1894 Résultats
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Eduardo Terrazas (Guadalajara 1936) is a Mexican architect who has taken an interest in looking at and thinking about the world as he makes his way through it. For more than thirty years he has worked in a range of disciplines to understand and reflect on changing reality. The book presents all the works that Terrazas has created in the visual arts over the past four(...)
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Eduardo Terrazas (Guadalajara 1936) is a Mexican architect who has taken an interest in looking at and thinking about the world as he makes his way through it. For more than thirty years he has worked in a range of disciplines to understand and reflect on changing reality. The book presents all the works that Terrazas has created in the visual arts over the past four(...)
Titre:
Eduardo Terrazas : possibilities of a structure
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Eduardo Terrazas (Guadalajara 1936) is a Mexican architect who has taken an interest in looking at and thinking about the world as he makes his way through it. For more than thirty years he has worked in a range of disciplines to understand and reflect on changing reality. The book presents all the works that Terrazas has created in the visual arts over the past four decades. The content is structured as a visual tour that mixes the works of the various series that make up Terrazas' oeuvre, establishing analogies, contrasts and affinities presented in pairs.
Eduardo Terrazas : possibilities of a structure
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Eduardo Terrazas (Guadalajara 1936) is a Mexican architect who has taken an interest in looking at and thinking about the world as he makes his way through it. For more than thirty years he has worked in a range of disciplines to understand and reflect on changing reality. The book presents all the works that Terrazas has created in the visual arts over the past four decades. The content is structured as a visual tour that mixes the works of the various series that make up Terrazas' oeuvre, establishing analogies, contrasts and affinities presented in pairs.
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livres
livres
Publication:
septembre 2012
septembre 2012
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Thombu was a term used by the Dutch to describe a public land registry. The Incomplete Thombu poses as a bureaucratic document file and covers the subject of Tamil displacement during the civil conflict in Sri Lanka between 1983 and 2009. Though numerous documents of statistical data have recorded the displacement of civilians, few have highlighted the personal plights of(...)
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Thombu was a term used by the Dutch to describe a public land registry. The Incomplete Thombu poses as a bureaucratic document file and covers the subject of Tamil displacement during the civil conflict in Sri Lanka between 1983 and 2009. Though numerous documents of statistical data have recorded the displacement of civilians, few have highlighted the personal plights of(...)
Titre:
T. Shanaathanan : the incomplete Thombu
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Thombu was a term used by the Dutch to describe a public land registry. The Incomplete Thombu poses as a bureaucratic document file and covers the subject of Tamil displacement during the civil conflict in Sri Lanka between 1983 and 2009. Though numerous documents of statistical data have recorded the displacement of civilians, few have highlighted the personal plights of those involved. This project records the stories of civilians removed from their homes and the memories that they took with them. T. Shanaathanan examines the subject of displacement through a series of drawings that overlay ground plans of houses drawn from memory by displaced Tamil-speaking civilians, with architect’s renderings and dry pastel drawings.
T. Shanaathanan : the incomplete Thombu
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Thombu was a term used by the Dutch to describe a public land registry. The Incomplete Thombu poses as a bureaucratic document file and covers the subject of Tamil displacement during the civil conflict in Sri Lanka between 1983 and 2009. Though numerous documents of statistical data have recorded the displacement of civilians, few have highlighted the personal plights of those involved. This project records the stories of civilians removed from their homes and the memories that they took with them. T. Shanaathanan examines the subject of displacement through a series of drawings that overlay ground plans of houses drawn from memory by displaced Tamil-speaking civilians, with architect’s renderings and dry pastel drawings.
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livres
livres
Publication:
juin 2012
juin 2012
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livres
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$38.95
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A collection of photographs of Banksy’s street work. Banksy — You Are An Acceptable Level of Threat concentrates on this singular artist’s iconic imagery, spanning the late ’90s up until the end of 2011.The locations are from around the world (predominantly the UK, US and Europe), and many images have never been seen before. When Banksy started out painting, the political(...)
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A collection of photographs of Banksy’s street work. Banksy — You Are An Acceptable Level of Threat concentrates on this singular artist’s iconic imagery, spanning the late ’90s up until the end of 2011.The locations are from around the world (predominantly the UK, US and Europe), and many images have never been seen before. When Banksy started out painting, the political(...)
Publication:
juillet 2012
juillet 2012
Titre:
Banksy : you are an acceptable level of threat and if you were not you would know about it
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$38.95
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A collection of photographs of Banksy’s street work. Banksy — You Are An Acceptable Level of Threat concentrates on this singular artist’s iconic imagery, spanning the late ’90s up until the end of 2011.The locations are from around the world (predominantly the UK, US and Europe), and many images have never been seen before. When Banksy started out painting, the political landscape was bleak. Fortunately now, it’s ten times worse. As Banksy’s cheerfully aggressive political work becomes ever more relevant, this comprehensive tome sets about presenting his art in the context of the era he was responding to.
Banksy : you are an acceptable level of threat and if you were not you would know about it
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A collection of photographs of Banksy’s street work. Banksy — You Are An Acceptable Level of Threat concentrates on this singular artist’s iconic imagery, spanning the late ’90s up until the end of 2011.The locations are from around the world (predominantly the UK, US and Europe), and many images have never been seen before. When Banksy started out painting, the political landscape was bleak. Fortunately now, it’s ten times worse. As Banksy’s cheerfully aggressive political work becomes ever more relevant, this comprehensive tome sets about presenting his art in the context of the era he was responding to.
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livres
livres
Publication:
juillet 2012
juillet 2012
Classification:
livres
livres
Titre:
Keith Haring: Journals
Keith Haring: Journals
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$25.00
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During his lifetime, Haring's spontaneous, archetypal creations won both a street audience and the respect of the art establishment. These illuminating journals reveal Haring's conscious, committed drive to extend the boundaries of art. Photos & drawings throughout.
$25.00
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During his lifetime, Haring's spontaneous, archetypal creations won both a street audience and the respect of the art establishment. These illuminating journals reveal Haring's conscious, committed drive to extend the boundaries of art. Photos & drawings throughout.
Publication:
juillet 2012
juillet 2012
Titre:
Keith Haring: Journals
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$25.00
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During his lifetime, Haring's spontaneous, archetypal creations won both a street audience and the respect of the art establishment. These illuminating journals reveal Haring's conscious, committed drive to extend the boundaries of art. Photos & drawings throughout.
Keith Haring: Journals
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During his lifetime, Haring's spontaneous, archetypal creations won both a street audience and the respect of the art establishment. These illuminating journals reveal Haring's conscious, committed drive to extend the boundaries of art. Photos & drawings throughout.
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livres
livres
Publication:
juillet 2012
juillet 2012
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livres
livres
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$88.00
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Joseph Cornell’s favorite pastimes was to meander through the used bookstalls of lower Manhattan, sorting through old books, magazines, postcards, photos, and other ephemera in search of items to spark his creative impulses. This publication is a facsimile of an almost unknown masterpiece by Joseph Cornell, presented in a box, along with a volume of essays and(...)
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Joseph Cornell’s favorite pastimes was to meander through the used bookstalls of lower Manhattan, sorting through old books, magazines, postcards, photos, and other ephemera in search of items to spark his creative impulses. This publication is a facsimile of an almost unknown masterpiece by Joseph Cornell, presented in a box, along with a volume of essays and(...)
Publication:
novembre 2012
novembre 2012
Titre:
Joseph Cornell's Manual of Marvels: how Joseph Cornell reinvented a French agricultural manual to create an American masterpiece
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Joseph Cornell’s favorite pastimes was to meander through the used bookstalls of lower Manhattan, sorting through old books, magazines, postcards, photos, and other ephemera in search of items to spark his creative impulses. This publication is a facsimile of an almost unknown masterpiece by Joseph Cornell, presented in a box, along with a volume of essays and an interactive DVD. It was discovered in his basement studio soon after his death in 1972 and is now in the collection of the Philadelphia Museum of Art. Due to its fragility, the work is not well known, even among Cornell scholars. Now, in a unique venture, sixty of the most extraordinary pages have been re-created in virtual facsimile, with cutouts, glue-ons, and other unique handmade details.
Joseph Cornell's Manual of Marvels: how Joseph Cornell reinvented a French agricultural manual to create an American masterpiece
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Résumé:
Joseph Cornell’s favorite pastimes was to meander through the used bookstalls of lower Manhattan, sorting through old books, magazines, postcards, photos, and other ephemera in search of items to spark his creative impulses. This publication is a facsimile of an almost unknown masterpiece by Joseph Cornell, presented in a box, along with a volume of essays and an interactive DVD. It was discovered in his basement studio soon after his death in 1972 and is now in the collection of the Philadelphia Museum of Art. Due to its fragility, the work is not well known, even among Cornell scholars. Now, in a unique venture, sixty of the most extraordinary pages have been re-created in virtual facsimile, with cutouts, glue-ons, and other unique handmade details.
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livres
livres
Publication:
novembre 2012
novembre 2012
Classification:
livres
livres
Titre:
La fabrique, c'est quoi?
La fabrique, c'est quoi?
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La fabrique est un espace de réflexion, de production et d'actions que Jean-Maxime Dufresne a développé avec la participation des élèves dans le cadre d'une résidence de création à l'École secondaire Mgr-Richard à Verdun.
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La fabrique est un espace de réflexion, de production et d'actions que Jean-Maxime Dufresne a développé avec la participation des élèves dans le cadre d'une résidence de création à l'École secondaire Mgr-Richard à Verdun.
Publication:
juillet 2012
juillet 2012
Titre:
La fabrique, c'est quoi?
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$10.00
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Résumé:
La fabrique est un espace de réflexion, de production et d'actions que Jean-Maxime Dufresne a développé avec la participation des élèves dans le cadre d'une résidence de création à l'École secondaire Mgr-Richard à Verdun.
La fabrique, c'est quoi?
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$10.00
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Résumé:
La fabrique est un espace de réflexion, de production et d'actions que Jean-Maxime Dufresne a développé avec la participation des élèves dans le cadre d'une résidence de création à l'École secondaire Mgr-Richard à Verdun.
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livres
livres
Publication:
juillet 2012
juillet 2012
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$60.00
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Painter, architect, engineer, set designer, father to the Russian Constructivist movement, inventor of the “counter-relief” and author of one of modernism’s greatest icons, the “Monument to the Third International,” Vladimir Tatlin blazed an incredible trail of innovation through the glory years of the Soviet avant-garde. Nevertheless, “Not the old, not the new, but the(...)
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Painter, architect, engineer, set designer, father to the Russian Constructivist movement, inventor of the “counter-relief” and author of one of modernism’s greatest icons, the “Monument to the Third International,” Vladimir Tatlin blazed an incredible trail of innovation through the glory years of the Soviet avant-garde. Nevertheless, “Not the old, not the new, but the(...)
Titre:
Vladimir Tatlin: new art for a New World
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Painter, architect, engineer, set designer, father to the Russian Constructivist movement, inventor of the “counter-relief” and author of one of modernism’s greatest icons, the “Monument to the Third International,” Vladimir Tatlin blazed an incredible trail of innovation through the glory years of the Soviet avant-garde. Nevertheless, “Not the old, not the new, but the necessary” was his motto; having spent his early years as an icon painter, Tatlin eschewed the modernist disavowal of heritage in favor of a research-based attitude to materials and genres. His “counter-relief” sculptures, made of wood, cardboard, metal and wire, were foundational works for Rodchenko and the Constructivists, and their influence can be seen today in the works of creators as various as Zaha Hadid and Richard Tuttle. With 120 color illustrations and a wealth of archival photos, this volume offers the first English-language overview of Tatlin’s diverse achievements in more than 25 years. Published for a landmark exhibition at the Museum Tinguely in Basel, it examines every facet of his output, from his early Cubist-influenced paintings to the counter-reliefs, the “Tower,” prints, set and costume designs and aeronautic researches, and constitutes an essential portrait of the ambitions of Soviet modernism.
Vladimir Tatlin: new art for a New World
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Painter, architect, engineer, set designer, father to the Russian Constructivist movement, inventor of the “counter-relief” and author of one of modernism’s greatest icons, the “Monument to the Third International,” Vladimir Tatlin blazed an incredible trail of innovation through the glory years of the Soviet avant-garde. Nevertheless, “Not the old, not the new, but the necessary” was his motto; having spent his early years as an icon painter, Tatlin eschewed the modernist disavowal of heritage in favor of a research-based attitude to materials and genres. His “counter-relief” sculptures, made of wood, cardboard, metal and wire, were foundational works for Rodchenko and the Constructivists, and their influence can be seen today in the works of creators as various as Zaha Hadid and Richard Tuttle. With 120 color illustrations and a wealth of archival photos, this volume offers the first English-language overview of Tatlin’s diverse achievements in more than 25 years. Published for a landmark exhibition at the Museum Tinguely in Basel, it examines every facet of his output, from his early Cubist-influenced paintings to the counter-reliefs, the “Tower,” prints, set and costume designs and aeronautic researches, and constitutes an essential portrait of the ambitions of Soviet modernism.
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livres
livres
Publication:
août 2012
août 2012
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livres
livres
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Never before published in its entirety in English, The Address Book is a key and controversial work in Sophie Calle’s oeuvre. Having found a lost address book on the street in Paris, Calle copied the pages before returning it anonymously to its owner. She then embarked on a search to come to know this stranger by contacting listed individuals — in essence, following him(...)
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Never before published in its entirety in English, The Address Book is a key and controversial work in Sophie Calle’s oeuvre. Having found a lost address book on the street in Paris, Calle copied the pages before returning it anonymously to its owner. She then embarked on a search to come to know this stranger by contacting listed individuals — in essence, following him(...)
Titre:
Sophie Calle : the address book
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Never before published in its entirety in English, The Address Book is a key and controversial work in Sophie Calle’s oeuvre. Having found a lost address book on the street in Paris, Calle copied the pages before returning it anonymously to its owner. She then embarked on a search to come to know this stranger by contacting listed individuals — in essence, following him through the map of his acquaintances. Her written accounts of these encounters with friends, family and colleagues — juxtaposed with Calle’s photographs — originally appeared as serial in the newspaper Libération over the course of one month in 1983. As the entries accumulate, so do the vivid impressions of the address book’s owner, Pierre D., while also suggesting ever more complicated stories as information is gifted, parsed, and withheld by the people she encounters. A multitude of details, from the seemingly banal to the potentially revelatory, are not only collaged into a fragile and strangely intimate portrait of Pierre D.; they also accumulate into a collection of miniatures of the people around him as they reveal something, often unknowingly, of themselves. Further layering The Address Book is Calle’s first person narrative in which she interrogates herself—her fears, obsessions, and assumptions—over the course of her pursuit. When Pierre D. learned about the work and its appearance in the newspaper, he threatened to sue (and demanded that Libération publish nude photographs of Calle as a reciprocal invasion of privacy). Calle agreed not to republish the work until after his death. In the almost thirty years since its original publication in France, The Address Book has never been published in full again, only described in Double Game, Calle’s monograph which converses with Paul Auster’s novel Leviathan, and again in the novel itself as a work thought up (but not executed) by the fictional character Maria whom Auster based on Calle. Part conceptual art, part character study, part confession, part essay, this book is, above all, a prism through which desire and the elusory, persona and identity, the private and the public, knowledge and the unknown are refracted in luminous and provocative ways.
Sophie Calle : the address book
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Never before published in its entirety in English, The Address Book is a key and controversial work in Sophie Calle’s oeuvre. Having found a lost address book on the street in Paris, Calle copied the pages before returning it anonymously to its owner. She then embarked on a search to come to know this stranger by contacting listed individuals — in essence, following him through the map of his acquaintances. Her written accounts of these encounters with friends, family and colleagues — juxtaposed with Calle’s photographs — originally appeared as serial in the newspaper Libération over the course of one month in 1983. As the entries accumulate, so do the vivid impressions of the address book’s owner, Pierre D., while also suggesting ever more complicated stories as information is gifted, parsed, and withheld by the people she encounters. A multitude of details, from the seemingly banal to the potentially revelatory, are not only collaged into a fragile and strangely intimate portrait of Pierre D.; they also accumulate into a collection of miniatures of the people around him as they reveal something, often unknowingly, of themselves. Further layering The Address Book is Calle’s first person narrative in which she interrogates herself—her fears, obsessions, and assumptions—over the course of her pursuit. When Pierre D. learned about the work and its appearance in the newspaper, he threatened to sue (and demanded that Libération publish nude photographs of Calle as a reciprocal invasion of privacy). Calle agreed not to republish the work until after his death. In the almost thirty years since its original publication in France, The Address Book has never been published in full again, only described in Double Game, Calle’s monograph which converses with Paul Auster’s novel Leviathan, and again in the novel itself as a work thought up (but not executed) by the fictional character Maria whom Auster based on Calle. Part conceptual art, part character study, part confession, part essay, this book is, above all, a prism through which desire and the elusory, persona and identity, the private and the public, knowledge and the unknown are refracted in luminous and provocative ways.
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livres
livres
Publication:
octobre 2012
octobre 2012
Classification:
livres
livres
Titre:
Xavier Noiret-Thomé
Xavier Noiret-Thomé
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$44.95
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Résumé:
Les téléscopages picturaux du peintre français, entre figuration et abstraction, entre iconophilie et iconoclasme, entre références à l'histoire de l'art et emprunts à la culture populaire contemporaine (avec deux essais et un entretien).
$44.95
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Résumé:
Les téléscopages picturaux du peintre français, entre figuration et abstraction, entre iconophilie et iconoclasme, entre références à l'histoire de l'art et emprunts à la culture populaire contemporaine (avec deux essais et un entretien).
Titre:
Xavier Noiret-Thomé
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$44.95
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Les téléscopages picturaux du peintre français, entre figuration et abstraction, entre iconophilie et iconoclasme, entre références à l'histoire de l'art et emprunts à la culture populaire contemporaine (avec deux essais et un entretien).
Xavier Noiret-Thomé
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$44.95
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Résumé:
Les téléscopages picturaux du peintre français, entre figuration et abstraction, entre iconophilie et iconoclasme, entre références à l'histoire de l'art et emprunts à la culture populaire contemporaine (avec deux essais et un entretien).
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livres
livres
Publication:
juillet 2012
juillet 2012
Classification:
livres
livres
Titre:
Emmanuelle Villard
Emmanuelle Villard
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$39.95
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Résumé:
Première monographie dédiée aux peintures, sculptures et collages glamour et saturés de l'artiste française. « Son œuvre s'ancre profondément dans les années 1990, années qui ont vu l'émergence d'une pratique de l'abstraction qui conjuguait l'héritage des années 1960-1970, avec la réalisation du tableau par une attention particulière à un procédé matériel (process),(...)
$39.95
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Résumé:
Première monographie dédiée aux peintures, sculptures et collages glamour et saturés de l'artiste française. « Son œuvre s'ancre profondément dans les années 1990, années qui ont vu l'émergence d'une pratique de l'abstraction qui conjuguait l'héritage des années 1960-1970, avec la réalisation du tableau par une attention particulière à un procédé matériel (process),(...)
Titre:
Emmanuelle Villard
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$39.95
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Première monographie dédiée aux peintures, sculptures et collages glamour et saturés de l'artiste française. « Son œuvre s'ancre profondément dans les années 1990, années qui ont vu l'émergence d'une pratique de l'abstraction qui conjuguait l'héritage des années 1960-1970, avec la réalisation du tableau par une attention particulière à un procédé matériel (process), et l'héritage des années 1980, avec la prise en compte d'une dimension iconique inéluctable puisque tout est désormais perçu comme une image, y compris ce processus matériel (une goutte de peinture est désormais aussi l'image d'une goutte de peinture). Elle s'est depuis développée de manière autonome, non sans rejoindre ou anticiper les questions plus généralement posées par le monde de l'art des années 2000, notamment pour ce qui concerne la part du jeu et une nouvelle manière d'appréhender artistiquement la question féminine dans le domaine artistique. » (Eric de Chassey) Publié à l'occasion des expositions d'Emmanuelle Villard à la galerie Les filles du calvaire, Paris, et à l'abbaye de Maubuisson, en 2011-2012.
Emmanuelle Villard
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Première monographie dédiée aux peintures, sculptures et collages glamour et saturés de l'artiste française. « Son œuvre s'ancre profondément dans les années 1990, années qui ont vu l'émergence d'une pratique de l'abstraction qui conjuguait l'héritage des années 1960-1970, avec la réalisation du tableau par une attention particulière à un procédé matériel (process), et l'héritage des années 1980, avec la prise en compte d'une dimension iconique inéluctable puisque tout est désormais perçu comme une image, y compris ce processus matériel (une goutte de peinture est désormais aussi l'image d'une goutte de peinture). Elle s'est depuis développée de manière autonome, non sans rejoindre ou anticiper les questions plus généralement posées par le monde de l'art des années 2000, notamment pour ce qui concerne la part du jeu et une nouvelle manière d'appréhender artistiquement la question féminine dans le domaine artistique. » (Eric de Chassey) Publié à l'occasion des expositions d'Emmanuelle Villard à la galerie Les filles du calvaire, Paris, et à l'abbaye de Maubuisson, en 2011-2012.
Classification:
livres
livres
Publication:
juillet 2012
juillet 2012
