1193 Résultats
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This collection surveys the choreographic turn in the artistic imagination from the 1950s onwards, and in doing so outlines the philosophies of movement instrumental to the development of experimental dance. By introducing and discussing the concepts of embodiment and corporeality, choreopolitics, and the notion of dance in an expanded field, Dance establishes the(...)
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This collection surveys the choreographic turn in the artistic imagination from the 1950s onwards, and in doing so outlines the philosophies of movement instrumental to the development of experimental dance. By introducing and discussing the concepts of embodiment and corporeality, choreopolitics, and the notion of dance in an expanded field, Dance establishes the(...)
Titre:
Documents of contemporary art : Dance
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This collection surveys the choreographic turn in the artistic imagination from the 1950s onwards, and in doing so outlines the philosophies of movement instrumental to the development of experimental dance. By introducing and discussing the concepts of embodiment and corporeality, choreopolitics, and the notion of dance in an expanded field, Dance establishes the aesthetics and politics of dance as a major impetus in contemporary culture. It offers testimonies and writings by influential visual artists whose work has taken inspiration from dance and choreography. Dance--because of its ephemerality, corporeality, precariousness, scoring, and performativity--is arguably the art form that most clearly engages the politics of aesthetics in contemporary culture. Dance's ephemerality suggests the possibility of an escape from the regimes of commodification and fetishization in the arts. Its corporeality can embody critiques of representation inscribed in bodies and subjects. Its precariousness underlines the fragility of contemporary states of being. Scoring links it with conceptual art, as language becomes the articulator for possible as well as impossible modes of action. Finally, because dance always establishes a contract, or promise, between its choreographic planning and its actualization in movement, it reveals an essential performativity in its aesthetic project--a central concern for both art and critical thought in our time.
Documents of contemporary art : Dance
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This collection surveys the choreographic turn in the artistic imagination from the 1950s onwards, and in doing so outlines the philosophies of movement instrumental to the development of experimental dance. By introducing and discussing the concepts of embodiment and corporeality, choreopolitics, and the notion of dance in an expanded field, Dance establishes the aesthetics and politics of dance as a major impetus in contemporary culture. It offers testimonies and writings by influential visual artists whose work has taken inspiration from dance and choreography. Dance--because of its ephemerality, corporeality, precariousness, scoring, and performativity--is arguably the art form that most clearly engages the politics of aesthetics in contemporary culture. Dance's ephemerality suggests the possibility of an escape from the regimes of commodification and fetishization in the arts. Its corporeality can embody critiques of representation inscribed in bodies and subjects. Its precariousness underlines the fragility of contemporary states of being. Scoring links it with conceptual art, as language becomes the articulator for possible as well as impossible modes of action. Finally, because dance always establishes a contract, or promise, between its choreographic planning and its actualization in movement, it reveals an essential performativity in its aesthetic project--a central concern for both art and critical thought in our time.
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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
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This anthology investigates the turn in art not only towards archives and histories, the relics of modernities past, but toward the phenomena, in themselves, of "haunting" and the activation of memory. It looks at a wide array of artistic relationships to memory association, repetition and reappearance, as well as forms of "active" forgetting. Its discussions encompass(...)
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This anthology investigates the turn in art not only towards archives and histories, the relics of modernities past, but toward the phenomena, in themselves, of "haunting" and the activation of memory. It looks at a wide array of artistic relationships to memory association, repetition and reappearance, as well as forms of "active" forgetting. Its discussions encompass(...)
Titre:
Documents of contemporary art : Memory
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This anthology investigates the turn in art not only towards archives and histories, the relics of modernities past, but toward the phenomena, in themselves, of "haunting" and the activation of memory. It looks at a wide array of artistic relationships to memory association, repetition and reappearance, as well as forms of "active" forgetting. Its discussions encompass artworks from the late 1940s onward, ranging from reperformances such as Marina Abramovi's Seven Easy Pieces (embodied resurrections of decades-removed performance pieces by her contemporaries) to the inanimate trace of "memory" Robert Morris assigns to his free-form felt pieces, which "forget" in their present configurations their previous slides and falls. Contextualizing memory's role in visual theory and aesthetic politics--from Marcel Proust's optics to Bernard Stiegler's analysis of memory's "industrialization"--this collection also surveys the diversity of situations and registers in which contemporary artists explore memory. Art that engages with memory embodied in material and spatial conditions is examined beside works that reflect upon memory's effects through time, and yet others that enlist the agency of remembrance or forgetting to work through aspects of the numerous pasts by which the present is always haunted.
Documents of contemporary art : Memory
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This anthology investigates the turn in art not only towards archives and histories, the relics of modernities past, but toward the phenomena, in themselves, of "haunting" and the activation of memory. It looks at a wide array of artistic relationships to memory association, repetition and reappearance, as well as forms of "active" forgetting. Its discussions encompass artworks from the late 1940s onward, ranging from reperformances such as Marina Abramovi's Seven Easy Pieces (embodied resurrections of decades-removed performance pieces by her contemporaries) to the inanimate trace of "memory" Robert Morris assigns to his free-form felt pieces, which "forget" in their present configurations their previous slides and falls. Contextualizing memory's role in visual theory and aesthetic politics--from Marcel Proust's optics to Bernard Stiegler's analysis of memory's "industrialization"--this collection also surveys the diversity of situations and registers in which contemporary artists explore memory. Art that engages with memory embodied in material and spatial conditions is examined beside works that reflect upon memory's effects through time, and yet others that enlist the agency of remembrance or forgetting to work through aspects of the numerous pasts by which the present is always haunted.
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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
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In the work Kunsthalle Bern 1992, Asher removed the radiators from all the museum's exhibition spaces and reassembled them in its entryway gallery. Metal pipes connected the relocated radiators to their original sockets; these tubular conduits, coursing in linear fashion along the Kunsthalle's walls, kept the steam heat flowing and endowed the installation with(...)
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In the work Kunsthalle Bern 1992, Asher removed the radiators from all the museum's exhibition spaces and reassembled them in its entryway gallery. Metal pipes connected the relocated radiators to their original sockets; these tubular conduits, coursing in linear fashion along the Kunsthalle's walls, kept the steam heat flowing and endowed the installation with(...)
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Michael Asher : Kunsthalle Bern, 1929
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In the work Kunsthalle Bern 1992, Asher removed the radiators from all the museum's exhibition spaces and reassembled them in its entryway gallery. Metal pipes connected the relocated radiators to their original sockets; these tubular conduits, coursing in linear fashion along the Kunsthalle's walls, kept the steam heat flowing and endowed the installation with directional lines of force. This "displacement of givens" offers a perfect example of site-specific practice, one that took the gallery space and the institution itself as its subject. In this detailed examination of Kunsthalle Bern 1992, Anne Rorimer considers the work in the context of Asher's ongoing desire to fuse art with the material, economic, and social conditions of institutional presentation. Rorimer analyzes Kunsthalle Bern 1992 in relation to the earlier innovations of such minimalist artists as Donald Judd, Carl Andre, Robert Morris, Sol LeWitt, Bruce Nauman, and Dan Flavin as well as to such conceptualist contemporaries as Daniel Buren, Dan Graham, and Maria Nordman. She also considers the installation in the context of other works by Asher that have used non-art, functional elements, including walls, or that have investigated museological issues.
Michael Asher : Kunsthalle Bern, 1929
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In the work Kunsthalle Bern 1992, Asher removed the radiators from all the museum's exhibition spaces and reassembled them in its entryway gallery. Metal pipes connected the relocated radiators to their original sockets; these tubular conduits, coursing in linear fashion along the Kunsthalle's walls, kept the steam heat flowing and endowed the installation with directional lines of force. This "displacement of givens" offers a perfect example of site-specific practice, one that took the gallery space and the institution itself as its subject. In this detailed examination of Kunsthalle Bern 1992, Anne Rorimer considers the work in the context of Asher's ongoing desire to fuse art with the material, economic, and social conditions of institutional presentation. Rorimer analyzes Kunsthalle Bern 1992 in relation to the earlier innovations of such minimalist artists as Donald Judd, Carl Andre, Robert Morris, Sol LeWitt, Bruce Nauman, and Dan Flavin as well as to such conceptualist contemporaries as Daniel Buren, Dan Graham, and Maria Nordman. She also considers the installation in the context of other works by Asher that have used non-art, functional elements, including walls, or that have investigated museological issues.
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livres
livres
Publication:
novembre 2012
novembre 2012
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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Almost a half-century after Yayoi Kusama debuted her landmark installation Infinity Mirror Room - Phalli's Field (1965) in New York, the work remains challenging and unclassifiable. Shifting between the Pop-like and the Surreal, the Minimal and the metaphorical, the figurative and the abstract, the psychotic and the erotic, with references to "free love" and psychedelia,(...)
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Almost a half-century after Yayoi Kusama debuted her landmark installation Infinity Mirror Room - Phalli's Field (1965) in New York, the work remains challenging and unclassifiable. Shifting between the Pop-like and the Surreal, the Minimal and the metaphorical, the figurative and the abstract, the psychotic and the erotic, with references to "free love" and psychedelia,(...)
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Yayoi Kusuma : Infinity mirror room - Phalli's Field
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Almost a half-century after Yayoi Kusama debuted her landmark installation Infinity Mirror Room - Phalli's Field (1965) in New York, the work remains challenging and unclassifiable. Shifting between the Pop-like and the Surreal, the Minimal and the metaphorical, the figurative and the abstract, the psychotic and the erotic, with references to "free love" and psychedelia, it seemed to embody all that the 1960s was about, while at the same time denying the prevailing aesthetics of its time. The installation itself was a room lined with mirrored panels and carpeted with several hundred brightly polka-dotted soft fabric protrusions into which the visitor was completely absorbed. Kusama simply called it "a sublime, miraculous field of phalluses." A precursor of performance-based feminist art practice, media pranksterism, and "Occupy" movements, Kusama (born in 1929) was once as well known as her admirers - Andy Warhol, Donald Judd, and Joseph Cornell. In this first monograph on an epoch-defining work, Jo Applin looks at the installation in detail and places it in the context of subsequent art practice and theory as well as Kusama's own (as she called it) "obsessional art." Applin also discusses Kusama's relationship to her contemporaries, particularly those working with environments, abstract-erotic sculpture, and mirrors, and those grappling with such issues as abstraction, eroticism, sexuality, and softness. The work of Lee Lozano, Claes Oldenburg, Louise Bourgeois, and Eva Hesse is seen anew when considered in relation to Yayoi Kusama's.
Yayoi Kusuma : Infinity mirror room - Phalli's Field
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Almost a half-century after Yayoi Kusama debuted her landmark installation Infinity Mirror Room - Phalli's Field (1965) in New York, the work remains challenging and unclassifiable. Shifting between the Pop-like and the Surreal, the Minimal and the metaphorical, the figurative and the abstract, the psychotic and the erotic, with references to "free love" and psychedelia, it seemed to embody all that the 1960s was about, while at the same time denying the prevailing aesthetics of its time. The installation itself was a room lined with mirrored panels and carpeted with several hundred brightly polka-dotted soft fabric protrusions into which the visitor was completely absorbed. Kusama simply called it "a sublime, miraculous field of phalluses." A precursor of performance-based feminist art practice, media pranksterism, and "Occupy" movements, Kusama (born in 1929) was once as well known as her admirers - Andy Warhol, Donald Judd, and Joseph Cornell. In this first monograph on an epoch-defining work, Jo Applin looks at the installation in detail and places it in the context of subsequent art practice and theory as well as Kusama's own (as she called it) "obsessional art." Applin also discusses Kusama's relationship to her contemporaries, particularly those working with environments, abstract-erotic sculpture, and mirrors, and those grappling with such issues as abstraction, eroticism, sexuality, and softness. The work of Lee Lozano, Claes Oldenburg, Louise Bourgeois, and Eva Hesse is seen anew when considered in relation to Yayoi Kusama's.
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livres
livres
Publication:
novembre 2012
novembre 2012
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
Dada in Paris
Dada in Paris
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Michel Sanouillet's Dada in Paris, published in France in 1965, reintroduced the Dada movement to a public that had largely ignored or forgotten it. More than forty years later, it remains both the unavoidable starting point and the essential reference for anyone interested in Dada or the early-twentieth century avant-garde. This first English-language edition of(...)
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Michel Sanouillet's Dada in Paris, published in France in 1965, reintroduced the Dada movement to a public that had largely ignored or forgotten it. More than forty years later, it remains both the unavoidable starting point and the essential reference for anyone interested in Dada or the early-twentieth century avant-garde. This first English-language edition of(...)
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Dada in Paris
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Michel Sanouillet's Dada in Paris, published in France in 1965, reintroduced the Dada movement to a public that had largely ignored or forgotten it. More than forty years later, it remains both the unavoidable starting point and the essential reference for anyone interested in Dada or the early-twentieth century avant-garde. This first English-language edition of Sanouillet's definitive work (a translation of the expanded 2005 French edition) gives English-speaking readers their first direct access to the author's monumental history (based on years of research, including personal involvement with most of the Dadaists still living at the time) and massive compilation of previously unpublished correspondence, including more than 200 letters to and from such movement luminaries as Tristan Tzara, Andr Breton, and Francis Picabia.
Dada in Paris
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Michel Sanouillet's Dada in Paris, published in France in 1965, reintroduced the Dada movement to a public that had largely ignored or forgotten it. More than forty years later, it remains both the unavoidable starting point and the essential reference for anyone interested in Dada or the early-twentieth century avant-garde. This first English-language edition of Sanouillet's definitive work (a translation of the expanded 2005 French edition) gives English-speaking readers their first direct access to the author's monumental history (based on years of research, including personal involvement with most of the Dadaists still living at the time) and massive compilation of previously unpublished correspondence, including more than 200 letters to and from such movement luminaries as Tristan Tzara, Andr Breton, and Francis Picabia.
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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
Titre:
The innocence of objects
The innocence of objects
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The culmination of decades of omnivorous collecting, Orhan Pamuk’s Museum of Innocence in Istanbul uses his novel, The Museum of Innocence, as a departure point to explore the city of his youth. In The Innocence of Objects, Pamuk writes about things that matter deeply to him: the psychology of the collector, the proper role of the museum, the photography of old Istanbul,(...)
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The culmination of decades of omnivorous collecting, Orhan Pamuk’s Museum of Innocence in Istanbul uses his novel, The Museum of Innocence, as a departure point to explore the city of his youth. In The Innocence of Objects, Pamuk writes about things that matter deeply to him: the psychology of the collector, the proper role of the museum, the photography of old Istanbul,(...)
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The innocence of objects
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The culmination of decades of omnivorous collecting, Orhan Pamuk’s Museum of Innocence in Istanbul uses his novel, The Museum of Innocence, as a departure point to explore the city of his youth. In The Innocence of Objects, Pamuk writes about things that matter deeply to him: the psychology of the collector, the proper role of the museum, the photography of old Istanbul, and of course the customs and traditions of this city. The book’s imagery is evocative, ranging from the ephemera of everyday life to photographies of Ara Güler.
The innocence of objects
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The culmination of decades of omnivorous collecting, Orhan Pamuk’s Museum of Innocence in Istanbul uses his novel, The Museum of Innocence, as a departure point to explore the city of his youth. In The Innocence of Objects, Pamuk writes about things that matter deeply to him: the psychology of the collector, the proper role of the museum, the photography of old Istanbul, and of course the customs and traditions of this city. The book’s imagery is evocative, ranging from the ephemera of everyday life to photographies of Ara Güler.
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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
Titre:
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."
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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
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
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
Classification:
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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Résumé:
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.
Classification:
livres
livres
Publication:
octobre 2012
octobre 2012
Sujet:
Théorie de l’art
Théorie de l’art
