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In W. G. Sebald: Image, Archive, Modernity, J. J. Long identifies a wider "meta-problem" in Sebald's work—the problem of modernity. The numerous archival institutions and processes that lie at the heart of modernity are repeatedly explored in Sebald's novels. Photography, museums, libraries, and other institutions for producing and preserving knowledge are among Sebald's(...)
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In W. G. Sebald: Image, Archive, Modernity, J. J. Long identifies a wider "meta-problem" in Sebald's work—the problem of modernity. The numerous archival institutions and processes that lie at the heart of modernity are repeatedly explored in Sebald's novels. Photography, museums, libraries, and other institutions for producing and preserving knowledge are among Sebald's(...)
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W.G. Sebald: Image, archive, modernity
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In W. G. Sebald: Image, Archive, Modernity, J. J. Long identifies a wider "meta-problem" in Sebald's work—the problem of modernity. The numerous archival institutions and processes that lie at the heart of modernity are repeatedly explored in Sebald's novels. Photography, museums, libraries, and other institutions for producing and preserving knowledge are among Sebald's main obsessions. Long advances an interpretation of the author's oeuvre, arguing that Sebald's project needs to be understood as a response not merely to post-Holocaust trauma but to the longer history of modernity.
W.G. Sebald: Image, archive, modernity
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In W. G. Sebald: Image, Archive, Modernity, J. J. Long identifies a wider "meta-problem" in Sebald's work—the problem of modernity. The numerous archival institutions and processes that lie at the heart of modernity are repeatedly explored in Sebald's novels. Photography, museums, libraries, and other institutions for producing and preserving knowledge are among Sebald's main obsessions. Long advances an interpretation of the author's oeuvre, arguing that Sebald's project needs to be understood as a response not merely to post-Holocaust trauma but to the longer history of modernity.
Classification:
livres
livres
Publication:
juillet 2010
juillet 2010
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
Deleuze and contemporary art
Deleuze and contemporary art
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What is at stake for contemporary art in the take up of Deleuze and Guattari's thought? To address these questions, this book presents a series of inflections that explore the connection between these two fields. The topics studied range from the political and the expanded 'aesthetic paradigm' of art practice today, to specific scenes and encounters and the question of(...)
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What is at stake for contemporary art in the take up of Deleuze and Guattari's thought? To address these questions, this book presents a series of inflections that explore the connection between these two fields. The topics studied range from the political and the expanded 'aesthetic paradigm' of art practice today, to specific scenes and encounters and the question of(...)
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Deleuze and contemporary art
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What is at stake for contemporary art in the take up of Deleuze and Guattari's thought? To address these questions, this book presents a series of inflections that explore the connection between these two fields. The topics studied range from the political and the expanded 'aesthetic paradigm' of art practice today, to specific scenes and encounters and the question of technology in relation to art.
Deleuze and contemporary art
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What is at stake for contemporary art in the take up of Deleuze and Guattari's thought? To address these questions, this book presents a series of inflections that explore the connection between these two fields. The topics studied range from the political and the expanded 'aesthetic paradigm' of art practice today, to specific scenes and encounters and the question of technology in relation to art.
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livres
livres
Publication:
juillet 2010
juillet 2010
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
L'oeuvre parle
L'oeuvre parle
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L'œuvre parle regroupe une sélection des premiers articles que Susan Sontag a écrits sur les arts et la culture contemporaine. Ce livre est rapidement devenu un classique et a eu énormément d'influence à l'étranger. En plus des fameux textes intitulés « À propos du style » et « Le style Camp », le livre contient des réflexions sur Sartre, Simone Weil, Georg Lukács,(...)
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L'œuvre parle regroupe une sélection des premiers articles que Susan Sontag a écrits sur les arts et la culture contemporaine. Ce livre est rapidement devenu un classique et a eu énormément d'influence à l'étranger. En plus des fameux textes intitulés « À propos du style » et « Le style Camp », le livre contient des réflexions sur Sartre, Simone Weil, Georg Lukács,(...)
Titre:
L'oeuvre parle
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L'œuvre parle regroupe une sélection des premiers articles que Susan Sontag a écrits sur les arts et la culture contemporaine. Ce livre est rapidement devenu un classique et a eu énormément d'influence à l'étranger. En plus des fameux textes intitulés « À propos du style » et « Le style Camp », le livre contient des réflexions sur Sartre, Simone Weil, Georg Lukács, Lévi-Strauss, Artaud, Genet, Brecht, Beckett, Bresson et Godard.
L'oeuvre parle
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L'œuvre parle regroupe une sélection des premiers articles que Susan Sontag a écrits sur les arts et la culture contemporaine. Ce livre est rapidement devenu un classique et a eu énormément d'influence à l'étranger. En plus des fameux textes intitulés « À propos du style » et « Le style Camp », le livre contient des réflexions sur Sartre, Simone Weil, Georg Lukács, Lévi-Strauss, Artaud, Genet, Brecht, Beckett, Bresson et Godard.
Classification:
livres
livres
Publication:
janvier 2010
janvier 2010
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
Looking through Duchamp's door, art and perspective in the work of Duchamp, Sugimoto, Jeff Wall
Looking through Duchamp's door, art and perspective in the work of Duchamp, Sugimoto, Jeff Wall
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In this new book by Hans Belting, three essays are united by one theme—the persistence of perspective after its supposed demise in the hands of modernism. Belting addresses perspective in the works of Marcel Duchamp, Hiroshi Sugimoto and Jeff Wall, in the process opening up new approaches to their work. According to Belting, the door that Marcel Duchamp installed for his(...)
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In this new book by Hans Belting, three essays are united by one theme—the persistence of perspective after its supposed demise in the hands of modernism. Belting addresses perspective in the works of Marcel Duchamp, Hiroshi Sugimoto and Jeff Wall, in the process opening up new approaches to their work. According to Belting, the door that Marcel Duchamp installed for his(...)
Titre:
Looking through Duchamp's door, art and perspective in the work of Duchamp, Sugimoto, Jeff Wall
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In this new book by Hans Belting, three essays are united by one theme—the persistence of perspective after its supposed demise in the hands of modernism. Belting addresses perspective in the works of Marcel Duchamp, Hiroshi Sugimoto and Jeff Wall, in the process opening up new approaches to their work. According to Belting, the door that Marcel Duchamp installed for his final masterpiece, “Etant Donnés” was a decisive touchstone for both Sugimoto and Wall in their formative years, and he demonstrates how they have referenced its maker many times since.
Looking through Duchamp's door, art and perspective in the work of Duchamp, Sugimoto, Jeff Wall
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In this new book by Hans Belting, three essays are united by one theme—the persistence of perspective after its supposed demise in the hands of modernism. Belting addresses perspective in the works of Marcel Duchamp, Hiroshi Sugimoto and Jeff Wall, in the process opening up new approaches to their work. According to Belting, the door that Marcel Duchamp installed for his final masterpiece, “Etant Donnés” was a decisive touchstone for both Sugimoto and Wall in their formative years, and he demonstrates how they have referenced its maker many times since.
Classification:
livres
livres
Publication:
février 2010
février 2010
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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Manifesto Marathon is the third in Hans Ulrich Obrist's series of Marathon events at London's Serpentine Gallery. Coming at a moment when manifestos, having ceased to spearhead artistic movements, seem ripe for reinvention, Manifesto Marathon collects statements and declarations of all kinds from artists and contributors from the worlds of literature, design, science,(...)
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Manifesto Marathon is the third in Hans Ulrich Obrist's series of Marathon events at London's Serpentine Gallery. Coming at a moment when manifestos, having ceased to spearhead artistic movements, seem ripe for reinvention, Manifesto Marathon collects statements and declarations of all kinds from artists and contributors from the worlds of literature, design, science,(...)
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Manifesto Marathon, Serpentine Gallery
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Manifesto Marathon is the third in Hans Ulrich Obrist's series of Marathon events at London's Serpentine Gallery. Coming at a moment when manifestos, having ceased to spearhead artistic movements, seem ripe for reinvention, Manifesto Marathon collects statements and declarations of all kinds from artists and contributors from the worlds of literature, design, science, philosophy, music and film. Highlights include Nicolas Bourriaud's “Altermodern,” Paul Chan's “Sex and the New Way, V.I.,” Jimmie Durham's “No More Silly Hats,” Fritz Haeg's “London : A Manifesto From Your Animals,” David Hockney's “Manifesto for Smoking,” Adam Pendleton's “Black Dada,” Agnès Varda's “What To Do?,” Ben Vautier's “I Don't Know What To Do,” Ai Wewei's “Despicable Things,” Vivienne Westwood's “AR,” Lebbeus Woods' “Slow Manifesto,” plus interviews with Eric Hobsbawm and Tino Sehgal, and photographs from the event.
Manifesto Marathon, Serpentine Gallery
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Manifesto Marathon is the third in Hans Ulrich Obrist's series of Marathon events at London's Serpentine Gallery. Coming at a moment when manifestos, having ceased to spearhead artistic movements, seem ripe for reinvention, Manifesto Marathon collects statements and declarations of all kinds from artists and contributors from the worlds of literature, design, science, philosophy, music and film. Highlights include Nicolas Bourriaud's “Altermodern,” Paul Chan's “Sex and the New Way, V.I.,” Jimmie Durham's “No More Silly Hats,” Fritz Haeg's “London : A Manifesto From Your Animals,” David Hockney's “Manifesto for Smoking,” Adam Pendleton's “Black Dada,” Agnès Varda's “What To Do?,” Ben Vautier's “I Don't Know What To Do,” Ai Wewei's “Despicable Things,” Vivienne Westwood's “AR,” Lebbeus Woods' “Slow Manifesto,” plus interviews with Eric Hobsbawm and Tino Sehgal, and photographs from the event.
Classification:
livres
livres
Publication:
mars 2010
mars 2010
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Prix:
$31.00
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Hans Ulrich Obrist has been a staunch supporter of the Los Angeles maestro of Conceptualism John Baldessari from early on in his career. For these conversations, the artist and curator were joined by, among others, the Uruguayan artist and author Alejandro Cesarco, a friend and previous public interlocutor of Baldessari's. Baldessari himself offers readers insight into(...)
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Résumé:
Hans Ulrich Obrist has been a staunch supporter of the Los Angeles maestro of Conceptualism John Baldessari from early on in his career. For these conversations, the artist and curator were joined by, among others, the Uruguayan artist and author Alejandro Cesarco, a friend and previous public interlocutor of Baldessari's. Baldessari himself offers readers insight into(...)
Titre:
Hans Ulrich Obrist & John Baldessari: The conversation series
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Hans Ulrich Obrist has been a staunch supporter of the Los Angeles maestro of Conceptualism John Baldessari from early on in his career. For these conversations, the artist and curator were joined by, among others, the Uruguayan artist and author Alejandro Cesarco, a friend and previous public interlocutor of Baldessari's. Baldessari himself offers readers insight into the motives and semiotics of his multimedia work and his life as an artist, always expressing himself with precision and with wit.
Hans Ulrich Obrist & John Baldessari: The conversation series
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Hans Ulrich Obrist has been a staunch supporter of the Los Angeles maestro of Conceptualism John Baldessari from early on in his career. For these conversations, the artist and curator were joined by, among others, the Uruguayan artist and author Alejandro Cesarco, a friend and previous public interlocutor of Baldessari's. Baldessari himself offers readers insight into the motives and semiotics of his multimedia work and his life as an artist, always expressing himself with precision and with wit.
Classification:
livres
livres
Publication:
février 2010
février 2010
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
Not to play with dead things
Not to play with dead things
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From its Futurist and Dadaist origins to the body art of the 1970s and more recent developments in the genre, the history of Performance art is oriented around a fairly consistent set of elements: movements, speech, the body, impermanence, audience participation. But artists have also produced installations and performative objects for their performances, whose status(...)
$42.00
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From its Futurist and Dadaist origins to the body art of the 1970s and more recent developments in the genre, the history of Performance art is oriented around a fairly consistent set of elements: movements, speech, the body, impermanence, audience participation. But artists have also produced installations and performative objects for their performances, whose status(...)
Publication:
mars 2010
mars 2010
Titre:
Not to play with dead things
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From its Futurist and Dadaist origins to the body art of the 1970s and more recent developments in the genre, the history of Performance art is oriented around a fairly consistent set of elements: movements, speech, the body, impermanence, audience participation. But artists have also produced installations and performative objects for their performances, whose status becomes ambiguous once the action is over. Not to Play with Dead Things pays overdue attention to these frequently orphaned props of performance art, documenting works from the 1960s to the present by artists as diverse as Richard Jackson, Paul McCarthy, Roman Signer, Mike Kelley, Franz West, Jim Shaw, Guy de Cointet, John Bock, Spartacus Chetwynd, Catherine Sullivan and Erwin Wurm. Not to Play with Dead Things asks: are these objects relics of their own making? And is their hybridity a kind of resistance to the streamlining of art?
Not to play with dead things
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From its Futurist and Dadaist origins to the body art of the 1970s and more recent developments in the genre, the history of Performance art is oriented around a fairly consistent set of elements: movements, speech, the body, impermanence, audience participation. But artists have also produced installations and performative objects for their performances, whose status becomes ambiguous once the action is over. Not to Play with Dead Things pays overdue attention to these frequently orphaned props of performance art, documenting works from the 1960s to the present by artists as diverse as Richard Jackson, Paul McCarthy, Roman Signer, Mike Kelley, Franz West, Jim Shaw, Guy de Cointet, John Bock, Spartacus Chetwynd, Catherine Sullivan and Erwin Wurm. Not to Play with Dead Things asks: are these objects relics of their own making? And is their hybridity a kind of resistance to the streamlining of art?
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livres
livres
Publication:
mars 2010
mars 2010
Classification:
livres
livres
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$24.00
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Witte de With's Junior Editorial Team (JET) here gauge the the art world climate through projects and interviews with Marc Bijl, Edith Dekyndt, Tauba Auerbach, Geoffrey Farmer, Ryan Gander, Lawrence Weiner and others.
$24.00
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Witte de With's Junior Editorial Team (JET) here gauge the the art world climate through projects and interviews with Marc Bijl, Edith Dekyndt, Tauba Auerbach, Geoffrey Farmer, Ryan Gander, Lawrence Weiner and others.
Titre:
Jet: it's not a plane, it's not a girl's name, It's a book about art
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Witte de With's Junior Editorial Team (JET) here gauge the the art world climate through projects and interviews with Marc Bijl, Edith Dekyndt, Tauba Auerbach, Geoffrey Farmer, Ryan Gander, Lawrence Weiner and others.
Jet: it's not a plane, it's not a girl's name, It's a book about art
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Résumé:
Witte de With's Junior Editorial Team (JET) here gauge the the art world climate through projects and interviews with Marc Bijl, Edith Dekyndt, Tauba Auerbach, Geoffrey Farmer, Ryan Gander, Lawrence Weiner and others.
Classification:
livres
livres
Publication:
janvier 2010
janvier 2010
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
e-flux journal : reader 2009
e-flux journal : reader 2009
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Since conceptualism, the field of art has become increasingly accustomed to playing host to its own critique, and recent decades have found institutions engaged in self-critique as if by mandate. Important notions of legibility, autonomy, and critical engagement that were once necessary to carve out a space for a critic or critical art publication have transposed(...)
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Since conceptualism, the field of art has become increasingly accustomed to playing host to its own critique, and recent decades have found institutions engaged in self-critique as if by mandate. Important notions of legibility, autonomy, and critical engagement that were once necessary to carve out a space for a critic or critical art publication have transposed(...)
Titre:
e-flux journal : reader 2009
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Since conceptualism, the field of art has become increasingly accustomed to playing host to its own critique, and recent decades have found institutions engaged in self-critique as if by mandate. Important notions of legibility, autonomy, and critical engagement that were once necessary to carve out a space for a critic or critical art publication have transposed themselves onto artistic production proper, and are now considered to be of equal importance to artist, curator, institution, and engaged audience member alike. This climate of disciplinary reconfiguration and geographic dispersal has made the art world a highly complex place — the objective position that once defined the role of a critic has been effectively replaced by a need to understand just how large and varied the whole thing has become. The urgent task has now become to engage the new intellectual territories in a way that can revitalize the critical vocabulary of contemporary art. Perhaps the most productive way of doing this is through a fresh approach to the function of an art journal as something that situates the multitude of what is currently available, and makes that available back to the multitude. The selection of essays included in this book seeks to highlight an ongoing topical thread that ran throughout the first eight issues of e-flux journal — a sequence of overlapping concerns passed on from one contribution to the next.
e-flux journal : reader 2009
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Since conceptualism, the field of art has become increasingly accustomed to playing host to its own critique, and recent decades have found institutions engaged in self-critique as if by mandate. Important notions of legibility, autonomy, and critical engagement that were once necessary to carve out a space for a critic or critical art publication have transposed themselves onto artistic production proper, and are now considered to be of equal importance to artist, curator, institution, and engaged audience member alike. This climate of disciplinary reconfiguration and geographic dispersal has made the art world a highly complex place — the objective position that once defined the role of a critic has been effectively replaced by a need to understand just how large and varied the whole thing has become. The urgent task has now become to engage the new intellectual territories in a way that can revitalize the critical vocabulary of contemporary art. Perhaps the most productive way of doing this is through a fresh approach to the function of an art journal as something that situates the multitude of what is currently available, and makes that available back to the multitude. The selection of essays included in this book seeks to highlight an ongoing topical thread that ran throughout the first eight issues of e-flux journal — a sequence of overlapping concerns passed on from one contribution to the next.
Classification:
livres
livres
Publication:
février 2010
février 2010
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
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$27.95
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This collection of writings, statements, mediations, fictions, polemics, and discussions identifies failure as a core concern in cultural production. Failure identifies moments of thought that have eschewed consensus, choosing to address questions rather than answers.
$27.95
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This collection of writings, statements, mediations, fictions, polemics, and discussions identifies failure as a core concern in cultural production. Failure identifies moments of thought that have eschewed consensus, choosing to address questions rather than answers.
Titre:
Failure: Documents of contemporary art
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This collection of writings, statements, mediations, fictions, polemics, and discussions identifies failure as a core concern in cultural production. Failure identifies moments of thought that have eschewed consensus, choosing to address questions rather than answers.
Failure: Documents of contemporary art
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This collection of writings, statements, mediations, fictions, polemics, and discussions identifies failure as a core concern in cultural production. Failure identifies moments of thought that have eschewed consensus, choosing to address questions rather than answers.
Classification:
livres
livres
Publication:
octobre 2010
octobre 2010
Sujet:
Théorie de l’art
Théorie de l’art
