1133 Résultats
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Mary Heilmann is one of the most important abstract painters of her generation. Her distinctively fluid, humorous, and bright canvases combine the modes of Abstract Expressionism with a vibrant Pop sensibility. Heilmannn's 1979 painting in hot pink and black, evocatively titled Save the Last Dance for Me, marked a shift in the artist's perspective. Heilmann describes it:(...)
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Mary Heilmann is one of the most important abstract painters of her generation. Her distinctively fluid, humorous, and bright canvases combine the modes of Abstract Expressionism with a vibrant Pop sensibility. Heilmannn's 1979 painting in hot pink and black, evocatively titled Save the Last Dance for Me, marked a shift in the artist's perspective. Heilmann describes it:(...)
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Mary Heilmann: save the last dance for me
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Mary Heilmann is one of the most important abstract painters of her generation. Her distinctively fluid, humorous, and bright canvases combine the modes of Abstract Expressionism with a vibrant Pop sensibility. Heilmannn's 1979 painting in hot pink and black, evocatively titled Save the Last Dance for Me, marked a shift in the artist's perspective. Heilmann describes it: "Now the work came from a different place. Instead of working out of modernist non-image formalism, I began to see that the choices in the work depended more on content for their meaning." This beautifully illustrated study of Save the Last Dance for Me explores the development of Heilmann's work, and the way it continues to engage us—psychologically, sensually, and socially. Terry R. Myers is a lecturer, critic, and independent curator based in Los Angeles, Visiting Lecturer at the School of the Art Institute of Chicago, and Adjunct Associate Professor at Art Center College of Design in Pasadena.
Mary Heilmann: save the last dance for me
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Mary Heilmann is one of the most important abstract painters of her generation. Her distinctively fluid, humorous, and bright canvases combine the modes of Abstract Expressionism with a vibrant Pop sensibility. Heilmannn's 1979 painting in hot pink and black, evocatively titled Save the Last Dance for Me, marked a shift in the artist's perspective. Heilmann describes it: "Now the work came from a different place. Instead of working out of modernist non-image formalism, I began to see that the choices in the work depended more on content for their meaning." This beautifully illustrated study of Save the Last Dance for Me explores the development of Heilmann's work, and the way it continues to engage us—psychologically, sensually, and socially. Terry R. Myers is a lecturer, critic, and independent curator based in Los Angeles, Visiting Lecturer at the School of the Art Institute of Chicago, and Adjunct Associate Professor at Art Center College of Design in Pasadena.
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livres
livres
Publication:
janvier 1900, London
janvier 1900, London
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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Joan Jonas approaches video as a drawing tool, a mirror, and a framing device. Since 1968, she has used video and performance to explore ways of seeing, the rhythms of ritual, and the archetypal authority of objects and gestures. With her influential 1976 work, I Want to Live in the Country (And Other Romances) Jonas nimbly structures an elliptical narrative that(...)
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Joan Jonas approaches video as a drawing tool, a mirror, and a framing device. Since 1968, she has used video and performance to explore ways of seeing, the rhythms of ritual, and the archetypal authority of objects and gestures. With her influential 1976 work, I Want to Live in the Country (And Other Romances) Jonas nimbly structures an elliptical narrative that(...)
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Joan Jonas: I want to live in the country (and other romances)
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Joan Jonas approaches video as a drawing tool, a mirror, and a framing device. Since 1968, she has used video and performance to explore ways of seeing, the rhythms of ritual, and the archetypal authority of objects and gestures. With her influential 1976 work, I Want to Live in the Country (And Other Romances) Jonas nimbly structures an elliptical narrative that unmistakably establishes her voice and visual lexicon. I Want to Live in the Country features two locations—the untamed landscape of Nova Scotia and a television studio in New York City—as it examines themes of loss, displacement, time, and memory through still life compositions and Super-8 footage. Jonas creates a meditation of frames within frames, monitors within monitors, overlaid with poetic musings—a murmured story of the unconscious. Joan Jonas, Professor of Visual Arts at MIT, is known for her pioneering video and performance art.
Joan Jonas: I want to live in the country (and other romances)
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Joan Jonas approaches video as a drawing tool, a mirror, and a framing device. Since 1968, she has used video and performance to explore ways of seeing, the rhythms of ritual, and the archetypal authority of objects and gestures. With her influential 1976 work, I Want to Live in the Country (And Other Romances) Jonas nimbly structures an elliptical narrative that unmistakably establishes her voice and visual lexicon. I Want to Live in the Country features two locations—the untamed landscape of Nova Scotia and a television studio in New York City—as it examines themes of loss, displacement, time, and memory through still life compositions and Super-8 footage. Jonas creates a meditation of frames within frames, monitors within monitors, overlaid with poetic musings—a murmured story of the unconscious. Joan Jonas, Professor of Visual Arts at MIT, is known for her pioneering video and performance art.
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livres
livres
Publication:
janvier 1900, London
janvier 1900, London
Sujet:
Théorie de l’art
Théorie de l’art
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In Richard Prince's 1977 work Untitled (couple), difference mixes uncannily with sameness. We can't quite tell whether the shiny couple we see is human or android; their clothing seems curiously out of date. Why do they fascinate us? What is it about their typicality that produces an impression of strangeness? Michael Newman explores Prince's work and his revival of the(...)
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In Richard Prince's 1977 work Untitled (couple), difference mixes uncannily with sameness. We can't quite tell whether the shiny couple we see is human or android; their clothing seems curiously out of date. Why do they fascinate us? What is it about their typicality that produces an impression of strangeness? Michael Newman explores Prince's work and his revival of the(...)
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Richard Prince: untitled (couple)
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In Richard Prince's 1977 work Untitled (couple), difference mixes uncannily with sameness. We can't quite tell whether the shiny couple we see is human or android; their clothing seems curiously out of date. Why do they fascinate us? What is it about their typicality that produces an impression of strangeness? Michael Newman explores Prince's work and his revival of the image through photography—rephotographed reproduced photographs—after the impasses of conceptualism. Newman examines the relation of Prince's work to images appearing in illustrated magazines, advertising, and television during the artist's formative years and argues that the vintage TV series The Twilight Zone is crucial to understanding Prince's use of images in his work. Michael Newman is Associate Professor of Art History, Theory, and Criticism in the School of the Art Institute of Chicago. He has published in ArtForum, Art in America, Parachute, and other journals and is coeditor of the book Rewriting Conceptual Art.
Richard Prince: untitled (couple)
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In Richard Prince's 1977 work Untitled (couple), difference mixes uncannily with sameness. We can't quite tell whether the shiny couple we see is human or android; their clothing seems curiously out of date. Why do they fascinate us? What is it about their typicality that produces an impression of strangeness? Michael Newman explores Prince's work and his revival of the image through photography—rephotographed reproduced photographs—after the impasses of conceptualism. Newman examines the relation of Prince's work to images appearing in illustrated magazines, advertising, and television during the artist's formative years and argues that the vintage TV series The Twilight Zone is crucial to understanding Prince's use of images in his work. Michael Newman is Associate Professor of Art History, Theory, and Criticism in the School of the Art Institute of Chicago. He has published in ArtForum, Art in America, Parachute, and other journals and is coeditor of the book Rewriting Conceptual Art.
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livres
livres
Publication:
janvier 1900, London
janvier 1900, London
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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Hollis Frampton (nostalgia)
Hollis Frampton (nostalgia)
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Frampton's (nostalgia) is a formal masterpiece, long overlooked and understudied. It emerges from a body of film work that is rarely screened, the prints damaged and difficult to locate. Frampton's work is valued in artist filmmaking and film theory circles, but it has never taken its rightful place at the heart of modern art theory. This study will introduce a new(...)
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Frampton's (nostalgia) is a formal masterpiece, long overlooked and understudied. It emerges from a body of film work that is rarely screened, the prints damaged and difficult to locate. Frampton's work is valued in artist filmmaking and film theory circles, but it has never taken its rightful place at the heart of modern art theory. This study will introduce a new(...)
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Hollis Frampton (nostalgia)
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Frampton's (nostalgia) is a formal masterpiece, long overlooked and understudied. It emerges from a body of film work that is rarely screened, the prints damaged and difficult to locate. Frampton's work is valued in artist filmmaking and film theory circles, but it has never taken its rightful place at the heart of modern art theory. This study will introduce a new generation to a critical moment in art history—when (nostalgia) confirmed both the essence and fragility of cinema itself. Rachel Moore is Lecturer in International Media for the Media and Communications Department at Goldsmiths, University of London.
Hollis Frampton (nostalgia)
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Frampton's (nostalgia) is a formal masterpiece, long overlooked and understudied. It emerges from a body of film work that is rarely screened, the prints damaged and difficult to locate. Frampton's work is valued in artist filmmaking and film theory circles, but it has never taken its rightful place at the heart of modern art theory. This study will introduce a new generation to a critical moment in art history—when (nostalgia) confirmed both the essence and fragility of cinema itself. Rachel Moore is Lecturer in International Media for the Media and Communications Department at Goldsmiths, University of London.
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livres
livres
Publication:
janvier 1900, London
janvier 1900, London
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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In 1975 Bas Jan Ader disappeared at sea while trying to sail from the East Coast of the United States to Europe as part of a project titled In Search of the Miraculous. The circumstances of his disappearance have led many interpreters to identify Ader (as a person) with the role of the tragic romantic hero. The cult status of the artist as a hero whose work is(...)
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In 1975 Bas Jan Ader disappeared at sea while trying to sail from the East Coast of the United States to Europe as part of a project titled In Search of the Miraculous. The circumstances of his disappearance have led many interpreters to identify Ader (as a person) with the role of the tragic romantic hero. The cult status of the artist as a hero whose work is(...)
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Bas Jan Ader: in the search of the miraculous
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In 1975 Bas Jan Ader disappeared at sea while trying to sail from the East Coast of the United States to Europe as part of a project titled In Search of the Miraculous. The circumstances of his disappearance have led many interpreters to identify Ader (as a person) with the role of the tragic romantic hero. The cult status of the artist as a hero whose work is authenticated through his death, however, has obscured the fact that Ader's art was a critical investigation of precisely those romantic motives his persona has now come to be identified with. This book unpicks these ties in Ader's work in order to highlight the specific and unique way in which Ader explores the existential and emotional with an artistic approach that is as conceptual and analytic as it is poetic and personal. Jan Verwoert lives in Hamburg and works as a freelance writer. He is a member of the advisory board of the Kunstverein Munich and Guest Professor of Contemporary Art and Theory at the Academy of Umeå.
Bas Jan Ader: in the search of the miraculous
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In 1975 Bas Jan Ader disappeared at sea while trying to sail from the East Coast of the United States to Europe as part of a project titled In Search of the Miraculous. The circumstances of his disappearance have led many interpreters to identify Ader (as a person) with the role of the tragic romantic hero. The cult status of the artist as a hero whose work is authenticated through his death, however, has obscured the fact that Ader's art was a critical investigation of precisely those romantic motives his persona has now come to be identified with. This book unpicks these ties in Ader's work in order to highlight the specific and unique way in which Ader explores the existential and emotional with an artistic approach that is as conceptual and analytic as it is poetic and personal. Jan Verwoert lives in Hamburg and works as a freelance writer. He is a member of the advisory board of the Kunstverein Munich and Guest Professor of Contemporary Art and Theory at the Academy of Umeå.
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livres
livres
Publication:
janvier 1900, London
janvier 1900, London
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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$18.95
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The fictitious hero of this 1984 installation is a lonely dreamer who develops an impossible project: to fly alone in cosmic space. But this dream is also an individual appropriation of a collective Soviet project and the official Soviet propaganda connected to it. Having built a makeshift slingshot, the hero apparently flies through the ceiling of his shabby room and(...)
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The fictitious hero of this 1984 installation is a lonely dreamer who develops an impossible project: to fly alone in cosmic space. But this dream is also an individual appropriation of a collective Soviet project and the official Soviet propaganda connected to it. Having built a makeshift slingshot, the hero apparently flies through the ceiling of his shabby room and(...)
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Ilka Kabakov: the man who flew into space from his apartment
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The fictitious hero of this 1984 installation is a lonely dreamer who develops an impossible project: to fly alone in cosmic space. But this dream is also an individual appropriation of a collective Soviet project and the official Soviet propaganda connected to it. Having built a makeshift slingshot, the hero apparently flies through the ceiling of his shabby room and vanishes into space. The miserable room and the primitive slingshot suggest the reality behind the Soviet utopia, in which where cosmic vision and the political project of the Communist revolution are seen as indissoluble. The Man who Flew into Space from His Apartment also raises questions of authorship in modernity. All of Kabakov's work is made in the name of other, fictitious artists. This reveals a hidden rule of the modern art system: only an artist who doesn't want to be an artist or who doesn't even know that he is an artist is a real artist—just as only an artwork that does not look like an artwork is a real artwork. The installation is a narrative, the documentation of a fictitious event. Boris Groys is Professor of Philosophy and Art Theory at the Academy for Design in Karlsruhe, Germany, and Global Professor at New York University.
Ilka Kabakov: the man who flew into space from his apartment
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The fictitious hero of this 1984 installation is a lonely dreamer who develops an impossible project: to fly alone in cosmic space. But this dream is also an individual appropriation of a collective Soviet project and the official Soviet propaganda connected to it. Having built a makeshift slingshot, the hero apparently flies through the ceiling of his shabby room and vanishes into space. The miserable room and the primitive slingshot suggest the reality behind the Soviet utopia, in which where cosmic vision and the political project of the Communist revolution are seen as indissoluble. The Man who Flew into Space from His Apartment also raises questions of authorship in modernity. All of Kabakov's work is made in the name of other, fictitious artists. This reveals a hidden rule of the modern art system: only an artist who doesn't want to be an artist or who doesn't even know that he is an artist is a real artist—just as only an artwork that does not look like an artwork is a real artwork. The installation is a narrative, the documentation of a fictitious event. Boris Groys is Professor of Philosophy and Art Theory at the Academy for Design in Karlsruhe, Germany, and Global Professor at New York University.
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livres
livres
Publication:
mai 2006, London
mai 2006, London
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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Hanne Darboven's Kulturgeschichte 1880-1983 (Cultural History 1880-1983) (1980-1983) is an overwhelming and encyclopedic installation consisting of 1,590 works on paper and 19 sculptural objects. The work weaves together cultural, social, and historical references with autobiographical documents, postcards, pinups of film and rock stars, documentary references to the(...)
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Hanne Darboven's Kulturgeschichte 1880-1983 (Cultural History 1880-1983) (1980-1983) is an overwhelming and encyclopedic installation consisting of 1,590 works on paper and 19 sculptural objects. The work weaves together cultural, social, and historical references with autobiographical documents, postcards, pinups of film and rock stars, documentary references to the(...)
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Hanne Darboven: cultural history 1880-1983
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Hanne Darboven's Kulturgeschichte 1880-1983 (Cultural History 1880-1983) (1980-1983) is an overwhelming and encyclopedic installation consisting of 1,590 works on paper and 19 sculptural objects. The work weaves together cultural, social, and historical references with autobiographical documents, postcards, pinups of film and rock stars, documentary references to the first and second world wars, geometric diagrams for textile weaving, a sampling of New York doorways, illustrated covers from news magazines, the contents of an exhibition catalogue devoted to postwar European and American art, a kitschy literary calendar, and extracts from some of Darboven's earlier works.
Hanne Darboven: cultural history 1880-1983
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Hanne Darboven's Kulturgeschichte 1880-1983 (Cultural History 1880-1983) (1980-1983) is an overwhelming and encyclopedic installation consisting of 1,590 works on paper and 19 sculptural objects. The work weaves together cultural, social, and historical references with autobiographical documents, postcards, pinups of film and rock stars, documentary references to the first and second world wars, geometric diagrams for textile weaving, a sampling of New York doorways, illustrated covers from news magazines, the contents of an exhibition catalogue devoted to postwar European and American art, a kitschy literary calendar, and extracts from some of Darboven's earlier works.
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livres
livres
Publication:
mars 2009, Cambridge
mars 2009, Cambridge
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
Chris Marker : la jetée
Chris Marker : la jetée
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A reconsideration of Chris Markers famous film, examining its treatment of time, its use of sound, the influence of the comic book form, and other topics.
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A reconsideration of Chris Markers famous film, examining its treatment of time, its use of sound, the influence of the comic book form, and other topics.
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Chris Marker : la jetée
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A reconsideration of Chris Markers famous film, examining its treatment of time, its use of sound, the influence of the comic book form, and other topics.
Chris Marker : la jetée
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A reconsideration of Chris Markers famous film, examining its treatment of time, its use of sound, the influence of the comic book form, and other topics.
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livres
livres
Publication:
mars 2009, Cambridge
mars 2009, Cambridge
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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What is the role of art in modern society? Is it made to entertain us, to teach us? Both? And what of philosophy? What relevance does it have to how we think and live? In Opening Gambits , cultural critic and philosopher Mark Kingwell puts forth an argument for the similarity between art and philosophy as forms of play, working at the margins of meaning and sense.(...)
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What is the role of art in modern society? Is it made to entertain us, to teach us? Both? And what of philosophy? What relevance does it have to how we think and live? In Opening Gambits , cultural critic and philosopher Mark Kingwell puts forth an argument for the similarity between art and philosophy as forms of play, working at the margins of meaning and sense.(...)
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Opening gambits: essays on art and philosophy
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What is the role of art in modern society? Is it made to entertain us, to teach us? Both? And what of philosophy? What relevance does it have to how we think and live? In Opening Gambits , cultural critic and philosopher Mark Kingwell puts forth an argument for the similarity between art and philosophy as forms of play, working at the margins of meaning and sense. Featuring essays previously published in Queen’s Quarterly, Descant, Harvard Design Magazine, Canadian Art , and Harper’s, the book begins with general assessments of the art world and the relationship between art and architecture. Including lively critical engagements with artists such as Edward Burtynsky, David Bierk, James Lahey, and Blue Republic, these pieces draw out the philosophical issues embedded in the aesthetic experience of art. In the second half of the collection, Kingwell reverses the polarity, investigating philosophy as a kind of art form that is constantly questioning its own possibility. The two parts of the book are simultaneously separated and joined by a collection of images that feature the works discussed in Part One.
Opening gambits: essays on art and philosophy
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What is the role of art in modern society? Is it made to entertain us, to teach us? Both? And what of philosophy? What relevance does it have to how we think and live? In Opening Gambits , cultural critic and philosopher Mark Kingwell puts forth an argument for the similarity between art and philosophy as forms of play, working at the margins of meaning and sense. Featuring essays previously published in Queen’s Quarterly, Descant, Harvard Design Magazine, Canadian Art , and Harper’s, the book begins with general assessments of the art world and the relationship between art and architecture. Including lively critical engagements with artists such as Edward Burtynsky, David Bierk, James Lahey, and Blue Republic, these pieces draw out the philosophical issues embedded in the aesthetic experience of art. In the second half of the collection, Kingwell reverses the polarity, investigating philosophy as a kind of art form that is constantly questioning its own possibility. The two parts of the book are simultaneously separated and joined by a collection of images that feature the works discussed in Part One.
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livres
livres
Publication:
octobre 2008, Toronto
octobre 2008, Toronto
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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$80.00
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Les années 1980 évoquent pour chacun les dernières années d'avant la chute du mur de Berlin, de la mondialisation et de l'explosion du web. Pour les artistes ce sont des années contradictoires, celles de la volonté de changement de la société et de l'espace public, mais aussi celles du repli sur la sphère privative et domestique. Ce livre, qui accompagne l'exposition du(...)
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Les années 1980 évoquent pour chacun les dernières années d'avant la chute du mur de Berlin, de la mondialisation et de l'explosion du web. Pour les artistes ce sont des années contradictoires, celles de la volonté de changement de la société et de l'espace public, mais aussi celles du repli sur la sphère privative et domestique. Ce livre, qui accompagne l'exposition du(...)
Publication:
janvier 2009, Grenoble
janvier 2009, Grenoble
Titre:
Espèces d'espace: les années 1980 première partie / the eighties first part
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Les années 1980 évoquent pour chacun les dernières années d'avant la chute du mur de Berlin, de la mondialisation et de l'explosion du web. Pour les artistes ce sont des années contradictoires, celles de la volonté de changement de la société et de l'espace public, mais aussi celles du repli sur la sphère privative et domestique. Ce livre, qui accompagne l'exposition du même nom, rassemble les textes et les images d'oeuvres les plus significatifs de cette période. Il sera suivi d'une seconde partie consacrée aux images et aux représentations.
Espèces d'espace: les années 1980 première partie / the eighties first part
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Les années 1980 évoquent pour chacun les dernières années d'avant la chute du mur de Berlin, de la mondialisation et de l'explosion du web. Pour les artistes ce sont des années contradictoires, celles de la volonté de changement de la société et de l'espace public, mais aussi celles du repli sur la sphère privative et domestique. Ce livre, qui accompagne l'exposition du même nom, rassemble les textes et les images d'oeuvres les plus significatifs de cette période. Il sera suivi d'une seconde partie consacrée aux images et aux représentations.
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livres
livres
Publication:
janvier 2009, Grenoble
janvier 2009, Grenoble
