1894 Résultats
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Dale Chihuly has been credited with elevating blown glass from delicate decorative object to groundbreaking fine art. Through the Looking Glass focuses on the artist's pieces and installations in relation to the spaces that generate, shape and surround them. The text, a mix of critical exegesis and Chihuly's own commentary (much of it solicited specifically for this(...)
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Dale Chihuly has been credited with elevating blown glass from delicate decorative object to groundbreaking fine art. Through the Looking Glass focuses on the artist's pieces and installations in relation to the spaces that generate, shape and surround them. The text, a mix of critical exegesis and Chihuly's own commentary (much of it solicited specifically for this(...)
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Chihuly: Through the looking glass
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Dale Chihuly has been credited with elevating blown glass from delicate decorative object to groundbreaking fine art. Through the Looking Glass focuses on the artist's pieces and installations in relation to the spaces that generate, shape and surround them. The text, a mix of critical exegesis and Chihuly's own commentary (much of it solicited specifically for this book), provides a new entrée into the work, mind, and creative process of one of America's most critically and popularly acclaimed artists.
Chihuly: Through the looking glass
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Dale Chihuly has been credited with elevating blown glass from delicate decorative object to groundbreaking fine art. Through the Looking Glass focuses on the artist's pieces and installations in relation to the spaces that generate, shape and surround them. The text, a mix of critical exegesis and Chihuly's own commentary (much of it solicited specifically for this book), provides a new entrée into the work, mind, and creative process of one of America's most critically and popularly acclaimed artists.
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livres
Publication:
mai 2011
mai 2011
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livres
livres
Titre:
Ed Ruscha: Road tested
Ed Ruscha: Road tested
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Since his first road trip in 1956, driving from Oklahoma City to Los Angeles, Ed Ruscha has continued to muse on America as seen from the road. Consisting of around 75 works spanning the artist's entire career, Ed Ruscha: Road Tested includes many of the artist's books, including Twenty-Six Gasoline Stations, Real Estate Opportunities, Some Los Angeles Apartments,(...)
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Since his first road trip in 1956, driving from Oklahoma City to Los Angeles, Ed Ruscha has continued to muse on America as seen from the road. Consisting of around 75 works spanning the artist's entire career, Ed Ruscha: Road Tested includes many of the artist's books, including Twenty-Six Gasoline Stations, Real Estate Opportunities, Some Los Angeles Apartments,(...)
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Ed Ruscha: Road tested
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Since his first road trip in 1956, driving from Oklahoma City to Los Angeles, Ed Ruscha has continued to muse on America as seen from the road. Consisting of around 75 works spanning the artist's entire career, Ed Ruscha: Road Tested includes many of the artist's books, including Twenty-Six Gasoline Stations, Real Estate Opportunities, Some Los Angeles Apartments, Thirty-Four Parking Lots and the groundbreaking artist's book Every Building on the Sunset Strip. Also examined here is the rarely seen Ruscha film Miracle (1975), which tells the story of a mechanic whose obsessive repair of the carburetor on a 1965 Mustang dooms his date with a beautiful woman.
Ed Ruscha: Road tested
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Since his first road trip in 1956, driving from Oklahoma City to Los Angeles, Ed Ruscha has continued to muse on America as seen from the road. Consisting of around 75 works spanning the artist's entire career, Ed Ruscha: Road Tested includes many of the artist's books, including Twenty-Six Gasoline Stations, Real Estate Opportunities, Some Los Angeles Apartments, Thirty-Four Parking Lots and the groundbreaking artist's book Every Building on the Sunset Strip. Also examined here is the rarely seen Ruscha film Miracle (1975), which tells the story of a mechanic whose obsessive repair of the carburetor on a 1965 Mustang dooms his date with a beautiful woman.
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Publication:
mai 2011
mai 2011
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Gerhard Richter: landscapes
Gerhard Richter: landscapes
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No genre has fascinated Gerhard Richter so consistently throughout his career as that of landscape. Ever since his softly overpainted Views of Corsica series of 1968-69, the artist has revisited and reprised its possibilities, creating black-and-white townscapes based on newspaper picture and amateur photographs, mountain and park scenes with heavy impasto, illusionistic(...)
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No genre has fascinated Gerhard Richter so consistently throughout his career as that of landscape. Ever since his softly overpainted Views of Corsica series of 1968-69, the artist has revisited and reprised its possibilities, creating black-and-white townscapes based on newspaper picture and amateur photographs, mountain and park scenes with heavy impasto, illusionistic(...)
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mai 2011
mai 2011
Titre:
Gerhard Richter: landscapes
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No genre has fascinated Gerhard Richter so consistently throughout his career as that of landscape. Ever since his softly overpainted Views of Corsica series of 1968-69, the artist has revisited and reprised its possibilities, creating black-and-white townscapes based on newspaper picture and amateur photographs, mountain and park scenes with heavy impasto, illusionistic seascapes in subtly gradated tones and paintings worked with abstract overpainting. Frequently these paintings interrupt or quietly sabotage the transcendent horizon of the Romantic landscape, but the image presented is not exactly ironized as in other paintings of Richter's. This new edition brings us up to date with Richter's enduring fondness for this subject.
Gerhard Richter: landscapes
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No genre has fascinated Gerhard Richter so consistently throughout his career as that of landscape. Ever since his softly overpainted Views of Corsica series of 1968-69, the artist has revisited and reprised its possibilities, creating black-and-white townscapes based on newspaper picture and amateur photographs, mountain and park scenes with heavy impasto, illusionistic seascapes in subtly gradated tones and paintings worked with abstract overpainting. Frequently these paintings interrupt or quietly sabotage the transcendent horizon of the Romantic landscape, but the image presented is not exactly ironized as in other paintings of Richter's. This new edition brings us up to date with Richter's enduring fondness for this subject.
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Publication:
mai 2011
mai 2011
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In August 1946, Marcel Duchamp spent five weeks in Switzerland, and stayed at the Hotel Bellevue near Chexbres, on Lake Geneva. It was here that he discovered the Forestay waterfall, which was to become the starting point for (and ultimately the landscape of) his enigmatic and final masterpiece, "Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage" ("Given: 1. The(...)
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In August 1946, Marcel Duchamp spent five weeks in Switzerland, and stayed at the Hotel Bellevue near Chexbres, on Lake Geneva. It was here that he discovered the Forestay waterfall, which was to become the starting point for (and ultimately the landscape of) his enigmatic and final masterpiece, "Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage" ("Given: 1. The(...)
Titre:
Marcel Duchamp and the Forestay Waterfall
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In August 1946, Marcel Duchamp spent five weeks in Switzerland, and stayed at the Hotel Bellevue near Chexbres, on Lake Geneva. It was here that he discovered the Forestay waterfall, which was to become the starting point for (and ultimately the landscape of) his enigmatic and final masterpiece, "Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage" ("Given: 1. The Waterfall, 2. The Illuminating Gas"). Now, for the first time, the full significance of the choice of this waterfall is explored. Among the contributors to this volume are Caroline Bachmann, Stefan Banz, Etienne Barilier, Lars Blunck, Ecke Bonk, Paul B. Franklin, Antje von Graevenitz, Dalia Judovitz, Michael Lüthy, Bernard Marcadé, Herbert Molderings, Adeena Mey, Stanislaus von Moos, Francis M. Naumann, Mark Nelson, Molly Nesbit, Dominique Radrizzani, Roman Signer, Michael R. Taylor, Hans Maria de Wolf and Philip Ursprung.
Marcel Duchamp and the Forestay Waterfall
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In August 1946, Marcel Duchamp spent five weeks in Switzerland, and stayed at the Hotel Bellevue near Chexbres, on Lake Geneva. It was here that he discovered the Forestay waterfall, which was to become the starting point for (and ultimately the landscape of) his enigmatic and final masterpiece, "Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage" ("Given: 1. The Waterfall, 2. The Illuminating Gas"). Now, for the first time, the full significance of the choice of this waterfall is explored. Among the contributors to this volume are Caroline Bachmann, Stefan Banz, Etienne Barilier, Lars Blunck, Ecke Bonk, Paul B. Franklin, Antje von Graevenitz, Dalia Judovitz, Michael Lüthy, Bernard Marcadé, Herbert Molderings, Adeena Mey, Stanislaus von Moos, Francis M. Naumann, Mark Nelson, Molly Nesbit, Dominique Radrizzani, Roman Signer, Michael R. Taylor, Hans Maria de Wolf and Philip Ursprung.
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Publication:
janvier 2011
janvier 2011
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Josef Albers' rigorous investigations into color have had a decisive effect on art in the twentieth century and beyond. His teaching posts at the Bauhaus, Black Mountain College and Yale enabled him to bequeath his theories to several generations of artists and designers, from Max Bill and Mark Rothko to Eva Hesse and Ray Johnson. Published for an exhibition at the Morgan(...)
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Josef Albers' rigorous investigations into color have had a decisive effect on art in the twentieth century and beyond. His teaching posts at the Bauhaus, Black Mountain College and Yale enabled him to bequeath his theories to several generations of artists and designers, from Max Bill and Mark Rothko to Eva Hesse and Ray Johnson. Published for an exhibition at the Morgan(...)
Titre:
Josef Albers in America: Painting on paper
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Josef Albers' rigorous investigations into color have had a decisive effect on art in the twentieth century and beyond. His teaching posts at the Bauhaus, Black Mountain College and Yale enabled him to bequeath his theories to several generations of artists and designers, from Max Bill and Mark Rothko to Eva Hesse and Ray Johnson. Published for an exhibition at the Morgan library, and with an abundance of previously uncollected works, this volume unveils the full bounty of Albers' works on paper: lithographs, linocuts, woodcuts, screenprints and etchings. Since the prints lack the just-visible brushwork of Albers' paintings, allowing color to emerge without surface blemish, some have argued that they constitute a more effective illustration of his color theory.
Josef Albers in America: Painting on paper
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Josef Albers' rigorous investigations into color have had a decisive effect on art in the twentieth century and beyond. His teaching posts at the Bauhaus, Black Mountain College and Yale enabled him to bequeath his theories to several generations of artists and designers, from Max Bill and Mark Rothko to Eva Hesse and Ray Johnson. Published for an exhibition at the Morgan library, and with an abundance of previously uncollected works, this volume unveils the full bounty of Albers' works on paper: lithographs, linocuts, woodcuts, screenprints and etchings. Since the prints lack the just-visible brushwork of Albers' paintings, allowing color to emerge without surface blemish, some have argued that they constitute a more effective illustration of his color theory.
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livres
livres
Publication:
mars 2011
mars 2011
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livres
livres
Titre:
Amy Cutler: Turtle fur
Amy Cutler: Turtle fur
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Polite ladies in Victorian costume dancing on tabletops with chairs worn like hats on their heads; young girls with little foals strapped to their backs; a team of women dutifully mending docile tigers with needle and thread--all of these surreal antics depicted on a bare white ground--this is the jauntily disturbing imagery of Amy Cutler. Cutler's gouaches and drawings(...)
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Polite ladies in Victorian costume dancing on tabletops with chairs worn like hats on their heads; young girls with little foals strapped to their backs; a team of women dutifully mending docile tigers with needle and thread--all of these surreal antics depicted on a bare white ground--this is the jauntily disturbing imagery of Amy Cutler. Cutler's gouaches and drawings(...)
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Amy Cutler: Turtle fur
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Polite ladies in Victorian costume dancing on tabletops with chairs worn like hats on their heads; young girls with little foals strapped to their backs; a team of women dutifully mending docile tigers with needle and thread--all of these surreal antics depicted on a bare white ground--this is the jauntily disturbing imagery of Amy Cutler. Cutler's gouaches and drawings on paper have won fans and collectors worldwide, and their winning amalgam of rich imagination and skillful execution, which together update lineages as various as Persian miniature painting, Surrealism, children's fairytale books and Japanese woodblock printing, offers satisfactions rarely found in contemporary art.This volume, published for the artist's 2011 exhibition at SITE Sante Fe, is Cutler's second monograph , and draws from private and public collections to offer a thorough survey of her work from the late 1990s to the present.
Amy Cutler: Turtle fur
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Polite ladies in Victorian costume dancing on tabletops with chairs worn like hats on their heads; young girls with little foals strapped to their backs; a team of women dutifully mending docile tigers with needle and thread--all of these surreal antics depicted on a bare white ground--this is the jauntily disturbing imagery of Amy Cutler. Cutler's gouaches and drawings on paper have won fans and collectors worldwide, and their winning amalgam of rich imagination and skillful execution, which together update lineages as various as Persian miniature painting, Surrealism, children's fairytale books and Japanese woodblock printing, offers satisfactions rarely found in contemporary art.This volume, published for the artist's 2011 exhibition at SITE Sante Fe, is Cutler's second monograph , and draws from private and public collections to offer a thorough survey of her work from the late 1990s to the present.
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Publication:
mai 2011
mai 2011
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Again and again, Levine's works pose questions of aura, authoriality and, perhaps most importantly, value. Pairs and Posses is the first monograph to focus exclusively on the sculptural duos and trios that the artist has been making since 1992. Here, objects found on eBay and in junk or antique shops might be cast in black glass, crystal or bronze. The transposition of(...)
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Again and again, Levine's works pose questions of aura, authoriality and, perhaps most importantly, value. Pairs and Posses is the first monograph to focus exclusively on the sculptural duos and trios that the artist has been making since 1992. Here, objects found on eBay and in junk or antique shops might be cast in black glass, crystal or bronze. The transposition of(...)
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Sherrie Levine: Paris and posses
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Again and again, Levine's works pose questions of aura, authoriality and, perhaps most importantly, value. Pairs and Posses is the first monograph to focus exclusively on the sculptural duos and trios that the artist has been making since 1992. Here, objects found on eBay and in junk or antique shops might be cast in black glass, crystal or bronze. The transposition of these objects into worthier material automatically renders kitsch objects works of "high" art. Where Levine's early work debunked modernism's aura of irrefutability, the pieces in Pairs and Posses perform an opposite inversion of cultural worth.
Sherrie Levine: Paris and posses
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Again and again, Levine's works pose questions of aura, authoriality and, perhaps most importantly, value. Pairs and Posses is the first monograph to focus exclusively on the sculptural duos and trios that the artist has been making since 1992. Here, objects found on eBay and in junk or antique shops might be cast in black glass, crystal or bronze. The transposition of these objects into worthier material automatically renders kitsch objects works of "high" art. Where Levine's early work debunked modernism's aura of irrefutability, the pieces in Pairs and Posses perform an opposite inversion of cultural worth.
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livres
livres
Publication:
février 2011
février 2011
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What is a photographic image? Can a photograph ever tell the truth? These are some of the questions artist Walid Raad has been investigating for the past 20 years, in a practice that encompasses photography, film and video, sculpture, installation and performance. This publication brings together three major bodies of work, and includes an exchange between the artist and(...)
$42.00
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What is a photographic image? Can a photograph ever tell the truth? These are some of the questions artist Walid Raad has been investigating for the past 20 years, in a practice that encompasses photography, film and video, sculpture, installation and performance. This publication brings together three major bodies of work, and includes an exchange between the artist and(...)
Publication:
mars 2011
mars 2011
Titre:
Walid Raad: Miraculous beginings
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What is a photographic image? Can a photograph ever tell the truth? These are some of the questions artist Walid Raad has been investigating for the past 20 years, in a practice that encompasses photography, film and video, sculpture, installation and performance. This publication brings together three major bodies of work, and includes an exchange between the artist and curator Achim Borchardt-Hume; an essay on conceptions of truth by poet and writer Alan Gilbert; a text on Raad's use of photography and its ties to Beirut by Blake Stimson; and an essay by Hélène Chouteau-Matikian.
Walid Raad: Miraculous beginings
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What is a photographic image? Can a photograph ever tell the truth? These are some of the questions artist Walid Raad has been investigating for the past 20 years, in a practice that encompasses photography, film and video, sculpture, installation and performance. This publication brings together three major bodies of work, and includes an exchange between the artist and curator Achim Borchardt-Hume; an essay on conceptions of truth by poet and writer Alan Gilbert; a text on Raad's use of photography and its ties to Beirut by Blake Stimson; and an essay by Hélène Chouteau-Matikian.
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livres
Publication:
mars 2011
mars 2011
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Starting out as a Fluxus-oriented maker of objects and participatory conceptual compositions, Mary Bauermeister (born 1934) had her first solo show at the Stedelijk Museum in 1962. Bauermeister promptly relocated to New York, and began to make works protesting the Vietnam war and critiquing consumer culture. Her "lens boxes"--wooden or aluminum boxes containing layers of(...)
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Starting out as a Fluxus-oriented maker of objects and participatory conceptual compositions, Mary Bauermeister (born 1934) had her first solo show at the Stedelijk Museum in 1962. Bauermeister promptly relocated to New York, and began to make works protesting the Vietnam war and critiquing consumer culture. Her "lens boxes"--wooden or aluminum boxes containing layers of(...)
Publication:
mars 2011
mars 2011
Titre:
Mary Bauermeister: Worlds in a box
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Starting out as a Fluxus-oriented maker of objects and participatory conceptual compositions, Mary Bauermeister (born 1934) had her first solo show at the Stedelijk Museum in 1962. Bauermeister promptly relocated to New York, and began to make works protesting the Vietnam war and critiquing consumer culture. Her "lens boxes"--wooden or aluminum boxes containing layers of often bubble-like glass with collaged elements--were soon bought up by major American museums, and have become the works for which she is best known today. Here, for the first time, Bauermeister's enigmatic objects are surveyed and contextualized.
Mary Bauermeister: Worlds in a box
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Starting out as a Fluxus-oriented maker of objects and participatory conceptual compositions, Mary Bauermeister (born 1934) had her first solo show at the Stedelijk Museum in 1962. Bauermeister promptly relocated to New York, and began to make works protesting the Vietnam war and critiquing consumer culture. Her "lens boxes"--wooden or aluminum boxes containing layers of often bubble-like glass with collaged elements--were soon bought up by major American museums, and have become the works for which she is best known today. Here, for the first time, Bauermeister's enigmatic objects are surveyed and contextualized.
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livres
Publication:
mars 2011
mars 2011
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Anselm Kiefer's Die Argonauten series was inspired by a casual dinner with friends. At the end of a meal, the artist noted the table's resemblance to a battlefield, and this quickly led him to delve into the Greek myth of Jason and the Argonauts. Despite the unlikely informality of the original prompt, Kiefer's choice to reinterpret the hero Jason's quest for the golden(...)
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Anselm Kiefer's Die Argonauten series was inspired by a casual dinner with friends. At the end of a meal, the artist noted the table's resemblance to a battlefield, and this quickly led him to delve into the Greek myth of Jason and the Argonauts. Despite the unlikely informality of the original prompt, Kiefer's choice to reinterpret the hero Jason's quest for the golden(...)
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Anselm Kiefer: Die Argonauten
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Anselm Kiefer's Die Argonauten series was inspired by a casual dinner with friends. At the end of a meal, the artist noted the table's resemblance to a battlefield, and this quickly led him to delve into the Greek myth of Jason and the Argonauts. Despite the unlikely informality of the original prompt, Kiefer's choice to reinterpret the hero Jason's quest for the golden fleece continues central motifs in his work of violence, chauvinism and systems of power--derived, as ever, from the artist's assiduous study of poetry, mythology and cultural history. The project evolved into an installation composed of various totemic objects and weathered remnants, left over, so it appears, from Jason's quest. Die Argonauten reproduces this ambitious series for the first time, along with a text by the artist.
Anselm Kiefer: Die Argonauten
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Anselm Kiefer's Die Argonauten series was inspired by a casual dinner with friends. At the end of a meal, the artist noted the table's resemblance to a battlefield, and this quickly led him to delve into the Greek myth of Jason and the Argonauts. Despite the unlikely informality of the original prompt, Kiefer's choice to reinterpret the hero Jason's quest for the golden fleece continues central motifs in his work of violence, chauvinism and systems of power--derived, as ever, from the artist's assiduous study of poetry, mythology and cultural history. The project evolved into an installation composed of various totemic objects and weathered remnants, left over, so it appears, from Jason's quest. Die Argonauten reproduces this ambitious series for the first time, along with a text by the artist.
Classification:
livres
livres
Publication:
mars 2011
mars 2011
