Art of projection
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This book investigates the history and current state of the use of projected images in art, moving from the screen to the exhibition space and back again. The volume’s ten essays, written by leading art historians and critics, address precedents for the projection of images in space in nineteenth-century magic lantern shows and world’s fairs as well as the alternative(...)
Art of projection
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This book investigates the history and current state of the use of projected images in art, moving from the screen to the exhibition space and back again. The volume’s ten essays, written by leading art historians and critics, address precedents for the projection of images in space in nineteenth-century magic lantern shows and world’s fairs as well as the alternative conceptions of duration or the representation of time pioneered by surrealists and experimental filmmakers in the early and mid-twentieth century.
The power of the center
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Rudolf Arnheim has been known, since the publication of his groundbreaking Art and Visual Perception in 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In this book, Arnheim uses a wealth of examples to consider the factors that determine the overall(...)
The power of the center
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Rudolf Arnheim has been known, since the publication of his groundbreaking Art and Visual Perception in 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In this book, Arnheim uses a wealth of examples to consider the factors that determine the overall organization of visual form in works of painting, sculpture, and architecture.
Théorie de l’art
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L'auteur invite d'éminents spécialistes de l'art, conservateurs de musées, critiques et historiens de l'art, philosophes et artistes, à répondre à la question : " Pourquoi y a-t-il de l'art plutôt que rien ? ". Tout en situant la fonction qu'occupe l'art dans les sociétés humaines, relativement à la religion, au désir, à la science, au langage, à l'économie ou à la mort,(...)
Pourquoi y a-t-il de l'art plutôt que rien
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L'auteur invite d'éminents spécialistes de l'art, conservateurs de musées, critiques et historiens de l'art, philosophes et artistes, à répondre à la question : " Pourquoi y a-t-il de l'art plutôt que rien ? ". Tout en situant la fonction qu'occupe l'art dans les sociétés humaines, relativement à la religion, au désir, à la science, au langage, à l'économie ou à la mort, les auteurs rebondissent sur d'autres questions implicites et enchâssées telles que : pourquoi l'humanité a t-elle créé l'art ? Peut-on imaginer l'humanité sans art ? Pourquoi l'art plutôt qu'autre chose ?
Théorie de l’art
Utopias
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The utopian impulse informs politically activist and relational art, practices that fuse elements of art, design, and architecture, and collaborative projects aspiring to progressive social or political change. Two other tendencies have emerged in recent art: a looking backward to investigate the utopian elements of previous eras, and the imaginative modeling of(...)
Utopias
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The utopian impulse informs politically activist and relational art, practices that fuse elements of art, design, and architecture, and collaborative projects aspiring to progressive social or political change. Two other tendencies have emerged in recent art: a looking backward to investigate the utopian elements of previous eras, and the imaginative modeling of alternative worlds as intimations of possibility. This anthology contextualizes these utopian currents in relation to political thought, viewing the utopian as a key term in the artistic lineage of modernity. It illuminates how the exploration of utopian themes in art today contributes to our understanding of contemporary cultures, and the possibilities for shaping their futures.
Théorie de l’art
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The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions(...)
Art school (propositions for the 21st century)
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The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions about the education of today's artists. This book brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms. The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramovi, as well as questionnaire responses from a dozen important artists—among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat—about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls.
Théorie de l’art
Michael Snow, wavelength
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In 1966, at the height of minimal art in New York, artist Michael Snow chose not to make another object to be placed in a room but instead spent a year planning a film of a room: Wavelength, a forty-five-minute more or less straight-line zoom from the near to the far wall of a loft space, accompanied by a rising sine wave. In this critical study, Elizabeth Legge describes(...)
Michael Snow, wavelength
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In 1966, at the height of minimal art in New York, artist Michael Snow chose not to make another object to be placed in a room but instead spent a year planning a film of a room: Wavelength, a forty-five-minute more or less straight-line zoom from the near to the far wall of a loft space, accompanied by a rising sine wave. In this critical study, Elizabeth Legge describes Wavelength as a film of virtuosically managed tensions, sensuous beauty, subtle light and color, and recession into perspectival depth. Wavelength won the grand prize for experimental film at Knokke-le-Zoute in 1967, and it was crucial to critics' efforts to establish a vocabulary for temporal art. It was a "wavelength" that could stand up to the French new wave, and it has has functioned ever since as a touchstone for art and film studies, and as a blue screen in front of which a range of ideological and intellectual dramas have been played.
Théorie de l’art
Optical media
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This book provides a comprehensive introduction to the history of image production which is indispensable for anyone wishing to understand the prevailing audiovisual conditions of contemporary culture.
Optical media
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This book provides a comprehensive introduction to the history of image production which is indispensable for anyone wishing to understand the prevailing audiovisual conditions of contemporary culture.
Théorie de l’art
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Carolee Thea explores the intellectual convictions and personal visions that lay the groundwork for the most prestigious and influential exhibitions in the world today. Among the aesthetic and theoretical issues raised are the relationship between artist and curator, globalism, post-colonialism, capitalism, the future of cultural tourism and the biennial as spectacle or(...)
On curating: interviews with ten international curators
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Carolee Thea explores the intellectual convictions and personal visions that lay the groundwork for the most prestigious and influential exhibitions in the world today. Among the aesthetic and theoretical issues raised are the relationship between artist and curator, globalism, post-colonialism, capitalism, the future of cultural tourism and the biennial as spectacle or utopian ideal. Thea's interviewees are Joseph Backstein, Carolyn Christov-Bakargiev, Okwui Enwezor, Charles Esche, Massimiliano Gioni, RoseLee Goldberg, Mary Jane Jacob, Pi Li, Virginia Perez-Ratton and Rirkrit Tiravanija.
The making of art
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The mechanisms, rhetoric and strategies of today's art world are probably closer to popular conceptions of the film industry than to the romantic image of the solitary studio-bound artist. The artists in The Making of Art show and trace these structures, offering some transparency as to how this world really operates. Artists contributing to this elucidation are Pawel(...)
The making of art
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The mechanisms, rhetoric and strategies of today's art world are probably closer to popular conceptions of the film industry than to the romantic image of the solitary studio-bound artist. The artists in The Making of Art show and trace these structures, offering some transparency as to how this world really operates. Artists contributing to this elucidation are Pawel Althamer, Azorro, Tami Ben-Tor, Joseph Beuys, Merlin Carpenter, Clegg & Guttmann, Phil Collins, Tracey Emin, Fischli & Weiss, Andrea Fraser, Ryan Gander, Thomas Hirschhorn, Jorg Immendorff, Komar & Melamid, Sean Landers, Louise Lawler, Manuel Ocampo, Martin Parr, Sigmar Polke, Cheri Samba, Nedko Solakov, Wolfgang Tillmans and John Waters.
Théorie de l’art
livres
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A ground-breaking contribution to contemporary thinking about aesthetics, Arthur C. Danto's new collection of interconnected essays grapples with the most challenging issues in art today, among them the problems of contemporary pluralism and the dilemmas of censorship and state support for artists.
Beyond the Brillo box, the visual arts in post-historical perspective
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A ground-breaking contribution to contemporary thinking about aesthetics, Arthur C. Danto's new collection of interconnected essays grapples with the most challenging issues in art today, among them the problems of contemporary pluralism and the dilemmas of censorship and state support for artists.
livres
septembre 1998
Théorie de l’art