1662 Résultats
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Conceived as an illustrated “field guide” to the work of Danish artist Olafur Eliasson (b. 1967), this book features a substantial conversation between the artist and Tate curator Mark Godfrey, as well as a collection of short dialogues with a strikingly varied range of people working both inside and outside the arts—from anthropology, economics, political science, and(...)
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Conceived as an illustrated “field guide” to the work of Danish artist Olafur Eliasson (b. 1967), this book features a substantial conversation between the artist and Tate curator Mark Godfrey, as well as a collection of short dialogues with a strikingly varied range of people working both inside and outside the arts—from anthropology, economics, political science, and(...)
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Olafur Eliasson: In real life
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Conceived as an illustrated “field guide” to the work of Danish artist Olafur Eliasson (b. 1967), this book features a substantial conversation between the artist and Tate curator Mark Godfrey, as well as a collection of short dialogues with a strikingly varied range of people working both inside and outside the arts—from anthropology, economics, political science, and biology to architecture and urbanism, dance, music, and food. Eliasson builds such conversations into his daily life and work. They help him not only to understand other people’s unique fields of knowledge, but also to ask, “What does my understanding of your knowledge do to my understanding of the world?” The interweaving of these texts with stunning photography of his remarkable and immersive works provides an insight into what Eliasson calls his ongoing aim of “reaching out into the world.”
Olafur Eliasson: In real life
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Conceived as an illustrated “field guide” to the work of Danish artist Olafur Eliasson (b. 1967), this book features a substantial conversation between the artist and Tate curator Mark Godfrey, as well as a collection of short dialogues with a strikingly varied range of people working both inside and outside the arts—from anthropology, economics, political science, and biology to architecture and urbanism, dance, music, and food. Eliasson builds such conversations into his daily life and work. They help him not only to understand other people’s unique fields of knowledge, but also to ask, “What does my understanding of your knowledge do to my understanding of the world?” The interweaving of these texts with stunning photography of his remarkable and immersive works provides an insight into what Eliasson calls his ongoing aim of “reaching out into the world.”
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Publication:
novembre 2019
novembre 2019
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One of the most influential American conceptual artists of the late 1960s, Dan Graham (born 1942) is particularly celebrated for his pavilions : interactive spaces that walk the line between sculpture and architecture, many of which include the use of two-way mirrors or “looking-glasses.” These installations allow the visitor to ponder himself or herself in the mirror as(...)
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One of the most influential American conceptual artists of the late 1960s, Dan Graham (born 1942) is particularly celebrated for his pavilions : interactive spaces that walk the line between sculpture and architecture, many of which include the use of two-way mirrors or “looking-glasses.” These installations allow the visitor to ponder himself or herself in the mirror as(...)
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Dan Graham ; not yet realised, pavilion drawings
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One of the most influential American conceptual artists of the late 1960s, Dan Graham (born 1942) is particularly celebrated for his pavilions : interactive spaces that walk the line between sculpture and architecture, many of which include the use of two-way mirrors or “looking-glasses.” These installations allow the visitor to ponder himself or herself in the mirror as they walk through the pavilion, watch as others inspect their own reflections, or even catch another’s eye through the glass. Not Yet Realised : Pavilion Drawings, published on the occasion of the 2012 exhibition Dan Graham’s Pavilions at the Lisson Gallery in London, presents numerous drawings and proposals for possible future pavilions. Some of the plans are thoroughly developed, with straight lines and precise measurements, while other more quickly drawn sketches capture his initial ideas as they arise.
Dan Graham ; not yet realised, pavilion drawings
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One of the most influential American conceptual artists of the late 1960s, Dan Graham (born 1942) is particularly celebrated for his pavilions : interactive spaces that walk the line between sculpture and architecture, many of which include the use of two-way mirrors or “looking-glasses.” These installations allow the visitor to ponder himself or herself in the mirror as they walk through the pavilion, watch as others inspect their own reflections, or even catch another’s eye through the glass. Not Yet Realised : Pavilion Drawings, published on the occasion of the 2012 exhibition Dan Graham’s Pavilions at the Lisson Gallery in London, presents numerous drawings and proposals for possible future pavilions. Some of the plans are thoroughly developed, with straight lines and precise measurements, while other more quickly drawn sketches capture his initial ideas as they arise.
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livres
livres
Publication:
octobre 2012
octobre 2012
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livres
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Ana Rewakowicz
Ana Rewakowicz
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Cette première monographie sur l'œuvre de Rewakowicz interroge de diverses manières toute la question de l'identité reliée à l'habitat et au vêtement. En contraste avec la masse stable qu'est la sculpture et l'architecture monumentale, les costumes et structures de l'artiste sont gonflables et mobiles, et s'intéressent aux lieu et aux personnes qui les activent. En(...)
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Cette première monographie sur l'œuvre de Rewakowicz interroge de diverses manières toute la question de l'identité reliée à l'habitat et au vêtement. En contraste avec la masse stable qu'est la sculpture et l'architecture monumentale, les costumes et structures de l'artiste sont gonflables et mobiles, et s'intéressent aux lieu et aux personnes qui les activent. En(...)
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janvier 2006, Sherbrooke
janvier 2006, Sherbrooke
Titre:
Ana Rewakowicz
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Cette première monographie sur l'œuvre de Rewakowicz interroge de diverses manières toute la question de l'identité reliée à l'habitat et au vêtement. En contraste avec la masse stable qu'est la sculpture et l'architecture monumentale, les costumes et structures de l'artiste sont gonflables et mobiles, et s'intéressent aux lieu et aux personnes qui les activent. En utilisant des matériaux tels le latex, le polyéthylène, le papier d'aluminium et des panneaux solaires, Rewakowicz apprivoise les technologies afin de créer des expériences publiques et des vêtements fonctionnels qui peuvent se transformer en architecture portable, voire nomade.
Ana Rewakowicz
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Cette première monographie sur l'œuvre de Rewakowicz interroge de diverses manières toute la question de l'identité reliée à l'habitat et au vêtement. En contraste avec la masse stable qu'est la sculpture et l'architecture monumentale, les costumes et structures de l'artiste sont gonflables et mobiles, et s'intéressent aux lieu et aux personnes qui les activent. En utilisant des matériaux tels le latex, le polyéthylène, le papier d'aluminium et des panneaux solaires, Rewakowicz apprivoise les technologies afin de créer des expériences publiques et des vêtements fonctionnels qui peuvent se transformer en architecture portable, voire nomade.
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livres
livres
Publication:
janvier 2006, Sherbrooke
janvier 2006, Sherbrooke
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livres
Titre:
Maya Lin : boundaries
Maya Lin : boundaries
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Walking through this parklike area, the memorial appears as a rift in the earth - a long, polished black stone wall, emerging from and receding into the earth. Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site(...)
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Walking through this parklike area, the memorial appears as a rift in the earth - a long, polished black stone wall, emerging from and receding into the earth. Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site(...)
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Maya Lin : boundaries
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Walking through this parklike area, the memorial appears as a rift in the earth - a long, polished black stone wall, emerging from and receding into the earth. Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site contained by the walls of this memorial, we can barely make out the carved names upon the memorial's walls. These names, seemingly infinite in number, convey the sense of overwhelming numbers, while unifying these individuals into a whole.... So begins the competition entry submitted in 1981 by a Yale undergraduate for the design of the Vietnam Veterans Memorial in Washington, D.C. - subsequently called "as moving and awesome and popular a piece of memorial architecture as exists anywhere in the world." Its creator, Maya Lin, has been nothing less than world famous ever since. From the explicitly political to the un-ashamedly literary to the completely abstract, her simple and powerful sculpture - the Rockefeller Foundation sculpture, the Southern Poverty Law Center Civil Rights Memorial, the Yale Women's Table, Wave Field - her architecture, including The Museum for African Art and the Norton residence, and her protean design talents have defined her as one of the most gifted creative geniuses of the age. Boundaries is her first book : an eloquent visual/verbal sketchbook produced with the same inspiration and attention to detail as any of her other artworks. Like her environmental sculptures, it is a site, but one which exists at a remove so that it may comment on the personal and artistic elements that make up those works. In it, sketches, photographs, workbook entries, and original designs are held together by a deeply personal text. "Boundaries" is a powerful literary and visual statement by "a leading public artist" (Holland Carter). It is itself a unique work of art.
Maya Lin : boundaries
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Walking through this parklike area, the memorial appears as a rift in the earth - a long, polished black stone wall, emerging from and receding into the earth. Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site contained by the walls of this memorial, we can barely make out the carved names upon the memorial's walls. These names, seemingly infinite in number, convey the sense of overwhelming numbers, while unifying these individuals into a whole.... So begins the competition entry submitted in 1981 by a Yale undergraduate for the design of the Vietnam Veterans Memorial in Washington, D.C. - subsequently called "as moving and awesome and popular a piece of memorial architecture as exists anywhere in the world." Its creator, Maya Lin, has been nothing less than world famous ever since. From the explicitly political to the un-ashamedly literary to the completely abstract, her simple and powerful sculpture - the Rockefeller Foundation sculpture, the Southern Poverty Law Center Civil Rights Memorial, the Yale Women's Table, Wave Field - her architecture, including The Museum for African Art and the Norton residence, and her protean design talents have defined her as one of the most gifted creative geniuses of the age. Boundaries is her first book : an eloquent visual/verbal sketchbook produced with the same inspiration and attention to detail as any of her other artworks. Like her environmental sculptures, it is a site, but one which exists at a remove so that it may comment on the personal and artistic elements that make up those works. In it, sketches, photographs, workbook entries, and original designs are held together by a deeply personal text. "Boundaries" is a powerful literary and visual statement by "a leading public artist" (Holland Carter). It is itself a unique work of art.
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livres
livres
Publication:
septembre 2006, New York
septembre 2006, New York
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livres
livres
Titre:
Food-water-life
Food-water-life
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Since founding Studio Orta in 1993, the Paris-based husband-and-wife team of Lucy and Jorge Orta has produced an extensive body of work that addresses universal concerns about community, shelter, migration, and sustainable development. Beyond merely addressing these issues artistically, their work suggests solutions by modeling fresh approaches to social dilemmas. Their(...)
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Since founding Studio Orta in 1993, the Paris-based husband-and-wife team of Lucy and Jorge Orta has produced an extensive body of work that addresses universal concerns about community, shelter, migration, and sustainable development. Beyond merely addressing these issues artistically, their work suggests solutions by modeling fresh approaches to social dilemmas. Their(...)
Titre:
Food-water-life
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Since founding Studio Orta in 1993, the Paris-based husband-and-wife team of Lucy and Jorge Orta has produced an extensive body of work that addresses universal concerns about community, shelter, migration, and sustainable development. Beyond merely addressing these issues artistically, their work suggests solutions by modeling fresh approaches to social dilemmas. Their often-playful projects incorporate elements of fashion, art, and architecture, which they combine with performances, multimedia events, and public debates. Featuring hundreds of drawings and photographs, Lucy + Jorge Orta: Food, Water, Life presents recent works that fall into the categories of food, water, and the environment. An interview by curator and critic Hou Hanru provides insight into the artists' processes and motivations.
Food-water-life
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Since founding Studio Orta in 1993, the Paris-based husband-and-wife team of Lucy and Jorge Orta has produced an extensive body of work that addresses universal concerns about community, shelter, migration, and sustainable development. Beyond merely addressing these issues artistically, their work suggests solutions by modeling fresh approaches to social dilemmas. Their often-playful projects incorporate elements of fashion, art, and architecture, which they combine with performances, multimedia events, and public debates. Featuring hundreds of drawings and photographs, Lucy + Jorge Orta: Food, Water, Life presents recent works that fall into the categories of food, water, and the environment. An interview by curator and critic Hou Hanru provides insight into the artists' processes and motivations.
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livres
Publication:
mai 2011
mai 2011
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Rachel Whiteread (b. 1963) creates spare, poetic sculptures that challenge perceptions of the commonplace. Working from everyday domestic items, she casts - in rubber, concrete, plaster, and polyester resin - the negative spaces inside closets and underneath beds, sinks, bathtubs, and chairs. Now, in what may be her most personal project to date, the Turner Prize-winning(...)
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Rachel Whiteread (b. 1963) creates spare, poetic sculptures that challenge perceptions of the commonplace. Working from everyday domestic items, she casts - in rubber, concrete, plaster, and polyester resin - the negative spaces inside closets and underneath beds, sinks, bathtubs, and chairs. Now, in what may be her most personal project to date, the Turner Prize-winning(...)
Publication:
octobre 2001, New York
octobre 2001, New York
Titre:
Rachel Whiteread : transient spaces
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Rachel Whiteread (b. 1963) creates spare, poetic sculptures that challenge perceptions of the commonplace. Working from everyday domestic items, she casts - in rubber, concrete, plaster, and polyester resin - the negative spaces inside closets and underneath beds, sinks, bathtubs, and chairs. Now, in what may be her most personal project to date, the Turner Prize-winning artist has been commissioned by Deutsche Guggenheim Berlin to make two large-scale casts from distinct spaces in a London building that she recently purchased to become her home and studio. Although the building has a history as both a synagogue and a factory, it is a product of austere postwar architecture, lacking many of the traditional embellishments associated with such structures. This fully illustrated volume documents Whiteread's process as she creates casts from this religious-cum-industrial-cum-personal space, which blurs boundaries between the spiritual and secular, as well as the public and private.
Rachel Whiteread : transient spaces
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Rachel Whiteread (b. 1963) creates spare, poetic sculptures that challenge perceptions of the commonplace. Working from everyday domestic items, she casts - in rubber, concrete, plaster, and polyester resin - the negative spaces inside closets and underneath beds, sinks, bathtubs, and chairs. Now, in what may be her most personal project to date, the Turner Prize-winning artist has been commissioned by Deutsche Guggenheim Berlin to make two large-scale casts from distinct spaces in a London building that she recently purchased to become her home and studio. Although the building has a history as both a synagogue and a factory, it is a product of austere postwar architecture, lacking many of the traditional embellishments associated with such structures. This fully illustrated volume documents Whiteread's process as she creates casts from this religious-cum-industrial-cum-personal space, which blurs boundaries between the spiritual and secular, as well as the public and private.
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livres
livres
Publication:
octobre 2001, New York
octobre 2001, New York
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livres
Titre:
Art 42
Art 42
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Art 42 est le premier musée de street art en France. Installé au cœur de 42, l’école d’informatique fondée par Xavier Niel, dans le 17e arrondissement de Paris, le musée est gratuit et permanent. L’ADN de l’art urbain est de casser les codes. En présentant une collection d’art urbain dans un lieu aussi inattendu que 42, Nicolas Laugero Lasserre crée une passerelle entre(...)
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Art 42 est le premier musée de street art en France. Installé au cœur de 42, l’école d’informatique fondée par Xavier Niel, dans le 17e arrondissement de Paris, le musée est gratuit et permanent. L’ADN de l’art urbain est de casser les codes. En présentant une collection d’art urbain dans un lieu aussi inattendu que 42, Nicolas Laugero Lasserre crée une passerelle entre(...)
Publication:
février 2017
février 2017
Titre:
Art 42
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Art 42 est le premier musée de street art en France. Installé au cœur de 42, l’école d’informatique fondée par Xavier Niel, dans le 17e arrondissement de Paris, le musée est gratuit et permanent. L’ADN de l’art urbain est de casser les codes. En présentant une collection d’art urbain dans un lieu aussi inattendu que 42, Nicolas Laugero Lasserre crée une passerelle entre deux mondes, que sont la rue et le musée. 42 figure parmi les écoles d’informatique européennes les plus innovantes au monde. Fleuron d’un enseignement progressiste, elle s’est imposée comme une évidence pour accueillir une collection tout aussi audacieuse, avec des œuvres aussi atypiques que l’espace. Pourtant à rebours de l’idée même de musée, de par sa nature et son architecture, 42 offre à l’art urbain une vitrine majeure. ART 42, c’est un musée qui n’en est pas vraiment un, dans une école qui n’en est pas vraiment une…
Art 42
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Art 42 est le premier musée de street art en France. Installé au cœur de 42, l’école d’informatique fondée par Xavier Niel, dans le 17e arrondissement de Paris, le musée est gratuit et permanent. L’ADN de l’art urbain est de casser les codes. En présentant une collection d’art urbain dans un lieu aussi inattendu que 42, Nicolas Laugero Lasserre crée une passerelle entre deux mondes, que sont la rue et le musée. 42 figure parmi les écoles d’informatique européennes les plus innovantes au monde. Fleuron d’un enseignement progressiste, elle s’est imposée comme une évidence pour accueillir une collection tout aussi audacieuse, avec des œuvres aussi atypiques que l’espace. Pourtant à rebours de l’idée même de musée, de par sa nature et son architecture, 42 offre à l’art urbain une vitrine majeure. ART 42, c’est un musée qui n’en est pas vraiment un, dans une école qui n’en est pas vraiment une…
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livres
livres
Publication:
février 2017
février 2017
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livres
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En publiant à la une du Figaro, le 20 février 1909, le Manifeste du futurisme, le poète italien Marinetti lance le premier mouvement d'avant-garde artistique du XXe siècle. Son propos est radical : assez des chefs-d'œuvre du passé et des musées, vive la modernité des villes et la beauté de la vitesse! Des peintres s'y rallient bientôt – Boccioni, Carrà, Russolo, Balla et(...)
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En publiant à la une du Figaro, le 20 février 1909, le Manifeste du futurisme, le poète italien Marinetti lance le premier mouvement d'avant-garde artistique du XXe siècle. Son propos est radical : assez des chefs-d'œuvre du passé et des musées, vive la modernité des villes et la beauté de la vitesse! Des peintres s'y rallient bientôt – Boccioni, Carrà, Russolo, Balla et(...)
Titre:
Le futurisme: une avant-garde radicale
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En publiant à la une du Figaro, le 20 février 1909, le Manifeste du futurisme, le poète italien Marinetti lance le premier mouvement d'avant-garde artistique du XXe siècle. Son propos est radical : assez des chefs-d'œuvre du passé et des musées, vive la modernité des villes et la beauté de la vitesse! Des peintres s'y rallient bientôt – Boccioni, Carrà, Russolo, Balla et Severini –, prônant à leur tour le «dynamisme pictural». Soirées futuristes et conférences se multiplient un peu partout en Europe, de même que les manifestes, tant politiques qu'artistiques. Gagnant rapidement tous les domaines – sculpture, architecture, musique, mais aussi cinéma, théâtre, danse, mode et cuisine –, le futurisme opère jusque dans les années 1930 une véritable révolution des idées, et une mise en cause de l'art lui-même. C'est à l'analyse de cette «philosophie du devenir» que nous convie Giovanni Lista, manifestes à l'appui.
Le futurisme: une avant-garde radicale
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En publiant à la une du Figaro, le 20 février 1909, le Manifeste du futurisme, le poète italien Marinetti lance le premier mouvement d'avant-garde artistique du XXe siècle. Son propos est radical : assez des chefs-d'œuvre du passé et des musées, vive la modernité des villes et la beauté de la vitesse! Des peintres s'y rallient bientôt – Boccioni, Carrà, Russolo, Balla et Severini –, prônant à leur tour le «dynamisme pictural». Soirées futuristes et conférences se multiplient un peu partout en Europe, de même que les manifestes, tant politiques qu'artistiques. Gagnant rapidement tous les domaines – sculpture, architecture, musique, mais aussi cinéma, théâtre, danse, mode et cuisine –, le futurisme opère jusque dans les années 1930 une véritable révolution des idées, et une mise en cause de l'art lui-même. C'est à l'analyse de cette «philosophie du devenir» que nous convie Giovanni Lista, manifestes à l'appui.
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livres
livres
Publication:
novembre 2008, Paris
novembre 2008, Paris
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livres
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This volume brings newfound attention to Niki de Saint Phalle’s (1930-2002) work in architecture and public sculpture, and the commercial products such as perfume and jewelry that she produced to fund these ambitious projects. Featuring a wide selection of images of her architectural works and rarely seen archival materials, this book places these projects within the(...)
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This volume brings newfound attention to Niki de Saint Phalle’s (1930-2002) work in architecture and public sculpture, and the commercial products such as perfume and jewelry that she produced to fund these ambitious projects. Featuring a wide selection of images of her architectural works and rarely seen archival materials, this book places these projects within the(...)
Titre:
Niki de Saint Phalle: Structures for life
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This volume brings newfound attention to Niki de Saint Phalle’s (1930-2002) work in architecture and public sculpture, and the commercial products such as perfume and jewelry that she produced to fund these ambitious projects. Featuring a wide selection of images of her architectural works and rarely seen archival materials, this book places these projects within the context of her larger boundary-defying practice, drawing connections with politically charged works such as the films and books she made in response to the AIDS crisis in the 1980s. Charting Saint Phalle's many efforts to radically open her practice beyond the confines of the art world, it serves as a survey of her practice from the 1960s until the early 2000s. Edited and with an essay by exhibition curator Ruba Katrib, the publication features new scholarship by Anne Dressen and Nick Mauss, Alex Kitnick, and Lanka Tattersall.
Niki de Saint Phalle: Structures for life
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This volume brings newfound attention to Niki de Saint Phalle’s (1930-2002) work in architecture and public sculpture, and the commercial products such as perfume and jewelry that she produced to fund these ambitious projects. Featuring a wide selection of images of her architectural works and rarely seen archival materials, this book places these projects within the context of her larger boundary-defying practice, drawing connections with politically charged works such as the films and books she made in response to the AIDS crisis in the 1980s. Charting Saint Phalle's many efforts to radically open her practice beyond the confines of the art world, it serves as a survey of her practice from the 1960s until the early 2000s. Edited and with an essay by exhibition curator Ruba Katrib, the publication features new scholarship by Anne Dressen and Nick Mauss, Alex Kitnick, and Lanka Tattersall.
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livres
livres
Publication:
mars 2021
mars 2021
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livres
livres
Titre:
David Hammons: Day's End
David Hammons: Day's End
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Published to commemorate David Hammons’s (b. 1943) public art project ''Day’s End'', located in New York City, this book documents the sculpture and offers broader context into Hammons’s enigmatic work. In 2014, Hammons sent the Whitney Museum of American Art a sketch for a monument to Gordon Matta-Clark (1943–1978), paying homage to Matta-Clark’s legendary ''Day’s End''(...)
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Résumé:
Published to commemorate David Hammons’s (b. 1943) public art project ''Day’s End'', located in New York City, this book documents the sculpture and offers broader context into Hammons’s enigmatic work. In 2014, Hammons sent the Whitney Museum of American Art a sketch for a monument to Gordon Matta-Clark (1943–1978), paying homage to Matta-Clark’s legendary ''Day’s End''(...)
Titre:
David Hammons: Day's End
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Published to commemorate David Hammons’s (b. 1943) public art project ''Day’s End'', located in New York City, this book documents the sculpture and offers broader context into Hammons’s enigmatic work. In 2014, Hammons sent the Whitney Museum of American Art a sketch for a monument to Gordon Matta-Clark (1943–1978), paying homage to Matta-Clark’s legendary ''Day’s End'' (1975)—an industrial, cathedral-like space of altered architecture—once located near today’s Whitney in Manhattan’s Meatpacking District. Completed in 2021, Hammons’s work, also titled ''Day’s End'', was realized by the Whitney in collaboration with Hudson River Park, and is on permanent view. One of the most important artists working in the United States, Hammons makes art across mediums, often outside traditional venues. In addition to photographic documentation, the book includes essays on the origins of ''Day’s End'', Hammons’s career scope, and a contribution by poet Ben Okri.
David Hammons: Day's End
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Prix:
$64.95
(disponible en magasin)
Résumé:
Published to commemorate David Hammons’s (b. 1943) public art project ''Day’s End'', located in New York City, this book documents the sculpture and offers broader context into Hammons’s enigmatic work. In 2014, Hammons sent the Whitney Museum of American Art a sketch for a monument to Gordon Matta-Clark (1943–1978), paying homage to Matta-Clark’s legendary ''Day’s End'' (1975)—an industrial, cathedral-like space of altered architecture—once located near today’s Whitney in Manhattan’s Meatpacking District. Completed in 2021, Hammons’s work, also titled ''Day’s End'', was realized by the Whitney in collaboration with Hudson River Park, and is on permanent view. One of the most important artists working in the United States, Hammons makes art across mediums, often outside traditional venues. In addition to photographic documentation, the book includes essays on the origins of ''Day’s End'', Hammons’s career scope, and a contribution by poet Ben Okri.
Classification:
livres
livres
Publication:
juin 2024
juin 2024
