1189 Résultats
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Réalisé à partir d’entretiens directs menés sur une période de deux ans avec Catherine Grenier,cet ouvrage dévoile les éléments les plus importants de la vie et de la carrière de Maurizio Cattelan. Ces entretiens sont pour Cattelan un nouveau « saut dans le vide » : après des années de silence, l’artiste prend la parole et parle sans détour ni ironie au moment où il(...)
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Réalisé à partir d’entretiens directs menés sur une période de deux ans avec Catherine Grenier,cet ouvrage dévoile les éléments les plus importants de la vie et de la carrière de Maurizio Cattelan. Ces entretiens sont pour Cattelan un nouveau « saut dans le vide » : après des années de silence, l’artiste prend la parole et parle sans détour ni ironie au moment où il(...)
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Maurizio Cattelan: Le saut dans le vide
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Réalisé à partir d’entretiens directs menés sur une période de deux ans avec Catherine Grenier,cet ouvrage dévoile les éléments les plus importants de la vie et de la carrière de Maurizio Cattelan. Ces entretiens sont pour Cattelan un nouveau « saut dans le vide » : après des années de silence, l’artiste prend la parole et parle sans détour ni ironie au moment où il envisage de mettre un terme à ses activités de plasticien.
Maurizio Cattelan: Le saut dans le vide
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Réalisé à partir d’entretiens directs menés sur une période de deux ans avec Catherine Grenier,cet ouvrage dévoile les éléments les plus importants de la vie et de la carrière de Maurizio Cattelan. Ces entretiens sont pour Cattelan un nouveau « saut dans le vide » : après des années de silence, l’artiste prend la parole et parle sans détour ni ironie au moment où il envisage de mettre un terme à ses activités de plasticien.
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livres
livres
Publication:
décembre 2011
décembre 2011
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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John Ruskin est méconnu en France. Auteur fécond et prolixe, l'ampleur même de ses travaux a sans doute découragé la critique. De plus, maints a priori ont fait de l'écrivain une caricature qui ne rend pas justice à la nature subtile et contrastée de l'homme et de son œuvre. Ce travail concentré sur la Bourgogne permet, à travers une région particulière, grâce à la(...)
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John Ruskin est méconnu en France. Auteur fécond et prolixe, l'ampleur même de ses travaux a sans doute découragé la critique. De plus, maints a priori ont fait de l'écrivain une caricature qui ne rend pas justice à la nature subtile et contrastée de l'homme et de son œuvre. Ce travail concentré sur la Bourgogne permet, à travers une région particulière, grâce à la(...)
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L'oeil de Ruskin: l'exemple de la Bourgogne
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John Ruskin est méconnu en France. Auteur fécond et prolixe, l'ampleur même de ses travaux a sans doute découragé la critique. De plus, maints a priori ont fait de l'écrivain une caricature qui ne rend pas justice à la nature subtile et contrastée de l'homme et de son œuvre. Ce travail concentré sur la Bourgogne permet, à travers une région particulière, grâce à la publication de textes et de dessins souvent inédits, de disséquer la complexité de l'univers de Ruskin et sa méthode, basée sur l'observation d'une constellation de points spécifiques pour aboutir à des conceptions globales.
L'oeil de Ruskin: l'exemple de la Bourgogne
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John Ruskin est méconnu en France. Auteur fécond et prolixe, l'ampleur même de ses travaux a sans doute découragé la critique. De plus, maints a priori ont fait de l'écrivain une caricature qui ne rend pas justice à la nature subtile et contrastée de l'homme et de son œuvre. Ce travail concentré sur la Bourgogne permet, à travers une région particulière, grâce à la publication de textes et de dessins souvent inédits, de disséquer la complexité de l'univers de Ruskin et sa méthode, basée sur l'observation d'une constellation de points spécifiques pour aboutir à des conceptions globales.
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livres
livres
Publication:
janvier 2012
janvier 2012
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
Circular facts
Circular facts
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Circular Facts is a collaborative endeavor between three European contemporary art organizations: Casco – Office for Art, Design and Theory, Utrecht; Objectif Exhibitions, Antwerp; and The Showroom, London, in partnership with Kunst Halle Sankt Gallen and Electric Palm Tree. The project acted as an informal think tank and a mutual support structure for the production and(...)
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Circular Facts is a collaborative endeavor between three European contemporary art organizations: Casco – Office for Art, Design and Theory, Utrecht; Objectif Exhibitions, Antwerp; and The Showroom, London, in partnership with Kunst Halle Sankt Gallen and Electric Palm Tree. The project acted as an informal think tank and a mutual support structure for the production and(...)
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Circular facts
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Circular Facts is a collaborative endeavor between three European contemporary art organizations: Casco – Office for Art, Design and Theory, Utrecht; Objectif Exhibitions, Antwerp; and The Showroom, London, in partnership with Kunst Halle Sankt Gallen and Electric Palm Tree. The project acted as an informal think tank and a mutual support structure for the production and dissemination of artistic projects, and has culminated in an eponymous publication. The publication aims to gather a spectrum of perspectives to explore the roles of specific initiatives within their particular localities. The contributors have produced works that speak to their experiences within arts institutions, collaborative curatorial initiatives, and research networks, expanding on the relationship between institutions and artists, markets, local and international audiences, and current political climates.
Circular facts
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Circular Facts is a collaborative endeavor between three European contemporary art organizations: Casco – Office for Art, Design and Theory, Utrecht; Objectif Exhibitions, Antwerp; and The Showroom, London, in partnership with Kunst Halle Sankt Gallen and Electric Palm Tree. The project acted as an informal think tank and a mutual support structure for the production and dissemination of artistic projects, and has culminated in an eponymous publication. The publication aims to gather a spectrum of perspectives to explore the roles of specific initiatives within their particular localities. The contributors have produced works that speak to their experiences within arts institutions, collaborative curatorial initiatives, and research networks, expanding on the relationship between institutions and artists, markets, local and international audiences, and current political climates.
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livres
livres
Publication:
janvier 2012
janvier 2012
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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What roles can art and activism play in a post-Fordist "society of the spectacle"? Can activist art effect real change? This publication asks these and other pressing questions facing contemporary activist art, through case studies by established artists and filmmakers such as Steven Cohen and Christoph Schlingensief, as well as emerging voices such as Renzo Martens and(...)
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What roles can art and activism play in a post-Fordist "society of the spectacle"? Can activist art effect real change? This publication asks these and other pressing questions facing contemporary activist art, through case studies by established artists and filmmakers such as Steven Cohen and Christoph Schlingensief, as well as emerging voices such as Renzo Martens and(...)
Titre:
Art and activism in the age of globalization : reflect #08
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What roles can art and activism play in a post-Fordist "society of the spectacle"? Can activist art effect real change? This publication asks these and other pressing questions facing contemporary activist art, through case studies by established artists and filmmakers such as Steven Cohen and Christoph Schlingensief, as well as emerging voices such as Renzo Martens and Les Chiens de Navarre. It investigates issues of urban activism and the activism of anonymous networks, giving special consideration to the effects of the War on Terror upon the activist agenda. In our era of unchecked globalization and the extreme crisis of global warming, this reader concludes by proposing a theoretical scaffolding for modern-day activism, making a passionate appeal for a truly political art.
Art and activism in the age of globalization : reflect #08
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What roles can art and activism play in a post-Fordist "society of the spectacle"? Can activist art effect real change? This publication asks these and other pressing questions facing contemporary activist art, through case studies by established artists and filmmakers such as Steven Cohen and Christoph Schlingensief, as well as emerging voices such as Renzo Martens and Les Chiens de Navarre. It investigates issues of urban activism and the activism of anonymous networks, giving special consideration to the effects of the War on Terror upon the activist agenda. In our era of unchecked globalization and the extreme crisis of global warming, this reader concludes by proposing a theoretical scaffolding for modern-day activism, making a passionate appeal for a truly political art.
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livres
livres
Publication:
janvier 2011
janvier 2011
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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In this groundbreaking study, Nina Gurianova identifies the early Russian avant-garde (1910-1918) as a distinctive movement in its own right and not a preliminary stage to the Constructivism of the 1920s. Gurianova identifies what she terms an “aesthetics of anarchy” — art-making without rules—that greatly influenced early twentieth-century modernists. Setting the early(...)
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In this groundbreaking study, Nina Gurianova identifies the early Russian avant-garde (1910-1918) as a distinctive movement in its own right and not a preliminary stage to the Constructivism of the 1920s. Gurianova identifies what she terms an “aesthetics of anarchy” — art-making without rules—that greatly influenced early twentieth-century modernists. Setting the early(...)
Titre:
The aesthetics of anarchy : art and ideology in the early Russian avant-garde
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In this groundbreaking study, Nina Gurianova identifies the early Russian avant-garde (1910-1918) as a distinctive movement in its own right and not a preliminary stage to the Constructivism of the 1920s. Gurianova identifies what she terms an “aesthetics of anarchy” — art-making without rules—that greatly influenced early twentieth-century modernists. Setting the early Russian avant-garde movement firmly within a broader European context, Gurianova draws on a wealth of primary and archival sources by individual writers and artists, Russian theorists, theorizing artists, and German philosophers. Unlike the post-revolutionary avant-garde, which sought to describe the position of the artist in the new social hierarchy, the early Russian avant-garde struggled to overcome the boundaries defining art and to bridge the traditional gap between artist and audience. As it explores the aesthetics embraced by the movement, the book shows how artists transformed literary, theatrical, and performance practices, eroding the traditional boundaries of the visual arts and challenging the conventions of their day.
The aesthetics of anarchy : art and ideology in the early Russian avant-garde
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In this groundbreaking study, Nina Gurianova identifies the early Russian avant-garde (1910-1918) as a distinctive movement in its own right and not a preliminary stage to the Constructivism of the 1920s. Gurianova identifies what she terms an “aesthetics of anarchy” — art-making without rules—that greatly influenced early twentieth-century modernists. Setting the early Russian avant-garde movement firmly within a broader European context, Gurianova draws on a wealth of primary and archival sources by individual writers and artists, Russian theorists, theorizing artists, and German philosophers. Unlike the post-revolutionary avant-garde, which sought to describe the position of the artist in the new social hierarchy, the early Russian avant-garde struggled to overcome the boundaries defining art and to bridge the traditional gap between artist and audience. As it explores the aesthetics embraced by the movement, the book shows how artists transformed literary, theatrical, and performance practices, eroding the traditional boundaries of the visual arts and challenging the conventions of their day.
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livres
livres
Publication:
mars 2012
mars 2012
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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Ce livre ne s'intéresse pas aux œuvres déjà faites, mais à des « œuvres à faire ». Il a pour objet les métamorphoses du travail de création impulsées par un dispositif original de soutien et de médiation artistique : l'action Nouveaux Commanditaires conçue par l'artiste François Hers et mis en œuvre par la Fondation de France depuis 1991. « Faire œuvre » et « faire(...)
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Ce livre ne s'intéresse pas aux œuvres déjà faites, mais à des « œuvres à faire ». Il a pour objet les métamorphoses du travail de création impulsées par un dispositif original de soutien et de médiation artistique : l'action Nouveaux Commanditaires conçue par l'artiste François Hers et mis en œuvre par la Fondation de France depuis 1991. « Faire œuvre » et « faire(...)
Titre:
L'oeuvre commune: affaire d'art et de citoyen
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Ce livre ne s'intéresse pas aux œuvres déjà faites, mais à des « œuvres à faire ». Il a pour objet les métamorphoses du travail de création impulsées par un dispositif original de soutien et de médiation artistique : l'action Nouveaux Commanditaires conçue par l'artiste François Hers et mis en œuvre par la Fondation de France depuis 1991. « Faire œuvre » et « faire société » sont ici rendus indissociables.
L'oeuvre commune: affaire d'art et de citoyen
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Ce livre ne s'intéresse pas aux œuvres déjà faites, mais à des « œuvres à faire ». Il a pour objet les métamorphoses du travail de création impulsées par un dispositif original de soutien et de médiation artistique : l'action Nouveaux Commanditaires conçue par l'artiste François Hers et mis en œuvre par la Fondation de France depuis 1991. « Faire œuvre » et « faire société » sont ici rendus indissociables.
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livres
livres
Publication:
février 2012
février 2012
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
Les deux chemins
Les deux chemins
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L'ouvrage dans lequel Ruskin explore les rapports entre la création artistique et la production industrielle, entre l'artiste et son matériau, et démontre le lien indissociable entre la formation des artisans, l'éducation esthétique du grand public et les chefs-d'œuvre de l'art européen. Traduit de l'anglais par Frédérique Campbell (titre original : The Two(...)
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L'ouvrage dans lequel Ruskin explore les rapports entre la création artistique et la production industrielle, entre l'artiste et son matériau, et démontre le lien indissociable entre la formation des artisans, l'éducation esthétique du grand public et les chefs-d'œuvre de l'art européen. Traduit de l'anglais par Frédérique Campbell (titre original : The Two(...)
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Les deux chemins
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L'ouvrage dans lequel Ruskin explore les rapports entre la création artistique et la production industrielle, entre l'artiste et son matériau, et démontre le lien indissociable entre la formation des artisans, l'éducation esthétique du grand public et les chefs-d'œuvre de l'art européen. Traduit de l'anglais par Frédérique Campbell (titre original : The Two Paths, Londres, Smith, Elder and Co., 1859). Première traduction française. Préface de Frédérique Campbell.
Les deux chemins
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L'ouvrage dans lequel Ruskin explore les rapports entre la création artistique et la production industrielle, entre l'artiste et son matériau, et démontre le lien indissociable entre la formation des artisans, l'éducation esthétique du grand public et les chefs-d'œuvre de l'art européen. Traduit de l'anglais par Frédérique Campbell (titre original : The Two Paths, Londres, Smith, Elder and Co., 1859). Première traduction française. Préface de Frédérique Campbell.
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livres
livres
Publication:
février 2012
février 2012
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples(...)
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Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples(...)
Publication:
février 2012
février 2012
Titre:
In deed : certificates of authenticity in art
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Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples of artists certificates from the past fifty years, this book reveals how roles have shifted and developed, as well as how the materials and content of art have changed. With certificates by Judith Barry, Pierre Bismuth, Daniel Buren, Marcel Duchamp, Dan Flavin, Liam Gillick, Hans Haacke, Edward Kienholz, Yves Klein, Joseph Kosuth, Sol LeWitt, Piero Manzoni, Gordon Matta-Clark, Jonathan Monk, Robert Morris, Antoni Muntadas, Yoko Ono, Robert Rauschenberg, David Shrigley, Rirkrit Tiravanija, Ben Vautier, Lawrence Weiner, Franz West and others.
In deed : certificates of authenticity in art
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Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples of artists certificates from the past fifty years, this book reveals how roles have shifted and developed, as well as how the materials and content of art have changed. With certificates by Judith Barry, Pierre Bismuth, Daniel Buren, Marcel Duchamp, Dan Flavin, Liam Gillick, Hans Haacke, Edward Kienholz, Yves Klein, Joseph Kosuth, Sol LeWitt, Piero Manzoni, Gordon Matta-Clark, Jonathan Monk, Robert Morris, Antoni Muntadas, Yoko Ono, Robert Rauschenberg, David Shrigley, Rirkrit Tiravanija, Ben Vautier, Lawrence Weiner, Franz West and others.
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livres
livres
Publication:
février 2012
février 2012
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livres
livres
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With the emergence of conceptual art in the mid-1960s, the traditional notion of the studio became at least partly obsolete. Other sites emerged for the generation of art, leading to the idea of "post-studio practice." But the studio never went away; it was continually reinvented in response to new realities. This collection, expanding on current critical interest in(...)
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With the emergence of conceptual art in the mid-1960s, the traditional notion of the studio became at least partly obsolete. Other sites emerged for the generation of art, leading to the idea of "post-studio practice." But the studio never went away; it was continually reinvented in response to new realities. This collection, expanding on current critical interest in(...)
Titre:
Documents of contemporary art : the studio
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With the emergence of conceptual art in the mid-1960s, the traditional notion of the studio became at least partly obsolete. Other sites emerged for the generation of art, leading to the idea of "post-studio practice." But the studio never went away; it was continually reinvented in response to new realities. This collection, expanding on current critical interest in issues of production and situation, looks at the evolution of studio - and "post-studio" - practice over the last half century. In recent decades many artists have turned their studios into offices from which they organize a multiplicity of operations and interactions. Others use the studio as a quasi-exhibition space, or work on a laptop computer - mobile, flexible, and ready to follow the next commission.
Documents of contemporary art : the studio
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With the emergence of conceptual art in the mid-1960s, the traditional notion of the studio became at least partly obsolete. Other sites emerged for the generation of art, leading to the idea of "post-studio practice." But the studio never went away; it was continually reinvented in response to new realities. This collection, expanding on current critical interest in issues of production and situation, looks at the evolution of studio - and "post-studio" - practice over the last half century. In recent decades many artists have turned their studios into offices from which they organize a multiplicity of operations and interactions. Others use the studio as a quasi-exhibition space, or work on a laptop computer - mobile, flexible, and ready to follow the next commission.
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livres
livres
Publication:
mars 2012
mars 2012
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
Nature
Nature
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Nature, as both subject and object, has been repeatedly rejected and reclaimed by artists over the last half century. With the dislocation of disciplinary boundaries in visual culture, art that is engaged with nature has also forged connections with a new range of scientific, historical, and philosophical ideas. Developing technologies make our interventions into natural(...)
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Nature, as both subject and object, has been repeatedly rejected and reclaimed by artists over the last half century. With the dislocation of disciplinary boundaries in visual culture, art that is engaged with nature has also forged connections with a new range of scientific, historical, and philosophical ideas. Developing technologies make our interventions into natural(...)
Titre:
Nature
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Nature, as both subject and object, has been repeatedly rejected and reclaimed by artists over the last half century. With the dislocation of disciplinary boundaries in visual culture, art that is engaged with nature has also forged connections with a new range of scientific, historical, and philosophical ideas. Developing technologies make our interventions into natural systems both increasingly refined and profound. Advances in biological and telecommunication technology continually modify the way we present ourselves. So too are artistic representations of nature (human and otherwise) being transformed. This anthology addresses these issues by considering how the rise of transdisciplinary practices in the postwar era allowed for new kinds of artistic engagement with nature. These include the postminimalist inscriptions associated with Land art; environmentally engaged practices designed to propose novel forms of stewardship; and more recent projects concerned with relationships between the most subtle and minute components of life and the large-scale appearance of the world. These projects unsettle the most basic operations of “natural” personhood and identity. Including a wide range of writings by and about artists, juxtaposed with influential texts from diverse theoretical bases, this collection provides an overview of the eclectic scientific and philosophical sources that inform contemporary art’s investigations of nature.
Nature
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Nature, as both subject and object, has been repeatedly rejected and reclaimed by artists over the last half century. With the dislocation of disciplinary boundaries in visual culture, art that is engaged with nature has also forged connections with a new range of scientific, historical, and philosophical ideas. Developing technologies make our interventions into natural systems both increasingly refined and profound. Advances in biological and telecommunication technology continually modify the way we present ourselves. So too are artistic representations of nature (human and otherwise) being transformed. This anthology addresses these issues by considering how the rise of transdisciplinary practices in the postwar era allowed for new kinds of artistic engagement with nature. These include the postminimalist inscriptions associated with Land art; environmentally engaged practices designed to propose novel forms of stewardship; and more recent projects concerned with relationships between the most subtle and minute components of life and the large-scale appearance of the world. These projects unsettle the most basic operations of “natural” personhood and identity. Including a wide range of writings by and about artists, juxtaposed with influential texts from diverse theoretical bases, this collection provides an overview of the eclectic scientific and philosophical sources that inform contemporary art’s investigations of nature.
Classification:
livres
livres
Publication:
mars 2012
mars 2012
Sujet:
Théorie de l’art
Théorie de l’art
