conceptual approaches to innovation and presentation. By blending ethnographical case studies, scientific viewpoints and critical essays, the focus of this research inquiry is the lab context. For scientists, the lab context is one of the most important(...)
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artists in labs : processes of inquiry
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This book verifies the need for the arts and the sciences to work together in order to develop more creative and conceptual approaches to innovation and presentation. By blending ethnographical case studies, scientific viewpoints and critical essays, the focus of this research inquiry is the lab context. For scientists, the lab context is one of the most important educational experiences. For contemporary artists, laboratories are inspiring spaces to investigate, share know-how transfer and search for new collaboration potentials. The nine labs represented in this book are from the natural, computing and engineering sciences. An enclosed comprehensive DVD documents the results, the problems and serves as a guideline for the future of true Art/Sci experiments.
artists in labs : processes of inquiry
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This book verifies the need for the arts and the sciences to work together in order to develop more creative and conceptual approaches to innovation and presentation. By blending ethnographical case studies, scientific viewpoints and critical essays, the focus of this research inquiry is the lab context. For scientists, the lab context is one of the most important educational experiences. For contemporary artists, laboratories are inspiring spaces to investigate, share know-how transfer and search for new collaboration potentials. The nine labs represented in this book are from the natural, computing and engineering sciences. An enclosed comprehensive DVD documents the results, the problems and serves as a guideline for the future of true Art/Sci experiments.
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Publication:
avril 2006, Wien, New York
avril 2006, Wien, New York
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During their decade-long collaboration (1985-1995), Kate Ericson and Mel Ziegler produced some of the most influential conceptual art projects of the time. Among their witty and stimulating installations and outdoor projects was Camouflaged History, a house painted in a U.S. Army-designed camouflage pattern using 72 commercial paint colors included in the(...)
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During their decade-long collaboration (1985-1995), Kate Ericson and Mel Ziegler produced some of the most influential conceptual art projects of the time. Among their witty and stimulating installations and outdoor projects was Camouflaged History, a house painted in a U.S. Army-designed camouflage pattern using 72 commercial paint colors included in the(...)
Publication:
mars 2006, Cambridge, Mass.
mars 2006, Cambridge, Mass.
Titre:
America starts here : Kate Ericson and Mel Ziegler
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During their decade-long collaboration (1985-1995), Kate Ericson and Mel Ziegler produced some of the most influential conceptual art projects of the time. Among their witty and stimulating installations and outdoor projects was Camouflaged History, a house painted in a U.S. Army-designed camouflage pattern using 72 commercial paint colors included in the municipally-approved "authentic colors" of historic Charleston, South Carolina. The commercial name of each paint, commemorating an aspect of the city's history, is also painted on the house, revealing and illuminating the lingering Civil War-era past of the region. Like the Earthwork pioneers, Ericson and Ziegler took the whole country as their working space; but rather than impose a conspicuous work of art upon a site or situation, they devised projects that altered sites subtly, creating a patchwork of poetic narratives and histories to be excavated. The windows rescued from the old National Licorice factory in Philadelphia in the title piece America Starts Here--which takes its name from the slogan used to promote Pennsylvania tourism during the 1980s--are hung according to the location of the original windows in the factory; the cracks in the glass echo the famous cracks in two of Philadelphia's tourist attractions, the Liberty Bell and Marcel Duchamp's The Large Glass.
America starts here : Kate Ericson and Mel Ziegler
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During their decade-long collaboration (1985-1995), Kate Ericson and Mel Ziegler produced some of the most influential conceptual art projects of the time. Among their witty and stimulating installations and outdoor projects was Camouflaged History, a house painted in a U.S. Army-designed camouflage pattern using 72 commercial paint colors included in the municipally-approved "authentic colors" of historic Charleston, South Carolina. The commercial name of each paint, commemorating an aspect of the city's history, is also painted on the house, revealing and illuminating the lingering Civil War-era past of the region. Like the Earthwork pioneers, Ericson and Ziegler took the whole country as their working space; but rather than impose a conspicuous work of art upon a site or situation, they devised projects that altered sites subtly, creating a patchwork of poetic narratives and histories to be excavated. The windows rescued from the old National Licorice factory in Philadelphia in the title piece America Starts Here--which takes its name from the slogan used to promote Pennsylvania tourism during the 1980s--are hung according to the location of the original windows in the factory; the cracks in the glass echo the famous cracks in two of Philadelphia's tourist attractions, the Liberty Bell and Marcel Duchamp's The Large Glass.
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Publication:
mars 2006, Cambridge, Mass.
mars 2006, Cambridge, Mass.
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Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also(...)
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Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also(...)
Publication:
janvier 2006, Milwaukee
janvier 2006, Milwaukee
Titre:
Elusive signs : Bruce Nauman works with light
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Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also aggressively convey a message. Over the first three decades of his career, Nauman used the medium of light to explore the twists and turns of perception, logic, and meaning with the earnest playfulness that characterizes all his art. "Elusive signs" focuses on the discrete body of Nauman's work that uses neon and fluorescent light in signs and room installations, and includes images of nearly all Nauman's work with light. After "Window or wall sign", Nauman embarked on a series of neons that grappled with the semiotics of body and identity, and with "My name as though it were written on the surface of the moon" (1968), he forces the viewer to contemplate the role of naming in forming identity. Language - signs and symbols - plays an important role in Nauman's art. His later neon works emphasize the neon as a sign, presenting provocative twists of language and offering harsh and humorous sociopolitical commentary in such pieces as "Run from fear, fun from rear" (1972). This series culminates in the monumental, billboard-size "One hundred live and die" (1984), which employs overwhelming scale to bombard the viewer with sardonic aphorisms. In the essays that accompany the images of Nauman's work, Joseph Ketner II of the Milwaukee Art Museum (which originated the exhibit this book accompanies) and critics Janet Kraynak and Gregory Volk analyze the works in light both as a body of work and as an access point to Nauman's entire career.
Elusive signs : Bruce Nauman works with light
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Intrigued and inspired by the neon beer signs on shopfronts in his San Francisco neighborhood, Bruce Nauman created his first neon piece, "Window or wall sign", in 1967. He wanted, he said, to achieve "an art that would kind of disappear - that was supposed to not quite look like art." Light offered Nauman a medium both elusive and effervescent, but one that could also aggressively convey a message. Over the first three decades of his career, Nauman used the medium of light to explore the twists and turns of perception, logic, and meaning with the earnest playfulness that characterizes all his art. "Elusive signs" focuses on the discrete body of Nauman's work that uses neon and fluorescent light in signs and room installations, and includes images of nearly all Nauman's work with light. After "Window or wall sign", Nauman embarked on a series of neons that grappled with the semiotics of body and identity, and with "My name as though it were written on the surface of the moon" (1968), he forces the viewer to contemplate the role of naming in forming identity. Language - signs and symbols - plays an important role in Nauman's art. His later neon works emphasize the neon as a sign, presenting provocative twists of language and offering harsh and humorous sociopolitical commentary in such pieces as "Run from fear, fun from rear" (1972). This series culminates in the monumental, billboard-size "One hundred live and die" (1984), which employs overwhelming scale to bombard the viewer with sardonic aphorisms. In the essays that accompany the images of Nauman's work, Joseph Ketner II of the Milwaukee Art Museum (which originated the exhibit this book accompanies) and critics Janet Kraynak and Gregory Volk analyze the works in light both as a body of work and as an access point to Nauman's entire career.
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Publication:
janvier 2006, Milwaukee
janvier 2006, Milwaukee
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Titre:
Derek Sullivan: we may be standing on the shoulder of giants but some of us are looking at the stars
Derek Sullivan: we may be standing on the shoulder of giants but some of us are looking at the stars
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Published to accompany the exhibition: "Derek Sullivan: We May Be Standing on the Shoulder of Giants but Some of Us Are Looking at the Stars", Southern Alberta Art Gallery, January 26 to March 2, 2008. Including an essay by Pamela Meredith.
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Published to accompany the exhibition: "Derek Sullivan: We May Be Standing on the Shoulder of Giants but Some of Us Are Looking at the Stars", Southern Alberta Art Gallery, January 26 to March 2, 2008. Including an essay by Pamela Meredith.
Publication:
février 2009, Alberta
février 2009, Alberta
Titre:
Derek Sullivan: we may be standing on the shoulder of giants but some of us are looking at the stars
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Published to accompany the exhibition: "Derek Sullivan: We May Be Standing on the Shoulder of Giants but Some of Us Are Looking at the Stars", Southern Alberta Art Gallery, January 26 to March 2, 2008. Including an essay by Pamela Meredith.
Derek Sullivan: we may be standing on the shoulder of giants but some of us are looking at the stars
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Published to accompany the exhibition: "Derek Sullivan: We May Be Standing on the Shoulder of Giants but Some of Us Are Looking at the Stars", Southern Alberta Art Gallery, January 26 to March 2, 2008. Including an essay by Pamela Meredith.
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Publication:
février 2009, Alberta
février 2009, Alberta
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Titre:
Parades?
Parades?
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Ouvrage réalisé à l'occasion de l'exposition «Philippe Parreno» présentée au Centre Pompidou, Paris, Galerie Sud, du 3 juin au 7 septembre 2009. « Ce sont des monstres. Ils m'appatiennent tous. Certains vivent en moi. D'autres vivent autour de moi. Ils sortent même quand on ne les y a pas invités. Ça leur arrive tout le temps.» Philippe Parreno
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Ouvrage réalisé à l'occasion de l'exposition «Philippe Parreno» présentée au Centre Pompidou, Paris, Galerie Sud, du 3 juin au 7 septembre 2009. « Ce sont des monstres. Ils m'appatiennent tous. Certains vivent en moi. D'autres vivent autour de moi. Ils sortent même quand on ne les y a pas invités. Ça leur arrive tout le temps.» Philippe Parreno
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Parades?
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Ouvrage réalisé à l'occasion de l'exposition «Philippe Parreno» présentée au Centre Pompidou, Paris, Galerie Sud, du 3 juin au 7 septembre 2009. « Ce sont des monstres. Ils m'appatiennent tous. Certains vivent en moi. D'autres vivent autour de moi. Ils sortent même quand on ne les y a pas invités. Ça leur arrive tout le temps.» Philippe Parreno
Parades?
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Ouvrage réalisé à l'occasion de l'exposition «Philippe Parreno» présentée au Centre Pompidou, Paris, Galerie Sud, du 3 juin au 7 septembre 2009. « Ce sont des monstres. Ils m'appatiennent tous. Certains vivent en moi. D'autres vivent autour de moi. Ils sortent même quand on ne les y a pas invités. Ça leur arrive tout le temps.» Philippe Parreno
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Publication:
juillet 2009
juillet 2009
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Les sculptures publiques de Claes Oldenburg et de Coosje van Bruggen stigmatisent le grotesque urbain et architectural des mégapoles comme Chicago ou New York. Hanté par une mystique, le gratte-ciel, de Sullivan à Mies van der Rohe, devient pour les Oldenburg le symptôme du grotesque tragique ou tragi-comique de la modernité.
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Les sculptures publiques de Claes Oldenburg et de Coosje van Bruggen stigmatisent le grotesque urbain et architectural des mégapoles comme Chicago ou New York. Hanté par une mystique, le gratte-ciel, de Sullivan à Mies van der Rohe, devient pour les Oldenburg le symptôme du grotesque tragique ou tragi-comique de la modernité.
Titre:
Claes Oldenburg Coosje van Bruggen: le grotesque contre le sacré
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Les sculptures publiques de Claes Oldenburg et de Coosje van Bruggen stigmatisent le grotesque urbain et architectural des mégapoles comme Chicago ou New York. Hanté par une mystique, le gratte-ciel, de Sullivan à Mies van der Rohe, devient pour les Oldenburg le symptôme du grotesque tragique ou tragi-comique de la modernité.
Claes Oldenburg Coosje van Bruggen: le grotesque contre le sacré
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Les sculptures publiques de Claes Oldenburg et de Coosje van Bruggen stigmatisent le grotesque urbain et architectural des mégapoles comme Chicago ou New York. Hanté par une mystique, le gratte-ciel, de Sullivan à Mies van der Rohe, devient pour les Oldenburg le symptôme du grotesque tragique ou tragi-comique de la modernité.
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Publication:
mars 2009, Paris
mars 2009, Paris
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The German artist Katharina Grosse has fulfilled her dream of a tailor-made studio, a place large enough to accommodate her large-scale works and where an industrial atmosphere is combined with with soft light and neutral walls. In close cooperation with the artist, the firm Augustin und Frank Architekten planned the studio in Berlin’s Mitte neighborhood and completed it(...)
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The German artist Katharina Grosse has fulfilled her dream of a tailor-made studio, a place large enough to accommodate her large-scale works and where an industrial atmosphere is combined with with soft light and neutral walls. In close cooperation with the artist, the firm Augustin und Frank Architekten planned the studio in Berlin’s Mitte neighborhood and completed it(...)
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Katharina Grosse : wish I had a big studio in the center of the city
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The German artist Katharina Grosse has fulfilled her dream of a tailor-made studio, a place large enough to accommodate her large-scale works and where an industrial atmosphere is combined with with soft light and neutral walls. In close cooperation with the artist, the firm Augustin und Frank Architekten planned the studio in Berlin’s Mitte neighborhood and completed it in 2007. The result is a compact reinforced concrete cube containing workrooms, storerooms, an archive, offices and living space. The contributors to this publication use Grosse’s studio as a springboard to explore the relationship between painting and architecture, and the role that studios play in the production of art. Numerous photographs show the raw architecture of the new building and the artist’s appropriation of the space. With contributions by Georg Augustin, Laura Bieger, Andreas Denk, Ulrich Loock and Philip Ursprung.
Katharina Grosse : wish I had a big studio in the center of the city
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The German artist Katharina Grosse has fulfilled her dream of a tailor-made studio, a place large enough to accommodate her large-scale works and where an industrial atmosphere is combined with with soft light and neutral walls. In close cooperation with the artist, the firm Augustin und Frank Architekten planned the studio in Berlin’s Mitte neighborhood and completed it in 2007. The result is a compact reinforced concrete cube containing workrooms, storerooms, an archive, offices and living space. The contributors to this publication use Grosse’s studio as a springboard to explore the relationship between painting and architecture, and the role that studios play in the production of art. Numerous photographs show the raw architecture of the new building and the artist’s appropriation of the space. With contributions by Georg Augustin, Laura Bieger, Andreas Denk, Ulrich Loock and Philip Ursprung.
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Publication:
août 2009
août 2009
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This catalogue is published on the occasion of the exhibition Jaqueline Doyen/Claudia Kapp, Hannover, Preis des Kunstvereins, january to marsh 2009.
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This catalogue is published on the occasion of the exhibition Jaqueline Doyen/Claudia Kapp, Hannover, Preis des Kunstvereins, january to marsh 2009.
Titre:
Claudia Kapp : The splash is bliss
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This catalogue is published on the occasion of the exhibition Jaqueline Doyen/Claudia Kapp, Hannover, Preis des Kunstvereins, january to marsh 2009.
Claudia Kapp : The splash is bliss
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This catalogue is published on the occasion of the exhibition Jaqueline Doyen/Claudia Kapp, Hannover, Preis des Kunstvereins, january to marsh 2009.
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Publication:
mars 2009, Berlin
mars 2009, Berlin
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The Changes are Misha Hollenbach, Shauna T, Fergus Purcell and Sk8thing. They live in separate countries, with separate timezones: Australia, Britain, and Japan. They have been, respectively: Dennis Roussos/Brian Freeze/Porky Sausage/Roland Korg/Boy George Michael; Boohoo Haha/Veronique Cliché/Nutty Nutnut; Aries Overlord/Mr Stinky/Mr T. Shirt; Vertical Doorway/Johnny(...)
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The Changes are Misha Hollenbach, Shauna T, Fergus Purcell and Sk8thing. They live in separate countries, with separate timezones: Australia, Britain, and Japan. They have been, respectively: Dennis Roussos/Brian Freeze/Porky Sausage/Roland Korg/Boy George Michael; Boohoo Haha/Veronique Cliché/Nutty Nutnut; Aries Overlord/Mr Stinky/Mr T. Shirt; Vertical Doorway/Johnny(...)
Titre:
The Changes: the times they are The Changes
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The Changes are Misha Hollenbach, Shauna T, Fergus Purcell and Sk8thing. They live in separate countries, with separate timezones: Australia, Britain, and Japan. They have been, respectively: Dennis Roussos/Brian Freeze/Porky Sausage/Roland Korg/Boy George Michael; Boohoo Haha/Veronique Cliché/Nutty Nutnut; Aries Overlord/Mr Stinky/Mr T. Shirt; Vertical Doorway/Johnny Clone/Robot Asimov/Mangosteen Mangosteen AKA Barry Mango. Soon, they will probably be something else entirely. Theirs is a fluid set of identities, where roles are created and destroyed, never confirmed for long, and abruptly transformed without warning. Text by Thomas Jeppe
The Changes: the times they are The Changes
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The Changes are Misha Hollenbach, Shauna T, Fergus Purcell and Sk8thing. They live in separate countries, with separate timezones: Australia, Britain, and Japan. They have been, respectively: Dennis Roussos/Brian Freeze/Porky Sausage/Roland Korg/Boy George Michael; Boohoo Haha/Veronique Cliché/Nutty Nutnut; Aries Overlord/Mr Stinky/Mr T. Shirt; Vertical Doorway/Johnny Clone/Robot Asimov/Mangosteen Mangosteen AKA Barry Mango. Soon, they will probably be something else entirely. Theirs is a fluid set of identities, where roles are created and destroyed, never confirmed for long, and abruptly transformed without warning. Text by Thomas Jeppe
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Publication:
mars 2009, Zurich
mars 2009, Zurich
Classification:
livres
livres
Titre:
Volume 1 Daniel Malone, Fancis Alÿs, Mark Adams, Eve Amstrong, Fiona Banner, Ann Veronica Janssens
Volume 1 Daniel Malone, Fancis Alÿs, Mark Adams, Eve Amstrong, Fiona Banner, Ann Veronica Janssens
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Volume 1 is the first of the Volume series published by Artspace, Auckland, and Clouds. This publication considers retrospectively, and documents the first six months of programming during Brian Butler's term as director. The artists included in Volume 1 are: Daniel Malone, Francis Alÿs, Mark Adams, Eve Armstrong, Fiona Banner and Ann Veronica Janssens. Volume 1 also(...)
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Volume 1 is the first of the Volume series published by Artspace, Auckland, and Clouds. This publication considers retrospectively, and documents the first six months of programming during Brian Butler's term as director. The artists included in Volume 1 are: Daniel Malone, Francis Alÿs, Mark Adams, Eve Armstrong, Fiona Banner and Ann Veronica Janssens. Volume 1 also(...)
Titre:
Volume 1 Daniel Malone, Fancis Alÿs, Mark Adams, Eve Amstrong, Fiona Banner, Ann Veronica Janssens
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Volume 1 is the first of the Volume series published by Artspace, Auckland, and Clouds. This publication considers retrospectively, and documents the first six months of programming during Brian Butler's term as director. The artists included in Volume 1 are: Daniel Malone, Francis Alÿs, Mark Adams, Eve Armstrong, Fiona Banner and Ann Veronica Janssens. Volume 1 also presents photo essays by Mark Adams and Daniel Malone, and a reprint of Eve Armstrong's artist's book How to Hold a Trading Table.
Volume 1 Daniel Malone, Fancis Alÿs, Mark Adams, Eve Amstrong, Fiona Banner, Ann Veronica Janssens
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Volume 1 is the first of the Volume series published by Artspace, Auckland, and Clouds. This publication considers retrospectively, and documents the first six months of programming during Brian Butler's term as director. The artists included in Volume 1 are: Daniel Malone, Francis Alÿs, Mark Adams, Eve Armstrong, Fiona Banner and Ann Veronica Janssens. Volume 1 also presents photo essays by Mark Adams and Daniel Malone, and a reprint of Eve Armstrong's artist's book How to Hold a Trading Table.
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livres
livres
Publication:
octobre 2008
octobre 2008
