1908 Résultats
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La pratique de Bill Vazan est généralement associée au land art et aux montages photographiques. Pourtant, dès la fin des années 1960, cet artiste élabore un langage conceptuel singulier et réalise des œuvres emblématiques. Cette première monographie consacrée à son travail conceptuel espère rendre compte d’une œuvre profonde, inventive et rigoureuse, laquelle n’avait pas(...)
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La pratique de Bill Vazan est généralement associée au land art et aux montages photographiques. Pourtant, dès la fin des années 1960, cet artiste élabore un langage conceptuel singulier et réalise des œuvres emblématiques. Cette première monographie consacrée à son travail conceptuel espère rendre compte d’une œuvre profonde, inventive et rigoureuse, laquelle n’avait pas(...)
Titre:
Bill Vazan: Into the vanishing point
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La pratique de Bill Vazan est généralement associée au land art et aux montages photographiques. Pourtant, dès la fin des années 1960, cet artiste élabore un langage conceptuel singulier et réalise des œuvres emblématiques. Cette première monographie consacrée à son travail conceptuel espère rendre compte d’une œuvre profonde, inventive et rigoureuse, laquelle n’avait pas encore fait l’objet d’une telle attention. Bill Vazan's practice is generally associated with land art and photographic montages. Yet in the late 1960s, the artist began developing a singular conceptual language, creating a number of emblematic works. This first monograph devoted to his Conceptual work attempts to pay tribute to an inventive, rigorous, and profound body of work that has not garnered special attention until now.
Bill Vazan: Into the vanishing point
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La pratique de Bill Vazan est généralement associée au land art et aux montages photographiques. Pourtant, dès la fin des années 1960, cet artiste élabore un langage conceptuel singulier et réalise des œuvres emblématiques. Cette première monographie consacrée à son travail conceptuel espère rendre compte d’une œuvre profonde, inventive et rigoureuse, laquelle n’avait pas encore fait l’objet d’une telle attention. Bill Vazan's practice is generally associated with land art and photographic montages. Yet in the late 1960s, the artist began developing a singular conceptual language, creating a number of emblematic works. This first monograph devoted to his Conceptual work attempts to pay tribute to an inventive, rigorous, and profound body of work that has not garnered special attention until now.
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Publication:
décembre 2009
décembre 2009
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Ital Thai Chinese and paint
Ital Thai Chinese and paint
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Ital Thai Chinese and Paint is a compilation of the first collaborative work by Zuni Halpern and Erik Steinbrecher. The booklet shows montages of photographs and paintings. All the photographed advertisings are collected in the streets. The paintings on paper are studio works. Both materials, views of fusion food and plates of abstract designs are melted. These "painted(...)
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Ital Thai Chinese and Paint is a compilation of the first collaborative work by Zuni Halpern and Erik Steinbrecher. The booklet shows montages of photographs and paintings. All the photographed advertisings are collected in the streets. The paintings on paper are studio works. Both materials, views of fusion food and plates of abstract designs are melted. These "painted(...)
Publication:
décembre 2009
décembre 2009
Titre:
Ital Thai Chinese and paint
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Ital Thai Chinese and Paint is a compilation of the first collaborative work by Zuni Halpern and Erik Steinbrecher. The booklet shows montages of photographs and paintings. All the photographed advertisings are collected in the streets. The paintings on paper are studio works. Both materials, views of fusion food and plates of abstract designs are melted. These "painted meals" can be considered as ornaments in the urban context of fast gastronomy and catering.
Ital Thai Chinese and paint
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Ital Thai Chinese and Paint is a compilation of the first collaborative work by Zuni Halpern and Erik Steinbrecher. The booklet shows montages of photographs and paintings. All the photographed advertisings are collected in the streets. The paintings on paper are studio works. Both materials, views of fusion food and plates of abstract designs are melted. These "painted meals" can be considered as ornaments in the urban context of fast gastronomy and catering.
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Publication:
décembre 2009
décembre 2009
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Titre:
Enrico David
Enrico David
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Born in Italy, artist Enrico David has lived in London since the 1990s. His first major monograph, this volume surveys installations, paintings, works on paper and sculptures from the last five years, which mine a number of visual sources: folk art, craft, Modernist architecture and graphic design.
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Born in Italy, artist Enrico David has lived in London since the 1990s. His first major monograph, this volume surveys installations, paintings, works on paper and sculptures from the last five years, which mine a number of visual sources: folk art, craft, Modernist architecture and graphic design.
Publication:
septembre 2009
septembre 2009
Titre:
Enrico David
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Born in Italy, artist Enrico David has lived in London since the 1990s. His first major monograph, this volume surveys installations, paintings, works on paper and sculptures from the last five years, which mine a number of visual sources: folk art, craft, Modernist architecture and graphic design.
Enrico David
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Born in Italy, artist Enrico David has lived in London since the 1990s. His first major monograph, this volume surveys installations, paintings, works on paper and sculptures from the last five years, which mine a number of visual sources: folk art, craft, Modernist architecture and graphic design.
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Publication:
septembre 2009
septembre 2009
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Jules de Balincourt: Malpais
Jules de Balincourt: Malpais
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The noted Paris-born, Brooklyn-based painter Jules de Balincourt depicts a universe in which abstract and representational images collide, orbit and satellite among each other, creating a kind of loose, free-associating, non-linear narrative, according to the artist himself. This volume collects recent works exhibited at Galerie Thaddaeus Ropac in Paris.
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The noted Paris-born, Brooklyn-based painter Jules de Balincourt depicts a universe in which abstract and representational images collide, orbit and satellite among each other, creating a kind of loose, free-associating, non-linear narrative, according to the artist himself. This volume collects recent works exhibited at Galerie Thaddaeus Ropac in Paris.
Titre:
Jules de Balincourt: Malpais
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The noted Paris-born, Brooklyn-based painter Jules de Balincourt depicts a universe in which abstract and representational images collide, orbit and satellite among each other, creating a kind of loose, free-associating, non-linear narrative, according to the artist himself. This volume collects recent works exhibited at Galerie Thaddaeus Ropac in Paris.
Jules de Balincourt: Malpais
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The noted Paris-born, Brooklyn-based painter Jules de Balincourt depicts a universe in which abstract and representational images collide, orbit and satellite among each other, creating a kind of loose, free-associating, non-linear narrative, according to the artist himself. This volume collects recent works exhibited at Galerie Thaddaeus Ropac in Paris.
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Publication:
février 2009
février 2009
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Que ce soit à travers ses dessins, ses papiers découpés ou ses installations, Ed Pien réussit depuis plus de vingt-cinq ans à élaborer un langage fantasmagorique singulier. Abondamment illustrée, cette publication comprend trois essais originaux. Un premier texte met de l’avant les différents volets présentés à l’intérieur de l’exposition L’antre des délices - le dessin,(...)
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Que ce soit à travers ses dessins, ses papiers découpés ou ses installations, Ed Pien réussit depuis plus de vingt-cinq ans à élaborer un langage fantasmagorique singulier. Abondamment illustrée, cette publication comprend trois essais originaux. Un premier texte met de l’avant les différents volets présentés à l’intérieur de l’exposition L’antre des délices - le dessin,(...)
Publication:
février 2010
février 2010
Titre:
Ed Pien : l'antre des délices / haven of delight
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Que ce soit à travers ses dessins, ses papiers découpés ou ses installations, Ed Pien réussit depuis plus de vingt-cinq ans à élaborer un langage fantasmagorique singulier. Abondamment illustrée, cette publication comprend trois essais originaux. Un premier texte met de l’avant les différents volets présentés à l’intérieur de l’exposition L’antre des délices - le dessin, la découpe de papier et l’installation - en soulignant l’importance de chacun au sein de la pratique de l’artiste. Un deuxième texte s’intéresse à l’œuvre Haven tout en s’attardant à l’importance du médium installatif qui est déterminant dans la démarche de l’artiste. Un troisième texte se consacre au volet graphique de l’artiste, qui est au centre de ses recherches artistiques depuis le début de sa pratique. Une coproduction avec le Bellevue Arts Museum (Bellevue, Washington). En français et anglais.
Ed Pien : l'antre des délices / haven of delight
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Que ce soit à travers ses dessins, ses papiers découpés ou ses installations, Ed Pien réussit depuis plus de vingt-cinq ans à élaborer un langage fantasmagorique singulier. Abondamment illustrée, cette publication comprend trois essais originaux. Un premier texte met de l’avant les différents volets présentés à l’intérieur de l’exposition L’antre des délices - le dessin, la découpe de papier et l’installation - en soulignant l’importance de chacun au sein de la pratique de l’artiste. Un deuxième texte s’intéresse à l’œuvre Haven tout en s’attardant à l’importance du médium installatif qui est déterminant dans la démarche de l’artiste. Un troisième texte se consacre au volet graphique de l’artiste, qui est au centre de ses recherches artistiques depuis le début de sa pratique. Une coproduction avec le Bellevue Arts Museum (Bellevue, Washington). En français et anglais.
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Publication:
février 2010
février 2010
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Exhibition catalogue that accompanies a new project by the artist Eugènia Balcells on some perceptive aspects of energy: light and colour.
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Exhibition catalogue that accompanies a new project by the artist Eugènia Balcells on some perceptive aspects of energy: light and colour.
Titre:
Eugènia Balcells, frequencies
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Exhibition catalogue that accompanies a new project by the artist Eugènia Balcells on some perceptive aspects of energy: light and colour.
Eugènia Balcells, frequencies
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Exhibition catalogue that accompanies a new project by the artist Eugènia Balcells on some perceptive aspects of energy: light and colour.
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livres
Publication:
janvier 2010
janvier 2010
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Support structures is a manual for what bears, sustains, and props, for those things that encourage, care for, and assist; for that which advocates, articulates; for what stands behind, frames, and maintains: it is a manual for those things that give support. While the work of supporting might traditionally appear as subsequent, unessential, and lacking value in itself,(...)
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Support structures is a manual for what bears, sustains, and props, for those things that encourage, care for, and assist; for that which advocates, articulates; for what stands behind, frames, and maintains: it is a manual for those things that give support. While the work of supporting might traditionally appear as subsequent, unessential, and lacking value in itself,(...)
Titre:
Céline Condorelli: support structures
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Support structures is a manual for what bears, sustains, and props, for those things that encourage, care for, and assist; for that which advocates, articulates; for what stands behind, frames, and maintains: it is a manual for those things that give support. While the work of supporting might traditionally appear as subsequent, unessential, and lacking value in itself, this manual is an attempt to restore attention to one of the neglected, yet crucial modes through which we apprehend and shape the world. Support structures is a critical enquiry into what constitutes “support,” and documents the collaborative project “Support Structure” by Céline Condorelli and Gavin Wade. While registering and collecting reference projects in a new archive of support structures alongside its ten-phase project, different writers, thinkers, and practitioners were invited from various fields to elaborate on frameworks and work on texts , which form the theoretical backbone of the publication. The collection of contributions offers different possibilities for engaging in this unchartered territory, from propositions to projects, existing systems to ones invented for specific creative processes. Support structures offers support through potential methodologies, inspirations and activations for practice, and addresses important questions for art and architecture practices on forms of display, organization, articulation, appropriation, autonomy, and temporariness, and the manifestations of blindness towards them.
Céline Condorelli: support structures
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Support structures is a manual for what bears, sustains, and props, for those things that encourage, care for, and assist; for that which advocates, articulates; for what stands behind, frames, and maintains: it is a manual for those things that give support. While the work of supporting might traditionally appear as subsequent, unessential, and lacking value in itself, this manual is an attempt to restore attention to one of the neglected, yet crucial modes through which we apprehend and shape the world. Support structures is a critical enquiry into what constitutes “support,” and documents the collaborative project “Support Structure” by Céline Condorelli and Gavin Wade. While registering and collecting reference projects in a new archive of support structures alongside its ten-phase project, different writers, thinkers, and practitioners were invited from various fields to elaborate on frameworks and work on texts , which form the theoretical backbone of the publication. The collection of contributions offers different possibilities for engaging in this unchartered territory, from propositions to projects, existing systems to ones invented for specific creative processes. Support structures offers support through potential methodologies, inspirations and activations for practice, and addresses important questions for art and architecture practices on forms of display, organization, articulation, appropriation, autonomy, and temporariness, and the manifestations of blindness towards them.
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Publication:
octobre 2009
octobre 2009
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Created in conjunction with Icelandic artist Tumi Magnússon, Swiss artist Roman Signer's close friend and frequent traveling companion, the book mixes personal snapshots with anecdotes, reminiscences, and humorous observations about travel, the natural world, the differences between Switzerland and Iceland, and—as with any conversation between artists—the difficulties of(...)
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Created in conjunction with Icelandic artist Tumi Magnússon, Swiss artist Roman Signer's close friend and frequent traveling companion, the book mixes personal snapshots with anecdotes, reminiscences, and humorous observations about travel, the natural world, the differences between Switzerland and Iceland, and—as with any conversation between artists—the difficulties of(...)
Titre:
When you travel in Iceland you see a lot of water
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Created in conjunction with Icelandic artist Tumi Magnússon, Swiss artist Roman Signer's close friend and frequent traveling companion, the book mixes personal snapshots with anecdotes, reminiscences, and humorous observations about travel, the natural world, the differences between Switzerland and Iceland, and—as with any conversation between artists—the difficulties of making art, no matter where one calls home. When You Travel in Iceland You See a Lot of Water is thus a travel book unlike any other, one whose authors simultaneously invite you along on a journey and extend a hand in friendship.
When you travel in Iceland you see a lot of water
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Created in conjunction with Icelandic artist Tumi Magnússon, Swiss artist Roman Signer's close friend and frequent traveling companion, the book mixes personal snapshots with anecdotes, reminiscences, and humorous observations about travel, the natural world, the differences between Switzerland and Iceland, and—as with any conversation between artists—the difficulties of making art, no matter where one calls home. When You Travel in Iceland You See a Lot of Water is thus a travel book unlike any other, one whose authors simultaneously invite you along on a journey and extend a hand in friendship.
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livres
livres
Publication:
mai 2010
mai 2010
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livres
Titre:
Ed Ruscha's Los Angeles
Ed Ruscha's Los Angeles
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Ed Ruscha was born in Nebraska and raised in Oklahoma, but he belongs to Los Angeles in a way few other artists do. Since the 1960s, Ruscha's iconic images of the cityscape and culture of L.A.—freeway gas stations, parking lots, palm trees, motels, swimming pools, and billboards—have both reflected and shaped popular perceptions of Hollywood and the city that surrounds(...)
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Ed Ruscha was born in Nebraska and raised in Oklahoma, but he belongs to Los Angeles in a way few other artists do. Since the 1960s, Ruscha's iconic images of the cityscape and culture of L.A.—freeway gas stations, parking lots, palm trees, motels, swimming pools, and billboards—have both reflected and shaped popular perceptions of Hollywood and the city that surrounds(...)
Titre:
Ed Ruscha's Los Angeles
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Ed Ruscha was born in Nebraska and raised in Oklahoma, but he belongs to Los Angeles in a way few other artists do. Since the 1960s, Ruscha's iconic images of the cityscape and culture of L.A.—freeway gas stations, parking lots, palm trees, motels, swimming pools, and billboards—have both reflected and shaped popular perceptions of Hollywood and the city that surrounds it. In Ed Ruscha's Los Angeles, Alexandra Schwartz views Ruscha's groundbreaking early work as a window onto the radically shifting cultural and political landscape in which it was produced.
Ed Ruscha's Los Angeles
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Ed Ruscha was born in Nebraska and raised in Oklahoma, but he belongs to Los Angeles in a way few other artists do. Since the 1960s, Ruscha's iconic images of the cityscape and culture of L.A.—freeway gas stations, parking lots, palm trees, motels, swimming pools, and billboards—have both reflected and shaped popular perceptions of Hollywood and the city that surrounds it. In Ed Ruscha's Los Angeles, Alexandra Schwartz views Ruscha's groundbreaking early work as a window onto the radically shifting cultural and political landscape in which it was produced.
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livres
livres
Publication:
avril 2010
avril 2010
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Michael Asher doesn't make typical installations. Instead, he extracts his art from the institutions in which it is shown, culling it from collections, histories, or museums' own walls. In Situation Aesthetics, Kirsi Peltomäki examines Asher's practice by analyzing the social situations that the artist constructs in his work for viewers, participants, and institutional(...)
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Michael Asher doesn't make typical installations. Instead, he extracts his art from the institutions in which it is shown, culling it from collections, histories, or museums' own walls. In Situation Aesthetics, Kirsi Peltomäki examines Asher's practice by analyzing the social situations that the artist constructs in his work for viewers, participants, and institutional(...)
Titre:
Situation aesthetics: the work of Michael Asher
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Michael Asher doesn't make typical installations. Instead, he extracts his art from the institutions in which it is shown, culling it from collections, histories, or museums' own walls. In Situation Aesthetics, Kirsi Peltomäki examines Asher's practice by analyzing the social situations that the artist constructs in his work for viewers, participants, and institutional representatives. Drawing on art criticism, the reports of viewers and participants in Asher's projects, and the artist's own archives, Peltomäki offers a comprehensive account of Asher's work over the past four decades.
Situation aesthetics: the work of Michael Asher
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Michael Asher doesn't make typical installations. Instead, he extracts his art from the institutions in which it is shown, culling it from collections, histories, or museums' own walls. In Situation Aesthetics, Kirsi Peltomäki examines Asher's practice by analyzing the social situations that the artist constructs in his work for viewers, participants, and institutional representatives. Drawing on art criticism, the reports of viewers and participants in Asher's projects, and the artist's own archives, Peltomäki offers a comprehensive account of Asher's work over the past four decades.
Classification:
livres
livres
Publication:
février 2010
février 2010
