1908 Résultats
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In 1966, German artist Gerhard Richter (born 1932) embarked on a series of paintings: uniform grids of colored rectangles or squares in a chart configuration against a white background, inspired by industrially produced paint chips. With the exception of only one other painting, this marked the artist’s first use of color and a turning point in his career. This(...)
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In 1966, German artist Gerhard Richter (born 1932) embarked on a series of paintings: uniform grids of colored rectangles or squares in a chart configuration against a white background, inspired by industrially produced paint chips. With the exception of only one other painting, this marked the artist’s first use of color and a turning point in his career. This(...)
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Gerhard Richter: color charts
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In 1966, German artist Gerhard Richter (born 1932) embarked on a series of paintings: uniform grids of colored rectangles or squares in a chart configuration against a white background, inspired by industrially produced paint chips. With the exception of only one other painting, this marked the artist’s first use of color and a turning point in his career. This comprehensive catalogue is the first publication dedicated to the original Colour Charts, both those created in 1966 and those made in the ‘70s after a five-year hiatus. Featuring new essays by Dietmar Elger, head of the Gerhard Richter Archive; Hubertus Butin, curator and author of several key texts on Richter; and Jaleh Mansoor, professor at the University of British Columbia.
Gerhard Richter: color charts
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In 1966, German artist Gerhard Richter (born 1932) embarked on a series of paintings: uniform grids of colored rectangles or squares in a chart configuration against a white background, inspired by industrially produced paint chips. With the exception of only one other painting, this marked the artist’s first use of color and a turning point in his career. This comprehensive catalogue is the first publication dedicated to the original Colour Charts, both those created in 1966 and those made in the ‘70s after a five-year hiatus. Featuring new essays by Dietmar Elger, head of the Gerhard Richter Archive; Hubertus Butin, curator and author of several key texts on Richter; and Jaleh Mansoor, professor at the University of British Columbia.
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août 2016
août 2016
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In the intricate wire sculptures of the German-born Venezuelan artist Gego (1912–94), lines are given new dimension, describing architectural space and engaging with the human body. Here are gathered key works from the artist’s oeuvre, from her famed entropic sculpture of the ‘70s to the works on paper created at the end of her long career. This fully illustrated(...)
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In the intricate wire sculptures of the German-born Venezuelan artist Gego (1912–94), lines are given new dimension, describing architectural space and engaging with the human body. Here are gathered key works from the artist’s oeuvre, from her famed entropic sculpture of the ‘70s to the works on paper created at the end of her long career. This fully illustrated(...)
Titre:
Gego: autobiography of a line
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In the intricate wire sculptures of the German-born Venezuelan artist Gego (1912–94), lines are given new dimension, describing architectural space and engaging with the human body. Here are gathered key works from the artist’s oeuvre, from her famed entropic sculpture of the ‘70s to the works on paper created at the end of her long career. This fully illustrated publication is among the first to position Gego’s work in a global context, and features texts by curator Chus Martínez, head of the Institute of Art of the FHNW Academy of Arts and Design in Basel, Switzerland; art historian Kaira Cabañas; and Gego’s grandson, Daniel Crespin; as well as previously unpublished archival material. The book also includes "GEGO," a new poem by poet, artist and composer Anne Tardos, performing a linguistic intervention in Gego’s work.
Gego: autobiography of a line
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In the intricate wire sculptures of the German-born Venezuelan artist Gego (1912–94), lines are given new dimension, describing architectural space and engaging with the human body. Here are gathered key works from the artist’s oeuvre, from her famed entropic sculpture of the ‘70s to the works on paper created at the end of her long career. This fully illustrated publication is among the first to position Gego’s work in a global context, and features texts by curator Chus Martínez, head of the Institute of Art of the FHNW Academy of Arts and Design in Basel, Switzerland; art historian Kaira Cabañas; and Gego’s grandson, Daniel Crespin; as well as previously unpublished archival material. The book also includes "GEGO," a new poem by poet, artist and composer Anne Tardos, performing a linguistic intervention in Gego’s work.
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Publication:
août 2016
août 2016
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Published on the occasion of the eponymous exhibition at David Zwirner in 2015, ''Corners, Barriers and Corridors'' takes as its point of departure Dan Flavin’s (1933–96) influential ''corners, barriers and corridors in fluorescent light'' from Dan Flavin show, presented at the Saint Louis Art Museum in 1973. The volume brings questions of architecture to the fore,(...)
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Published on the occasion of the eponymous exhibition at David Zwirner in 2015, ''Corners, Barriers and Corridors'' takes as its point of departure Dan Flavin’s (1933–96) influential ''corners, barriers and corridors in fluorescent light'' from Dan Flavin show, presented at the Saint Louis Art Museum in 1973. The volume brings questions of architecture to the fore,(...)
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Dan Flavin: corners, barriers and corridors
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Published on the occasion of the eponymous exhibition at David Zwirner in 2015, ''Corners, Barriers and Corridors'' takes as its point of departure Dan Flavin’s (1933–96) influential ''corners, barriers and corridors in fluorescent light'' from Dan Flavin show, presented at the Saint Louis Art Museum in 1973. The volume brings questions of architecture to the fore, exploring how this particular body of light works function in space.
Dan Flavin: corners, barriers and corridors
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Published on the occasion of the eponymous exhibition at David Zwirner in 2015, ''Corners, Barriers and Corridors'' takes as its point of departure Dan Flavin’s (1933–96) influential ''corners, barriers and corridors in fluorescent light'' from Dan Flavin show, presented at the Saint Louis Art Museum in 1973. The volume brings questions of architecture to the fore, exploring how this particular body of light works function in space.
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Publication:
août 2016
août 2016
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Philippe Parreno (born 1964) is interested more in the dynamics of how a work of art is shown to the public than in its actual production, and in his films, installations, performances and texts, he subverts the codes normally applied to exhibition spaces. By placing the construction of the exhibition at the heart of his process, the French artist redefines the exhibition(...)
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Philippe Parreno (born 1964) is interested more in the dynamics of how a work of art is shown to the public than in its actual production, and in his films, installations, performances and texts, he subverts the codes normally applied to exhibition spaces. By placing the construction of the exhibition at the heart of his process, the French artist redefines the exhibition(...)
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Philippe Parreno: hypnosis hypothesis
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Philippe Parreno (born 1964) is interested more in the dynamics of how a work of art is shown to the public than in its actual production, and in his films, installations, performances and texts, he subverts the codes normally applied to exhibition spaces. By placing the construction of the exhibition at the heart of his process, the French artist redefines the exhibition experience as a coherent object rather than a collection of individual works. “The exhibition is conceived as a scripted space,” he writes, “like an automaton, producing different temporalities, a rhythm, an itinerary, and a duration. The visitor is guided through the spaces by the appearance and orchestration of sounds and images ... a mental choreography.” Published to accompany his 2015 exhibitions in New York and Milan, Hypnosis Hypothesis offers a rich critical overview of Parreno's work, featuring essays by Cyril Béghin, Molly Nesbit, Brian O’Doherty and Adam Thirlwell, and interviews with exhibition curators Hans Ulrich Obrist and Andrea Lissoni. The monograph provides invaluable new research on one of the most influential and charismatic figures on the contemporary art scene.
Philippe Parreno: hypnosis hypothesis
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Philippe Parreno (born 1964) is interested more in the dynamics of how a work of art is shown to the public than in its actual production, and in his films, installations, performances and texts, he subverts the codes normally applied to exhibition spaces. By placing the construction of the exhibition at the heart of his process, the French artist redefines the exhibition experience as a coherent object rather than a collection of individual works. “The exhibition is conceived as a scripted space,” he writes, “like an automaton, producing different temporalities, a rhythm, an itinerary, and a duration. The visitor is guided through the spaces by the appearance and orchestration of sounds and images ... a mental choreography.” Published to accompany his 2015 exhibitions in New York and Milan, Hypnosis Hypothesis offers a rich critical overview of Parreno's work, featuring essays by Cyril Béghin, Molly Nesbit, Brian O’Doherty and Adam Thirlwell, and interviews with exhibition curators Hans Ulrich Obrist and Andrea Lissoni. The monograph provides invaluable new research on one of the most influential and charismatic figures on the contemporary art scene.
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Publication:
septembre 2017
septembre 2017
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In ''Paperwork and the Will of Capital'', Taryn Simon (born 1975)--one of the most original and challenging conceptual artists of our time--brings together geopolitics, horticultural science and the art of still life to investigate how the stagecraft of power is created, performed, marketed and maintained. At signings of political accords, contracts, treaties and decrees(...)
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In ''Paperwork and the Will of Capital'', Taryn Simon (born 1975)--one of the most original and challenging conceptual artists of our time--brings together geopolitics, horticultural science and the art of still life to investigate how the stagecraft of power is created, performed, marketed and maintained. At signings of political accords, contracts, treaties and decrees(...)
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Taryn Simon: paperwork and the will of capital
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In ''Paperwork and the Will of Capital'', Taryn Simon (born 1975)--one of the most original and challenging conceptual artists of our time--brings together geopolitics, horticultural science and the art of still life to investigate how the stagecraft of power is created, performed, marketed and maintained. At signings of political accords, contracts, treaties and decrees determining some of the gravest issues of our time, powerful men flank floral centerpieces curated to convey the importance of the signatories and represented institutions. Simon reconstituted and photographed the flower arrangements from archival images of key events; she then dried and pressed the flowers as herbarium specimens. This sumptuous book, part nature study, part metaphor, bears witness to an elaborate and intriguing process of artistic deconstruction and reconstruction.
Taryn Simon: paperwork and the will of capital
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In ''Paperwork and the Will of Capital'', Taryn Simon (born 1975)--one of the most original and challenging conceptual artists of our time--brings together geopolitics, horticultural science and the art of still life to investigate how the stagecraft of power is created, performed, marketed and maintained. At signings of political accords, contracts, treaties and decrees determining some of the gravest issues of our time, powerful men flank floral centerpieces curated to convey the importance of the signatories and represented institutions. Simon reconstituted and photographed the flower arrangements from archival images of key events; she then dried and pressed the flowers as herbarium specimens. This sumptuous book, part nature study, part metaphor, bears witness to an elaborate and intriguing process of artistic deconstruction and reconstruction.
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Publication:
août 2016
août 2016
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Norwegian artist Fredrik Værslev (born 1979) frequently leaves his canvases outdoors and observes the degree to which nature leaves its “signature” on them. This publication documents the plein-air exhibition in its various stages and masterfully introduces the changing work of the artist.
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Norwegian artist Fredrik Værslev (born 1979) frequently leaves his canvases outdoors and observes the degree to which nature leaves its “signature” on them. This publication documents the plein-air exhibition in its various stages and masterfully introduces the changing work of the artist.
Publication:
août 2016
août 2016
Titre:
Frederik Vaerslev: the constant gardener
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Norwegian artist Fredrik Værslev (born 1979) frequently leaves his canvases outdoors and observes the degree to which nature leaves its “signature” on them. This publication documents the plein-air exhibition in its various stages and masterfully introduces the changing work of the artist.
Frederik Vaerslev: the constant gardener
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Norwegian artist Fredrik Værslev (born 1979) frequently leaves his canvases outdoors and observes the degree to which nature leaves its “signature” on them. This publication documents the plein-air exhibition in its various stages and masterfully introduces the changing work of the artist.
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Publication:
août 2016
août 2016
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Titre:
Bridget Riley
Bridget Riley
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This volume documents a focused group of paintings from 2014–15 by British artist Bridget Riley (born 1931). After decades of exploring the subtle effects of color, Riley returns to stark, black-and-white, geometrically derived forms--variations on the trademark style she developed in the early 1960s.
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This volume documents a focused group of paintings from 2014–15 by British artist Bridget Riley (born 1931). After decades of exploring the subtle effects of color, Riley returns to stark, black-and-white, geometrically derived forms--variations on the trademark style she developed in the early 1960s.
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Bridget Riley
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This volume documents a focused group of paintings from 2014–15 by British artist Bridget Riley (born 1931). After decades of exploring the subtle effects of color, Riley returns to stark, black-and-white, geometrically derived forms--variations on the trademark style she developed in the early 1960s.
Bridget Riley
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This volume documents a focused group of paintings from 2014–15 by British artist Bridget Riley (born 1931). After decades of exploring the subtle effects of color, Riley returns to stark, black-and-white, geometrically derived forms--variations on the trademark style she developed in the early 1960s.
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Publication:
août 2016
août 2016
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In her first artist's book, Cambridge, MA-based artist Katarina Burin (born 1975) creates a fictitious Czechoslovakian architect named Andrejova-Molnar, described as a pioneering architect of modern postwar Europe, as part of her investigation of architectural history. The book presents a biographical narrative about the education and design work of Andrejova-Molnar, and(...)
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In her first artist's book, Cambridge, MA-based artist Katarina Burin (born 1975) creates a fictitious Czechoslovakian architect named Andrejova-Molnar, described as a pioneering architect of modern postwar Europe, as part of her investigation of architectural history. The book presents a biographical narrative about the education and design work of Andrejova-Molnar, and(...)
Titre:
Katarina Burin: contribution and collaboration, the work of Petra Andrejova-Molnar (...)
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In her first artist's book, Cambridge, MA-based artist Katarina Burin (born 1975) creates a fictitious Czechoslovakian architect named Andrejova-Molnar, described as a pioneering architect of modern postwar Europe, as part of her investigation of architectural history. The book presents a biographical narrative about the education and design work of Andrejova-Molnar, and positions her work in relation to mid-20th-century female architects Charlotte Perriand and Eileen Grey. Burin’s Andrejova-Molnar project, which won the prestigious James and Audrey Foster Prize at the Institute of Contemporary Art in Boston in 2013, gives voice to female designers while questioning notions of authorship and authenticity, the relationship between gender and the archive, and the historical tension between national identity and internationalist aspirations.
Katarina Burin: contribution and collaboration, the work of Petra Andrejova-Molnar (...)
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In her first artist's book, Cambridge, MA-based artist Katarina Burin (born 1975) creates a fictitious Czechoslovakian architect named Andrejova-Molnar, described as a pioneering architect of modern postwar Europe, as part of her investigation of architectural history. The book presents a biographical narrative about the education and design work of Andrejova-Molnar, and positions her work in relation to mid-20th-century female architects Charlotte Perriand and Eileen Grey. Burin’s Andrejova-Molnar project, which won the prestigious James and Audrey Foster Prize at the Institute of Contemporary Art in Boston in 2013, gives voice to female designers while questioning notions of authorship and authenticity, the relationship between gender and the archive, and the historical tension between national identity and internationalist aspirations.
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Publication:
août 2016
août 2016
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Turner Prize-nominated British artist Cornelia Parker (born 1956) is well known for her large-scale, site-specific installations. Her work has been featured in many solo exhibitions and is included in collections around the world. Often composed of ordinary objects, her installations make the familiar extraordinary, whimsical, and even poignant. Her work for the 2016(...)
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Turner Prize-nominated British artist Cornelia Parker (born 1956) is well known for her large-scale, site-specific installations. Her work has been featured in many solo exhibitions and is included in collections around the world. Often composed of ordinary objects, her installations make the familiar extraordinary, whimsical, and even poignant. Her work for the 2016(...)
Publication:
août 2016
août 2016
Titre:
Cornelia Parker: the roof garden commission
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Turner Prize-nominated British artist Cornelia Parker (born 1956) is well known for her large-scale, site-specific installations. Her work has been featured in many solo exhibitions and is included in collections around the world. Often composed of ordinary objects, her installations make the familiar extraordinary, whimsical, and even poignant. Her work for the 2016 Roof Garden Commission at The Met, documented here, merges two iconic examples of American architecture: the red barn and the infamous mansion on a hill from Alfred Hitchcock's movie Psycho—itself inspired by the paintings of Edward Hopper.
Cornelia Parker: the roof garden commission
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Turner Prize-nominated British artist Cornelia Parker (born 1956) is well known for her large-scale, site-specific installations. Her work has been featured in many solo exhibitions and is included in collections around the world. Often composed of ordinary objects, her installations make the familiar extraordinary, whimsical, and even poignant. Her work for the 2016 Roof Garden Commission at The Met, documented here, merges two iconic examples of American architecture: the red barn and the infamous mansion on a hill from Alfred Hitchcock's movie Psycho—itself inspired by the paintings of Edward Hopper.
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Publication:
août 2016
août 2016
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$71.00
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A look at Doris Salcedo’s works from the past fifteen years, exploring how the artist challenges not only the limits of the materials she uses but also the traditions of sculpture itself
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A look at Doris Salcedo’s works from the past fifteen years, exploring how the artist challenges not only the limits of the materials she uses but also the traditions of sculpture itself
Titre:
Doris Salcedo: the materiality of mourning
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A look at Doris Salcedo’s works from the past fifteen years, exploring how the artist challenges not only the limits of the materials she uses but also the traditions of sculpture itself
Doris Salcedo: the materiality of mourning
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A look at Doris Salcedo’s works from the past fifteen years, exploring how the artist challenges not only the limits of the materials she uses but also the traditions of sculpture itself
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livres
livres
Publication:
août 2016
août 2016
