1188 Résultats
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livres
livres
Titre:
Destruction
Destruction
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The effects and meanings of destruction are central to the work of many of our most influential artists. Since the early 1960s, artists have employed destruction to creative ends. Here destruction changes from a negative state or passive condition to a highly productive category. The destructive subversion of media imagery aims to release us from its controlling effects.(...)
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The effects and meanings of destruction are central to the work of many of our most influential artists. Since the early 1960s, artists have employed destruction to creative ends. Here destruction changes from a negative state or passive condition to a highly productive category. The destructive subversion of media imagery aims to release us from its controlling effects.(...)
Titre:
Destruction
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The effects and meanings of destruction are central to the work of many of our most influential artists. Since the early 1960s, artists have employed destruction to creative ends. Here destruction changes from a negative state or passive condition to a highly productive category. The destructive subversion of media imagery aims to release us from its controlling effects. The self-destructing artwork extinguishes art’s fixity as arrested form and ushers in the ephemeral and contingent "open work." This anthology explores artworks that convey the threat of destruction an how they have disrupted the perceived integrity of built structures and institutions. Artistic acts of iconoclasm or risk to the self have raised consciousness of authoritarian oppression. More understated works explore the theme of destruction in armed conflict, media violence, and threats to the environment. These text make up the first collection to be focused systematically on destruction in modern and contemporary art.
Destruction
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The effects and meanings of destruction are central to the work of many of our most influential artists. Since the early 1960s, artists have employed destruction to creative ends. Here destruction changes from a negative state or passive condition to a highly productive category. The destructive subversion of media imagery aims to release us from its controlling effects. The self-destructing artwork extinguishes art’s fixity as arrested form and ushers in the ephemeral and contingent "open work." This anthology explores artworks that convey the threat of destruction an how they have disrupted the perceived integrity of built structures and institutions. Artistic acts of iconoclasm or risk to the self have raised consciousness of authoritarian oppression. More understated works explore the theme of destruction in armed conflict, media violence, and threats to the environment. These text make up the first collection to be focused systematically on destruction in modern and contemporary art.
Classification:
livres
livres
Publication:
août 2017
août 2017
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
David Hammons
David Hammons
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In this engaging study, Elena Filipovic collects a vast oral history of the ephemeral action, uncovering rare images and documents, and giving us singular insight into an artist who made an art of making himself difficult to find. And through it, she reveals Bliz-aard Ball Sale to be the backbone of a radical artistic oeuvre that transforms such notions as “art,”(...)
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In this engaging study, Elena Filipovic collects a vast oral history of the ephemeral action, uncovering rare images and documents, and giving us singular insight into an artist who made an art of making himself difficult to find. And through it, she reveals Bliz-aard Ball Sale to be the backbone of a radical artistic oeuvre that transforms such notions as “art,”(...)
Titre:
David Hammons
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In this engaging study, Elena Filipovic collects a vast oral history of the ephemeral action, uncovering rare images and documents, and giving us singular insight into an artist who made an art of making himself difficult to find. And through it, she reveals Bliz-aard Ball Sale to be the backbone of a radical artistic oeuvre that transforms such notions as “art,” “commodity,” “performance,” and even “race” into categories that shift and dissolve, much like slowly melting snowballs.
David Hammons
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Résumé:
In this engaging study, Elena Filipovic collects a vast oral history of the ephemeral action, uncovering rare images and documents, and giving us singular insight into an artist who made an art of making himself difficult to find. And through it, she reveals Bliz-aard Ball Sale to be the backbone of a radical artistic oeuvre that transforms such notions as “art,” “commodity,” “performance,” and even “race” into categories that shift and dissolve, much like slowly melting snowballs.
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livres
livres
Publication:
août 2017
août 2017
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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In "Art Can Help", the internationally acclaimed American photographer Robert Adams offers over two dozen meditations on the purpose of art and the responsibility of the artist. In particular, Adams advocates art that evokes beauty without irony or sentimentality, art that “encourages us to gratitude and engagement, and is of both personal and civic consequence.”(...)
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In "Art Can Help", the internationally acclaimed American photographer Robert Adams offers over two dozen meditations on the purpose of art and the responsibility of the artist. In particular, Adams advocates art that evokes beauty without irony or sentimentality, art that “encourages us to gratitude and engagement, and is of both personal and civic consequence.”(...)
Titre:
Art can help : new and selected essays
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In "Art Can Help", the internationally acclaimed American photographer Robert Adams offers over two dozen meditations on the purpose of art and the responsibility of the artist. In particular, Adams advocates art that evokes beauty without irony or sentimentality, art that “encourages us to gratitude and engagement, and is of both personal and civic consequence.” Following an introduction, the book begins with two short essays on the works of the American painter Edward Hopper, an artist venerated by Adams. The rest of this compilation contains texts—more than half of which have never before been published—that contemplate one or two works by an individual artist. The pictures discussed are by noted photographers such as Julia Margaret Cameron, Emmet Gowin, Dorothea Lange, Abelardo Morell, Edward Ranney, Judith Joy Ross, John Szarkowski, and Garry Winogrand. Several essays summon the words of literary figures, including Virginia Woolf and Czeslaw Milosz. Adams’s voice is at once intimate and accessible, and is imbued with the accumulated wisdom of a long career devoted to making and viewing art. This eloquent and moving book champions art that fights against disillusionment and despair.
Art can help : new and selected essays
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In "Art Can Help", the internationally acclaimed American photographer Robert Adams offers over two dozen meditations on the purpose of art and the responsibility of the artist. In particular, Adams advocates art that evokes beauty without irony or sentimentality, art that “encourages us to gratitude and engagement, and is of both personal and civic consequence.” Following an introduction, the book begins with two short essays on the works of the American painter Edward Hopper, an artist venerated by Adams. The rest of this compilation contains texts—more than half of which have never before been published—that contemplate one or two works by an individual artist. The pictures discussed are by noted photographers such as Julia Margaret Cameron, Emmet Gowin, Dorothea Lange, Abelardo Morell, Edward Ranney, Judith Joy Ross, John Szarkowski, and Garry Winogrand. Several essays summon the words of literary figures, including Virginia Woolf and Czeslaw Milosz. Adams’s voice is at once intimate and accessible, and is imbued with the accumulated wisdom of a long career devoted to making and viewing art. This eloquent and moving book champions art that fights against disillusionment and despair.
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livres
livres
Publication:
septembre 2017
septembre 2017
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
The postconceptual condition
The postconceptual condition
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If, as Walter Benjamin claimed, "it is the function of artistic form […] to make historical content into a philosophical truth” then it is the function of criticism to recover and to complete that truth. Contemporary art makes this work more difficult than ever. Today’s art is a point of condensation for a vast array of social and historical forces, economic and political(...)
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If, as Walter Benjamin claimed, "it is the function of artistic form […] to make historical content into a philosophical truth” then it is the function of criticism to recover and to complete that truth. Contemporary art makes this work more difficult than ever. Today’s art is a point of condensation for a vast array of social and historical forces, economic and political(...)
Titre:
The postconceptual condition
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If, as Walter Benjamin claimed, "it is the function of artistic form […] to make historical content into a philosophical truth” then it is the function of criticism to recover and to complete that truth. Contemporary art makes this work more difficult than ever. Today’s art is a point of condensation for a vast array of social and historical forces, economic and political forms, and technologies of image production. Contemporary art, Osborne maintains, expresses this condition through its distinctively postconceptual form. These essays—extending the scope and arguments of Osborne’s Anywhere or Not At All: Philosophy of Contemporary Art—move from a philosophical consideration of the changing temporal conditions of capitalist modernity, via problems of formalism, the politics of art and the changing shape of art institutions, to interpretation and analysis of particular works by Akram Zaatari, Xavier Le Roy and Ilya Kabakov, and the postconceptual situation of a crisis-ridden New Music.
The postconceptual condition
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If, as Walter Benjamin claimed, "it is the function of artistic form […] to make historical content into a philosophical truth” then it is the function of criticism to recover and to complete that truth. Contemporary art makes this work more difficult than ever. Today’s art is a point of condensation for a vast array of social and historical forces, economic and political forms, and technologies of image production. Contemporary art, Osborne maintains, expresses this condition through its distinctively postconceptual form. These essays—extending the scope and arguments of Osborne’s Anywhere or Not At All: Philosophy of Contemporary Art—move from a philosophical consideration of the changing temporal conditions of capitalist modernity, via problems of formalism, the politics of art and the changing shape of art institutions, to interpretation and analysis of particular works by Akram Zaatari, Xavier Le Roy and Ilya Kabakov, and the postconceptual situation of a crisis-ridden New Music.
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livres
livres
Publication:
janvier 2018
janvier 2018
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, and some of the world’s most valuable artworks are used as currency in a global futures market detached from productive work? Can we distinguish between information, fake news, and the digital(...)
$33.00
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In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, and some of the world’s most valuable artworks are used as currency in a global futures market detached from productive work? Can we distinguish between information, fake news, and the digital(...)
Titre:
Duty free art: art in the age of planetary civil war
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In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, and some of the world’s most valuable artworks are used as currency in a global futures market detached from productive work? Can we distinguish between information, fake news, and the digital white noise that bombards our everyday lives? Exploring subjects as diverse as video games, WikiLeaks files, the proliferation of freeports, and political actions, she exposes the paradoxes within globalization, political economies, visual culture, and the status of art production.
Duty free art: art in the age of planetary civil war
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In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, and some of the world’s most valuable artworks are used as currency in a global futures market detached from productive work? Can we distinguish between information, fake news, and the digital white noise that bombards our everyday lives? Exploring subjects as diverse as video games, WikiLeaks files, the proliferation of freeports, and political actions, she exposes the paradoxes within globalization, political economies, visual culture, and the status of art production.
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livres
livres
Publication:
novembre 2017
novembre 2017
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
Les modernologues
Les modernologues
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L'histoire du modernisme n'aura pas seulement occupé les historiens et les critiques, elle aura aussi été un objet d'investissement à part entière pour les créateurs actuels. C'est ce que montre cet ouvrage, le premier de Marjolaine Lévy. Elle y analyse dans le détail l'œuvre de six artistes pour lesquels le rapport au modernisme de la première moitié du xxe siècle est(...)
$32.50
(disponible en magasin)
Résumé:
L'histoire du modernisme n'aura pas seulement occupé les historiens et les critiques, elle aura aussi été un objet d'investissement à part entière pour les créateurs actuels. C'est ce que montre cet ouvrage, le premier de Marjolaine Lévy. Elle y analyse dans le détail l'œuvre de six artistes pour lesquels le rapport au modernisme de la première moitié du xxe siècle est(...)
Titre:
Les modernologues
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L'histoire du modernisme n'aura pas seulement occupé les historiens et les critiques, elle aura aussi été un objet d'investissement à part entière pour les créateurs actuels. C'est ce que montre cet ouvrage, le premier de Marjolaine Lévy. Elle y analyse dans le détail l'œuvre de six artistes pour lesquels le rapport au modernisme de la première moitié du xxe siècle est crucial. Ce faisant, leurs travaux sont aussi des interprétations historiques, fondées sur des approches plasticiennes, qui traitent la mémoire des formes par son invention aujourd'hui. Mies van der Rohe, Le Corbusier, Malevitch, Marcel Breuer, ces figures balisent l'univers de Farah Atassi, Martin Boyce, David Diao, Josiah McElheny, Simon Starling et Lucy Williams.
Les modernologues
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L'histoire du modernisme n'aura pas seulement occupé les historiens et les critiques, elle aura aussi été un objet d'investissement à part entière pour les créateurs actuels. C'est ce que montre cet ouvrage, le premier de Marjolaine Lévy. Elle y analyse dans le détail l'œuvre de six artistes pour lesquels le rapport au modernisme de la première moitié du xxe siècle est crucial. Ce faisant, leurs travaux sont aussi des interprétations historiques, fondées sur des approches plasticiennes, qui traitent la mémoire des formes par son invention aujourd'hui. Mies van der Rohe, Le Corbusier, Malevitch, Marcel Breuer, ces figures balisent l'univers de Farah Atassi, Martin Boyce, David Diao, Josiah McElheny, Simon Starling et Lucy Williams.
Classification:
livres
livres
Publication:
mai 2017
mai 2017
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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$48.95
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112 Greene Street, The Kitchen, Artists Space, The Clocktower, P.S.1, Franklin Furnace, ou Fashion Moda : ces lieux nés durant la décennie 1970, et parfois toujours en activité, ont laissé une empreinte durable sur la scène artistique new-yorkaise. « Espaces alternatifs », d'abord installés dans ces quartiers industriels du sud de Manhattan qui deviendront SoHo et(...)
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112 Greene Street, The Kitchen, Artists Space, The Clocktower, P.S.1, Franklin Furnace, ou Fashion Moda : ces lieux nés durant la décennie 1970, et parfois toujours en activité, ont laissé une empreinte durable sur la scène artistique new-yorkaise. « Espaces alternatifs », d'abord installés dans ces quartiers industriels du sud de Manhattan qui deviendront SoHo et(...)
Titre:
Une histoire des espaces alternatifs à New York: de SoHo au South Bronx,1969-1985
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112 Greene Street, The Kitchen, Artists Space, The Clocktower, P.S.1, Franklin Furnace, ou Fashion Moda : ces lieux nés durant la décennie 1970, et parfois toujours en activité, ont laissé une empreinte durable sur la scène artistique new-yorkaise. « Espaces alternatifs », d'abord installés dans ces quartiers industriels du sud de Manhattan qui deviendront SoHo et TriBeCa, puis dans l'East Village, le Queens, Brooklyn, ou encore le sud du Bronx, ces lieux d'exposition, de création et de sociabilité établis en marge des institutions muséales et des galeries commerciales ont favorisé l'épanouissement de nouvelles pratiques : art processuel, danse postmoderne, art vidéo, performance. C'est une enquête historique et un parcours géographique que propose l'ouvrage, mettant en lumière l'articulation entre ces pratiques et les phénomènes institutionnels, sociaux, économiques et urbains dont elles ne peuvent être dissociées. Si les installations dans les espaces bruts du 112 Greene Street ou l'exposition inaugurale de P.S.1 révèlent un engouement pour le matériau urbain, c'est aussi la place des artistes dans la ville de New York qui est alors constamment interrogée, depuis la légalisation des premiers lofts jusqu'aux critiques virulentes de la gentrification qui émanent de la communauté artistique elle-même. Alors qu'au début des années 1970 ces lieux alternatifs profitent d'un contexte économique favorable et du soutien d'une nouvelle politique culturelle fédérale et locale, le milieu des années 1980 sonne le glas d'un mouvement. « The Fun is gone » arbore la Fun Gallery à sa fermeture dans l'East Village en 1985. La scène alternative s'essouffle sous la présidence Reagan, non sans avoir nourri sa propre histoire et contribué à la constitution d'une mythologie et d'un héritage dont l'ambivalence persiste aujourd'hui.
Une histoire des espaces alternatifs à New York: de SoHo au South Bronx,1969-1985
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$48.95
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Résumé:
112 Greene Street, The Kitchen, Artists Space, The Clocktower, P.S.1, Franklin Furnace, ou Fashion Moda : ces lieux nés durant la décennie 1970, et parfois toujours en activité, ont laissé une empreinte durable sur la scène artistique new-yorkaise. « Espaces alternatifs », d'abord installés dans ces quartiers industriels du sud de Manhattan qui deviendront SoHo et TriBeCa, puis dans l'East Village, le Queens, Brooklyn, ou encore le sud du Bronx, ces lieux d'exposition, de création et de sociabilité établis en marge des institutions muséales et des galeries commerciales ont favorisé l'épanouissement de nouvelles pratiques : art processuel, danse postmoderne, art vidéo, performance. C'est une enquête historique et un parcours géographique que propose l'ouvrage, mettant en lumière l'articulation entre ces pratiques et les phénomènes institutionnels, sociaux, économiques et urbains dont elles ne peuvent être dissociées. Si les installations dans les espaces bruts du 112 Greene Street ou l'exposition inaugurale de P.S.1 révèlent un engouement pour le matériau urbain, c'est aussi la place des artistes dans la ville de New York qui est alors constamment interrogée, depuis la légalisation des premiers lofts jusqu'aux critiques virulentes de la gentrification qui émanent de la communauté artistique elle-même. Alors qu'au début des années 1970 ces lieux alternatifs profitent d'un contexte économique favorable et du soutien d'une nouvelle politique culturelle fédérale et locale, le milieu des années 1980 sonne le glas d'un mouvement. « The Fun is gone » arbore la Fun Gallery à sa fermeture dans l'East Village en 1985. La scène alternative s'essouffle sous la présidence Reagan, non sans avoir nourri sa propre histoire et contribué à la constitution d'une mythologie et d'un héritage dont l'ambivalence persiste aujourd'hui.
Classification:
livres
livres
Publication:
juillet 2017
juillet 2017
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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Taking that ambiguous thing we call “the exhibition” as a critical medium, artists have often radically rethought conventional forms of exhibition making. "The Artist as Curator: An Anthology", born out of a series of essays originally published in Mousse, surveys seminal examples of such artist-curated exhibitions from the postwar to the present, examined by the world’s(...)
$39.95
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Résumé:
Taking that ambiguous thing we call “the exhibition” as a critical medium, artists have often radically rethought conventional forms of exhibition making. "The Artist as Curator: An Anthology", born out of a series of essays originally published in Mousse, surveys seminal examples of such artist-curated exhibitions from the postwar to the present, examined by the world’s(...)
Titre:
The artist as curator: an anthology
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Taking that ambiguous thing we call “the exhibition” as a critical medium, artists have often radically rethought conventional forms of exhibition making. "The Artist as Curator: An Anthology", born out of a series of essays originally published in Mousse, surveys seminal examples of such artist-curated exhibitions from the postwar to the present, examined by the world’s foremost curators and illustrated with rare documents and illustrations. Artists featured include the Avant-Garde Argentinian Visual Artists Group; Mel Bochner; Marcel Broothaers; John Cage; Judy Chicago, Miriam Schapiro and the CalArts Feminist Art Program; Collaborative Projects Inc. (Colab); Liam Gillick and Philippe Parreno; Group Material; Richard Hamilton and Victor Pasmore; David Hammons; Martin Kippenberger; Mark Leckey; Hélio Oiticica; Walid Raad and Akram Zaatari; Martha Rosler; and Andy Warhol, among other examples drawn from around the globe.
The artist as curator: an anthology
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$39.95
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Résumé:
Taking that ambiguous thing we call “the exhibition” as a critical medium, artists have often radically rethought conventional forms of exhibition making. "The Artist as Curator: An Anthology", born out of a series of essays originally published in Mousse, surveys seminal examples of such artist-curated exhibitions from the postwar to the present, examined by the world’s foremost curators and illustrated with rare documents and illustrations. Artists featured include the Avant-Garde Argentinian Visual Artists Group; Mel Bochner; Marcel Broothaers; John Cage; Judy Chicago, Miriam Schapiro and the CalArts Feminist Art Program; Collaborative Projects Inc. (Colab); Liam Gillick and Philippe Parreno; Group Material; Richard Hamilton and Victor Pasmore; David Hammons; Martin Kippenberger; Mark Leckey; Hélio Oiticica; Walid Raad and Akram Zaatari; Martha Rosler; and Andy Warhol, among other examples drawn from around the globe.
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livres
livres
Publication:
février 2018
février 2018
Classification:
livres
livres
Titre:
Art in the anthropocene: encounters among aesthetics, politics, environments and epistemologies
Art in the anthropocene: encounters among aesthetics, politics, environments and epistemologies
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Taking as its premise that the proposed epoch of the Anthropocene is necessarily an aesthetic event, this collection explores the relationship between contemporary art and knowledge production in an era of ecological crisis. Art in the Anthropocene brings together a multitude of disciplinary conversations, drawing together artists, curators, scientists, theorists and(...)
$29.95
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Résumé:
Taking as its premise that the proposed epoch of the Anthropocene is necessarily an aesthetic event, this collection explores the relationship between contemporary art and knowledge production in an era of ecological crisis. Art in the Anthropocene brings together a multitude of disciplinary conversations, drawing together artists, curators, scientists, theorists and(...)
Titre:
Art in the anthropocene: encounters among aesthetics, politics, environments and epistemologies
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Taking as its premise that the proposed epoch of the Anthropocene is necessarily an aesthetic event, this collection explores the relationship between contemporary art and knowledge production in an era of ecological crisis. Art in the Anthropocene brings together a multitude of disciplinary conversations, drawing together artists, curators, scientists, theorists and activists to address the geological reformation of the human species.
Art in the anthropocene: encounters among aesthetics, politics, environments and epistemologies
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Résumé:
Taking as its premise that the proposed epoch of the Anthropocene is necessarily an aesthetic event, this collection explores the relationship between contemporary art and knowledge production in an era of ecological crisis. Art in the Anthropocene brings together a multitude of disciplinary conversations, drawing together artists, curators, scientists, theorists and activists to address the geological reformation of the human species.
Classification:
livres
livres
Publication:
juin 2015
juin 2015
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
Material utopias
Material utopias
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In the slipstream of conceptual art, the intimate interweaving of meaning and materialization in art and design came to be discredited in the second half of the twentieth century. The master’s program Material Utopias at the Sandberg Instituut put an end to this tradition by abolishing the unproductive hierarchy separating "concept" and "making," "content" and "process."(...)
$34.95
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Résumé:
In the slipstream of conceptual art, the intimate interweaving of meaning and materialization in art and design came to be discredited in the second half of the twentieth century. The master’s program Material Utopias at the Sandberg Instituut put an end to this tradition by abolishing the unproductive hierarchy separating "concept" and "making," "content" and "process."(...)
Titre:
Material utopias
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$34.95
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Résumé:
In the slipstream of conceptual art, the intimate interweaving of meaning and materialization in art and design came to be discredited in the second half of the twentieth century. The master’s program Material Utopias at the Sandberg Instituut put an end to this tradition by abolishing the unproductive hierarchy separating "concept" and "making," "content" and "process." In this publication, various authors reflect on the history of dematerialization and deskilling, the manifold meanings of materials in art and design, and the challenges for education when the innovative power of the artistic process is celebrated.
Material utopias
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$34.95
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Résumé:
In the slipstream of conceptual art, the intimate interweaving of meaning and materialization in art and design came to be discredited in the second half of the twentieth century. The master’s program Material Utopias at the Sandberg Instituut put an end to this tradition by abolishing the unproductive hierarchy separating "concept" and "making," "content" and "process." In this publication, various authors reflect on the history of dematerialization and deskilling, the manifold meanings of materials in art and design, and the challenges for education when the innovative power of the artistic process is celebrated.
Classification:
livres
livres
Publication:
septembre 2017
septembre 2017
Sujet:
Théorie de l’art
Théorie de l’art
