1885 Résultats
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"People make too much of architecture. I have a running quarrel with architects who overestimate architecture. Reality is at eye-level with people walking down the street." Born in 1923 in Budapest, Hungary, Yona Friedman is widely considered one of the greatest utopian visionary architects of the twentieth century. Currently based in Paris, he is just as much a(...)
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"People make too much of architecture. I have a running quarrel with architects who overestimate architecture. Reality is at eye-level with people walking down the street." Born in 1923 in Budapest, Hungary, Yona Friedman is widely considered one of the greatest utopian visionary architects of the twentieth century. Currently based in Paris, he is just as much a(...)
Publication:
juillet 2007, Cologne
juillet 2007, Cologne
Titre:
Yona Friedman / Hans Ulrich Obrist : the conversation series 7
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"People make too much of architecture. I have a running quarrel with architects who overestimate architecture. Reality is at eye-level with people walking down the street." Born in 1923 in Budapest, Hungary, Yona Friedman is widely considered one of the greatest utopian visionary architects of the twentieth century. Currently based in Paris, he is just as much a sociologist as a designer of buildings, more concerned with the way people interact with their environments than monumental statements by an ego-centric creator. In this illuminating talk with The Conversation Series editor Hans Ulrich Obrist, he touches on the needs of the individual in heterogeneous urban societies, past and future projects, utopia, influences and metaphysics, revealing a wise and deeply-animated humanistic intellect. Known for his 1958 manifesto, L'Architecture mobile, Friedman's ideas have remained influential. His work was featured at the 2002 Documenta.
Yona Friedman / Hans Ulrich Obrist : the conversation series 7
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Résumé:
"People make too much of architecture. I have a running quarrel with architects who overestimate architecture. Reality is at eye-level with people walking down the street." Born in 1923 in Budapest, Hungary, Yona Friedman is widely considered one of the greatest utopian visionary architects of the twentieth century. Currently based in Paris, he is just as much a sociologist as a designer of buildings, more concerned with the way people interact with their environments than monumental statements by an ego-centric creator. In this illuminating talk with The Conversation Series editor Hans Ulrich Obrist, he touches on the needs of the individual in heterogeneous urban societies, past and future projects, utopia, influences and metaphysics, revealing a wise and deeply-animated humanistic intellect. Known for his 1958 manifesto, L'Architecture mobile, Friedman's ideas have remained influential. His work was featured at the 2002 Documenta.
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livres
livres
Publication:
juillet 2007, Cologne
juillet 2007, Cologne
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livres
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Should today’s paintings or installations be idyllic, suggesting a perfect world? What does it mean when they do this? An idyll, which must always be read as a contrast to actual circumstances, is more than just a deceptive image. Does it perhaps have a regulating or even normative character? This publication presents a selection of works on the theme, divided into(...)
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Should today’s paintings or installations be idyllic, suggesting a perfect world? What does it mean when they do this? An idyll, which must always be read as a contrast to actual circumstances, is more than just a deceptive image. Does it perhaps have a regulating or even normative character? This publication presents a selection of works on the theme, divided into(...)
Titre:
Idyll : illusion and delusion
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Should today’s paintings or installations be idyllic, suggesting a perfect world? What does it mean when they do this? An idyll, which must always be read as a contrast to actual circumstances, is more than just a deceptive image. Does it perhaps have a regulating or even normative character? This publication presents a selection of works on the theme, divided into four sections focusing on the landscape, urban, private, and utopian variants of the idyll, which explore the issues surrounding its timeliness and present radicalization. There is always something more hidden in the individual works than a fleeting glance might first allow us to suppose. Artists featured (selection): Franz Ackermann, Alexander Braun, David Claerbout, Mark Dion, Rowena Dring, Valéry Favre, Lothar Götz, Beate Gütschow, Tom Hunter, Danni Jakob, Stefan Kürten, Peter Land, Jonathan Monk, Sarah Morris, Olaf Nicolai, Jorge Pardo, Daniel Roth, Glen Rubsamen, Yehudit Sasportas, Stefan Sehler, Qui Shi-hua, Diana Thater, Gert & Uwe Tobias, Franceso Vezzoli, Pae White
Idyll : illusion and delusion
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Should today’s paintings or installations be idyllic, suggesting a perfect world? What does it mean when they do this? An idyll, which must always be read as a contrast to actual circumstances, is more than just a deceptive image. Does it perhaps have a regulating or even normative character? This publication presents a selection of works on the theme, divided into four sections focusing on the landscape, urban, private, and utopian variants of the idyll, which explore the issues surrounding its timeliness and present radicalization. There is always something more hidden in the individual works than a fleeting glance might first allow us to suppose. Artists featured (selection): Franz Ackermann, Alexander Braun, David Claerbout, Mark Dion, Rowena Dring, Valéry Favre, Lothar Götz, Beate Gütschow, Tom Hunter, Danni Jakob, Stefan Kürten, Peter Land, Jonathan Monk, Sarah Morris, Olaf Nicolai, Jorge Pardo, Daniel Roth, Glen Rubsamen, Yehudit Sasportas, Stefan Sehler, Qui Shi-hua, Diana Thater, Gert & Uwe Tobias, Franceso Vezzoli, Pae White
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livres
livres
Publication:
juillet 2007, Ostfildern
juillet 2007, Ostfildern
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livres
livres
Titre:
Doris Salcedo
Doris Salcedo
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Colombian artist Doris Salcedo (b.1958) is one of today's most internationally respected South American sculptors. Inspired as much by poetry and philosophy as by the affecting material qualities of sculpture, Salcedo subtly and painstakingly transforms everyday household objects and garments - symbols of a vanished existence and of the human tragedies that are its(...)
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Colombian artist Doris Salcedo (b.1958) is one of today's most internationally respected South American sculptors. Inspired as much by poetry and philosophy as by the affecting material qualities of sculpture, Salcedo subtly and painstakingly transforms everyday household objects and garments - symbols of a vanished existence and of the human tragedies that are its(...)
Publication:
janvier 2000, London
janvier 2000, London
Titre:
Doris Salcedo
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Colombian artist Doris Salcedo (b.1958) is one of today's most internationally respected South American sculptors. Inspired as much by poetry and philosophy as by the affecting material qualities of sculpture, Salcedo subtly and painstakingly transforms everyday household objects and garments - symbols of a vanished existence and of the human tragedies that are its cause. In Atrabiliaros (1991-6) abandoned shoes of "disappeared" Colombian people, half-concealed behind membranes of animal fibre, become ghost-like symbols of mourning. In Salcedo's ongoing untitled works, wooden furnishings, worn by long use and filled with concrete, mutely evoke the lives they once served. American art critic Nancy Princenthal surveys Salcedo's work in terms of the universal themes it evokes, contextualized in discussion of contemporary scultural practice. New York-based poet and curator Carlos Basualdo discusses with the artist her formative influences, which range from the art of precedecessors such as Joseph Beuys to the writings of philosophers and poets. German literary critic Andreas Huyssen focuses on Salcedo's sculpture Unland: The Orphan's Tunic (1997). For the "Arist's Choice", Salcedo has selected two texts: an extract from "Otherwise than being" (1974) by philosopher Emmanuel Levinas, and poems by Paul Celan. The Doris Salcedo's observations on the human condition and its reflection in the work of poets, novelists and thinkers are discussed in conversation with art historian Charles Merewether.
Doris Salcedo
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Colombian artist Doris Salcedo (b.1958) is one of today's most internationally respected South American sculptors. Inspired as much by poetry and philosophy as by the affecting material qualities of sculpture, Salcedo subtly and painstakingly transforms everyday household objects and garments - symbols of a vanished existence and of the human tragedies that are its cause. In Atrabiliaros (1991-6) abandoned shoes of "disappeared" Colombian people, half-concealed behind membranes of animal fibre, become ghost-like symbols of mourning. In Salcedo's ongoing untitled works, wooden furnishings, worn by long use and filled with concrete, mutely evoke the lives they once served. American art critic Nancy Princenthal surveys Salcedo's work in terms of the universal themes it evokes, contextualized in discussion of contemporary scultural practice. New York-based poet and curator Carlos Basualdo discusses with the artist her formative influences, which range from the art of precedecessors such as Joseph Beuys to the writings of philosophers and poets. German literary critic Andreas Huyssen focuses on Salcedo's sculpture Unland: The Orphan's Tunic (1997). For the "Arist's Choice", Salcedo has selected two texts: an extract from "Otherwise than being" (1974) by philosopher Emmanuel Levinas, and poems by Paul Celan. The Doris Salcedo's observations on the human condition and its reflection in the work of poets, novelists and thinkers are discussed in conversation with art historian Charles Merewether.
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livres
livres
Publication:
janvier 2000, London
janvier 2000, London
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livres
livres
Titre:
Louise Bourgeois
Louise Bourgeois
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One of the century's most distinguished artists, Louise Bourgeois is an utterly unique figure. Born in Paris in 1911, Bourgeois spent most of her career receiving little recognition from the art community. She has worked closely to many of the century's key artistic moments, from Surrealism to Abstract Expressionism to feminist art, and yet she remains distinct from all(...)
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One of the century's most distinguished artists, Louise Bourgeois is an utterly unique figure. Born in Paris in 1911, Bourgeois spent most of her career receiving little recognition from the art community. She has worked closely to many of the century's key artistic moments, from Surrealism to Abstract Expressionism to feminist art, and yet she remains distinct from all(...)
Publication:
mai 2003, London
mai 2003, London
Titre:
Louise Bourgeois
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One of the century's most distinguished artists, Louise Bourgeois is an utterly unique figure. Born in Paris in 1911, Bourgeois spent most of her career receiving little recognition from the art community. She has worked closely to many of the century's key artistic moments, from Surrealism to Abstract Expressionism to feminist art, and yet she remains distinct from all of them. An extraordinarily influential sculptor, she has worked, often experimentally, with materials varying from alabaster, plaster, latex, bronze and marble. Bourgeois is equally admired for her intimate drawings, often combining fragments of text, and her highly personal writings, which often address her long and complex life story. With the backdrop of a conflicted and sexually complicated family upbringing, her struggles as an artist in a world reserved for men, as well as her experiences as a mother, the subject of her work is as broad as the materials in which she expresses them. Critic Paulo Herkenhoff (with Thyra Goodeve) has been in discussion with Bourgeois for many years. Topics in their interview range from her troubled relationship with her father, to men's fashions, to her recollections of Marcel Duchamp, whom she knew personally. Critic and curator Robert Storr's survey chronicles the unique trajectory of Bourgeois' work and life from a highly personal point of view. In his «Focus», critic Allan Schwartzman concentrates on Cell (You Better Grow Up) (1993), an intense cage-like space. For her «Artist's Choice» Bourgeois has selected extracts from the novel Bonjour Tristesse (1954) by Francoise Sagan, whose story about a young girl's response to her father's amorous relationships parallels to some degree the artist's own childhood experiences. The artist's writings include an early text, 'The Puritan', from 1947, alongside discussions of her own work, autobiographical writings and artist's projects.
Louise Bourgeois
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One of the century's most distinguished artists, Louise Bourgeois is an utterly unique figure. Born in Paris in 1911, Bourgeois spent most of her career receiving little recognition from the art community. She has worked closely to many of the century's key artistic moments, from Surrealism to Abstract Expressionism to feminist art, and yet she remains distinct from all of them. An extraordinarily influential sculptor, she has worked, often experimentally, with materials varying from alabaster, plaster, latex, bronze and marble. Bourgeois is equally admired for her intimate drawings, often combining fragments of text, and her highly personal writings, which often address her long and complex life story. With the backdrop of a conflicted and sexually complicated family upbringing, her struggles as an artist in a world reserved for men, as well as her experiences as a mother, the subject of her work is as broad as the materials in which she expresses them. Critic Paulo Herkenhoff (with Thyra Goodeve) has been in discussion with Bourgeois for many years. Topics in their interview range from her troubled relationship with her father, to men's fashions, to her recollections of Marcel Duchamp, whom she knew personally. Critic and curator Robert Storr's survey chronicles the unique trajectory of Bourgeois' work and life from a highly personal point of view. In his «Focus», critic Allan Schwartzman concentrates on Cell (You Better Grow Up) (1993), an intense cage-like space. For her «Artist's Choice» Bourgeois has selected extracts from the novel Bonjour Tristesse (1954) by Francoise Sagan, whose story about a young girl's response to her father's amorous relationships parallels to some degree the artist's own childhood experiences. The artist's writings include an early text, 'The Puritan', from 1947, alongside discussions of her own work, autobiographical writings and artist's projects.
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livres
livres
Publication:
mai 2003, London
mai 2003, London
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livres
livres
Titre:
Mamma Andersson
Mamma Andersson
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The Swedish painter Karin Mamma Andersson works with a highly idiosyncratic imagery, engendered by the mysteries of dreams, fairytales and everyday life. She paints with an indefatigable passion for storytelling, spreading the paint thickly with broad, sweeping gestures, or dryly and sparsely, across the canvas. Glimmering beauty and dark maelstroms of doom are sampled(...)
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The Swedish painter Karin Mamma Andersson works with a highly idiosyncratic imagery, engendered by the mysteries of dreams, fairytales and everyday life. She paints with an indefatigable passion for storytelling, spreading the paint thickly with broad, sweeping gestures, or dryly and sparsely, across the canvas. Glimmering beauty and dark maelstroms of doom are sampled(...)
Publication:
mai 2007, Göttingen / London
mai 2007, Göttingen / London
Titre:
Mamma Andersson
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The Swedish painter Karin Mamma Andersson works with a highly idiosyncratic imagery, engendered by the mysteries of dreams, fairytales and everyday life. She paints with an indefatigable passion for storytelling, spreading the paint thickly with broad, sweeping gestures, or dryly and sparsely, across the canvas. Glimmering beauty and dark maelstroms of doom are sampled with elements from myths, films and dreams, the absurd and the realistic, in the same picture. Her early works feature children in vast landscapes, echoing her own childhood in northern Sweden. The figures are set, each separately, in forests, by lakes, in the countryside. This rural setting later gives way to the interiors of the art world – cluttered framers’ workshops, libraries and elegant salons with finely ornamented objects. More recently, these rooms have opened up towards new worlds, where dream and reality seem to be careening. Whatever motifs she paints, the atmosphere appears to be fairly constant: a form of serenity in between finding and forgetting. The titles underline the ambiguity, explaining nothing but running parallel with the paintings.
Mamma Andersson
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The Swedish painter Karin Mamma Andersson works with a highly idiosyncratic imagery, engendered by the mysteries of dreams, fairytales and everyday life. She paints with an indefatigable passion for storytelling, spreading the paint thickly with broad, sweeping gestures, or dryly and sparsely, across the canvas. Glimmering beauty and dark maelstroms of doom are sampled with elements from myths, films and dreams, the absurd and the realistic, in the same picture. Her early works feature children in vast landscapes, echoing her own childhood in northern Sweden. The figures are set, each separately, in forests, by lakes, in the countryside. This rural setting later gives way to the interiors of the art world – cluttered framers’ workshops, libraries and elegant salons with finely ornamented objects. More recently, these rooms have opened up towards new worlds, where dream and reality seem to be careening. Whatever motifs she paints, the atmosphere appears to be fairly constant: a form of serenity in between finding and forgetting. The titles underline the ambiguity, explaining nothing but running parallel with the paintings.
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livres
livres
Publication:
mai 2007, Göttingen / London
mai 2007, Göttingen / London
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livres
livres
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$62.00
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Résumé:
Kara Walker is among the most complex and prolific American artists of her generation. Over the past decade, she has gained international recognition for her room-sized tableaux, which depict historical narratives haunted by sexuality, violence and subjugation and are made using the paradoxically genteel eighteenth-century art of cut-paper silhouettes. Set in the(...)
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Kara Walker is among the most complex and prolific American artists of her generation. Over the past decade, she has gained international recognition for her room-sized tableaux, which depict historical narratives haunted by sexuality, violence and subjugation and are made using the paradoxically genteel eighteenth-century art of cut-paper silhouettes. Set in the(...)
Titre:
Kara Walker : my complement, my enevy, my oppressor, my love
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Kara Walker is among the most complex and prolific American artists of her generation. Over the past decade, she has gained international recognition for her room-sized tableaux, which depict historical narratives haunted by sexuality, violence and subjugation and are made using the paradoxically genteel eighteenth-century art of cut-paper silhouettes. Set in the antebellum American South, Walker's compositions play off of stereotypes to portray, often grotesquely, life on the plantation, where masters, mistresses and slave men, women and children enact a subverted version of the past in an attempt to reconfigure their status and representation. Over the years, the artist has used drawing, painting, colored-light projections, writing, shadow puppetry, and, most recently, film animation to narrate her tales of romance, sadism, oppression and liberation. Her scenarios thwart conventional readings of a cohesive national history and expose the collective, and ongoing, psychological injury caused by the tragic legacy of slavery. Deploying an acidic sense of humor, Walker examines the dialectics of pleasure and danger, guilt and fulfillment, desire and fear, race and class. This landmark publication, which is sure to win international design awards, accompanies Walker's first major American museum survey. It features critical essays by Philippe Vergne, Sander L. Gilman, Thomas McEvilley, Robert Storr and Kevin Young, as well as an illustrated lexicon of recurring themes and motifs in the artist's most influential installations by Yasmil Raymond, more than 200 full-color images, an extensive exhibition history and bibliography, and a 36-page insert by the artist.
Kara Walker : my complement, my enevy, my oppressor, my love
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$62.00
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Kara Walker is among the most complex and prolific American artists of her generation. Over the past decade, she has gained international recognition for her room-sized tableaux, which depict historical narratives haunted by sexuality, violence and subjugation and are made using the paradoxically genteel eighteenth-century art of cut-paper silhouettes. Set in the antebellum American South, Walker's compositions play off of stereotypes to portray, often grotesquely, life on the plantation, where masters, mistresses and slave men, women and children enact a subverted version of the past in an attempt to reconfigure their status and representation. Over the years, the artist has used drawing, painting, colored-light projections, writing, shadow puppetry, and, most recently, film animation to narrate her tales of romance, sadism, oppression and liberation. Her scenarios thwart conventional readings of a cohesive national history and expose the collective, and ongoing, psychological injury caused by the tragic legacy of slavery. Deploying an acidic sense of humor, Walker examines the dialectics of pleasure and danger, guilt and fulfillment, desire and fear, race and class. This landmark publication, which is sure to win international design awards, accompanies Walker's first major American museum survey. It features critical essays by Philippe Vergne, Sander L. Gilman, Thomas McEvilley, Robert Storr and Kevin Young, as well as an illustrated lexicon of recurring themes and motifs in the artist's most influential installations by Yasmil Raymond, more than 200 full-color images, an extensive exhibition history and bibliography, and a 36-page insert by the artist.
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livres
livres
Publication:
mars 2007, Minneapolis
mars 2007, Minneapolis
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livres
livres
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$22.00
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In this traditional paperback, critic and curator Hans Ulrich Obrist teams up with Dutch avant-garde architect and paradigm-shifting intellectual, Rem Koolhaas, for a discussion of Koolhaas's work in China, his designs for Prada, architecture as metaphor, and the development of urbanism in the slipstream of globalization.
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In this traditional paperback, critic and curator Hans Ulrich Obrist teams up with Dutch avant-garde architect and paradigm-shifting intellectual, Rem Koolhaas, for a discussion of Koolhaas's work in China, his designs for Prada, architecture as metaphor, and the development of urbanism in the slipstream of globalization.
Publication:
avril 2007, Köln
avril 2007, Köln
Titre:
Rem Koolhaas / Hans Ulrich Obrist : the conversation series 4
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In this traditional paperback, critic and curator Hans Ulrich Obrist teams up with Dutch avant-garde architect and paradigm-shifting intellectual, Rem Koolhaas, for a discussion of Koolhaas's work in China, his designs for Prada, architecture as metaphor, and the development of urbanism in the slipstream of globalization.
Rem Koolhaas / Hans Ulrich Obrist : the conversation series 4
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In this traditional paperback, critic and curator Hans Ulrich Obrist teams up with Dutch avant-garde architect and paradigm-shifting intellectual, Rem Koolhaas, for a discussion of Koolhaas's work in China, his designs for Prada, architecture as metaphor, and the development of urbanism in the slipstream of globalization.
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livres
livres
Publication:
avril 2007, Köln
avril 2007, Köln
Classification:
livres
livres
Titre:
Video : un art contemporain
Video : un art contemporain
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Ce livre propose un parcours à la fois historique, esthétique et analytique à travers quatre décennies de productions vidéographiques. À partir d'un choix significatif d'œuvres, les moments importants de la relation entre images électroniques et art contemporain sont repérés, décrits et analysés. Les filiations établies entre les productions actuelles dans lesquelles le(...)
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Ce livre propose un parcours à la fois historique, esthétique et analytique à travers quatre décennies de productions vidéographiques. À partir d'un choix significatif d'œuvres, les moments importants de la relation entre images électroniques et art contemporain sont repérés, décrits et analysés. Les filiations établies entre les productions actuelles dans lesquelles le(...)
Titre:
Video : un art contemporain
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Ce livre propose un parcours à la fois historique, esthétique et analytique à travers quatre décennies de productions vidéographiques. À partir d'un choix significatif d'œuvres, les moments importants de la relation entre images électroniques et art contemporain sont repérés, décrits et analysés. Les filiations établies entre les productions actuelles dans lesquelles le médium est désormais banalisé, et les recherches plus anciennes, permettent de comprendre comment cette technologie hybride, entre art et communication, entre cinéma et télévision, photographie et sculpture, a pu s'accommoder de son impureté naturelle, et en faire une véritable force pour ouvrir le champ de l'art. En dépassant la question moderniste de la spécificité des supports, en empruntant au cinéma, à la télévision, à la musique, aux arts du geste et à la culture populaire, la vidéo s'est révélée être une figure incontournable de l'art vivant de la seconde moitié du XXe siècle, à l'image de la diversité de ses modes de conception et d'apparition. L'ouvrage, divisé en huit chapitres comme autant de bornes d'un parcours pensé comme un récit, est largement illustré, ce qui permet d'accompagner visuellement le cheminement de l'écriture.
Video : un art contemporain
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Ce livre propose un parcours à la fois historique, esthétique et analytique à travers quatre décennies de productions vidéographiques. À partir d'un choix significatif d'œuvres, les moments importants de la relation entre images électroniques et art contemporain sont repérés, décrits et analysés. Les filiations établies entre les productions actuelles dans lesquelles le médium est désormais banalisé, et les recherches plus anciennes, permettent de comprendre comment cette technologie hybride, entre art et communication, entre cinéma et télévision, photographie et sculpture, a pu s'accommoder de son impureté naturelle, et en faire une véritable force pour ouvrir le champ de l'art. En dépassant la question moderniste de la spécificité des supports, en empruntant au cinéma, à la télévision, à la musique, aux arts du geste et à la culture populaire, la vidéo s'est révélée être une figure incontournable de l'art vivant de la seconde moitié du XXe siècle, à l'image de la diversité de ses modes de conception et d'apparition. L'ouvrage, divisé en huit chapitres comme autant de bornes d'un parcours pensé comme un récit, est largement illustré, ce qui permet d'accompagner visuellement le cheminement de l'écriture.
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livres
livres
Publication:
mai 2007, Paris
mai 2007, Paris
Classification:
livres
livres
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Robert Rauschenberg (b. 1925) began to investigate the boundaries between painting and sculpture in the 1950s, working with a variety of found objects in his Combine paintings and freestanding Combines. Later, in his "Cardboard" series (1971-72), he confined himself to the use of cardboard boxes, eliminating virtually all imagery, reducing the palette to a near(...)
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Robert Rauschenberg (b. 1925) began to investigate the boundaries between painting and sculpture in the 1950s, working with a variety of found objects in his Combine paintings and freestanding Combines. Later, in his "Cardboard" series (1971-72), he confined himself to the use of cardboard boxes, eliminating virtually all imagery, reducing the palette to a near(...)
Publication:
avril 2007, New Haven / London
avril 2007, New Haven / London
Titre:
Robert Rauschenberg : cardboards and related peices
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Robert Rauschenberg (b. 1925) began to investigate the boundaries between painting and sculpture in the 1950s, working with a variety of found objects in his Combine paintings and freestanding Combines. Later, in his "Cardboard" series (1971-72), he confined himself to the use of cardboard boxes, eliminating virtually all imagery, reducing the palette to a near monochrome, and commenting in subtle ways on the materialism and disposability of modern life. This book is the first to focus exclusively on Rauschenberg's rarely seen Cardboards, along with related works from his "Made in Tampa Clay", "Cardbirds", "Egyptian", and "Venetian" series. Approximately eighty-eight Cardboards and related sculptural pieces, many from the artist's personal collection, are reproduced in the book. Full provenance and exhibition history is provided for each work, along with a complete bibliography. In addition, distinguished scholars Yve-Alain Bois and Josef Helfenstein offer insightful essays in which they discuss the Cardboards and situate these lesser-known but critical pieces within the context of Rauschenberg's long and creative career.
Robert Rauschenberg : cardboards and related peices
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Résumé:
Robert Rauschenberg (b. 1925) began to investigate the boundaries between painting and sculpture in the 1950s, working with a variety of found objects in his Combine paintings and freestanding Combines. Later, in his "Cardboard" series (1971-72), he confined himself to the use of cardboard boxes, eliminating virtually all imagery, reducing the palette to a near monochrome, and commenting in subtle ways on the materialism and disposability of modern life. This book is the first to focus exclusively on Rauschenberg's rarely seen Cardboards, along with related works from his "Made in Tampa Clay", "Cardbirds", "Egyptian", and "Venetian" series. Approximately eighty-eight Cardboards and related sculptural pieces, many from the artist's personal collection, are reproduced in the book. Full provenance and exhibition history is provided for each work, along with a complete bibliography. In addition, distinguished scholars Yve-Alain Bois and Josef Helfenstein offer insightful essays in which they discuss the Cardboards and situate these lesser-known but critical pieces within the context of Rauschenberg's long and creative career.
Classification:
livres
livres
Publication:
avril 2007, New Haven / London
avril 2007, New Haven / London
Classification:
livres
livres
Actions:
Prix:
$34.95
(disponible sur commande)
Résumé:
Over time and across cultures extraordinary manipulations of the body have occurred. This volume features photographs, paintings, prints and drawings showing how fashion has constricted, padded, truncated and extended the body.
$34.95
(disponible sur commande)
Résumé:
Over time and across cultures extraordinary manipulations of the body have occurred. This volume features photographs, paintings, prints and drawings showing how fashion has constricted, padded, truncated and extended the body.
Titre:
Extreme beauty : the body transformed
Actions:
Prix:
$34.95
(disponible sur commande)
Résumé:
Over time and across cultures extraordinary manipulations of the body have occurred. This volume features photographs, paintings, prints and drawings showing how fashion has constricted, padded, truncated and extended the body.
Extreme beauty : the body transformed
Actions:
Prix:
$34.95
(disponible sur commande)
Résumé:
Over time and across cultures extraordinary manipulations of the body have occurred. This volume features photographs, paintings, prints and drawings showing how fashion has constricted, padded, truncated and extended the body.
Classification:
livres
livres
Publication:
février 2004, New York
février 2004, New York
