1928 Résultats
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Glasgow’s rapid industrial development in the nineteenth and early twentieth centuries left a legacy of unemployment and cramped housing. Nowhere was this more apparent than in the Gorbals, just south of the river Clyde. Over the past 150 years, numerous efforts have been made to clean up the area; the Gorbals has been razed to the ground and rebuilt three times during(...)
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Glasgow’s rapid industrial development in the nineteenth and early twentieth centuries left a legacy of unemployment and cramped housing. Nowhere was this more apparent than in the Gorbals, just south of the river Clyde. Over the past 150 years, numerous efforts have been made to clean up the area; the Gorbals has been razed to the ground and rebuilt three times during(...)
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Arcade: artists and place-making
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Glasgow’s rapid industrial development in the nineteenth and early twentieth centuries left a legacy of unemployment and cramped housing. Nowhere was this more apparent than in the Gorbals, just south of the river Clyde. Over the past 150 years, numerous efforts have been made to clean up the area; the Gorbals has been razed to the ground and rebuilt three times during this period, with the first two of these new ‘designed communities’ failing spectacularly. The most recent initiative has involved the demolition of the infamous, monolithic 1960s tower blocks, designed by Basil Spence, and their replacement with modern, low-rise flats. Central to the success of this latest regeneration has been a unique artwork project that has created cultural continuity in an area undergoing massive change. More than 20 international artists have been commissioned by The Artworks Programme to work with architects, developers and the community in creating permanent and temporary artworks in the UK’s largest ‘Percent for Art’ scheme. Now at the tail end of this redevelopment, Arcade surveys and assesses these projects, and also raises wider questions about the role and impact artists have in the regeneration of urban spaces.
Arcade: artists and place-making
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Glasgow’s rapid industrial development in the nineteenth and early twentieth centuries left a legacy of unemployment and cramped housing. Nowhere was this more apparent than in the Gorbals, just south of the river Clyde. Over the past 150 years, numerous efforts have been made to clean up the area; the Gorbals has been razed to the ground and rebuilt three times during this period, with the first two of these new ‘designed communities’ failing spectacularly. The most recent initiative has involved the demolition of the infamous, monolithic 1960s tower blocks, designed by Basil Spence, and their replacement with modern, low-rise flats. Central to the success of this latest regeneration has been a unique artwork project that has created cultural continuity in an area undergoing massive change. More than 20 international artists have been commissioned by The Artworks Programme to work with architects, developers and the community in creating permanent and temporary artworks in the UK’s largest ‘Percent for Art’ scheme. Now at the tail end of this redevelopment, Arcade surveys and assesses these projects, and also raises wider questions about the role and impact artists have in the regeneration of urban spaces.
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Publication:
octobre 2006, London
octobre 2006, London
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During the same period that Surrealism originated and flourished in Europe between the two world wars, extraordinary advances were being made in the field of physics. This landmark book offers the first full history, analysis and interpretation of Surrealism's engagement with the Theory of Relativity and quantum mechanics.
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During the same period that Surrealism originated and flourished in Europe between the two world wars, extraordinary advances were being made in the field of physics. This landmark book offers the first full history, analysis and interpretation of Surrealism's engagement with the Theory of Relativity and quantum mechanics.
Publication:
mars 2008, New Haven / London
mars 2008, New Haven / London
Titre:
Surrealism, art and modern science
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During the same period that Surrealism originated and flourished in Europe between the two world wars, extraordinary advances were being made in the field of physics. This landmark book offers the first full history, analysis and interpretation of Surrealism's engagement with the Theory of Relativity and quantum mechanics.
Surrealism, art and modern science
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During the same period that Surrealism originated and flourished in Europe between the two world wars, extraordinary advances were being made in the field of physics. This landmark book offers the first full history, analysis and interpretation of Surrealism's engagement with the Theory of Relativity and quantum mechanics.
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Publication:
mars 2008, New Haven / London
mars 2008, New Haven / London
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Francis Alÿs Fabiola
Francis Alÿs Fabiola
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Mexico City–based artist Francis Alÿs (b. 1959) has assembled a group of paintings depicting Saint Fabiola, a 4th-century saint who gave up all earthly possessions and devoted herself to the practice of Christian asceticism. All of the pictures in the collection are based on an original work—now lost—by the 19th-century French artist Jean-Jacques Henner. Alÿs's collection(...)
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Mexico City–based artist Francis Alÿs (b. 1959) has assembled a group of paintings depicting Saint Fabiola, a 4th-century saint who gave up all earthly possessions and devoted herself to the practice of Christian asceticism. All of the pictures in the collection are based on an original work—now lost—by the 19th-century French artist Jean-Jacques Henner. Alÿs's collection(...)
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mars 2008, New York, New Haven, London
mars 2008, New York, New Haven, London
Titre:
Francis Alÿs Fabiola
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Mexico City–based artist Francis Alÿs (b. 1959) has assembled a group of paintings depicting Saint Fabiola, a 4th-century saint who gave up all earthly possessions and devoted herself to the practice of Christian asceticism. All of the pictures in the collection are based on an original work—now lost—by the 19th-century French artist Jean-Jacques Henner. Alÿs's collection of Fabiola portraits, numbering in the hundreds and painted by amateurs and professionals alike, is the focus of this intriguing book. Not only does it examine the artist’s exploration of collecting practices, but the publication also offers an unusual window into aesthetic, sociological, and anthropological values of the past century. In addition to cataloguing each of the Fabiola works, the book includes Saint Jerome’s eulogy for Fabiola (the primary source for Fabiola’s biography), followed by an interpretive text on evolving hagiographies and saints’ vitae, an analysis of the role of iconographic imagery in the practice of Catholicism, and art historical essays that focus on Alÿs’s practice.
Francis Alÿs Fabiola
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Mexico City–based artist Francis Alÿs (b. 1959) has assembled a group of paintings depicting Saint Fabiola, a 4th-century saint who gave up all earthly possessions and devoted herself to the practice of Christian asceticism. All of the pictures in the collection are based on an original work—now lost—by the 19th-century French artist Jean-Jacques Henner. Alÿs's collection of Fabiola portraits, numbering in the hundreds and painted by amateurs and professionals alike, is the focus of this intriguing book. Not only does it examine the artist’s exploration of collecting practices, but the publication also offers an unusual window into aesthetic, sociological, and anthropological values of the past century. In addition to cataloguing each of the Fabiola works, the book includes Saint Jerome’s eulogy for Fabiola (the primary source for Fabiola’s biography), followed by an interpretive text on evolving hagiographies and saints’ vitae, an analysis of the role of iconographic imagery in the practice of Catholicism, and art historical essays that focus on Alÿs’s practice.
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livres
Publication:
mars 2008, New York, New Haven, London
mars 2008, New York, New Haven, London
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livres
Titre:
The lightning field
The lightning field
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Walter De Maria's Lightning Field (1977) is one of the 20th century's most significant works of art. Situated in a remote area of desert in southwestern New Mexico, it comprises 400 polished, stainless-steel poles (spaced 220 feet apart) installed in a grid measuring one mile by one kilometer.
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Walter De Maria's Lightning Field (1977) is one of the 20th century's most significant works of art. Situated in a remote area of desert in southwestern New Mexico, it comprises 400 polished, stainless-steel poles (spaced 220 feet apart) installed in a grid measuring one mile by one kilometer.
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juillet 2008, New Haven, London
juillet 2008, New Haven, London
Titre:
The lightning field
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Walter De Maria's Lightning Field (1977) is one of the 20th century's most significant works of art. Situated in a remote area of desert in southwestern New Mexico, it comprises 400 polished, stainless-steel poles (spaced 220 feet apart) installed in a grid measuring one mile by one kilometer.
The lightning field
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Walter De Maria's Lightning Field (1977) is one of the 20th century's most significant works of art. Situated in a remote area of desert in southwestern New Mexico, it comprises 400 polished, stainless-steel poles (spaced 220 feet apart) installed in a grid measuring one mile by one kilometer.
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Publication:
juillet 2008, New Haven, London
juillet 2008, New Haven, London
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Titre:
La Jetée : ciné-roman
La Jetée : ciné-roman
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"La Jetée", the legendary science fiction film about time and memory after a nuclear apocalypse, was released in 1964 and is considered by many critics to be among the greatest experimental films ever made. (It provided the basis for Terry Gilliam's 1995 film 12 Monkeys) Chris Marker, who is the undisputed master of the film essay, composed this postapocalyptic story(...)
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"La Jetée", the legendary science fiction film about time and memory after a nuclear apocalypse, was released in 1964 and is considered by many critics to be among the greatest experimental films ever made. (It provided the basis for Terry Gilliam's 1995 film 12 Monkeys) Chris Marker, who is the undisputed master of the film essay, composed this postapocalyptic story(...)
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La Jetée : ciné-roman
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"La Jetée", the legendary science fiction film about time and memory after a nuclear apocalypse, was released in 1964 and is considered by many critics to be among the greatest experimental films ever made. (It provided the basis for Terry Gilliam's 1995 film 12 Monkeys) Chris Marker, who is the undisputed master of the film essay, composed this postapocalyptic story almost entirely of black-and-white still photographs. The story concerns an experiment in recovering and changing the past through the action of memory, yet the film can be read as a poem dominated by a single moving image, which in its context becomes one of the supreme moments in the history of film. This Zone Books edition reproduces the film's original images along with the script in both English and French.
La Jetée : ciné-roman
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"La Jetée", the legendary science fiction film about time and memory after a nuclear apocalypse, was released in 1964 and is considered by many critics to be among the greatest experimental films ever made. (It provided the basis for Terry Gilliam's 1995 film 12 Monkeys) Chris Marker, who is the undisputed master of the film essay, composed this postapocalyptic story almost entirely of black-and-white still photographs. The story concerns an experiment in recovering and changing the past through the action of memory, yet the film can be read as a poem dominated by a single moving image, which in its context becomes one of the supreme moments in the history of film. This Zone Books edition reproduces the film's original images along with the script in both English and French.
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Publication:
juin 2008, Brooklyn
juin 2008, Brooklyn
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Ed Ruscha is one of the first American artists to introduce a critique of popular culture and an examination of language into the visual arts. Although he first made his reputation as a painter, Ruscha is also celebrated for his drawings (made both with conventional materials and with food, blood, gunpowder, and shellac), prints, films, photographs, and books. He is(...)
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Ed Ruscha is one of the first American artists to introduce a critique of popular culture and an examination of language into the visual arts. Although he first made his reputation as a painter, Ruscha is also celebrated for his drawings (made both with conventional materials and with food, blood, gunpowder, and shellac), prints, films, photographs, and books. He is(...)
Publication:
avril 2002, Cambridge, Mass. / London
avril 2002, Cambridge, Mass. / London
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Leave any information at the signal : writings, interviews, bits, pages
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Ed Ruscha is one of the first American artists to introduce a critique of popular culture and an examination of language into the visual arts. Although he first made his reputation as a painter, Ruscha is also celebrated for his drawings (made both with conventional materials and with food, blood, gunpowder, and shellac), prints, films, photographs, and books. He is often associated with Los Angeles as a Pop and Conceptualist hub, but tends to regard such labels with a satirical, if not jaundiced, eye. Indeed, his work is characterized by the tensions between high and low, solemn and irreverent, and serious and nonsensical, and it draws on popular culture as well as Western art traditions. "Leave any information at the signal" not only documents the work of this influential artist as he rose to prominence but also contains his writings and commentaries on other artistic developments of the period. The book is divided into three parts, each of which is arranged chronologically. Part one contains statements, letters, and other writings. Part two consists of more than fifty interviews, some of which have never before been published or translated into English. Part three contains sketchbook pages, word groupings, and other notes that chart how Ruscha develops ideas and solves artistic problems. They are published here for the first time. The book also contains more than eighty illustrations, selected and arranged by the artist.
Leave any information at the signal : writings, interviews, bits, pages
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Ed Ruscha is one of the first American artists to introduce a critique of popular culture and an examination of language into the visual arts. Although he first made his reputation as a painter, Ruscha is also celebrated for his drawings (made both with conventional materials and with food, blood, gunpowder, and shellac), prints, films, photographs, and books. He is often associated with Los Angeles as a Pop and Conceptualist hub, but tends to regard such labels with a satirical, if not jaundiced, eye. Indeed, his work is characterized by the tensions between high and low, solemn and irreverent, and serious and nonsensical, and it draws on popular culture as well as Western art traditions. "Leave any information at the signal" not only documents the work of this influential artist as he rose to prominence but also contains his writings and commentaries on other artistic developments of the period. The book is divided into three parts, each of which is arranged chronologically. Part one contains statements, letters, and other writings. Part two consists of more than fifty interviews, some of which have never before been published or translated into English. Part three contains sketchbook pages, word groupings, and other notes that chart how Ruscha develops ideas and solves artistic problems. They are published here for the first time. The book also contains more than eighty illustrations, selected and arranged by the artist.
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Publication:
avril 2002, Cambridge, Mass. / London
avril 2002, Cambridge, Mass. / London
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$120.00
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Project organized by Fabian Carlsson Gallery, London.
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Project organized by Fabian Carlsson Gallery, London.
Publication:
janvier 1900, Edinburg / London
janvier 1900, Edinburg / London
Titre:
Andy Goldsworthy : touching north
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Project organized by Fabian Carlsson Gallery, London.
Andy Goldsworthy : touching north
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Project organized by Fabian Carlsson Gallery, London.
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Publication:
janvier 1900, Edinburg / London
janvier 1900, Edinburg / London
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Titre:
Dan Graham
Dan Graham
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$66.00
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This catalogue of the retrospective exhibition of the work of Dan Graham, includes his architecture, architectural installations, models and pavilions.
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This catalogue of the retrospective exhibition of the work of Dan Graham, includes his architecture, architectural installations, models and pavilions.
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Dan Graham
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This catalogue of the retrospective exhibition of the work of Dan Graham, includes his architecture, architectural installations, models and pavilions.
Dan Graham
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This catalogue of the retrospective exhibition of the work of Dan Graham, includes his architecture, architectural installations, models and pavilions.
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livres
Publication:
juillet 1998, Barcelona
juillet 1998, Barcelona
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livres
livres
Titre:
Gordon Matta-Clark
Gordon Matta-Clark
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$113.95
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A thorough retrospective and monograph from an exhibition at centro IVAM, 1993..Text in Spanish with English translation. Show also travelled to Marseille and London.
$113.95
(disponible en magasin)
Résumé:
A thorough retrospective and monograph from an exhibition at centro IVAM, 1993..Text in Spanish with English translation. Show also travelled to Marseille and London.
Publication:
janvier 1993
janvier 1993
Titre:
Gordon Matta-Clark
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A thorough retrospective and monograph from an exhibition at centro IVAM, 1993..Text in Spanish with English translation. Show also travelled to Marseille and London.
Gordon Matta-Clark
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$113.95
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A thorough retrospective and monograph from an exhibition at centro IVAM, 1993..Text in Spanish with English translation. Show also travelled to Marseille and London.
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Publication:
janvier 1993
janvier 1993
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$49.50
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Unlike traditional art works, installation art has no autonomous existence. It is usually created at the exhibition site, and its essence is spectator participation. Installation art originated as a radical art form presented only at alternative art spaces;(...)
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Unlike traditional art works, installation art has no autonomous existence. It is usually created at the exhibition site, and its essence is spectator participation. Installation art originated as a radical art form presented only at alternative art spaces;(...)
Publication:
avril 2000, Cambridge, Mass.
avril 2000, Cambridge, Mass.
Titre:
From margin to center : the spaces of installation art
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Unlike traditional art works, installation art has no autonomous existence. It is usually created at the exhibition site, and its essence is spectator participation. Installation art originated as a radical art form presented only at alternative art spaces; its assimilation into mainstream museums and galleries is a relatively recent phenomenon. The move of installation art from the margin to the center of the art world has had far-reaching effects on the works created and on museum practice. This is the first book-length study of installation art. Julie Reiss concentrates on some of the central figures in its emergence, including artists, critics, and curators. Her primary focus is installations created in New York City--which has a particularly rich history of installation art--beginning in the late 1950s. She takes us from Allan Kaprow's 1950s' environments to examples from minimalism, performance art, and process art to establish installation art¹s autonomy as its relationship to other movements.
From margin to center : the spaces of installation art
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Unlike traditional art works, installation art has no autonomous existence. It is usually created at the exhibition site, and its essence is spectator participation. Installation art originated as a radical art form presented only at alternative art spaces; its assimilation into mainstream museums and galleries is a relatively recent phenomenon. The move of installation art from the margin to the center of the art world has had far-reaching effects on the works created and on museum practice. This is the first book-length study of installation art. Julie Reiss concentrates on some of the central figures in its emergence, including artists, critics, and curators. Her primary focus is installations created in New York City--which has a particularly rich history of installation art--beginning in the late 1950s. She takes us from Allan Kaprow's 1950s' environments to examples from minimalism, performance art, and process art to establish installation art¹s autonomy as its relationship to other movements.
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livres
livres
Publication:
avril 2000, Cambridge, Mass.
avril 2000, Cambridge, Mass.
