1188 Résultats
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Curating critique :
Curating critique :
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"Our interest in research lies in mediating the complexity of what we define as art in the widest sense of the term, in other words in developing an ´operating system´ that attempts in all its facets to balance order and change, old and new, theory and practice."
$58.00
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"Our interest in research lies in mediating the complexity of what we define as art in the widest sense of the term, in other words in developing an ´operating system´ that attempts in all its facets to balance order and change, old and new, theory and practice."
Sujet:
Théorie de l’art
Théorie de l’art
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janvier 1900, Frankfurt am Main
janvier 1900, Frankfurt am Main
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Curating critique :
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"Our interest in research lies in mediating the complexity of what we define as art in the widest sense of the term, in other words in developing an ´operating system´ that attempts in all its facets to balance order and change, old and new, theory and practice."
Curating critique :
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"Our interest in research lies in mediating the complexity of what we define as art in the widest sense of the term, in other words in developing an ´operating system´ that attempts in all its facets to balance order and change, old and new, theory and practice."
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livres
livres
Publication:
janvier 1900, Frankfurt am Main
janvier 1900, Frankfurt am Main
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Théorie de l’art
Théorie de l’art
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livres
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$38.00
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Joan Mitchell (1925–1992), one of the most important artists of the post-war period, is also a uniquely transatlantic figure. From the 1950s onward, as Mitchell shuttled back and forth between the United States and France, her work—and the discourse around it—developed across two continents, two cultures, and two languages. Invited by Mara Hoberman, nine artists, who are(...)
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Joan Mitchell (1925–1992), one of the most important artists of the post-war period, is also a uniquely transatlantic figure. From the 1950s onward, as Mitchell shuttled back and forth between the United States and France, her work—and the discourse around it—developed across two continents, two cultures, and two languages. Invited by Mara Hoberman, nine artists, who are(...)
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Joan Mitchell: Transatlantique
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Joan Mitchell (1925–1992), one of the most important artists of the post-war period, is also a uniquely transatlantic figure. From the 1950s onward, as Mitchell shuttled back and forth between the United States and France, her work—and the discourse around it—developed across two continents, two cultures, and two languages. Invited by Mara Hoberman, nine artists, who are themselves based on either side of the Atlantic, reflect on Mitchell's life, work and enduring impact.
Joan Mitchell: Transatlantique
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Joan Mitchell (1925–1992), one of the most important artists of the post-war period, is also a uniquely transatlantic figure. From the 1950s onward, as Mitchell shuttled back and forth between the United States and France, her work—and the discourse around it—developed across two continents, two cultures, and two languages. Invited by Mara Hoberman, nine artists, who are themselves based on either side of the Atlantic, reflect on Mitchell's life, work and enduring impact.
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livres
livres
Publication:
février 2026
février 2026
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Théorie de l’art
Théorie de l’art
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livres
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$44.95
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Une exploration pionnière de l'évolution des fonctions fondamentales des écrans dans l'histoire (du corps comme proto-écran aux dispositifs portables d'aujourd'hui), de leurs implications anthropologiques et philosophiques, et de leur impact profond sur la culture humaine, offrant un récit éloquent sur notre réalité médiatisée. Les écrans ne se limitent pas à montrer(...)
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Une exploration pionnière de l'évolution des fonctions fondamentales des écrans dans l'histoire (du corps comme proto-écran aux dispositifs portables d'aujourd'hui), de leurs implications anthropologiques et philosophiques, et de leur impact profond sur la culture humaine, offrant un récit éloquent sur notre réalité médiatisée. Les écrans ne se limitent pas à montrer(...)
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Pour une anthropologie des écrans: Montrer et cacher, exposer et protéger
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Une exploration pionnière de l'évolution des fonctions fondamentales des écrans dans l'histoire (du corps comme proto-écran aux dispositifs portables d'aujourd'hui), de leurs implications anthropologiques et philosophiques, et de leur impact profond sur la culture humaine, offrant un récit éloquent sur notre réalité médiatisée. Les écrans ne se limitent pas à montrer ou cacher : depuis la préhistoire, ils servent d'intermédiaires dans notre relation au monde en protégeant autant qu'en exposant nos corps. À travers une enquête historico-généalogique et une analyse aussi bien des technologies présentes que du futur proche, les auteurs déconstruisent l'idée selon laquelle les écrans seraient inséparables des images, que celles-ci s'opposeraient aux mots, ainsi que ce qu'ils nomment idéologie de la « Transparence 2.0 », à savoir la prétention de pouvoir éliminer toute médiation tant en communication qu'en politique. Ils montrent également que les technologies portables ne nous rapprochent nullement d'une supposée disparition des écrans, mais semblent plutôt dessiner un quasi-retour à l'utilisation de notre corps, cette fois-ci « augmenté », comme écran. Cela soulève de nouvelles questions relationnelles, éthiques et politiques, que le livre contribue à éclairer.
Pour une anthropologie des écrans: Montrer et cacher, exposer et protéger
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$44.95
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Une exploration pionnière de l'évolution des fonctions fondamentales des écrans dans l'histoire (du corps comme proto-écran aux dispositifs portables d'aujourd'hui), de leurs implications anthropologiques et philosophiques, et de leur impact profond sur la culture humaine, offrant un récit éloquent sur notre réalité médiatisée. Les écrans ne se limitent pas à montrer ou cacher : depuis la préhistoire, ils servent d'intermédiaires dans notre relation au monde en protégeant autant qu'en exposant nos corps. À travers une enquête historico-généalogique et une analyse aussi bien des technologies présentes que du futur proche, les auteurs déconstruisent l'idée selon laquelle les écrans seraient inséparables des images, que celles-ci s'opposeraient aux mots, ainsi que ce qu'ils nomment idéologie de la « Transparence 2.0 », à savoir la prétention de pouvoir éliminer toute médiation tant en communication qu'en politique. Ils montrent également que les technologies portables ne nous rapprochent nullement d'une supposée disparition des écrans, mais semblent plutôt dessiner un quasi-retour à l'utilisation de notre corps, cette fois-ci « augmenté », comme écran. Cela soulève de nouvelles questions relationnelles, éthiques et politiques, que le livre contribue à éclairer.
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livres
livres
Publication:
février 2026
février 2026
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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''Landscapes'' showcases the development and practice of John Berger’s unique way of seeing. Here he surveys the aesthetic landscapes that have informed, challenged and nourished his understanding of the world. Berger pays homage to the writers and thinkers who influenced him, such as Walter Benjamin, Rosa Luxemburg and Bertolt Brecht. His expansive perspective(...)
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''Landscapes'' showcases the development and practice of John Berger’s unique way of seeing. Here he surveys the aesthetic landscapes that have informed, challenged and nourished his understanding of the world. Berger pays homage to the writers and thinkers who influenced him, such as Walter Benjamin, Rosa Luxemburg and Bertolt Brecht. His expansive perspective(...)
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Landscapes: John Berger on art
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''Landscapes'' showcases the development and practice of John Berger’s unique way of seeing. Here he surveys the aesthetic landscapes that have informed, challenged and nourished his understanding of the world. Berger pays homage to the writers and thinkers who influenced him, such as Walter Benjamin, Rosa Luxemburg and Bertolt Brecht. His expansive perspective embraces artistic movements and individual artists – from the Renaissance to the present – while never neglecting the social and political context of their creation.
Landscapes: John Berger on art
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''Landscapes'' showcases the development and practice of John Berger’s unique way of seeing. Here he surveys the aesthetic landscapes that have informed, challenged and nourished his understanding of the world. Berger pays homage to the writers and thinkers who influenced him, such as Walter Benjamin, Rosa Luxemburg and Bertolt Brecht. His expansive perspective embraces artistic movements and individual artists – from the Renaissance to the present – while never neglecting the social and political context of their creation.
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livres
livres
Publication:
avril 2026
avril 2026
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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$52.50
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Eating and drinking images may seem like an anomalous notion but, since antiquity, in the European and Mediterranean worlds, people have swallowed down frescoes, icons, engravings, eucharistic hosts stamped with images, heraldic wafers, marzipan figures, and other sculpted dishes. Either specifically made for human consumption or diverted from their original purpose so as(...)
$52.50
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Résumé:
Eating and drinking images may seem like an anomalous notion but, since antiquity, in the European and Mediterranean worlds, people have swallowed down frescoes, icons, engravings, eucharistic hosts stamped with images, heraldic wafers, marzipan figures, and other sculpted dishes. Either specifically made for human consumption or diverted from their original purpose so as(...)
Titre:
Iconophages: A history of ingesting images
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Eating and drinking images may seem like an anomalous notion but, since antiquity, in the European and Mediterranean worlds, people have swallowed down frescoes, icons, engravings, eucharistic hosts stamped with images, heraldic wafers, marzipan figures, and other sculpted dishes. Either specifically made for human consumption or diverted from their original purpose so as to be ingested, these figured artifacts have been not only gazed upon but also incorporated—taken into the body—as solids or liquids. How can we explain such behavior? Why take an image into one’s own body, devouring it at the risk of destroying it, consuming rather than contemplating it wisely from a distance? What structures of the imagination underlie and justify these desires for incorporation? What are the visual configurations offered up to the mouth, and what are their effects? What therapeutic, religious, symbolic, and social functions can we attribute to these forms of relations with icons? These are a few of the questions raised in this investigation into iconophagy. "Iconophages" aims to retrace, for the first time, the history of iconophagy. Jérémie Koering examines this unexplored facet of the history of images through an interdisciplinary approach that ranges across art history, cultural and material history, anthropology, philosophy, and the history of the body and the senses. He analyzes the human investment, in terms of culture and imagination, at stake in this seemingly paradoxical way of experiencing images. Beyond the hidden knowledge unearthed here, these pages bring to light a new way of understanding images, just as they illuminate the occasionally outlandish relations we maintain with them.
Iconophages: A history of ingesting images
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$52.50
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Résumé:
Eating and drinking images may seem like an anomalous notion but, since antiquity, in the European and Mediterranean worlds, people have swallowed down frescoes, icons, engravings, eucharistic hosts stamped with images, heraldic wafers, marzipan figures, and other sculpted dishes. Either specifically made for human consumption or diverted from their original purpose so as to be ingested, these figured artifacts have been not only gazed upon but also incorporated—taken into the body—as solids or liquids. How can we explain such behavior? Why take an image into one’s own body, devouring it at the risk of destroying it, consuming rather than contemplating it wisely from a distance? What structures of the imagination underlie and justify these desires for incorporation? What are the visual configurations offered up to the mouth, and what are their effects? What therapeutic, religious, symbolic, and social functions can we attribute to these forms of relations with icons? These are a few of the questions raised in this investigation into iconophagy. "Iconophages" aims to retrace, for the first time, the history of iconophagy. Jérémie Koering examines this unexplored facet of the history of images through an interdisciplinary approach that ranges across art history, cultural and material history, anthropology, philosophy, and the history of the body and the senses. He analyzes the human investment, in terms of culture and imagination, at stake in this seemingly paradoxical way of experiencing images. Beyond the hidden knowledge unearthed here, these pages bring to light a new way of understanding images, just as they illuminate the occasionally outlandish relations we maintain with them.
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livres
livres
Publication:
janvier 2026
janvier 2026
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
Obrist-isms
Obrist-isms
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As the primary or lead author of more than forty volumes of interviews with contemporary artists, of numerous exhibition catalogues for museums around the world, and of influential books on curation, Hans Ulrich Obrist has established himself as a pivotal figure in contemporary art and culture. Drawn from Obrist’s writings, interviews, and other sources, ''Obrist-isms''(...)
$24.00
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As the primary or lead author of more than forty volumes of interviews with contemporary artists, of numerous exhibition catalogues for museums around the world, and of influential books on curation, Hans Ulrich Obrist has established himself as a pivotal figure in contemporary art and culture. Drawn from Obrist’s writings, interviews, and other sources, ''Obrist-isms''(...)
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Obrist-isms
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As the primary or lead author of more than forty volumes of interviews with contemporary artists, of numerous exhibition catalogues for museums around the world, and of influential books on curation, Hans Ulrich Obrist has established himself as a pivotal figure in contemporary art and culture. Drawn from Obrist’s writings, interviews, and other sources, ''Obrist-isms'' gathers a wealth of fascinating quotations from across his career, offering insights on everything from his approach to curating and his affinity with philosopher Édouard Glissant to his interest in artists’ unrealized projects.
Obrist-isms
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As the primary or lead author of more than forty volumes of interviews with contemporary artists, of numerous exhibition catalogues for museums around the world, and of influential books on curation, Hans Ulrich Obrist has established himself as a pivotal figure in contemporary art and culture. Drawn from Obrist’s writings, interviews, and other sources, ''Obrist-isms'' gathers a wealth of fascinating quotations from across his career, offering insights on everything from his approach to curating and his affinity with philosopher Édouard Glissant to his interest in artists’ unrealized projects.
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livres
livres
Publication:
octobre 2025
octobre 2025
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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$40.00
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Rotterdam-based Spanish artist and scholar David Maroto (born 1976) explores the novel as an art medium. The first volume features interviews with Benjamin Seror, Cally Spooner, Mai-Thu Perret, Goldin+Senneby, Francis McKee, Vivian Ziherl, Natasha Soobramanien, Clive Phillpot and others
$40.00
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Rotterdam-based Spanish artist and scholar David Maroto (born 1976) explores the novel as an art medium. The first volume features interviews with Benjamin Seror, Cally Spooner, Mai-Thu Perret, Goldin+Senneby, Francis McKee, Vivian Ziherl, Natasha Soobramanien, Clive Phillpot and others
Titre:
The artist's novel, part 1: A new medium
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Rotterdam-based Spanish artist and scholar David Maroto (born 1976) explores the novel as an art medium. The first volume features interviews with Benjamin Seror, Cally Spooner, Mai-Thu Perret, Goldin+Senneby, Francis McKee, Vivian Ziherl, Natasha Soobramanien, Clive Phillpot and others
The artist's novel, part 1: A new medium
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Rotterdam-based Spanish artist and scholar David Maroto (born 1976) explores the novel as an art medium. The first volume features interviews with Benjamin Seror, Cally Spooner, Mai-Thu Perret, Goldin+Senneby, Francis McKee, Vivian Ziherl, Natasha Soobramanien, Clive Phillpot and others
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livres
livres
Publication:
août 2020
août 2020
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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$53.95
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Some of the earliest canals in colonial America, referred to as the ''Inner Passage'', were constructed by enslaved people living in the Lowcountry of South Carolina in the early 1700s. In a paradox of history, for over a hundred years enslaved Black people used these canals, constructed for white plantation owners, to travel southward to freedom in Spanish Florida. In(...)
$53.95
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Résumé:
Some of the earliest canals in colonial America, referred to as the ''Inner Passage'', were constructed by enslaved people living in the Lowcountry of South Carolina in the early 1700s. In a paradox of history, for over a hundred years enslaved Black people used these canals, constructed for white plantation owners, to travel southward to freedom in Spanish Florida. In(...)
Titre:
The inner passage: An Untold story of Black resistance along a southern waterway
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$53.95
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Some of the earliest canals in colonial America, referred to as the ''Inner Passage'', were constructed by enslaved people living in the Lowcountry of South Carolina in the early 1700s. In a paradox of history, for over a hundred years enslaved Black people used these canals, constructed for white plantation owners, to travel southward to freedom in Spanish Florida. In this book, Virginia McGee Richards documents the lost narrative of the ''Inner Passage'' through 60 extraordinary photographs of landscapes altered by slavery and portraits of Lowcountry descendants, along with an essay describing her discovery of this untold history. In an accompanying essay, Imani Perry writes about her own journey on the ''Inner Passage'', putting Black resistance to enslavement and Southern history into an immediate context. James Estrin brings decades of insight about photography and the power of visual storytelling to his affecting foreword. Together, these words and images offer a powerful living map of history.
The inner passage: An Untold story of Black resistance along a southern waterway
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$53.95
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Résumé:
Some of the earliest canals in colonial America, referred to as the ''Inner Passage'', were constructed by enslaved people living in the Lowcountry of South Carolina in the early 1700s. In a paradox of history, for over a hundred years enslaved Black people used these canals, constructed for white plantation owners, to travel southward to freedom in Spanish Florida. In this book, Virginia McGee Richards documents the lost narrative of the ''Inner Passage'' through 60 extraordinary photographs of landscapes altered by slavery and portraits of Lowcountry descendants, along with an essay describing her discovery of this untold history. In an accompanying essay, Imani Perry writes about her own journey on the ''Inner Passage'', putting Black resistance to enslavement and Southern history into an immediate context. James Estrin brings decades of insight about photography and the power of visual storytelling to his affecting foreword. Together, these words and images offer a powerful living map of history.
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livres
livres
Publication:
avril 2026
avril 2026
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
The moment of cubism
The moment of cubism
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''The Moment of Cubism'' is one of John Berger’s most important collections of art criticism. Whether considering Vermeer in his studio, Poussin’s poignant meditation on death, or the complexities of Rodin’s sculpture, Berger draws together the threads that bind individual artists to their social and political context. Here Berger argues that Cubism was a moment rather(...)
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''The Moment of Cubism'' is one of John Berger’s most important collections of art criticism. Whether considering Vermeer in his studio, Poussin’s poignant meditation on death, or the complexities of Rodin’s sculpture, Berger draws together the threads that bind individual artists to their social and political context. Here Berger argues that Cubism was a moment rather(...)
Titre:
The moment of cubism
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$25.95
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''The Moment of Cubism'' is one of John Berger’s most important collections of art criticism. Whether considering Vermeer in his studio, Poussin’s poignant meditation on death, or the complexities of Rodin’s sculpture, Berger draws together the threads that bind individual artists to their social and political context. Here Berger argues that Cubism was a moment rather than a movement, one that came and went without the consent of its key figures – Picasso and Braque above all. He makes a case for Cubism’s revolutionary influence. As always, Berger helps us see the world in new ways.
The moment of cubism
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Résumé:
''The Moment of Cubism'' is one of John Berger’s most important collections of art criticism. Whether considering Vermeer in his studio, Poussin’s poignant meditation on death, or the complexities of Rodin’s sculpture, Berger draws together the threads that bind individual artists to their social and political context. Here Berger argues that Cubism was a moment rather than a movement, one that came and went without the consent of its key figures – Picasso and Braque above all. He makes a case for Cubism’s revolutionary influence. As always, Berger helps us see the world in new ways.
Classification:
livres
livres
Publication:
avril 2026
avril 2026
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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$12.95
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La résistance ne se définit pas par ce qu'elle défend, mais par ce à quoi elle s'oppose. Face aux idéologies, aux croyances et aux systèmes de domination, elle se décline en formes multiples : militaire, civile, culturelle. Dans un contexte de crises politiques et sociales persistantes, la résistance culturelle s'affirme comme un mode d'action à part entière, doté de ses(...)
$12.95
(disponible en magasin)
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La résistance ne se définit pas par ce qu'elle défend, mais par ce à quoi elle s'oppose. Face aux idéologies, aux croyances et aux systèmes de domination, elle se décline en formes multiples : militaire, civile, culturelle. Dans un contexte de crises politiques et sociales persistantes, la résistance culturelle s'affirme comme un mode d'action à part entière, doté de ses(...)
Titre:
Manuel de résistance culturelle en 7 leçons
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La résistance ne se définit pas par ce qu'elle défend, mais par ce à quoi elle s'oppose. Face aux idéologies, aux croyances et aux systèmes de domination, elle se décline en formes multiples : militaire, civile, culturelle. Dans un contexte de crises politiques et sociales persistantes, la résistance culturelle s'affirme comme un mode d'action à part entière, doté de ses propres stratégies. En dialogue avec Elleux – étudiant·es de l'École supérieure d'art Annecy Alpes (Pallas Aleta, Nausicaä Bigot-Merceron, Hanna Ilnitskaya, Léa Lenormand-Van Den Reysen, Allan Madin, Grace Nitoumbi, Primo Ouvrard et Olena Yaroshevets), Alexis Nouss, auteur du texte, propose sept leçons pour penser et pratiquer une lutte de résistance spécifique.
Manuel de résistance culturelle en 7 leçons
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La résistance ne se définit pas par ce qu'elle défend, mais par ce à quoi elle s'oppose. Face aux idéologies, aux croyances et aux systèmes de domination, elle se décline en formes multiples : militaire, civile, culturelle. Dans un contexte de crises politiques et sociales persistantes, la résistance culturelle s'affirme comme un mode d'action à part entière, doté de ses propres stratégies. En dialogue avec Elleux – étudiant·es de l'École supérieure d'art Annecy Alpes (Pallas Aleta, Nausicaä Bigot-Merceron, Hanna Ilnitskaya, Léa Lenormand-Van Den Reysen, Allan Madin, Grace Nitoumbi, Primo Ouvrard et Olena Yaroshevets), Alexis Nouss, auteur du texte, propose sept leçons pour penser et pratiquer une lutte de résistance spécifique.
Classification:
livres
livres
Publication:
avril 2026
avril 2026
Sujet:
Théorie de l’art
Théorie de l’art
