1147 Résultats
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Painting seems to have lost its dominant position in the field of the arts. However, looking more closely at exhibited photographs, assemblages, installations, or performances, it is evident how the rhetorics of painting still remain omnipresent. Following the tradition of classical theories of painting based on exchanges with artists, Isabelle Graw’s "The Love of(...)
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Résumé:
Painting seems to have lost its dominant position in the field of the arts. However, looking more closely at exhibited photographs, assemblages, installations, or performances, it is evident how the rhetorics of painting still remain omnipresent. Following the tradition of classical theories of painting based on exchanges with artists, Isabelle Graw’s "The Love of(...)
Titre:
The love of painting: genealogy of a success medium
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Painting seems to have lost its dominant position in the field of the arts. However, looking more closely at exhibited photographs, assemblages, installations, or performances, it is evident how the rhetorics of painting still remain omnipresent. Following the tradition of classical theories of painting based on exchanges with artists, Isabelle Graw’s "The Love of Painting" considers the art form not as something fixed, but as a visual and discursive material formation with the potential to fascinate owing to its ability to produce the fantasy of liveliness. Thus, painting is not restricted to the limits of its own frame, but possesses a specific potential that is located in its material and physical signs. Its value is grounded in its capacity to both reveal and mystify its conditions of production. Alongside in-depth analyses of the work of artists like Édouard Manet, Jutta Koether, Martin Kippenberger, Jana Euler, and Marcel Broodthaers, the book includes conversations with artists in which Graw’s insights are further discussed and put to the test.
The love of painting: genealogy of a success medium
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Painting seems to have lost its dominant position in the field of the arts. However, looking more closely at exhibited photographs, assemblages, installations, or performances, it is evident how the rhetorics of painting still remain omnipresent. Following the tradition of classical theories of painting based on exchanges with artists, Isabelle Graw’s "The Love of Painting" considers the art form not as something fixed, but as a visual and discursive material formation with the potential to fascinate owing to its ability to produce the fantasy of liveliness. Thus, painting is not restricted to the limits of its own frame, but possesses a specific potential that is located in its material and physical signs. Its value is grounded in its capacity to both reveal and mystify its conditions of production. Alongside in-depth analyses of the work of artists like Édouard Manet, Jutta Koether, Martin Kippenberger, Jana Euler, and Marcel Broodthaers, the book includes conversations with artists in which Graw’s insights are further discussed and put to the test.
Classification:
livres
livres
Publication:
mars 2018
mars 2018
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Prix:
$60.00
(disponible en magasin)
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Peggy Guggenheim (1898–1979) and Nelly van Doesburg (1899–1975) were vital participants in the De Stijl movement, promoting, exhibiting and buying De Stijl at a time when few had interest in the geometric language of forms being developed by Theo van Doesburg, Piet Mondrian and others in the Netherlands. Guggenheim and van Doesburg’s efforts helped ensure that De Stijl(...)
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Peggy Guggenheim (1898–1979) and Nelly van Doesburg (1899–1975) were vital participants in the De Stijl movement, promoting, exhibiting and buying De Stijl at a time when few had interest in the geometric language of forms being developed by Theo van Doesburg, Piet Mondrian and others in the Netherlands. Guggenheim and van Doesburg’s efforts helped ensure that De Stijl(...)
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Peggy Guggenheim and Nelly van Doesburg: advocates of De Stijl
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Peggy Guggenheim (1898–1979) and Nelly van Doesburg (1899–1975) were vital participants in the De Stijl movement, promoting, exhibiting and buying De Stijl at a time when few had interest in the geometric language of forms being developed by Theo van Doesburg, Piet Mondrian and others in the Netherlands. Guggenheim and van Doesburg’s efforts helped ensure that De Stijl came to be recognized internationally as one of the most important art movements of the 20th century.
Peggy Guggenheim and Nelly van Doesburg: advocates of De Stijl
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Peggy Guggenheim (1898–1979) and Nelly van Doesburg (1899–1975) were vital participants in the De Stijl movement, promoting, exhibiting and buying De Stijl at a time when few had interest in the geometric language of forms being developed by Theo van Doesburg, Piet Mondrian and others in the Netherlands. Guggenheim and van Doesburg’s efforts helped ensure that De Stijl came to be recognized internationally as one of the most important art movements of the 20th century.
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livres
livres
Publication:
février 2018
février 2018
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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$34.50
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"Being Public" is an anthology of essays investigating, from different perspectives, the notion of "public". "Public" is one of the most issued categories in current debates on culture, yet the notion itself remains largely un-reflected. The meaning of both "art publics" and "public space" have become complex in a time where boundaries between public and private are(...)
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"Being Public" is an anthology of essays investigating, from different perspectives, the notion of "public". "Public" is one of the most issued categories in current debates on culture, yet the notion itself remains largely un-reflected. The meaning of both "art publics" and "public space" have become complex in a time where boundaries between public and private are(...)
Titre:
Being public: how art creates the public
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"Being Public" is an anthology of essays investigating, from different perspectives, the notion of "public". "Public" is one of the most issued categories in current debates on culture, yet the notion itself remains largely un-reflected. The meaning of both "art publics" and "public space" have become complex in a time where boundaries between public and private are shifting, and where "the public" actually comprises different groups of changing composition and identity. What does it mean to be public today? And what is the role of art in constituting both "public space" as well as "a public"? Taking these questions as a starting point, the book aims to create a better understanding of the relationships between art and the notion of the public.
Being public: how art creates the public
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"Being Public" is an anthology of essays investigating, from different perspectives, the notion of "public". "Public" is one of the most issued categories in current debates on culture, yet the notion itself remains largely un-reflected. The meaning of both "art publics" and "public space" have become complex in a time where boundaries between public and private are shifting, and where "the public" actually comprises different groups of changing composition and identity. What does it mean to be public today? And what is the role of art in constituting both "public space" as well as "a public"? Taking these questions as a starting point, the book aims to create a better understanding of the relationships between art and the notion of the public.
Classification:
livres
livres
Publication:
août 2017
août 2017
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
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Ce livre se penche sur la réception différée des théories et des propositions artistiques à travers le langage, le contexte et la traduction. Il explore l'intervalle entre la publication initiale d'un texte dans une langue dite « originale » et sa traduction (prenant l'exemple de la French Theory), ou entre le moment de l'exposition inaugurale d'une œuvre et les(...)
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Résumé:
Ce livre se penche sur la réception différée des théories et des propositions artistiques à travers le langage, le contexte et la traduction. Il explore l'intervalle entre la publication initiale d'un texte dans une langue dite « originale » et sa traduction (prenant l'exemple de la French Theory), ou entre le moment de l'exposition inaugurale d'une œuvre et les(...)
Publication:
juillet 2018
juillet 2018
Titre:
D’un discours qui ne serait pas du semblant / actors, networks, theories
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Ce livre se penche sur la réception différée des théories et des propositions artistiques à travers le langage, le contexte et la traduction. Il explore l'intervalle entre la publication initiale d'un texte dans une langue dite « originale » et sa traduction (prenant l'exemple de la French Theory), ou entre le moment de l'exposition inaugurale d'une œuvre et les occurrences de ses présentations subséquentes. Une réflexion critique sur les discours des pratiques artistiques contemporaines.
D’un discours qui ne serait pas du semblant / actors, networks, theories
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$34.95
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Résumé:
Ce livre se penche sur la réception différée des théories et des propositions artistiques à travers le langage, le contexte et la traduction. Il explore l'intervalle entre la publication initiale d'un texte dans une langue dite « originale » et sa traduction (prenant l'exemple de la French Theory), ou entre le moment de l'exposition inaugurale d'une œuvre et les occurrences de ses présentations subséquentes. Une réflexion critique sur les discours des pratiques artistiques contemporaines.
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livres
livres
Publication:
juillet 2018
juillet 2018
Classification:
livres
livres
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$39.00
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An examination of a 1970s Conceptual art project—advertisements for fictional shows by fictional artists in a fictional gallery—that hoodwinked the New York art world.
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An examination of a 1970s Conceptual art project—advertisements for fictional shows by fictional artists in a fictional gallery—that hoodwinked the New York art world.
Titre:
The Jean Freeman gallery does not exist
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An examination of a 1970s Conceptual art project—advertisements for fictional shows by fictional artists in a fictional gallery—that hoodwinked the New York art world.
The Jean Freeman gallery does not exist
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An examination of a 1970s Conceptual art project—advertisements for fictional shows by fictional artists in a fictional gallery—that hoodwinked the New York art world.
Classification:
livres
livres
Publication:
octobre 2018
octobre 2018
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
Craft
Craft
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“Craft” is a contested concept in art history and a vital category through which to understand contemporary art. Through craft, materials, techniques, and tools are investigated and their histories explored in order to reflect on the politics of labor and on the extraordinary complexity of the made world around us. This anthology offers an ethnography of craft, surveying(...)
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“Craft” is a contested concept in art history and a vital category through which to understand contemporary art. Through craft, materials, techniques, and tools are investigated and their histories explored in order to reflect on the politics of labor and on the extraordinary complexity of the made world around us. This anthology offers an ethnography of craft, surveying(...)
Titre:
Craft
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“Craft” is a contested concept in art history and a vital category through which to understand contemporary art. Through craft, materials, techniques, and tools are investigated and their histories explored in order to reflect on the politics of labor and on the extraordinary complexity of the made world around us. This anthology offers an ethnography of craft, surveying its shape-shifting identities in the context of progressive art and design through writings by artists and makers as well as poetry, fiction, anthropology, and sociology. It maps a secret history of craft through lost and overlooked texts that consider pedagogy, design, folk art, the factory, and new media in ways that illuminate our understanding of current art practice.
Craft
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Résumé:
“Craft” is a contested concept in art history and a vital category through which to understand contemporary art. Through craft, materials, techniques, and tools are investigated and their histories explored in order to reflect on the politics of labor and on the extraordinary complexity of the made world around us. This anthology offers an ethnography of craft, surveying its shape-shifting identities in the context of progressive art and design through writings by artists and makers as well as poetry, fiction, anthropology, and sociology. It maps a secret history of craft through lost and overlooked texts that consider pedagogy, design, folk art, the factory, and new media in ways that illuminate our understanding of current art practice.
Classification:
livres
livres
Publication:
septembre 2018
septembre 2018
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
Sherrie Levine
Sherrie Levine
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The artist Sherrie Levine (b. 1947) is best known for her appropriations of work by other artists—most famously for her rephotographs of canonical images by Edward Weston, Eliot Porter, and other masters of modern photography. Since those works of the early 1980s, she has continued to work on and “after” artists whose names have come to define modernism, making sculpture(...)
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The artist Sherrie Levine (b. 1947) is best known for her appropriations of work by other artists—most famously for her rephotographs of canonical images by Edward Weston, Eliot Porter, and other masters of modern photography. Since those works of the early 1980s, she has continued to work on and “after” artists whose names have come to define modernism, making sculpture(...)
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Sherrie Levine
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The artist Sherrie Levine (b. 1947) is best known for her appropriations of work by other artists—most famously for her rephotographs of canonical images by Edward Weston, Eliot Porter, and other masters of modern photography. Since those works of the early 1980s, she has continued to work on and “after” artists whose names have come to define modernism, making sculpture after Brancusi and Duchamp, paintings after Malevich and Blinky Palermo, watercolors after Matisse and Miro, photographs after Monet and Cezanne as well as Alfred Stieglitz. Throughout, Levine's practice effectively uncompleted, decentered, and extended works of art that were once singular and finished, posing critical rebuttals to some of the basic assumptions of modernist aesthetics. Her work was central to the theorization of postmodernism in the visual arts—most notably as it emerged in the pages of October magazine.
Sherrie Levine
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The artist Sherrie Levine (b. 1947) is best known for her appropriations of work by other artists—most famously for her rephotographs of canonical images by Edward Weston, Eliot Porter, and other masters of modern photography. Since those works of the early 1980s, she has continued to work on and “after” artists whose names have come to define modernism, making sculpture after Brancusi and Duchamp, paintings after Malevich and Blinky Palermo, watercolors after Matisse and Miro, photographs after Monet and Cezanne as well as Alfred Stieglitz. Throughout, Levine's practice effectively uncompleted, decentered, and extended works of art that were once singular and finished, posing critical rebuttals to some of the basic assumptions of modernist aesthetics. Her work was central to the theorization of postmodernism in the visual arts—most notably as it emerged in the pages of October magazine.
Classification:
livres
livres
Publication:
septembre 2018
septembre 2018
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
Social practices
Social practices
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Mixing biography, autobiography, fiction, criticism, and conversations among friends, with ''Social Practices'' Chris Kraus continues the anthropological exploration of artistic lives and the art world begun in 2004 with Video Green: Los Angeles Art and the Triumph of Nothingness. Social Practices includes writings from and around the legendary ''Chance Event—Three Days(...)
$26.95
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Mixing biography, autobiography, fiction, criticism, and conversations among friends, with ''Social Practices'' Chris Kraus continues the anthropological exploration of artistic lives and the art world begun in 2004 with Video Green: Los Angeles Art and the Triumph of Nothingness. Social Practices includes writings from and around the legendary ''Chance Event—Three Days(...)
Titre:
Social practices
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Mixing biography, autobiography, fiction, criticism, and conversations among friends, with ''Social Practices'' Chris Kraus continues the anthropological exploration of artistic lives and the art world begun in 2004 with Video Green: Los Angeles Art and the Triumph of Nothingness. Social Practices includes writings from and around the legendary ''Chance Event—Three Days in the Desert with Jean Baudrillard'' (1996), and ''Radical Localism,'' an exhibition of art and media from Puerto Nuevo's Mexicali Rose that Kraus co-organized with Marco Vera and Richard Birkett in 2012. Attuned to the odd and the anomalous, Kraus profiles Elias Fontes, an Imperial Valley hay merchant who has become an important collector of contemporary Mexican art, and chronicles the demise of a rural convenience store in northern Minnesota.
Social practices
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Mixing biography, autobiography, fiction, criticism, and conversations among friends, with ''Social Practices'' Chris Kraus continues the anthropological exploration of artistic lives and the art world begun in 2004 with Video Green: Los Angeles Art and the Triumph of Nothingness. Social Practices includes writings from and around the legendary ''Chance Event—Three Days in the Desert with Jean Baudrillard'' (1996), and ''Radical Localism,'' an exhibition of art and media from Puerto Nuevo's Mexicali Rose that Kraus co-organized with Marco Vera and Richard Birkett in 2012. Attuned to the odd and the anomalous, Kraus profiles Elias Fontes, an Imperial Valley hay merchant who has become an important collector of contemporary Mexican art, and chronicles the demise of a rural convenience store in northern Minnesota.
Classification:
livres
livres
Publication:
octobre 2018
octobre 2018
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
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$43.95
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Gary Indiana's collected columns of art criticism from the Village Voice, documenting, from the front lines, the 1980s New York art scene. From March 1985 through June 1988 in The Village Voice, Gary Indiana reimagined the weekly art column. Thirty years later, ''Vile Days'' brings together for the first time all of those vivid dispatches, too long stuck in archival(...)
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Résumé:
Gary Indiana's collected columns of art criticism from the Village Voice, documenting, from the front lines, the 1980s New York art scene. From March 1985 through June 1988 in The Village Voice, Gary Indiana reimagined the weekly art column. Thirty years later, ''Vile Days'' brings together for the first time all of those vivid dispatches, too long stuck in archival(...)
Titre:
Vile days: the village voice art columns, 1985-1988
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Gary Indiana's collected columns of art criticism from the Village Voice, documenting, from the front lines, the 1980s New York art scene. From March 1985 through June 1988 in The Village Voice, Gary Indiana reimagined the weekly art column. Thirty years later, ''Vile Days'' brings together for the first time all of those vivid dispatches, too long stuck in archival limbo, so that the fire of Indiana's observations can burn again. In the midst of Reaganism, the grim toll of AIDS, and the frequent jingoism of postmodern theory, Indiana found a way to be the moment's Baudelaire. He turned the art review into a chronicle of life under siege.
Vile days: the village voice art columns, 1985-1988
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Gary Indiana's collected columns of art criticism from the Village Voice, documenting, from the front lines, the 1980s New York art scene. From March 1985 through June 1988 in The Village Voice, Gary Indiana reimagined the weekly art column. Thirty years later, ''Vile Days'' brings together for the first time all of those vivid dispatches, too long stuck in archival limbo, so that the fire of Indiana's observations can burn again. In the midst of Reaganism, the grim toll of AIDS, and the frequent jingoism of postmodern theory, Indiana found a way to be the moment's Baudelaire. He turned the art review into a chronicle of life under siege.
Classification:
livres
livres
Publication:
novembre 2018
novembre 2018
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
To describe a life
To describe a life
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$47.00
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Résumé:
By turns historical, critical, and personal, this book examines the use of art—and love—as a resource amid the recent wave of shootings by American police of innocent black women and men. Darby English attends to a cluster of artworks created in or for our tumultuous present that address themes of racial violence and representation idiosyncratically, neither offering(...)
$47.00
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Résumé:
By turns historical, critical, and personal, this book examines the use of art—and love—as a resource amid the recent wave of shootings by American police of innocent black women and men. Darby English attends to a cluster of artworks created in or for our tumultuous present that address themes of racial violence and representation idiosyncratically, neither offering(...)
Titre:
To describe a life
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$47.00
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Résumé:
By turns historical, critical, and personal, this book examines the use of art—and love—as a resource amid the recent wave of shootings by American police of innocent black women and men. Darby English attends to a cluster of artworks created in or for our tumultuous present that address themes of racial violence and representation idiosyncratically, neither offering solutions nor accommodating shallow narratives about difference. For English, the consideration of art is a paradigm of social life, because art is something we must share. To Describe a Life is an invitation to rethink what life in ongoing crisis is and can be—and, indeed, to discover how art can help.
To describe a life
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$47.00
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Résumé:
By turns historical, critical, and personal, this book examines the use of art—and love—as a resource amid the recent wave of shootings by American police of innocent black women and men. Darby English attends to a cluster of artworks created in or for our tumultuous present that address themes of racial violence and representation idiosyncratically, neither offering solutions nor accommodating shallow narratives about difference. For English, the consideration of art is a paradigm of social life, because art is something we must share. To Describe a Life is an invitation to rethink what life in ongoing crisis is and can be—and, indeed, to discover how art can help.
Classification:
livres
livres
Publication:
mars 2019
mars 2019
Sujet:
Théorie de l’art
Théorie de l’art
