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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(...)
novembre 2002, Cambridge, Mass.
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.
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(...)
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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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(...)
janvier 2002, Bregenz
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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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(...)
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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janvier 1900, Ostfildern
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This catalogue is published on the occasion of the exhibition From Surface to Space. Malevich and early Modern Art at the Staatliche Kunsthalle Baden-Baden (25.10.2008-25.01.2009)
février 2009, Köln
Malevich and early modern art
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This catalogue is published on the occasion of the exhibition From Surface to Space. Malevich and early Modern Art at the Staatliche Kunsthalle Baden-Baden (25.10.2008-25.01.2009)
livres
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Documenting the production of the New York Graphic Workshop (NYGW), a group founded in 1965 by three young Latin American artists in New York - Luis Camnitzer, José Guillermo Castillo and Liliana Porter - this is the first comprehensive overview of this crucial, yet not so well-known, episode in the history of U.S. and Latin American Conceptual art. The mission of the(...)
The New York Graphic Workshop, 1964-1970
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Documenting the production of the New York Graphic Workshop (NYGW), a group founded in 1965 by three young Latin American artists in New York - Luis Camnitzer, José Guillermo Castillo and Liliana Porter - this is the first comprehensive overview of this crucial, yet not so well-known, episode in the history of U.S. and Latin American Conceptual art. The mission of the NYGW was to redefine the practice of printmaking in Conceptual terms, focusing on the mechanical and repetitive nature of the medium rather than its traditional techniques. The NYGW functioned as a collective. It held unconventional exhibitions, including several by mail and one in a safe-deposit box on 57th Street, and it participated in The Museum of Modern Art's 1970 exhibition Information. The NYGW also produced prints by some of the leading contemporary artists of the period, including Michael Snow, Max Neuhaus, José Luis Cuevas and Salvador Dali.
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juillet 2009
Jim Dine: poet singing
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American pop pioneer Jim Dine was asked by Los Angeles' Getty Museum in 2007 to produce the first contemporary project for the Getty Villa in Malibu by responding in some way to its renowned antiquities collection. Dine was drawn to the collection's ancient Greek sculptures and was given a room in the Villa for which he created three new monumental wood sculptures that he(...)
Jim Dine: poet singing
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American pop pioneer Jim Dine was asked by Los Angeles' Getty Museum in 2007 to produce the first contemporary project for the Getty Villa in Malibu by responding in some way to its renowned antiquities collection. Dine was drawn to the collection's ancient Greek sculptures and was given a room in the Villa for which he created three new monumental wood sculptures that he painted brightly in the Hellenistic tradition. Dine also wrote a long poem, which he installed alongside the sculptures, on the gallery wall.
Aernout Mik
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Dutch artist Aernout Mik's moving-image installations meld filmmaking, sculpture and architecture into experiences that are at once compelling and unsettling, irrational yet plausible. The artist designs and constructs architectural spaces that hold his moving images, making the viewer's physical relationship to the piece a critical component of the overall experience. By(...)
Aernout Mik
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Dutch artist Aernout Mik's moving-image installations meld filmmaking, sculpture and architecture into experiences that are at once compelling and unsettling, irrational yet plausible. The artist designs and constructs architectural spaces that hold his moving images, making the viewer's physical relationship to the piece a critical component of the overall experience. By interrogating the most basic ideas of narrative and reality and rejecting classical cinematic ideals, Mik creates works that are rich in allusion but subversive of codes. Published to accompany the artist's first U.S. retrospective, this volume is a vivid exploration of Mik's work and process. Laurence Kardish, MoMA's Senior Curator in the Department of Film, situates Mik within the history of documentary and nonnarrative cinema, while Michael Taussig, Professor of Anthropology at Columbia University, investigates the ways in which the artist's work changes the way we see reality while simultaneously reinforcing the norms of visual culture. Abundantly illustrated with stills and the artist's own drawings, the book also features detailed descriptions of the installations, an exhibition history and a bibliography, making it the most comprehensive volume on the artist available in English.
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This book brings together frames from all of the Super-8 and video films made by the Swiss artist Roman Signer. As fractions of time, the stills mark key moments in Signers precisely choreographed work: moments of collapse, of extreme acceleration and of temporary or prolonged hiatus, of transformation, of consolidation and dispersion.
Projections, super-8 films and videos 1975-2008
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This book brings together frames from all of the Super-8 and video films made by the Swiss artist Roman Signer. As fractions of time, the stills mark key moments in Signers precisely choreographed work: moments of collapse, of extreme acceleration and of temporary or prolonged hiatus, of transformation, of consolidation and dispersion.
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The topic of these videos by art historian and philosopher Boris Groys is, actually, video as a medium: the use of the image within the video, the analogy between video and essay, the difference between private and public use of the video, the video running in loop as a contemporary form of ritual.
Boris Groys: thinking in loop
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The topic of these videos by art historian and philosopher Boris Groys is, actually, video as a medium: the use of the image within the video, the analogy between video and essay, the difference between private and public use of the video, the video running in loop as a contemporary form of ritual.