1906 Résultats
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Catalogue paru lors de l'exposition présentée à la Galerie de l'Uqam, à Montréal, du 18 octobre au 23 novembre 2002.
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Catalogue paru lors de l'exposition présentée à la Galerie de l'Uqam, à Montréal, du 18 octobre au 23 novembre 2002.
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décembre 2002, Montréal
décembre 2002, Montréal
Titre:
Alain Paiement : le monde en chantier
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Catalogue paru lors de l'exposition présentée à la Galerie de l'Uqam, à Montréal, du 18 octobre au 23 novembre 2002.
Alain Paiement : le monde en chantier
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Catalogue paru lors de l'exposition présentée à la Galerie de l'Uqam, à Montréal, du 18 octobre au 23 novembre 2002.
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décembre 2002, Montréal
décembre 2002, Montréal
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$83.95
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Ce catalogue accompagne l'exposition du Musée d'art contemporain de Bordeaux. Conçue selon un parcours thématique, l’exposition confronte de nombreux mouvements artistiques de 1968 à 1978 : Ankform, Arte Povera, Land Art, support/surface.
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Ce catalogue accompagne l'exposition du Musée d'art contemporain de Bordeaux. Conçue selon un parcours thématique, l’exposition confronte de nombreux mouvements artistiques de 1968 à 1978 : Ankform, Arte Povera, Land Art, support/surface.
Titre:
Les années 70 : l'art en cause
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Ce catalogue accompagne l'exposition du Musée d'art contemporain de Bordeaux. Conçue selon un parcours thématique, l’exposition confronte de nombreux mouvements artistiques de 1968 à 1978 : Ankform, Arte Povera, Land Art, support/surface.
Les années 70 : l'art en cause
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Ce catalogue accompagne l'exposition du Musée d'art contemporain de Bordeaux. Conçue selon un parcours thématique, l’exposition confronte de nombreux mouvements artistiques de 1968 à 1978 : Ankform, Arte Povera, Land Art, support/surface.
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Publication:
octobre 2002, Paris
octobre 2002, Paris
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Suzaan Boettger offers the first 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(...)
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Suzaan Boettger offers the first 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(...)
Titre:
Earthworks : art and the landscape of the sixties
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Suzaan Boettger offers the first 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. Boettger overturns many commonly held notions of Earthworks' origins and intentions. She argues that Robert Smithson's work on the Dallas-Fort Worth airport stimulated his thinking and that his writing about it catalyzed the movement. The visionary environments that followed, often sculpted in expansive and remote western terrains, were idealized by Americans and Europeans alike as displays of cowboy bravado. Boettger identifies earthworkers Michael Heizer, Dennis Oppenheim, Robert Morris, Walter de Maria, and Stephen Kaltenbach as former Californians whose treatment of the landscape reflects a western spirit. Her international purview integrates early work by the Europeans Barry Flanagan, Jan Dibbets, Richard Long, and Pino Pascali as precedents and parallels. Her examination of Earthworks' relationship to the ecology movement perceptively corrects a popular misconception about the artists' goals while acknowledging the social and cultural complexities of the period. Insightful discussions of Carl André, Sol LeWitt, and Claes Oldenburg - in addition to the artists mentioned above - are accompanied by many rare and new photographs of both the art and its creators. Witty, accessible, and scrupulously researched, Earthworks constructs day-to-day chronologies of the development of the artistic movement and its intersections with the larger public events of the time, including specific accounts of galleries, exhibitions, and criticism. Boettger's dynamic social history and psychological insights bring new meaning to this pivotal movement that both embodied and disrupted contemporary notions of art, nature, society, and their relationship to each other.
Earthworks : art and the landscape of the sixties
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Suzaan Boettger offers the first 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. Boettger overturns many commonly held notions of Earthworks' origins and intentions. She argues that Robert Smithson's work on the Dallas-Fort Worth airport stimulated his thinking and that his writing about it catalyzed the movement. The visionary environments that followed, often sculpted in expansive and remote western terrains, were idealized by Americans and Europeans alike as displays of cowboy bravado. Boettger identifies earthworkers Michael Heizer, Dennis Oppenheim, Robert Morris, Walter de Maria, and Stephen Kaltenbach as former Californians whose treatment of the landscape reflects a western spirit. Her international purview integrates early work by the Europeans Barry Flanagan, Jan Dibbets, Richard Long, and Pino Pascali as precedents and parallels. Her examination of Earthworks' relationship to the ecology movement perceptively corrects a popular misconception about the artists' goals while acknowledging the social and cultural complexities of the period. Insightful discussions of Carl André, Sol LeWitt, and Claes Oldenburg - in addition to the artists mentioned above - are accompanied by many rare and new photographs of both the art and its creators. Witty, accessible, and scrupulously researched, Earthworks constructs day-to-day chronologies of the development of the artistic movement and its intersections with the larger public events of the time, including specific accounts of galleries, exhibitions, and criticism. Boettger's dynamic social history and psychological insights bring new meaning to this pivotal movement that both embodied and disrupted contemporary notions of art, nature, society, and their relationship to each other.
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Publication:
mars 2004, Berkeley
mars 2004, Berkeley
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livres
livres
Titre:
Colin Rose : edge to edge
Colin Rose : edge to edge
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Colin Rose has been working since the mid 70s on sculptural and site specific work. This is the first major publication on Rose, providing an overview of his career so far, from his early conceptual pieces to the most recent commissions in public spaces and sculpture parks across Europe and Australia. Edge to Edge explores the background to Rose’s practice, situating it(...)
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Colin Rose has been working since the mid 70s on sculptural and site specific work. This is the first major publication on Rose, providing an overview of his career so far, from his early conceptual pieces to the most recent commissions in public spaces and sculpture parks across Europe and Australia. Edge to Edge explores the background to Rose’s practice, situating it(...)
Publication:
juillet 2002, London
juillet 2002, London
Titre:
Colin Rose : edge to edge
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Colin Rose has been working since the mid 70s on sculptural and site specific work. This is the first major publication on Rose, providing an overview of his career so far, from his early conceptual pieces to the most recent commissions in public spaces and sculpture parks across Europe and Australia. Edge to Edge explores the background to Rose’s practice, situating it within the traditions of land art and site specific public art, but recognising it, as well, as being a markedly individual body of work.
Colin Rose : edge to edge
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Colin Rose has been working since the mid 70s on sculptural and site specific work. This is the first major publication on Rose, providing an overview of his career so far, from his early conceptual pieces to the most recent commissions in public spaces and sculpture parks across Europe and Australia. Edge to Edge explores the background to Rose’s practice, situating it within the traditions of land art and site specific public art, but recognising it, as well, as being a markedly individual body of work.
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Publication:
juillet 2002, London
juillet 2002, London
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This monograph focuses on Rodchenko's sculptures, which can be loosely divided into three groups, beginning with abstract works dating from 1918; mobiles; and square timber works from circa 1920. Works are presented through vintage photographs, detailed descriptions, and reconstructions.
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This monograph focuses on Rodchenko's sculptures, which can be loosely divided into three groups, beginning with abstract works dating from 1918; mobiles; and square timber works from circa 1920. Works are presented through vintage photographs, detailed descriptions, and reconstructions.
Publication:
août 2002, Ostfildern-Ruit
août 2002, Ostfildern-Ruit
Titre:
Rodchenko : spatial constructions
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This monograph focuses on Rodchenko's sculptures, which can be loosely divided into three groups, beginning with abstract works dating from 1918; mobiles; and square timber works from circa 1920. Works are presented through vintage photographs, detailed descriptions, and reconstructions.
Rodchenko : spatial constructions
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This monograph focuses on Rodchenko's sculptures, which can be loosely divided into three groups, beginning with abstract works dating from 1918; mobiles; and square timber works from circa 1920. Works are presented through vintage photographs, detailed descriptions, and reconstructions.
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août 2002, Ostfildern-Ruit
août 2002, Ostfildern-Ruit
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Documented here for the first time is the early work of the 1950s to 1968, the point at which Judd's artistic vocabulary reached its complete formation. Numerous works, including previously unrecorded paintings, sculptures, sketches, and works on paper, appear here alongside unpublished documents and texts by Judd himself.
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Documented here for the first time is the early work of the 1950s to 1968, the point at which Judd's artistic vocabulary reached its complete formation. Numerous works, including previously unrecorded paintings, sculptures, sketches, and works on paper, appear here alongside unpublished documents and texts by Judd himself.
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Donald Judd : early work 1955-1968
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Documented here for the first time is the early work of the 1950s to 1968, the point at which Judd's artistic vocabulary reached its complete formation. Numerous works, including previously unrecorded paintings, sculptures, sketches, and works on paper, appear here alongside unpublished documents and texts by Judd himself.
Donald Judd : early work 1955-1968
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Documented here for the first time is the early work of the 1950s to 1968, the point at which Judd's artistic vocabulary reached its complete formation. Numerous works, including previously unrecorded paintings, sculptures, sketches, and works on paper, appear here alongside unpublished documents and texts by Judd himself.
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Publication:
septembre 2002, New York
septembre 2002, New York
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"Shopping" signifies more than the pure purchasing of goods. Strolling, looking at, choosing, buying and consuming goods has long become an essential part of urban life in the 20th century. Shopping is an essential ritual of public life, creating and transforming identity. Ever since Walter Benjamin´s description of the flaneur in the Paris arcades, the complex(...)
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"Shopping" signifies more than the pure purchasing of goods. Strolling, looking at, choosing, buying and consuming goods has long become an essential part of urban life in the 20th century. Shopping is an essential ritual of public life, creating and transforming identity. Ever since Walter Benjamin´s description of the flaneur in the Paris arcades, the complex(...)
Publication:
décembre 2002, Ostfildern
décembre 2002, Ostfildern
Titre:
Shopping : a century of art and consumer culture
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"Shopping" signifies more than the pure purchasing of goods. Strolling, looking at, choosing, buying and consuming goods has long become an essential part of urban life in the 20th century. Shopping is an essential ritual of public life, creating and transforming identity. Ever since Walter Benjamin´s description of the flaneur in the Paris arcades, the complex interchanges between consumer culture and art have become an issue worthy of discussion, and the book Shopping is the first extensive publication to be dedicated to this topic. It documents and analyses the fascination of fine artists, architects, film makers with the more and more sophisticated means of seduction in shop windows, department stores and shopping arcades. Extensive pictorial material serves to illustrate the interaction between art and the consumption of goods using works by Eugène Atget, Berenice Abbott, Walker Evans, Andy Warhol, Claes Oldenburg, Roy Lichtenstein, Christo, Duane Hanson, Barbara Kruger, Jeff Koons, Andreas Gursky, and many more. The book is edited by Christoph Grunenberg and Max Hollein and includes contributions by internationally renowned authors.
Shopping : a century of art and consumer culture
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"Shopping" signifies more than the pure purchasing of goods. Strolling, looking at, choosing, buying and consuming goods has long become an essential part of urban life in the 20th century. Shopping is an essential ritual of public life, creating and transforming identity. Ever since Walter Benjamin´s description of the flaneur in the Paris arcades, the complex interchanges between consumer culture and art have become an issue worthy of discussion, and the book Shopping is the first extensive publication to be dedicated to this topic. It documents and analyses the fascination of fine artists, architects, film makers with the more and more sophisticated means of seduction in shop windows, department stores and shopping arcades. Extensive pictorial material serves to illustrate the interaction between art and the consumption of goods using works by Eugène Atget, Berenice Abbott, Walker Evans, Andy Warhol, Claes Oldenburg, Roy Lichtenstein, Christo, Duane Hanson, Barbara Kruger, Jeff Koons, Andreas Gursky, and many more. The book is edited by Christoph Grunenberg and Max Hollein and includes contributions by internationally renowned authors.
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Publication:
décembre 2002, Ostfildern
décembre 2002, Ostfildern
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Titre:
Mots-clés pour Daniel Buren
Mots-clés pour Daniel Buren
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Cet essai, en forme de lexique, s'organise autour de notions-clés et des principales oeuvres qui ont su ponctuer le parcours de Daniel Buren.
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Cet essai, en forme de lexique, s'organise autour de notions-clés et des principales oeuvres qui ont su ponctuer le parcours de Daniel Buren.
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Mots-clés pour Daniel Buren
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Cet essai, en forme de lexique, s'organise autour de notions-clés et des principales oeuvres qui ont su ponctuer le parcours de Daniel Buren.
Mots-clés pour Daniel Buren
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Cet essai, en forme de lexique, s'organise autour de notions-clés et des principales oeuvres qui ont su ponctuer le parcours de Daniel Buren.
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Publication:
juin 2002, Paris
juin 2002, Paris
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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.
Publication:
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.
Classification:
livres
livres
Publication:
janvier 2003, Cambridge, Mass.
janvier 2003, Cambridge, Mass.
