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Andy Warhol, Susan Sontag, John Lennon & Yoko Ono — Jonas Mekas was well acquainted with a great many New York artists. Born in Lithuania, he came to Brooklyn via Germany in 1949 and began shooting his first experimental films there. Mekas developed a form of film diary in which he recorded his daily observations. He became the barometer of the New York art scene and a(...)
Jonas Mekas: Scrapbook of the sixties, writings 1954-2010
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Andy Warhol, Susan Sontag, John Lennon & Yoko Ono — Jonas Mekas was well acquainted with a great many New York artists. Born in Lithuania, he came to Brooklyn via Germany in 1949 and began shooting his first experimental films there. Mekas developed a form of film diary in which he recorded his daily observations. He became the barometer of the New York art scene and a pioneer of American avant-garde cinema. Every week, starting in 1958 he published his legendary Movie Journal column in the Village Voice, writing on a range of subjects that were by no means restricted to the world of film. He conducted numerous interviews with artists, some of which will now appear for the first time in his Scrapbook of a Diarist. The book contains published and unpublished texts that reveal Mekas as a thoughtful diarist and an unparalleled chronicler of the day — a phenomenon that has continued now for over fifty years.
Théorie de l’art
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Vernon Lee-a pseudonym of Violet Paget (1856-1935)-is the most important female aesthetician to come out of 19th-century England. Though she was widely known for her supernatural fictions, Lee never gained the recognition she so clearly deserved for her contributions in the fields of aesthetics, philosophy of empathy and art criticism. An early follower of Walter Pater,(...)
The psychology of an art writer
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Vernon Lee-a pseudonym of Violet Paget (1856-1935)-is the most important female aesthetician to come out of 19th-century England. Though she was widely known for her supernatural fictions, Lee never gained the recognition she so clearly deserved for her contributions in the fields of aesthetics, philosophy of empathy and art criticism. An early follower of Walter Pater, she wrote with an extreme attention to her own responses to artworks, and a level of psychological sensitivity rarely seen in any aesthetic writing. Today, she is largely understudied and rarely read, her aesthetic writings long out of print. Now, David Zwirner Books reintroduces her writing through the first-ever English publication of The Psychology of an Art Writer (1903) along with selections from her groundbreaking Gallery Diaries (1901-4), breathtaking accounts of Lee’s own experiences with the great paintings and sculptures she traveled to see.
Théorie de l’art
Art-rite
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Edited by Walter Robinson, Edit DeAk and Joshua Cohn, "Art-Rite" was published in New York City between 1973 and 1978. The periodical has long been celebrated for its underground/overground position and its cutting, humorous, on-the-streets coverage and critique of the art world. Art-Rite moved easily through the expansive community it mapped out, paying homage to an(...)
Art-rite
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Edited by Walter Robinson, Edit DeAk and Joshua Cohn, "Art-Rite" was published in New York City between 1973 and 1978. The periodical has long been celebrated for its underground/overground position and its cutting, humorous, on-the-streets coverage and critique of the art world. Art-Rite moved easily through the expansive community it mapped out, paying homage to an emergent generation of artists, including many who were—or would soon become—the defining voices of the era. Through hundreds of interviews, reviews, statements and projects for the page—as well as artist-focused and thematic issues on video, painting, performance and artists' books—Art-Rite's sharp editorial vision and commitment to holding up the work of artists stands as a meaningful and lasting contribution to the art history of New York and beyond. All issues of Art-Rite are collected in this volume.
Théorie de l’art
Picturing
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The first volume in a new series on critical concerns in the history of American art, 'Picturing' brings together essays by scholars who discuss the creation and consumption of images from the early modern period through the end of the twentieth century. Some of the contributions focus on art critical texts, like Gertrude Stein’s portrait of Cézanne, while others have as(...)
Picturing
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The first volume in a new series on critical concerns in the history of American art, 'Picturing' brings together essays by scholars who discuss the creation and consumption of images from the early modern period through the end of the twentieth century. Some of the contributions focus on art critical texts, like Gertrude Stein’s portrait of Cézanne, while others have as their point of departure particular artworks, from a portrait of Benjamin Franklin to Eadweard Muybridge’s nineteenth-century photographs of the California Coast. Works that addressed images and image making were not confined to the academy; they spilled out into poetry, literature, theater, and philosophy, and the essays’ considerations likewise range freely, from painting to natural history illustrations, travel narratives, and popular fiction. Together, the contributions demonstrate a rich deliberation that thoroughly debunks the notion that American art is merely derivative of a European tradition.
Théorie de l’art
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This first collection reveals the remarkably eloquent writings and conversations of sculptor Barbara Hepworth (1903–1975). The compilation finally makes available previously out-of-print and inaccessible writings, and includes a significant number of unpublished texts. A surprisingly large body of work, it spans almost the whole of Hepworth’s artistic life. Her gift for(...)
Barbara Hepworth: writings and conversations
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This first collection reveals the remarkably eloquent writings and conversations of sculptor Barbara Hepworth (1903–1975). The compilation finally makes available previously out-of-print and inaccessible writings, and includes a significant number of unpublished texts. A surprisingly large body of work, it spans almost the whole of Hepworth’s artistic life. Her gift for language and desire to communicate to a public are evident throughout. Alongside the writings are Hepworth’s lectures and speeches, a selection of interviews and conversations with writers and journalists, and radio and television broadcasts. The collection sheds new light on Hepworth’s life, her artistic practices, the sources of her inspiration, the breadth of her intellectual interests, and her deep engagement with contemporary politics and society, from the United Nations to St. Ives. Images include replications of the sculptor’s manuscripts and archive photographs from Hepworth’s own collection.
Théorie de l’art
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Paula Modersohn-Becker voulait peindre et c’est tout. Elle était amie avec Rilke. Elle n’aimait pas tellement être mariée. Elle aimait le riz au lait, la compote de pommes, marcher dans la lande, Gauguin, Cézanne, les bains de mer, être nue au soleil, lire plutôt que gagner sa vie, et Paris. Elle voulait peut-être un enfant - sur ce point ses journaux et ses lettres sont(...)
Étre ici est une splendeur : vie de Paula M. Becker
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Paula Modersohn-Becker voulait peindre et c’est tout. Elle était amie avec Rilke. Elle n’aimait pas tellement être mariée. Elle aimait le riz au lait, la compote de pommes, marcher dans la lande, Gauguin, Cézanne, les bains de mer, être nue au soleil, lire plutôt que gagner sa vie, et Paris. Elle voulait peut-être un enfant - sur ce point ses journaux et ses lettres sont ambigus. Elle a existé en vrai, de 1876 à 1907.
Théorie de l’art
La culture spectacle
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L'auteur met en lumière l'assujettissement de la création artistique au pouvoir et à l'idéologie politique à travers les siècles. Il appuie son propos sur une analyse de l'opéra et montre comment, de la tragédie lyrique au drame wagnérien, cet art a été particulièrement investi d'une mission de propagande associant finalité politique et stratégie spectaculaire.
La culture spectacle
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L'auteur met en lumière l'assujettissement de la création artistique au pouvoir et à l'idéologie politique à travers les siècles. Il appuie son propos sur une analyse de l'opéra et montre comment, de la tragédie lyrique au drame wagnérien, cet art a été particulièrement investi d'une mission de propagande associant finalité politique et stratégie spectaculaire.
Théorie de l’art
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Working from her own lived experience in a New Mexico village and inspired by gravel pits in the landscape, author, curator, and activist Lucy R. Lippard weaves a number of fascinating themes—among them fracking, mining, land art, adobe buildings, ruins, Indian land rights, the Old West, tourism, photography, and water—into a tapestry that illuminates the relationship(...)
Undermining: a wild ride through land use, politics and art in the changing west
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Working from her own lived experience in a New Mexico village and inspired by gravel pits in the landscape, author, curator, and activist Lucy R. Lippard weaves a number of fascinating themes—among them fracking, mining, land art, adobe buildings, ruins, Indian land rights, the Old West, tourism, photography, and water—into a tapestry that illuminates the relationship between culture and the land. From threatened Native American sacred sites to the history of uranium mining, she offers a skeptical examination of the 'subterranean economy.' ''Undermining'' is a must-read for anyone eager to explore a new way of understanding the relationship between art and place in a rapidly shifting society.
Théorie de l’art
Kandinsky : sa vie
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Première biographie de l'inventeur de l'abstraction, ce livre sensible a été établi à partir d'un ensemble de sources considérable. Il évoque à la fois la vie traditionnelle russe et celle de la Russie des avant-gardes. De Munich à Moscou, du Bauhaus à Paris, livré aux turbulences des guerres, de la révolution russe et de la montée du nazisme, Kandinsky (1866-1944)(...)
Kandinsky : sa vie
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Première biographie de l'inventeur de l'abstraction, ce livre sensible a été établi à partir d'un ensemble de sources considérable. Il évoque à la fois la vie traditionnelle russe et celle de la Russie des avant-gardes. De Munich à Moscou, du Bauhaus à Paris, livré aux turbulences des guerres, de la révolution russe et de la montée du nazisme, Kandinsky (1866-1944) apparaît ici dans toutes ses dimensions de peintre, de poète et de scénographe, animé jusqu'au bout par la ferme croyance qu'un jour adviendra l'ère du "Grand Spirituel".
Théorie de l’art
Hitler et les neuf muses
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Alfred Baar, fondateur du MOMA à New-York dans les années 20, se retrouve en convalescence à Stuttgart dès 33. Il connaît très bien la culture allemande et a déjà exposé de nombreux peintres allemands au MOMA. Il assiste donc à l'arrivée des Nazis au pouvoir et raconte à chaud ce qui se passe dans les milieux artistiques, répression, autodafé et redéfinitions des lignes(...)
Hitler et les neuf muses
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Alfred Baar, fondateur du MOMA à New-York dans les années 20, se retrouve en convalescence à Stuttgart dès 33. Il connaît très bien la culture allemande et a déjà exposé de nombreux peintres allemands au MOMA. Il assiste donc à l'arrivée des Nazis au pouvoir et raconte à chaud ce qui se passe dans les milieux artistiques, répression, autodafé et redéfinitions des lignes dures de l'esthétique nazie. Il étudie dans les 3 textes qui composent ce livre les milieux du cinéma, de la peinture et de l'architecture. Rentré aux U.S.A., il propose ces textes à un éditeur, mais personne n'en voudra. Si ce livre paraît bien après, il ne le sera jamais sous le titre choisi par Baar. En plus d'être un document rare sur la prise de pouvoir nazie et sa mainmise sur l'art, le style de Baar est distant, froid, presque glacial, ce qui ajoute à l'objectivité de son analyse.
Théorie de l’art