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Clive Phillpot : Booktrek
Clive Phillpot : Booktrek
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Clive Phillpot has been a tireless advocate for the artist's book for more than 40 years--both as a critic, curator and editor, and in his tenure as director at the library of The Museum of Modern Art in the late 1970s, where he built the library's collection of artist's books and mapped out the field with influential essays that traced its ancestry and distinguished it(...)
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Clive Phillpot has been a tireless advocate for the artist's book for more than 40 years--both as a critic, curator and editor, and in his tenure as director at the library of The Museum of Modern Art in the late 1970s, where he built the library's collection of artist's books and mapped out the field with influential essays that traced its ancestry and distinguished it(...)
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Clive Phillpot : Booktrek
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Clive Phillpot has been a tireless advocate for the artist's book for more than 40 years--both as a critic, curator and editor, and in his tenure as director at the library of The Museum of Modern Art in the late 1970s, where he built the library's collection of artist's books and mapped out the field with influential essays that traced its ancestry and distinguished it from seemingly similar genres such as the livre d'artiste. As he has delineated the genre: "Artists' books are understood to be books or booklets produced by the artist using mass-production methods, and in (theoretically) unlimited numbers, in which the artist documents or realizes art ideas or artworks."
Clive Phillpot : Booktrek
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Clive Phillpot has been a tireless advocate for the artist's book for more than 40 years--both as a critic, curator and editor, and in his tenure as director at the library of The Museum of Modern Art in the late 1970s, where he built the library's collection of artist's books and mapped out the field with influential essays that traced its ancestry and distinguished it from seemingly similar genres such as the livre d'artiste. As he has delineated the genre: "Artists' books are understood to be books or booklets produced by the artist using mass-production methods, and in (theoretically) unlimited numbers, in which the artist documents or realizes art ideas or artworks."
Classification:
livres
livres
Publication:
décembre 2012
décembre 2012
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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In 1975, a small group of enterprising, discontented members of Quebec's art community posed the question: "What do we know about contemporary art outside of Quebec, in Canada or abroad? Do we know what contemporary art exists in Montreal? How does information about art circulate?" By way of an answer, the artistically unconventional and theoretically cutting-edge(...)
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In 1975, a small group of enterprising, discontented members of Quebec's art community posed the question: "What do we know about contemporary art outside of Quebec, in Canada or abroad? Do we know what contemporary art exists in Montreal? How does information about art circulate?" By way of an answer, the artistically unconventional and theoretically cutting-edge(...)
Titre:
Parachute : the anthology, vol. 1
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In 1975, a small group of enterprising, discontented members of Quebec's art community posed the question: "What do we know about contemporary art outside of Quebec, in Canada or abroad? Do we know what contemporary art exists in Montreal? How does information about art circulate?" By way of an answer, the artistically unconventional and theoretically cutting-edge magazine Parachute was launched, founded by Chantal Pontbriand and France Morin. Artists such as Jeff Wall, Bill Viola, Stan Douglas, Eija-Liisa Ahtila and many others had the first significant critical reception of their work in Parachute. Similarly, figures such as Douglas Crimp, Thomas Crow, Thierry de Duve, Georges Didi-Huberman, Hal Foster, Reesa Greenberg, Serge Guilbaut and Laura Mulvey published highly pertinent essays in the journal early on in their careers. The essays collected in this volume have been selected from the first 25 years of Parachute's publication history, from 1975 to 2000.
Parachute : the anthology, vol. 1
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In 1975, a small group of enterprising, discontented members of Quebec's art community posed the question: "What do we know about contemporary art outside of Quebec, in Canada or abroad? Do we know what contemporary art exists in Montreal? How does information about art circulate?" By way of an answer, the artistically unconventional and theoretically cutting-edge magazine Parachute was launched, founded by Chantal Pontbriand and France Morin. Artists such as Jeff Wall, Bill Viola, Stan Douglas, Eija-Liisa Ahtila and many others had the first significant critical reception of their work in Parachute. Similarly, figures such as Douglas Crimp, Thomas Crow, Thierry de Duve, Georges Didi-Huberman, Hal Foster, Reesa Greenberg, Serge Guilbaut and Laura Mulvey published highly pertinent essays in the journal early on in their careers. The essays collected in this volume have been selected from the first 25 years of Parachute's publication history, from 1975 to 2000.
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livres
livres
Publication:
décembre 2012
décembre 2012
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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As defined by the great art writer John Ruskin more than 150 years ago, "vital beauty" denotes an aesthetic of "sympathies"--that is, a beauty that embodies and demonstrates affinity with sentience in all its forms. Ruskin effectively liberated beauty from classical perfectionism by envisaging a world of currents and forces, rather than immobile ideals, and by celebrating(...)
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As defined by the great art writer John Ruskin more than 150 years ago, "vital beauty" denotes an aesthetic of "sympathies"--that is, a beauty that embodies and demonstrates affinity with sentience in all its forms. Ruskin effectively liberated beauty from classical perfectionism by envisaging a world of currents and forces, rather than immobile ideals, and by celebrating(...)
Sujet:
Théorie de l’art
Théorie de l’art
Publication:
septembre 2012
septembre 2012
Titre:
Vital Beauty: Reclaiming aesthetics in the tangle of technology and nature
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As defined by the great art writer John Ruskin more than 150 years ago, "vital beauty" denotes an aesthetic of "sympathies"--that is, a beauty that embodies and demonstrates affinity with sentience in all its forms. Ruskin effectively liberated beauty from classical perfectionism by envisaging a world of currents and forces, rather than immobile ideals, and by celebrating nature's abundant diversity. Today, this wonderful conception requires some rethinking, since sentience now encompasses technological as well as organic entities--raising the question of how we should design our environments, our objects and even our lives. In "Vital Beauty," leading philosophers, anthropologists, theorists and artists Thierry Bardini, Joke Brouwer, Gustav Fechner, Mark Frost, George Gessert, Tim Ingold, Arjen Mulder, Daniel N. Stern, Lars Spuybroek, Caroline Van Eck, Wendy Steiner and Ruskin himself examine what this idea of beauty might mean for their respective disciplines.
Vital Beauty: Reclaiming aesthetics in the tangle of technology and nature
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As defined by the great art writer John Ruskin more than 150 years ago, "vital beauty" denotes an aesthetic of "sympathies"--that is, a beauty that embodies and demonstrates affinity with sentience in all its forms. Ruskin effectively liberated beauty from classical perfectionism by envisaging a world of currents and forces, rather than immobile ideals, and by celebrating nature's abundant diversity. Today, this wonderful conception requires some rethinking, since sentience now encompasses technological as well as organic entities--raising the question of how we should design our environments, our objects and even our lives. In "Vital Beauty," leading philosophers, anthropologists, theorists and artists Thierry Bardini, Joke Brouwer, Gustav Fechner, Mark Frost, George Gessert, Tim Ingold, Arjen Mulder, Daniel N. Stern, Lars Spuybroek, Caroline Van Eck, Wendy Steiner and Ruskin himself examine what this idea of beauty might mean for their respective disciplines.
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livres
livres
Publication:
septembre 2012
septembre 2012
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
Intangible economies
Intangible economies
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Treating the idea of an economy as a general system of exchange, Intangible Economies advances the idea that personal relationships are produced by economic activity, and that desire generates economic transactions. Intangible Economies, speculatively investigates the role that these “affective transactions” play in modes of representation and cultural production. The(...)
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Treating the idea of an economy as a general system of exchange, Intangible Economies advances the idea that personal relationships are produced by economic activity, and that desire generates economic transactions. Intangible Economies, speculatively investigates the role that these “affective transactions” play in modes of representation and cultural production. The(...)
Titre:
Intangible economies
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Treating the idea of an economy as a general system of exchange, Intangible Economies advances the idea that personal relationships are produced by economic activity, and that desire generates economic transactions. Intangible Economies, speculatively investigates the role that these “affective transactions” play in modes of representation and cultural production. The abstract and abstracting function of value itself becomes particularly significant in this constellation, in its relation to both capitalist economy and to ethics. First developed for a 2011 conference in Vancouver, the essays included in this anthology seek to tackle the difficult task of tracing the role of affect in economic exchanges relative to artistic production, while also enacting the unruly force of such transactions. The contributing essayists are Melanie Gilligan, Juan A. Gaitàn, Hadley + Maxwell, Candice Hopkins, Olaf Nicolai, Patricia Reed, Monika Szewczyk and Jan Verwoert.
Intangible economies
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Treating the idea of an economy as a general system of exchange, Intangible Economies advances the idea that personal relationships are produced by economic activity, and that desire generates economic transactions. Intangible Economies, speculatively investigates the role that these “affective transactions” play in modes of representation and cultural production. The abstract and abstracting function of value itself becomes particularly significant in this constellation, in its relation to both capitalist economy and to ethics. First developed for a 2011 conference in Vancouver, the essays included in this anthology seek to tackle the difficult task of tracing the role of affect in economic exchanges relative to artistic production, while also enacting the unruly force of such transactions. The contributing essayists are Melanie Gilligan, Juan A. Gaitàn, Hadley + Maxwell, Candice Hopkins, Olaf Nicolai, Patricia Reed, Monika Szewczyk and Jan Verwoert.
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livres
livres
Publication:
octobre 2012
octobre 2012
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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Artist-run initiatives in North America provided a space for the presentation and legitimization of experimental work and for the assertion of socially progressive and politically radical ideas and questions. In making such spaces available, artist-run initiatives have operated alternately as flash points for heated debates and controversies, as well as platforms for(...)
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Artist-run initiatives in North America provided a space for the presentation and legitimization of experimental work and for the assertion of socially progressive and politically radical ideas and questions. In making such spaces available, artist-run initiatives have operated alternately as flash points for heated debates and controversies, as well as platforms for(...)
Titre:
Institutions by artists: volume one
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Artist-run initiatives in North America provided a space for the presentation and legitimization of experimental work and for the assertion of socially progressive and politically radical ideas and questions. In making such spaces available, artist-run initiatives have operated alternately as flash points for heated debates and controversies, as well as platforms for social understanding and remaining for their audiences.
Institutions by artists: volume one
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Artist-run initiatives in North America provided a space for the presentation and legitimization of experimental work and for the assertion of socially progressive and politically radical ideas and questions. In making such spaces available, artist-run initiatives have operated alternately as flash points for heated debates and controversies, as well as platforms for social understanding and remaining for their audiences.
Classification:
livres
livres
Publication:
septembre 2012
septembre 2012
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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When does an artists creation become art, and where? Does it occur in the solitary confines of an artists studio, or does it require the context of an art gallerys white cube? Studio and Cube is author Brian O'Dohertys long-awaited follow-up to his seminal 1976 essays for Artforum, republished in 1999 as Inside the White Cube : The Ideology of the Gallery Space. In Studio(...)
$30.95
(disponible en magasin)
Résumé:
When does an artists creation become art, and where? Does it occur in the solitary confines of an artists studio, or does it require the context of an art gallerys white cube? Studio and Cube is author Brian O'Dohertys long-awaited follow-up to his seminal 1976 essays for Artforum, republished in 1999 as Inside the White Cube : The Ideology of the Gallery Space. In Studio(...)
Publication:
novembre 2012
novembre 2012
Titre:
Studio and cube : on the relationship between where art is made and where art is displayed
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$30.95
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Résumé:
When does an artists creation become art, and where? Does it occur in the solitary confines of an artists studio, or does it require the context of an art gallerys white cube? Studio and Cube is author Brian O'Dohertys long-awaited follow-up to his seminal 1976 essays for Artforum, republished in 1999 as Inside the White Cube : The Ideology of the Gallery Space. In Studio and Cube, now available in paperback, O'Doherty expands his interpretation to include the artists studio, tracking the relationship between the artwork and the artist from Vermeer through late modernism.
Studio and cube : on the relationship between where art is made and where art is displayed
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$30.95
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Résumé:
When does an artists creation become art, and where? Does it occur in the solitary confines of an artists studio, or does it require the context of an art gallerys white cube? Studio and Cube is author Brian O'Dohertys long-awaited follow-up to his seminal 1976 essays for Artforum, republished in 1999 as Inside the White Cube : The Ideology of the Gallery Space. In Studio and Cube, now available in paperback, O'Doherty expands his interpretation to include the artists studio, tracking the relationship between the artwork and the artist from Vermeer through late modernism.
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livres
livres
Publication:
novembre 2012
novembre 2012
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livres
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$16.95
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Paul Virilio a collaboré avec la Fondation Cartier pour l’art contemporain à de nombreuses reprises. Il a ainsi participé aux expositions Vraiment Faux (1988), La Vitesse (1991), Azur (1993), 1 monde réel (1999), Le désert (2000), Marc Newson, Kelvin 40 (2004), ainsi qu’à la conception de Ce qui arrive (2002) et Terre Natale (2008). La Pensée exposée. Textes et(...)
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Paul Virilio a collaboré avec la Fondation Cartier pour l’art contemporain à de nombreuses reprises. Il a ainsi participé aux expositions Vraiment Faux (1988), La Vitesse (1991), Azur (1993), 1 monde réel (1999), Le désert (2000), Marc Newson, Kelvin 40 (2004), ainsi qu’à la conception de Ce qui arrive (2002) et Terre Natale (2008). La Pensée exposée. Textes et(...)
Titre:
La pensée exposée: textes et entretiens
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Paul Virilio a collaboré avec la Fondation Cartier pour l’art contemporain à de nombreuses reprises. Il a ainsi participé aux expositions Vraiment Faux (1988), La Vitesse (1991), Azur (1993), 1 monde réel (1999), Le désert (2000), Marc Newson, Kelvin 40 (2004), ainsi qu’à la conception de Ce qui arrive (2002) et Terre Natale (2008). La Pensée exposée. Textes et entretiens, coédité avec la Fondation Cartier pour l’art contemporain à Paris, réunit sous format poche l’ensemble des textes écrits par Paul Virilio à l’occasion de ses collaborations avec la Fondation Cartier. Fruit de plus de vingt ans d’échanges, cet ouvrage propose des textes critiques et des entretiens avec des artistes tels que Raymond Depardon, Andrei Ujica et Mœbius, et met ainsi en évidence la pensée visionnaire de cet essayiste dont les textes sont toujours d’une incroyable actualité.
La pensée exposée: textes et entretiens
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$16.95
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Paul Virilio a collaboré avec la Fondation Cartier pour l’art contemporain à de nombreuses reprises. Il a ainsi participé aux expositions Vraiment Faux (1988), La Vitesse (1991), Azur (1993), 1 monde réel (1999), Le désert (2000), Marc Newson, Kelvin 40 (2004), ainsi qu’à la conception de Ce qui arrive (2002) et Terre Natale (2008). La Pensée exposée. Textes et entretiens, coédité avec la Fondation Cartier pour l’art contemporain à Paris, réunit sous format poche l’ensemble des textes écrits par Paul Virilio à l’occasion de ses collaborations avec la Fondation Cartier. Fruit de plus de vingt ans d’échanges, cet ouvrage propose des textes critiques et des entretiens avec des artistes tels que Raymond Depardon, Andrei Ujica et Mœbius, et met ainsi en évidence la pensée visionnaire de cet essayiste dont les textes sont toujours d’une incroyable actualité.
Classification:
livres
livres
Publication:
août 2012
août 2012
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Prix:
$41.95
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Résumé:
Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalised artists, the 'dark matter' of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a(...)
$41.95
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Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalised artists, the 'dark matter' of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a(...)
Titre:
Dark matter: art and politics in the age of enterprise culture
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$41.95
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Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalised artists, the 'dark matter' of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a politically engaged artist, argues that imagination and creativity in the art world originate thrive in the non-commercial sector shut off from prestigious galleries and champagne receptions. This broader creative culture feeds the mainstream with new forms and styles that can be commodified and used to sustain the few artists admitted into the elite. This dependency, and the advent of inexpensive communication, audio and video technology, has allowed this 'dark matter' of the alternative art world to increasingly subvert the mainstream and intervene politically as both new and old forms of non-capitalist, public art. This book is essential for anyone interested in interventionist art, collectivism, and the political economy of the art world.
Dark matter: art and politics in the age of enterprise culture
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$41.95
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Résumé:
Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalised artists, the 'dark matter' of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a politically engaged artist, argues that imagination and creativity in the art world originate thrive in the non-commercial sector shut off from prestigious galleries and champagne receptions. This broader creative culture feeds the mainstream with new forms and styles that can be commodified and used to sustain the few artists admitted into the elite. This dependency, and the advent of inexpensive communication, audio and video technology, has allowed this 'dark matter' of the alternative art world to increasingly subvert the mainstream and intervene politically as both new and old forms of non-capitalist, public art. This book is essential for anyone interested in interventionist art, collectivism, and the political economy of the art world.
Classification:
livres
livres
Publication:
décembre 2010
décembre 2010
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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$49.95
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The end of the eighteenth century saw the start of a new craze in Europe: tiny portraits of single eyes that were exchanged by lovers or family members. Worn as brooches or pendants, these minuscule eyes served the same emotional need as more conventional mementoes, such as lockets containing a coil of a loved one’s hair. The fashion lasted only a few decades, and by the(...)
$49.95
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The end of the eighteenth century saw the start of a new craze in Europe: tiny portraits of single eyes that were exchanged by lovers or family members. Worn as brooches or pendants, these minuscule eyes served the same emotional need as more conventional mementoes, such as lockets containing a coil of a loved one’s hair. The fashion lasted only a few decades, and by the(...)
Titre:
Treasuring the gaze : intimate vision in the late eighteeth-century eye miniature
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The end of the eighteenth century saw the start of a new craze in Europe: tiny portraits of single eyes that were exchanged by lovers or family members. Worn as brooches or pendants, these minuscule eyes served the same emotional need as more conventional mementoes, such as lockets containing a coil of a loved one’s hair. The fashion lasted only a few decades, and by the early 1800s eye miniatures had faded into oblivion. Unearthing these portraits in Treasuring the Gaze, Hanneke Grootenboer proposes that the rage for eye miniatures—and their abrupt disappearance—reveals a knot in the unfolding of the history of vision.
Treasuring the gaze : intimate vision in the late eighteeth-century eye miniature
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$49.95
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The end of the eighteenth century saw the start of a new craze in Europe: tiny portraits of single eyes that were exchanged by lovers or family members. Worn as brooches or pendants, these minuscule eyes served the same emotional need as more conventional mementoes, such as lockets containing a coil of a loved one’s hair. The fashion lasted only a few decades, and by the early 1800s eye miniatures had faded into oblivion. Unearthing these portraits in Treasuring the Gaze, Hanneke Grootenboer proposes that the rage for eye miniatures—and their abrupt disappearance—reveals a knot in the unfolding of the history of vision.
Classification:
livres
livres
Publication:
décembre 2012
décembre 2012
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
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$27.95
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Since Marcel Duchamp created his “readymades” a century ago, the practice of incorporating commodity objects into art has become ever more pervasive. Uncommon Goods traces one particularly important aspect of that progression: the shift in artistic concern toward the hidden ethical dimensions of global commerce. Jaimey Hamilton Faris discusses the work of, among many(...)
$27.95
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Résumé:
Since Marcel Duchamp created his “readymades” a century ago, the practice of incorporating commodity objects into art has become ever more pervasive. Uncommon Goods traces one particularly important aspect of that progression: the shift in artistic concern toward the hidden ethical dimensions of global commerce. Jaimey Hamilton Faris discusses the work of, among many(...)
Titre:
Uncommon goods: global dimensions of the readymade
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Since Marcel Duchamp created his “readymades” a century ago, the practice of incorporating commodity objects into art has become ever more pervasive. Uncommon Goods traces one particularly important aspect of that progression: the shift in artistic concern toward the hidden ethical dimensions of global commerce. Jaimey Hamilton Faris discusses the work of, among many others, Ai Weiwei, Cory Arcangel, Thomas Hirschhorn, and Santiago Sierra, reading their artistic explorations as overlapping with debates about how common goods hold us and our world in common.
Uncommon goods: global dimensions of the readymade
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$27.95
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Résumé:
Since Marcel Duchamp created his “readymades” a century ago, the practice of incorporating commodity objects into art has become ever more pervasive. Uncommon Goods traces one particularly important aspect of that progression: the shift in artistic concern toward the hidden ethical dimensions of global commerce. Jaimey Hamilton Faris discusses the work of, among many others, Ai Weiwei, Cory Arcangel, Thomas Hirschhorn, and Santiago Sierra, reading their artistic explorations as overlapping with debates about how common goods hold us and our world in common.
Classification:
livres
livres
Publication:
octobre 2012
octobre 2012
Sujet:
Théorie de l’art
Théorie de l’art
