1188 Résultats
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Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries—hardly time enough. But how, in our culture of distraction, might we extend attention? Slow Art models sustained ways of looking, through encounters with various media both present and past—including photography, painting, sculpture, “living pictures,” film, video,(...)
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Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries—hardly time enough. But how, in our culture of distraction, might we extend attention? Slow Art models sustained ways of looking, through encounters with various media both present and past—including photography, painting, sculpture, “living pictures,” film, video,(...)
Titre:
Slow art: the experience of looking, sacred images to James Turrell
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Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries—hardly time enough. But how, in our culture of distraction, might we extend attention? Slow Art models sustained ways of looking, through encounters with various media both present and past—including photography, painting, sculpture, “living pictures,” film, video, digital and performance art—even light and space. Works by Diderot, Emma Hamilton, Oscar Wilde, Jeff Wall, Sam Taylor-Johnson, Andy Warhol, and Richard Serra, among others, shape a new and distinct aesthetic field. But rather than a collection of objects, slow art is participatory—it directly engages beholders to bring artworks to life. Against current orthodoxy, Arden Reed argues that, for contemporary viewers, the contemplation of slow art is akin to religious practices during the ages of faith.
Slow art: the experience of looking, sacred images to James Turrell
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Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries—hardly time enough. But how, in our culture of distraction, might we extend attention? Slow Art models sustained ways of looking, through encounters with various media both present and past—including photography, painting, sculpture, “living pictures,” film, video, digital and performance art—even light and space. Works by Diderot, Emma Hamilton, Oscar Wilde, Jeff Wall, Sam Taylor-Johnson, Andy Warhol, and Richard Serra, among others, shape a new and distinct aesthetic field. But rather than a collection of objects, slow art is participatory—it directly engages beholders to bring artworks to life. Against current orthodoxy, Arden Reed argues that, for contemporary viewers, the contemplation of slow art is akin to religious practices during the ages of faith.
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livres
livres
Publication:
juin 2017
juin 2017
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
Artists on Hanne Darboven
Artists on Hanne Darboven
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"Artists on Hanne Darboven" is the first installment in a series culled from Dia Art Foundation’s Artists on Artists lectures, focused on German conceptual artist Hanne Darboven (1941–2009). Established in 2001, the lecture series highlights the work of modern and contemporary artists from the perspective of their colleagues and peers.The inaugural Artists on Artists(...)
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"Artists on Hanne Darboven" is the first installment in a series culled from Dia Art Foundation’s Artists on Artists lectures, focused on German conceptual artist Hanne Darboven (1941–2009). Established in 2001, the lecture series highlights the work of modern and contemporary artists from the perspective of their colleagues and peers.The inaugural Artists on Artists(...)
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Artists on Hanne Darboven
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"Artists on Hanne Darboven" is the first installment in a series culled from Dia Art Foundation’s Artists on Artists lectures, focused on German conceptual artist Hanne Darboven (1941–2009). Established in 2001, the lecture series highlights the work of modern and contemporary artists from the perspective of their colleagues and peers.The inaugural Artists on Artists title is published in conjunction with the opening of Darboven’s 1980–83 installation “Kulturgeschichte 1880–1983” (“Cultural History 1880–1983”) at Dia:Chelsea in New York City, the first time Darboven’s magnum opus has been on view in the United States for over a decade. It features contributions from Gregg Bordowitz, Sam Lewitt, Josephine Meckseper and Matt Mullican.
Artists on Hanne Darboven
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"Artists on Hanne Darboven" is the first installment in a series culled from Dia Art Foundation’s Artists on Artists lectures, focused on German conceptual artist Hanne Darboven (1941–2009). Established in 2001, the lecture series highlights the work of modern and contemporary artists from the perspective of their colleagues and peers.The inaugural Artists on Artists title is published in conjunction with the opening of Darboven’s 1980–83 installation “Kulturgeschichte 1880–1983” (“Cultural History 1880–1983”) at Dia:Chelsea in New York City, the first time Darboven’s magnum opus has been on view in the United States for over a decade. It features contributions from Gregg Bordowitz, Sam Lewitt, Josephine Meckseper and Matt Mullican.
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livres
livres
Publication:
janvier 2017
janvier 2017
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
Espaces de savoir
Espaces de savoir
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Résumé:
Dans le paradigme de complexité qui est le nôtre, les contextes institutionnels dans lesquels s'exerce le savoir doivent dorénavant ouvrir sur un environnement général qui le réclame, dans l'idée d'un continuum devenu nécessaire entre les situations humaines et le savoir. C'est à cette problématique contemporaine que le présent ouvrage réfléchit. Il résulte de trois(...)
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Dans le paradigme de complexité qui est le nôtre, les contextes institutionnels dans lesquels s'exerce le savoir doivent dorénavant ouvrir sur un environnement général qui le réclame, dans l'idée d'un continuum devenu nécessaire entre les situations humaines et le savoir. C'est à cette problématique contemporaine que le présent ouvrage réfléchit. Il résulte de trois(...)
Publication:
novembre 2016
novembre 2016
Titre:
Espaces de savoir
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Dans le paradigme de complexité qui est le nôtre, les contextes institutionnels dans lesquels s'exerce le savoir doivent dorénavant ouvrir sur un environnement général qui le réclame, dans l'idée d'un continuum devenu nécessaire entre les situations humaines et le savoir. C'est à cette problématique contemporaine que le présent ouvrage réfléchit. Il résulte de trois années de travail dans le cadre d'un projet réunissant cinq contributeurs de quatre universités québécoises ainsi qu'une artiste du milieu littéraire. L'équipe s'est intéressée à faire émerger et à développer des stratégies de spatialisation permettant d'accéder de manière inédite à des environnements de savoir ainsi qu'à générer et à organiser de manière singulière de tels environnements. Il s'agit ici d'ouvrir un champ de recherche artistique sur la question de la spatialisation du savoir, dans le cadre des mises en situation individuelles et créatives dont l'efficacité et la validité répondent ainsi à des impératifs très différents de ceux commandés par des critères de multitude et d'universalité.
Espaces de savoir
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Dans le paradigme de complexité qui est le nôtre, les contextes institutionnels dans lesquels s'exerce le savoir doivent dorénavant ouvrir sur un environnement général qui le réclame, dans l'idée d'un continuum devenu nécessaire entre les situations humaines et le savoir. C'est à cette problématique contemporaine que le présent ouvrage réfléchit. Il résulte de trois années de travail dans le cadre d'un projet réunissant cinq contributeurs de quatre universités québécoises ainsi qu'une artiste du milieu littéraire. L'équipe s'est intéressée à faire émerger et à développer des stratégies de spatialisation permettant d'accéder de manière inédite à des environnements de savoir ainsi qu'à générer et à organiser de manière singulière de tels environnements. Il s'agit ici d'ouvrir un champ de recherche artistique sur la question de la spatialisation du savoir, dans le cadre des mises en situation individuelles et créatives dont l'efficacité et la validité répondent ainsi à des impératifs très différents de ceux commandés par des critères de multitude et d'universalité.
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livres
livres
Publication:
novembre 2016
novembre 2016
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livres
livres
Titre:
Degas and his model
Degas and his model
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"Monsieur Degas, you just said some things that would make an old soldier blush!" There are many myths about Edgar Degas—from Degas the misanthrope to Degas the deviant to Degas the obsessive. But there is no single text that better stokes the fire than Degas and His Model, a short memoir by Alice Michel, who purportedly modeled for Degas. Never before translated into(...)
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"Monsieur Degas, you just said some things that would make an old soldier blush!" There are many myths about Edgar Degas—from Degas the misanthrope to Degas the deviant to Degas the obsessive. But there is no single text that better stokes the fire than Degas and His Model, a short memoir by Alice Michel, who purportedly modeled for Degas. Never before translated into(...)
Titre:
Degas and his model
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"Monsieur Degas, you just said some things that would make an old soldier blush!" There are many myths about Edgar Degas—from Degas the misanthrope to Degas the deviant to Degas the obsessive. But there is no single text that better stokes the fire than Degas and His Model, a short memoir by Alice Michel, who purportedly modeled for Degas. Never before translated into English, the text’s original publication in Mercure de France in 1919, shortly after the artist’s death, has been treated as an important account of the master sculptor at work. We know that Alice was writing under a pseudonym, but who the real person behind this account was remains a mystery. Yet the descriptions seem too accurate, the anecdotes too spot-on to discount; even the dialogue captures the artist’s tone and mannerisms. What is found in these pages is at times a woman’s flirtatious recollection of a bizarre “artistic type” and at others a moving attempt to connect with a great, often tragic man. The descriptions are limpid; the dialogue is lively and intimate, not unlike reading the very best kind of gossip, with world-historical significance.
Degas and his model
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"Monsieur Degas, you just said some things that would make an old soldier blush!" There are many myths about Edgar Degas—from Degas the misanthrope to Degas the deviant to Degas the obsessive. But there is no single text that better stokes the fire than Degas and His Model, a short memoir by Alice Michel, who purportedly modeled for Degas. Never before translated into English, the text’s original publication in Mercure de France in 1919, shortly after the artist’s death, has been treated as an important account of the master sculptor at work. We know that Alice was writing under a pseudonym, but who the real person behind this account was remains a mystery. Yet the descriptions seem too accurate, the anecdotes too spot-on to discount; even the dialogue captures the artist’s tone and mannerisms. What is found in these pages is at times a woman’s flirtatious recollection of a bizarre “artistic type” and at others a moving attempt to connect with a great, often tragic man. The descriptions are limpid; the dialogue is lively and intimate, not unlike reading the very best kind of gossip, with world-historical significance.
Classification:
livres
livres
Publication:
août 2017
août 2017
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
Chardin and Rembrandt
Chardin and Rembrandt
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Long overlooked in Proust’s posthumously published writings, Chardin and Rembrandt, written when he was only twenty-four years old, not only reemphasizes the importance of visual art to his development, but contains the seeds of his later work. Proposed in 1895 by Proust to the newspaper Revue hebdomadaire (it was rejected), this essay is much more than a straightforward(...)
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Long overlooked in Proust’s posthumously published writings, Chardin and Rembrandt, written when he was only twenty-four years old, not only reemphasizes the importance of visual art to his development, but contains the seeds of his later work. Proposed in 1895 by Proust to the newspaper Revue hebdomadaire (it was rejected), this essay is much more than a straightforward(...)
Titre:
Chardin and Rembrandt
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Long overlooked in Proust’s posthumously published writings, Chardin and Rembrandt, written when he was only twenty-four years old, not only reemphasizes the importance of visual art to his development, but contains the seeds of his later work. Proposed in 1895 by Proust to the newspaper Revue hebdomadaire (it was rejected), this essay is much more than a straightforward piece of art criticism. It is a literary experiment in which an unnamed narrator gives advice to a young man suffering from melancholy, taking him on an imaginary tour through the Louvre where his readings of Chardin imbue the everyday world with new meaning, and his ruminations on Rembrandt take his melancholic pupil beyond the realm of mere objects.
Chardin and Rembrandt
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Long overlooked in Proust’s posthumously published writings, Chardin and Rembrandt, written when he was only twenty-four years old, not only reemphasizes the importance of visual art to his development, but contains the seeds of his later work. Proposed in 1895 by Proust to the newspaper Revue hebdomadaire (it was rejected), this essay is much more than a straightforward piece of art criticism. It is a literary experiment in which an unnamed narrator gives advice to a young man suffering from melancholy, taking him on an imaginary tour through the Louvre where his readings of Chardin imbue the everyday world with new meaning, and his ruminations on Rembrandt take his melancholic pupil beyond the realm of mere objects.
Classification:
livres
livres
Publication:
novembre 2016
novembre 2016
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Prix:
$50.00
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Résumé:
This collection of never-before-published talks at one of the leading art schools in the United States, documents an exciting decade in the development of contemporary art and arts education, featuring interviews with renowned artists, curators, and writers. Introduced in 1986 as an initiative by Richard Hertz (Chair, Academic Studies, 1979–2003), the Graduate Art(...)
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Résumé:
This collection of never-before-published talks at one of the leading art schools in the United States, documents an exciting decade in the development of contemporary art and arts education, featuring interviews with renowned artists, curators, and writers. Introduced in 1986 as an initiative by Richard Hertz (Chair, Academic Studies, 1979–2003), the Graduate Art(...)
Titre:
Artcenter Talks: graduate seminar, the first decade, 1986-1995
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This collection of never-before-published talks at one of the leading art schools in the United States, documents an exciting decade in the development of contemporary art and arts education, featuring interviews with renowned artists, curators, and writers. Introduced in 1986 as an initiative by Richard Hertz (Chair, Academic Studies, 1979–2003), the Graduate Art Department of the ArtCenter College of Design, located in Pasadena, California, celebrates its thirtieth anniversary in 2016. This book documents the first decade of the department’s existence by presenting a selection from over three hundred talks, including a 1990 symposium conducted by renowned curator and art historian Robert Storr, as well as twelve talks from its artists and critics lecture series known as the Graduate Seminar. Discussions between students and faculty members range from what it means to be an artist and the changing role of art in society, to how artists function within an academic setting.
Artcenter Talks: graduate seminar, the first decade, 1986-1995
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This collection of never-before-published talks at one of the leading art schools in the United States, documents an exciting decade in the development of contemporary art and arts education, featuring interviews with renowned artists, curators, and writers. Introduced in 1986 as an initiative by Richard Hertz (Chair, Academic Studies, 1979–2003), the Graduate Art Department of the ArtCenter College of Design, located in Pasadena, California, celebrates its thirtieth anniversary in 2016. This book documents the first decade of the department’s existence by presenting a selection from over three hundred talks, including a 1990 symposium conducted by renowned curator and art historian Robert Storr, as well as twelve talks from its artists and critics lecture series known as the Graduate Seminar. Discussions between students and faculty members range from what it means to be an artist and the changing role of art in society, to how artists function within an academic setting.
Classification:
livres
livres
Publication:
février 2017
février 2017
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
F.R David : spring 2017
F.R David : spring 2017
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F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names,(...)
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F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names,(...)
Titre:
F.R David : spring 2017
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F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names, naming, bodies, brains, self, author, other, reader, labour.
F.R David : spring 2017
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F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names, naming, bodies, brains, self, author, other, reader, labour.
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livres
livres
Publication:
février 2017
février 2017
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Prix:
$32.50
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Résumé:
"Imaginative bodies" contains a series of in-depth conversations with dancers and choreographers, composers, visual artists, Hip Hop artists, dramaturgs, a lighting designer and a puppeteer. The overall theme is defined by the body, both in relation to the place it takes in the artist’s work, and in relation to wider debates on the body in philosophy, science, medicine,(...)
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"Imaginative bodies" contains a series of in-depth conversations with dancers and choreographers, composers, visual artists, Hip Hop artists, dramaturgs, a lighting designer and a puppeteer. The overall theme is defined by the body, both in relation to the place it takes in the artist’s work, and in relation to wider debates on the body in philosophy, science, medicine,(...)
Titre:
Imaginative bodies: dialogues in performance practices
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"Imaginative bodies" contains a series of in-depth conversations with dancers and choreographers, composers, visual artists, Hip Hop artists, dramaturgs, a lighting designer and a puppeteer. The overall theme is defined by the body, both in relation to the place it takes in the artist’s work, and in relation to wider debates on the body in philosophy, science, medicine, anthropology, and the arts. Depending on the affinities of the artist, a more specific theme has been defined for each dialogue, ranging from poetics to politics, from mythology to ecology, from intercultural studies to conflict management. The associative chains of thoughts of these talks give an intimate insight into the creative process, inspirations, sources, identity, and ways of collaborating. It is through the sentient body that we experience, know and imagine. "Imaginative bodies" reaffirms the central position of the body in many artistic practices.
Imaginative bodies: dialogues in performance practices
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"Imaginative bodies" contains a series of in-depth conversations with dancers and choreographers, composers, visual artists, Hip Hop artists, dramaturgs, a lighting designer and a puppeteer. The overall theme is defined by the body, both in relation to the place it takes in the artist’s work, and in relation to wider debates on the body in philosophy, science, medicine, anthropology, and the arts. Depending on the affinities of the artist, a more specific theme has been defined for each dialogue, ranging from poetics to politics, from mythology to ecology, from intercultural studies to conflict management. The associative chains of thoughts of these talks give an intimate insight into the creative process, inspirations, sources, identity, and ways of collaborating. It is through the sentient body that we experience, know and imagine. "Imaginative bodies" reaffirms the central position of the body in many artistic practices.
Classification:
livres
livres
Publication:
février 2017
février 2017
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Prix:
$32.50
(disponible sur commande)
Résumé:
"The practice of dramaturgy" addresses dramaturgy as a shared, politicized and catalytic practice that sets actions into motion in a more speculative, rather than an instructive way. The first part of this publication is 'Dramaturgy as working on actions', explores three working principles that lie at the heart of the editors' propositions, and relates these to debates on(...)
$32.50
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Résumé:
"The practice of dramaturgy" addresses dramaturgy as a shared, politicized and catalytic practice that sets actions into motion in a more speculative, rather than an instructive way. The first part of this publication is 'Dramaturgy as working on actions', explores three working principles that lie at the heart of the editors' propositions, and relates these to debates on(...)
Titre:
The practice of dramaturgy: working on actions in performance
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$32.50
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"The practice of dramaturgy" addresses dramaturgy as a shared, politicized and catalytic practice that sets actions into motion in a more speculative, rather than an instructive way. The first part of this publication is 'Dramaturgy as working on actions', explores three working principles that lie at the heart of the editors' propositions, and relates these to debates on action, work and post-Fordist labour. The second part, 'Working on actions and beyond', opens up to different artistic, social and political perspectives that such understanding of dramaturgy may give rise to.
The practice of dramaturgy: working on actions in performance
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Résumé:
"The practice of dramaturgy" addresses dramaturgy as a shared, politicized and catalytic practice that sets actions into motion in a more speculative, rather than an instructive way. The first part of this publication is 'Dramaturgy as working on actions', explores three working principles that lie at the heart of the editors' propositions, and relates these to debates on action, work and post-Fordist labour. The second part, 'Working on actions and beyond', opens up to different artistic, social and political perspectives that such understanding of dramaturgy may give rise to.
Classification:
livres
livres
Publication:
janvier 2017
janvier 2017
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
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$40.00
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Résumé:
What really happens between a spectator and a work of art at the moment of encounter? How does one experience "meaning" in a work of art? How does an interpretation of an art object come to take hold for a viewer? How can that process of interpretation, which often takes place at a subconscious level beyond language, be understood and articulated? In "The perfect(...)
$40.00
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Résumé:
What really happens between a spectator and a work of art at the moment of encounter? How does one experience "meaning" in a work of art? How does an interpretation of an art object come to take hold for a viewer? How can that process of interpretation, which often takes place at a subconscious level beyond language, be understood and articulated? In "The perfect(...)
Titre:
The perfect spectator: the experience of the artwork and reception aesthetics
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What really happens between a spectator and a work of art at the moment of encounter? How does one experience "meaning" in a work of art? How does an interpretation of an art object come to take hold for a viewer? How can that process of interpretation, which often takes place at a subconscious level beyond language, be understood and articulated? In "The perfect spectator", author Janneke Wesseling addresses these questions by turning to the field of reception aesthetics, with its central premise that the contemplation of art is a matter of interaction between an active artwork and an active observer. Wesseling proceeds from her own intensely personal encounters with art objects, and her professional experience studying and writing about art, in order to arrive at a new theoretical framework for the sight and contemplation of art.
The perfect spectator: the experience of the artwork and reception aesthetics
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$40.00
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Résumé:
What really happens between a spectator and a work of art at the moment of encounter? How does one experience "meaning" in a work of art? How does an interpretation of an art object come to take hold for a viewer? How can that process of interpretation, which often takes place at a subconscious level beyond language, be understood and articulated? In "The perfect spectator", author Janneke Wesseling addresses these questions by turning to the field of reception aesthetics, with its central premise that the contemplation of art is a matter of interaction between an active artwork and an active observer. Wesseling proceeds from her own intensely personal encounters with art objects, and her professional experience studying and writing about art, in order to arrive at a new theoretical framework for the sight and contemplation of art.
Classification:
livres
livres
Publication:
octobre 2017
octobre 2017
Sujet:
Théorie de l’art
Théorie de l’art
