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"What is highly likely but not impossible?" is informed by themes found in the work of Hiwa K, such as statehood, war, migration, belonging, the effects of neoliberalism and colonialism, home as a concept, language, and the myth of the individual artist. The compendium ranges freely across mediums, drawing together experimental poetry, science fiction, photography,(...)
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"What is highly likely but not impossible?" is informed by themes found in the work of Hiwa K, such as statehood, war, migration, belonging, the effects of neoliberalism and colonialism, home as a concept, language, and the myth of the individual artist. The compendium ranges freely across mediums, drawing together experimental poetry, science fiction, photography,(...)
Titre:
What is highly unlikely but not impossible?
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"What is highly likely but not impossible?" is informed by themes found in the work of Hiwa K, such as statehood, war, migration, belonging, the effects of neoliberalism and colonialism, home as a concept, language, and the myth of the individual artist. The compendium ranges freely across mediums, drawing together experimental poetry, science fiction, photography, memoir, academic essays, art historical texts, and more. Contributions include a short story by Benjamin Labatut, an excerpt from a lecture by Achille Mbembe, and drawings by Hajra Waheed. Like previous editions in the series, this book brings together a range of voices and mediums to consider?some of the most pressing issues of our time.?
What is highly unlikely but not impossible?
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"What is highly likely but not impossible?" is informed by themes found in the work of Hiwa K, such as statehood, war, migration, belonging, the effects of neoliberalism and colonialism, home as a concept, language, and the myth of the individual artist. The compendium ranges freely across mediums, drawing together experimental poetry, science fiction, photography, memoir, academic essays, art historical texts, and more. Contributions include a short story by Benjamin Labatut, an excerpt from a lecture by Achille Mbembe, and drawings by Hajra Waheed. Like previous editions in the series, this book brings together a range of voices and mediums to consider?some of the most pressing issues of our time.?
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livres
livres
Publication:
août 2026
août 2026
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
My Morandi
My Morandi
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One of the most beloved and critically acclaimed artists of the twentieth century, Giorgio Morandi painted serial and permutational arrangements of everyday objects that elevated the quotidian into the sublime. In 1940, he struck up a decades-long friendship with entrepreneur, musicologist, art historian, and collector Luigi Magnani. "My Morandi" is the first full-length(...)
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One of the most beloved and critically acclaimed artists of the twentieth century, Giorgio Morandi painted serial and permutational arrangements of everyday objects that elevated the quotidian into the sublime. In 1940, he struck up a decades-long friendship with entrepreneur, musicologist, art historian, and collector Luigi Magnani. "My Morandi" is the first full-length(...)
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My Morandi
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One of the most beloved and critically acclaimed artists of the twentieth century, Giorgio Morandi painted serial and permutational arrangements of everyday objects that elevated the quotidian into the sublime. In 1940, he struck up a decades-long friendship with entrepreneur, musicologist, art historian, and collector Luigi Magnani. "My Morandi" is the first full-length English translation of Magnani’s memoir reflecting on his bond with the artist and his long-standing academic and personal interest in Morandi’s paintings. Magnani recounts the artist’s aloofness from artistic trends and his dedication to painting for a small, discerning audience. He locates Morandi within the art-historical canon as well as chronicles their artistic and intellectual kinship, which led to a unique, rich collection of Morandi’s work at Magnani’s villa in Mamiano, now the Magnani Rocca Foundation.
My Morandi
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One of the most beloved and critically acclaimed artists of the twentieth century, Giorgio Morandi painted serial and permutational arrangements of everyday objects that elevated the quotidian into the sublime. In 1940, he struck up a decades-long friendship with entrepreneur, musicologist, art historian, and collector Luigi Magnani. "My Morandi" is the first full-length English translation of Magnani’s memoir reflecting on his bond with the artist and his long-standing academic and personal interest in Morandi’s paintings. Magnani recounts the artist’s aloofness from artistic trends and his dedication to painting for a small, discerning audience. He locates Morandi within the art-historical canon as well as chronicles their artistic and intellectual kinship, which led to a unique, rich collection of Morandi’s work at Magnani’s villa in Mamiano, now the Magnani Rocca Foundation.
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livres
livres
Publication:
juin 2026
juin 2026
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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''Paying Attention'' gathers nearly seventy of the best and varied examples of Lynne Tillman’s writings in reference to art and culture published over the course of forty years. In essays that operate outside typical categories or genres, Tillman reflects on forms including film, painting, photography, poetry, and fiction, as well as notions of fame, originality, embodied(...)
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''Paying Attention'' gathers nearly seventy of the best and varied examples of Lynne Tillman’s writings in reference to art and culture published over the course of forty years. In essays that operate outside typical categories or genres, Tillman reflects on forms including film, painting, photography, poetry, and fiction, as well as notions of fame, originality, embodied(...)
Titre:
Lynne Tillman: Paying attention
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''Paying Attention'' gathers nearly seventy of the best and varied examples of Lynne Tillman’s writings in reference to art and culture published over the course of forty years. In essays that operate outside typical categories or genres, Tillman reflects on forms including film, painting, photography, poetry, and fiction, as well as notions of fame, originality, embodied viewing and thinking, collective activity, aging, illness, American identity, cultural politics, modernity, strangeness, and time. Such is the stuff that relates art to life, and life to art. Collected mainly from museum and gallery catalogues, artists’ books and monographs, her column in ''Frieze'', and magazines including ''Aperture'' and ''Artforum'', these meditations on artists and writers, in the broadest sense of these labels, collide as a portrait of our cultural moment. Tillman’s inventive use of language and lateral thought, her ability to evoke conditions of the larger world in often just two thousand words on a specific artwork or individual, make her one of the most significant critics of our time. As she acknowledges, in a piece on the artist Robert Gober, “In writing on art, words reach for other words, phrases, idioms, and through them more images and ideas leap out.” In her introduction, Elizabeth Schambelan notes that a hallmark of Tillman’s writing alongside artists is an “elegant rendering of complexity,” and in approaching Tillman’s body of work and thought, Schambelan herself deftly imbricates the art, voice, and language of criticism.
Lynne Tillman: Paying attention
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''Paying Attention'' gathers nearly seventy of the best and varied examples of Lynne Tillman’s writings in reference to art and culture published over the course of forty years. In essays that operate outside typical categories or genres, Tillman reflects on forms including film, painting, photography, poetry, and fiction, as well as notions of fame, originality, embodied viewing and thinking, collective activity, aging, illness, American identity, cultural politics, modernity, strangeness, and time. Such is the stuff that relates art to life, and life to art. Collected mainly from museum and gallery catalogues, artists’ books and monographs, her column in ''Frieze'', and magazines including ''Aperture'' and ''Artforum'', these meditations on artists and writers, in the broadest sense of these labels, collide as a portrait of our cultural moment. Tillman’s inventive use of language and lateral thought, her ability to evoke conditions of the larger world in often just two thousand words on a specific artwork or individual, make her one of the most significant critics of our time. As she acknowledges, in a piece on the artist Robert Gober, “In writing on art, words reach for other words, phrases, idioms, and through them more images and ideas leap out.” In her introduction, Elizabeth Schambelan notes that a hallmark of Tillman’s writing alongside artists is an “elegant rendering of complexity,” and in approaching Tillman’s body of work and thought, Schambelan herself deftly imbricates the art, voice, and language of criticism.
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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
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The Swedish artist Hilma af Klint is one of the art world’s major rediscoveries of the twenty-first century. While the Russian artist Wassily Kandinsky has famously been credited for creating the first abstract artwork, this designation has been called into question with the resurfacing and renewed study of af Klint’s non-figurative paintings. In this captivating volume,(...)
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The Swedish artist Hilma af Klint is one of the art world’s major rediscoveries of the twenty-first century. While the Russian artist Wassily Kandinsky has famously been credited for creating the first abstract artwork, this designation has been called into question with the resurfacing and renewed study of af Klint’s non-figurative paintings. In this captivating volume,(...)
Sujet:
Théorie de l’art
Théorie de l’art
Publication:
janvier 2026
janvier 2026
Titre:
Hilma af Klint and Wassily Kandinsky: Dreams of the future
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The Swedish artist Hilma af Klint is one of the art world’s major rediscoveries of the twenty-first century. While the Russian artist Wassily Kandinsky has famously been credited for creating the first abstract artwork, this designation has been called into question with the resurfacing and renewed study of af Klint’s non-figurative paintings. In this captivating volume, the af Klint biographer and scholar Julia Voss and the curator and writer Daniel Birnbaum convey in depth the two artists’ nearly parallel development away from figuration and into the liberating, mystical vision of art. In this engrossing account of the affinities and divergences between af Klint and Kandinsky’s lives and work, supported by more than 100 illustrations, we are invited to witness the conditions in which the art world was forever changed.
Hilma af Klint and Wassily Kandinsky: Dreams of the future
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The Swedish artist Hilma af Klint is one of the art world’s major rediscoveries of the twenty-first century. While the Russian artist Wassily Kandinsky has famously been credited for creating the first abstract artwork, this designation has been called into question with the resurfacing and renewed study of af Klint’s non-figurative paintings. In this captivating volume, the af Klint biographer and scholar Julia Voss and the curator and writer Daniel Birnbaum convey in depth the two artists’ nearly parallel development away from figuration and into the liberating, mystical vision of art. In this engrossing account of the affinities and divergences between af Klint and Kandinsky’s lives and work, supported by more than 100 illustrations, we are invited to witness the conditions in which the art world was forever changed.
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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:
Brancusi's trinity
Brancusi's trinity
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In "Brancusi's Trinity," sculptor Richard Clements focuses on a proposed Hermetic cosmology between three of Constantin Brancusi’s sculptures: Endless Column (1918-1937), Table of Silence (1937), and Cup (1918-1925), positing them as an inseparable and holistic Trinity. Avoiding the traditional art historical lens that looks at an artist’s biography, historical context,(...)
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In "Brancusi's Trinity," sculptor Richard Clements focuses on a proposed Hermetic cosmology between three of Constantin Brancusi’s sculptures: Endless Column (1918-1937), Table of Silence (1937), and Cup (1918-1925), positing them as an inseparable and holistic Trinity. Avoiding the traditional art historical lens that looks at an artist’s biography, historical context,(...)
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Brancusi's trinity
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In "Brancusi's Trinity," sculptor Richard Clements focuses on a proposed Hermetic cosmology between three of Constantin Brancusi’s sculptures: Endless Column (1918-1937), Table of Silence (1937), and Cup (1918-1925), positing them as an inseparable and holistic Trinity. Avoiding the traditional art historical lens that looks at an artist’s biography, historical context, or symbolic/psychoanalytical interpretations, Clements instead approaches these works by focusing on their interrelated formation, formal and phenomenological relationship to each other, and their intrinsic numerological or occult concerns. As such, the sculptures form a trinity where each is seen in and through the others, simultaneously tripartite (hypostases) and singular (homoousion). Clements proposes that in their reception they open a site for latent esoteric intelligences to appear, focused around the Hermetic Principle of Correspondence: “As Above, So Below.” Extensive diagrams show the increasingly enfolded and enmeshed relationships between these three sculptures and detail how they appear in, and inform, one another.
Brancusi's trinity
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In "Brancusi's Trinity," sculptor Richard Clements focuses on a proposed Hermetic cosmology between three of Constantin Brancusi’s sculptures: Endless Column (1918-1937), Table of Silence (1937), and Cup (1918-1925), positing them as an inseparable and holistic Trinity. Avoiding the traditional art historical lens that looks at an artist’s biography, historical context, or symbolic/psychoanalytical interpretations, Clements instead approaches these works by focusing on their interrelated formation, formal and phenomenological relationship to each other, and their intrinsic numerological or occult concerns. As such, the sculptures form a trinity where each is seen in and through the others, simultaneously tripartite (hypostases) and singular (homoousion). Clements proposes that in their reception they open a site for latent esoteric intelligences to appear, focused around the Hermetic Principle of Correspondence: “As Above, So Below.” Extensive diagrams show the increasingly enfolded and enmeshed relationships between these three sculptures and detail how they appear in, and inform, one another.
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livres
livres
Publication:
septembre 2026
septembre 2026
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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Between the disciplines of art history and the history of science lies a growing field of inquiry into what science and art share as both image-making and knowledge-producing activities. The contributors of Picturing Science, Producing Art occupy this intermediate zone to analyze both scientific and aesthetic representations, utilizing disciplinary perspectives that range(...)
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Between the disciplines of art history and the history of science lies a growing field of inquiry into what science and art share as both image-making and knowledge-producing activities. The contributors of Picturing Science, Producing Art occupy this intermediate zone to analyze both scientific and aesthetic representations, utilizing disciplinary perspectives that range(...)
Titre:
Picturing science producing art
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Between the disciplines of art history and the history of science lies a growing field of inquiry into what science and art share as both image-making and knowledge-producing activities. The contributors of Picturing Science, Producing Art occupy this intermediate zone to analyze both scientific and aesthetic representations, utilizing disciplinary perspectives that range from art history to sociology, history and philosophy of science to gender studies, cultural history to the philosophy of mind. Organized in five sites--Styles, The Body, Seeing Wonders, Objectivity/Subjectivity, and Cultures of Vision--their topics extend from Cinquecento theories of female reproduction to the technologies of cloning, from medieval depictions of the stigmata to electrical metaphors for sex, from astronomical drawings to radioencephalography, from Phoenician griffons carved in ivory to factories cast in concrete. The internationally renowned contributors go beyond both science wars and culture wars by exploring substantive links between systems of visual representation and knowledge in science and art. Contributors include Svetlana Alpers, Jonathan Crary, Arnold Davidson, Carlo Ginzburg, Donna Haraway, Bruno Latour, and Simon Schaffer.
Picturing science producing art
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Between the disciplines of art history and the history of science lies a growing field of inquiry into what science and art share as both image-making and knowledge-producing activities. The contributors of Picturing Science, Producing Art occupy this intermediate zone to analyze both scientific and aesthetic representations, utilizing disciplinary perspectives that range from art history to sociology, history and philosophy of science to gender studies, cultural history to the philosophy of mind. Organized in five sites--Styles, The Body, Seeing Wonders, Objectivity/Subjectivity, and Cultures of Vision--their topics extend from Cinquecento theories of female reproduction to the technologies of cloning, from medieval depictions of the stigmata to electrical metaphors for sex, from astronomical drawings to radioencephalography, from Phoenician griffons carved in ivory to factories cast in concrete. The internationally renowned contributors go beyond both science wars and culture wars by exploring substantive links between systems of visual representation and knowledge in science and art. Contributors include Svetlana Alpers, Jonathan Crary, Arnold Davidson, Carlo Ginzburg, Donna Haraway, Bruno Latour, and Simon Schaffer.
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livres
livres
Publication:
juin 1998
juin 1998
Classification:
livres
livres
Titre:
Art and technics
Art and technics
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With a new introduction by Casey Nelson Blake
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With a new introduction by Casey Nelson Blake
Titre:
Art and technics
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With a new introduction by Casey Nelson Blake
Art and technics
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With a new introduction by Casey Nelson Blake
Classification:
livres
livres
Publication:
mai 2000, New York
mai 2000, New York
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
The life of forms in art
The life of forms in art
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$21.00
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In this classic meditation on the problem of style in art history, the author describes how art forms change over time. Although he argues that the development of art is irreducible to external political, social, or economic determinants, one of his great achievements was to lodge a concept of autonomous formal mutation within the shifting domain of materials and(...)
$21.00
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In this classic meditation on the problem of style in art history, the author describes how art forms change over time. Although he argues that the development of art is irreducible to external political, social, or economic determinants, one of his great achievements was to lodge a concept of autonomous formal mutation within the shifting domain of materials and(...)
Titre:
The life of forms in art
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In this classic meditation on the problem of style in art history, the author describes how art forms change over time. Although he argues that the development of art is irreducible to external political, social, or economic determinants, one of his great achievements was to lodge a concept of autonomous formal mutation within the shifting domain of materials and techniques. Focillon emphasizes the presence of nonsynchronous tendencies within styles that give to artworks a manifold and stratified character.
The life of forms in art
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In this classic meditation on the problem of style in art history, the author describes how art forms change over time. Although he argues that the development of art is irreducible to external political, social, or economic determinants, one of his great achievements was to lodge a concept of autonomous formal mutation within the shifting domain of materials and techniques. Focillon emphasizes the presence of nonsynchronous tendencies within styles that give to artworks a manifold and stratified character.
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livres
livres
Publication:
septembre 1992
septembre 1992
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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Dans ce texte issu d’une conférence prononcée en 1972, Jauss entreprend de réhabiliter la notion de jouissance esthétique à la fois contre la notion vulgaire de simple plaisir et contre les attaques des ascètes modernes qui voudraient exclure toute jouissance de l’art, qu’ils conçoivent comme pure intellectualité. Pour Jauss, il est impossible de faire abstraction de la(...)
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Dans ce texte issu d’une conférence prononcée en 1972, Jauss entreprend de réhabiliter la notion de jouissance esthétique à la fois contre la notion vulgaire de simple plaisir et contre les attaques des ascètes modernes qui voudraient exclure toute jouissance de l’art, qu’ils conçoivent comme pure intellectualité. Pour Jauss, il est impossible de faire abstraction de la(...)
Titre:
Petite apologie de l'expérience esthétique, n.e.
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Dans ce texte issu d’une conférence prononcée en 1972, Jauss entreprend de réhabiliter la notion de jouissance esthétique à la fois contre la notion vulgaire de simple plaisir et contre les attaques des ascètes modernes qui voudraient exclure toute jouissance de l’art, qu’ils conçoivent comme pure intellectualité. Pour Jauss, il est impossible de faire abstraction de la jouissance que provoque l’expérience esthétique, il faut au contraire la prendre comme objet de réflexion. C’est à ce prix qu’une telle expérience peut devenir libératrice et donner naissance à une forme nouvelle de sociabilité. Posant les bases d’un nouvel humanisme esthétique et critique, Jauss réhabilite la primauté de l’expérience esthétique qu’il oppose au langage asservi des sociétés modernes de consommateurs. Cette expérience spécifique maintiendrait présente l’image d’un monde unique, commun à tous. Un monde que seul l’art laisserait apparaître comme possible.
Petite apologie de l'expérience esthétique, n.e.
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Dans ce texte issu d’une conférence prononcée en 1972, Jauss entreprend de réhabiliter la notion de jouissance esthétique à la fois contre la notion vulgaire de simple plaisir et contre les attaques des ascètes modernes qui voudraient exclure toute jouissance de l’art, qu’ils conçoivent comme pure intellectualité. Pour Jauss, il est impossible de faire abstraction de la jouissance que provoque l’expérience esthétique, il faut au contraire la prendre comme objet de réflexion. C’est à ce prix qu’une telle expérience peut devenir libératrice et donner naissance à une forme nouvelle de sociabilité. Posant les bases d’un nouvel humanisme esthétique et critique, Jauss réhabilite la primauté de l’expérience esthétique qu’il oppose au langage asservi des sociétés modernes de consommateurs. Cette expérience spécifique maintiendrait présente l’image d’un monde unique, commun à tous. Un monde que seul l’art laisserait apparaître comme possible.
Classification:
livres
livres
Publication:
mai 2023
mai 2023
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
L'Art des États-Unis
L'Art des États-Unis
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Des peintures d’histoire de Benjamin West aux installations de Kara Walker, en passant par les œuvres de Mary Cassatt, de Georgia O’Keeffe ou encore de Jean-Michel Basquiat, cet ouvrage est une invitation à parcourir deux cent cinquante ans d’art des États-Unis. Il donne à entendre la multiplicité des voix qui se sont exprimées sur ces arts visuels, grâce à une vaste(...)
$74.95
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Des peintures d’histoire de Benjamin West aux installations de Kara Walker, en passant par les œuvres de Mary Cassatt, de Georgia O’Keeffe ou encore de Jean-Michel Basquiat, cet ouvrage est une invitation à parcourir deux cent cinquante ans d’art des États-Unis. Il donne à entendre la multiplicité des voix qui se sont exprimées sur ces arts visuels, grâce à une vaste(...)
Titre:
L'Art des États-Unis
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$74.95
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Des peintures d’histoire de Benjamin West aux installations de Kara Walker, en passant par les œuvres de Mary Cassatt, de Georgia O’Keeffe ou encore de Jean-Michel Basquiat, cet ouvrage est une invitation à parcourir deux cent cinquante ans d’art des États-Unis. Il donne à entendre la multiplicité des voix qui se sont exprimées sur ces arts visuels, grâce à une vaste sélection de textes historiques – écrits d’artistes, de critiques, de mécènes, de figures littéraires et autres commentateurs et commentatrices. Contextualisés par des essais introductifs et des notes explicatives, ces textes, réunis en chapitres chronologiques, sont accompagnés de reproductions d’œuvres phares, d’une chronologie des événements historiques ainsi que de cartes. Ces ressources contribuent à offrir un panorama d’une ampleur inédite sur les questions esthétiques mais aussi sociales et politiques liées aux arts visuels des États-Unis. Outil unique pour la compréhension de l’art américain, ce livre s’adresse aussi bien à un lectorat universitaire, auquel il offre un cadre d’étude et de pensée critique, qu’à un public amateur d’art souhaitant découvrir l’évolution des points de vue et des discours au fil des siècles.
L'Art des États-Unis
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Des peintures d’histoire de Benjamin West aux installations de Kara Walker, en passant par les œuvres de Mary Cassatt, de Georgia O’Keeffe ou encore de Jean-Michel Basquiat, cet ouvrage est une invitation à parcourir deux cent cinquante ans d’art des États-Unis. Il donne à entendre la multiplicité des voix qui se sont exprimées sur ces arts visuels, grâce à une vaste sélection de textes historiques – écrits d’artistes, de critiques, de mécènes, de figures littéraires et autres commentateurs et commentatrices. Contextualisés par des essais introductifs et des notes explicatives, ces textes, réunis en chapitres chronologiques, sont accompagnés de reproductions d’œuvres phares, d’une chronologie des événements historiques ainsi que de cartes. Ces ressources contribuent à offrir un panorama d’une ampleur inédite sur les questions esthétiques mais aussi sociales et politiques liées aux arts visuels des États-Unis. Outil unique pour la compréhension de l’art américain, ce livre s’adresse aussi bien à un lectorat universitaire, auquel il offre un cadre d’étude et de pensée critique, qu’à un public amateur d’art souhaitant découvrir l’évolution des points de vue et des discours au fil des siècles.
Classification:
livres
livres
Publication:
juin 2023
juin 2023
Sujet:
Théorie de l’art
Théorie de l’art
