2430 Résultats
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livres
livres
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$55.00
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Résumé:
Since 1986, Dutch artist Mark Manders has been developing an ongoing project titled Self-Portrait as a Building. Taking the form of sculptures, installations, drawings and projections, these works map Manders' artistic persona through the conceptual model of a built edifice, in the fashion of the Renaissance memory theater. Inspired by writings on this subject and by(...)
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Since 1986, Dutch artist Mark Manders has been developing an ongoing project titled Self-Portrait as a Building. Taking the form of sculptures, installations, drawings and projections, these works map Manders' artistic persona through the conceptual model of a built edifice, in the fashion of the Renaissance memory theater. Inspired by writings on this subject and by(...)
Publication:
novembre 2010
novembre 2010
Titre:
Mark Manders: Parallel occurrences / documented assignments
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Since 1986, Dutch artist Mark Manders has been developing an ongoing project titled Self-Portrait as a Building. Taking the form of sculptures, installations, drawings and projections, these works map Manders' artistic persona through the conceptual model of a built edifice, in the fashion of the Renaissance memory theater. Inspired by writings on this subject and by other literature, Manders' earliest works in this project were primarily written, but over time, Manders found ways to deploy everyday three-dimensional objects--epoxy figures, animals, teabags, pencils, household furniture--to build a portrait of his own mind as an architectural space. This publication accompanies the first North American touring exhibition of Manders' work.
Mark Manders: Parallel occurrences / documented assignments
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Since 1986, Dutch artist Mark Manders has been developing an ongoing project titled Self-Portrait as a Building. Taking the form of sculptures, installations, drawings and projections, these works map Manders' artistic persona through the conceptual model of a built edifice, in the fashion of the Renaissance memory theater. Inspired by writings on this subject and by other literature, Manders' earliest works in this project were primarily written, but over time, Manders found ways to deploy everyday three-dimensional objects--epoxy figures, animals, teabags, pencils, household furniture--to build a portrait of his own mind as an architectural space. This publication accompanies the first North American touring exhibition of Manders' work.
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livres
livres
Publication:
novembre 2010
novembre 2010
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livres
livres
Titre:
Bark
Bark
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$23.00
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On a visit to Auschwitz-Birkenau, Georges Didi-Huberman tears three pieces of bark from birch trees on the edge of the site. Looking at these pieces after his return home, he sees them as letters, a flood, a path, time, memory, flesh. The bark serves as a springboard to Didi-Huberman’s meditations on his visit, recorded in this spare, poetic, and powerful book. Bark is a(...)
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On a visit to Auschwitz-Birkenau, Georges Didi-Huberman tears three pieces of bark from birch trees on the edge of the site. Looking at these pieces after his return home, he sees them as letters, a flood, a path, time, memory, flesh. The bark serves as a springboard to Didi-Huberman’s meditations on his visit, recorded in this spare, poetic, and powerful book. Bark is a(...)
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Bark
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$23.00
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On a visit to Auschwitz-Birkenau, Georges Didi-Huberman tears three pieces of bark from birch trees on the edge of the site. Looking at these pieces after his return home, he sees them as letters, a flood, a path, time, memory, flesh. The bark serves as a springboard to Didi-Huberman’s meditations on his visit, recorded in this spare, poetic, and powerful book. Bark is a personal account, drawing not on the theoretical apparatus of scholarship but on Didi-Huberman’s own history, memory, and knowledge. The text proceeds as a series of reflections, accompanied by Didi-Huberman’s photographs of the visit. The photographs are not meant to be art—Didi-Huberman confesses that he “photographed practically everything without looking”—but approach it nevertheless. Didi-Huberman tells us that his grandparents died at Auschwitz, but his account is more universal than biographical. As he walks from place to place, he observes that in German birches are birken; Birkenau designates the meadow where the birches grow. Didi-Huberman sees and photographs the “reconstructed” execution wall; the floors of the crematorium, forgotten witnesses to killing; and the birch trees, lovely but also resembling prison bars. Taking his own photographs, he thinks of the famous photographs taken in 1944 by a member of the Sonderkommando, the only photographic documentation of the camp before the Germans destroyed it, hoping to hide the evidence of their crimes. Didi-Huberman notices a “bizarre proliferation of white flowers on the exact spot of the cremation pits.” The dead are not departed.
Bark
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On a visit to Auschwitz-Birkenau, Georges Didi-Huberman tears three pieces of bark from birch trees on the edge of the site. Looking at these pieces after his return home, he sees them as letters, a flood, a path, time, memory, flesh. The bark serves as a springboard to Didi-Huberman’s meditations on his visit, recorded in this spare, poetic, and powerful book. Bark is a personal account, drawing not on the theoretical apparatus of scholarship but on Didi-Huberman’s own history, memory, and knowledge. The text proceeds as a series of reflections, accompanied by Didi-Huberman’s photographs of the visit. The photographs are not meant to be art—Didi-Huberman confesses that he “photographed practically everything without looking”—but approach it nevertheless. Didi-Huberman tells us that his grandparents died at Auschwitz, but his account is more universal than biographical. As he walks from place to place, he observes that in German birches are birken; Birkenau designates the meadow where the birches grow. Didi-Huberman sees and photographs the “reconstructed” execution wall; the floors of the crematorium, forgotten witnesses to killing; and the birch trees, lovely but also resembling prison bars. Taking his own photographs, he thinks of the famous photographs taken in 1944 by a member of the Sonderkommando, the only photographic documentation of the camp before the Germans destroyed it, hoping to hide the evidence of their crimes. Didi-Huberman notices a “bizarre proliferation of white flowers on the exact spot of the cremation pits.” The dead are not departed.
Classification:
livres
livres
Publication:
octobre 2017
octobre 2017
Sujet:
Théorie/ philosophie
Théorie/ philosophie
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livres
livres
Titre:
On European ground
On European ground
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A profound visual meditation on the trauma that scars twentieth-century Europe, Alan Cohen's "On European Ground" considers the battlefields of World War I, the Nazi death camps, and the Berlin Wall, and records the distance between what we remember about these places and what we can (...)
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A profound visual meditation on the trauma that scars twentieth-century Europe, Alan Cohen's "On European Ground" considers the battlefields of World War I, the Nazi death camps, and the Berlin Wall, and records the distance between what we remember about these places and what we can (...)
Titre:
On European ground
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A profound visual meditation on the trauma that scars twentieth-century Europe, Alan Cohen's "On European Ground" considers the battlefields of World War I, the Nazi death camps, and the Berlin Wall, and records the distance between what we remember about these places and what we can still observe in them today. By walking these sites and photographing the very ground in which their history has dissolved, Cohen opens a space for reflection on their complex gravity and legacy. Cohen's images achieve a solemn beauty even as they engage history at its most topical. Pictures of trenches and bunkers at the battlefields of Somme and Verdun explore the tension between the violence of the past and the inscrutability of its remnants. Photographs from the grounds of Dachau and Auschwitz solicit a provocative dialogue between the ordinariness of these sites today and their haunting memory. They teach us, as the New Art Examiner notes, "that the living perceptual connection to the Holocaust is vanishing." Images of the Berlin Wall show only the footprint of the barricade that once separated two hostile ideologies. They record the physical erosion and looming disappearance of the Wall while capturing its reappearance as a memorialized abstraction. Accompanying the photographs in On European Ground are essays by Sander Gilman and Jonathan Bordo, as well as an interview with Cohen by critic Roberta Smith of the New York Times. The essays present both an introduction to and aesthetic analysis of Cohen's work, while the interview discusses the intractable problems of history and memory that his photographs so uniquely capture.
On European ground
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Résumé:
A profound visual meditation on the trauma that scars twentieth-century Europe, Alan Cohen's "On European Ground" considers the battlefields of World War I, the Nazi death camps, and the Berlin Wall, and records the distance between what we remember about these places and what we can still observe in them today. By walking these sites and photographing the very ground in which their history has dissolved, Cohen opens a space for reflection on their complex gravity and legacy. Cohen's images achieve a solemn beauty even as they engage history at its most topical. Pictures of trenches and bunkers at the battlefields of Somme and Verdun explore the tension between the violence of the past and the inscrutability of its remnants. Photographs from the grounds of Dachau and Auschwitz solicit a provocative dialogue between the ordinariness of these sites today and their haunting memory. They teach us, as the New Art Examiner notes, "that the living perceptual connection to the Holocaust is vanishing." Images of the Berlin Wall show only the footprint of the barricade that once separated two hostile ideologies. They record the physical erosion and looming disappearance of the Wall while capturing its reappearance as a memorialized abstraction. Accompanying the photographs in On European Ground are essays by Sander Gilman and Jonathan Bordo, as well as an interview with Cohen by critic Roberta Smith of the New York Times. The essays present both an introduction to and aesthetic analysis of Cohen's work, while the interview discusses the intractable problems of history and memory that his photographs so uniquely capture.
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livres
livres
Publication:
avril 2001, Chicago
avril 2001, Chicago
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livres
livres
Prix:
$75.00
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Résumé:
Over the past decade installation art has achieved mainstream status within contemporary visual culture. Its ubiquitous presence has given rise to new terms that redefine the art form and impact not just on art, but also on international fashion shows, movie design, and club culture. This volume surveys how installation has evolved, embracing often unexpected media, and(...)
$75.00
(disponible sur commande)
Résumé:
Over the past decade installation art has achieved mainstream status within contemporary visual culture. Its ubiquitous presence has given rise to new terms that redefine the art form and impact not just on art, but also on international fashion shows, movie design, and club culture. This volume surveys how installation has evolved, embracing often unexpected media, and(...)
Publication:
octobre 2003, London
octobre 2003, London
Titre:
Installation art in the new millenium : the empire of the senses
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$75.00
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Over the past decade installation art has achieved mainstream status within contemporary visual culture. Its ubiquitous presence has given rise to new terms that redefine the art form and impact not just on art, but also on international fashion shows, movie design, and club culture. This volume surveys how installation has evolved, embracing often unexpected media, and its far-reaching influence worldwide. The new "immersive" installation reflects a desire for sensual pleasure, as the viewer is totally enveloped in a hermetic and narcissistic artwork, as illustrated by the American artist Doug Aitken and the Japanese artist Kazuo Katase, among others. New dynamics have developed between the artist and institutions, and installation is more than ever an open-ended experiment that transforms the museum into a cultural laboratory, as seen in the work of Hans Haacke. Installation refuses to accept fixed boundaries, and practitioners, such as the Mexican Jose Dávila, are now looking to forge relationships on a global level, collaborating with specialists in other non-art areas. In a rapidly changing world, time and memory become key concerns, and artists such as Christian Boltanksi and Damien Hirst prefer to construct their own spaces of memory. The culmination of these processes has made the audience itself the key site of the installation as witnessed in the works of Vanessa Beecroft, Gary Hill, Mariko Mori, and Bill Viola. This astonishing process returns us to the body, to the spectator, a space that is both sentient and active, the "empire of the senses."
Installation art in the new millenium : the empire of the senses
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$75.00
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Résumé:
Over the past decade installation art has achieved mainstream status within contemporary visual culture. Its ubiquitous presence has given rise to new terms that redefine the art form and impact not just on art, but also on international fashion shows, movie design, and club culture. This volume surveys how installation has evolved, embracing often unexpected media, and its far-reaching influence worldwide. The new "immersive" installation reflects a desire for sensual pleasure, as the viewer is totally enveloped in a hermetic and narcissistic artwork, as illustrated by the American artist Doug Aitken and the Japanese artist Kazuo Katase, among others. New dynamics have developed between the artist and institutions, and installation is more than ever an open-ended experiment that transforms the museum into a cultural laboratory, as seen in the work of Hans Haacke. Installation refuses to accept fixed boundaries, and practitioners, such as the Mexican Jose Dávila, are now looking to forge relationships on a global level, collaborating with specialists in other non-art areas. In a rapidly changing world, time and memory become key concerns, and artists such as Christian Boltanksi and Damien Hirst prefer to construct their own spaces of memory. The culmination of these processes has made the audience itself the key site of the installation as witnessed in the works of Vanessa Beecroft, Gary Hill, Mariko Mori, and Bill Viola. This astonishing process returns us to the body, to the spectator, a space that is both sentient and active, the "empire of the senses."
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livres
livres
Publication:
octobre 2003, London
octobre 2003, London
Classification:
livres
livres
Titre:
Vanishing British Columbia
Vanishing British Columbia
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$39.95
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Résumé:
The old buildings and historic places of British Columbia form a kind of “roadside memory,” a tangible link with stories of settlement, change, and abandonment that reflect the great themes of our history. With small towns declining and old rural properties changing, so little of the history of these places has been recorded in museums or archives, and so much of it may(...)
$39.95
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Résumé:
The old buildings and historic places of British Columbia form a kind of “roadside memory,” a tangible link with stories of settlement, change, and abandonment that reflect the great themes of our history. With small towns declining and old rural properties changing, so little of the history of these places has been recorded in museums or archives, and so much of it may(...)
Sujet:
Architecture du Canada
Architecture du Canada
Publication:
octobre 2005, Vancouver Toronto Seattle
octobre 2005, Vancouver Toronto Seattle
Titre:
Vanishing British Columbia
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The old buildings and historic places of British Columbia form a kind of “roadside memory,” a tangible link with stories of settlement, change, and abandonment that reflect the great themes of our history. With small towns declining and old rural properties changing, so little of the history of these places has been recorded in museums or archives, and so much of it may disappear as families disperse and memories dim. More than a decade ago, Michael Kluckner began painting these dots on his personal map of the province in a watercolour sketchbook. In 1999, after he put a few of the sketches on his website, a network of correspondents emerged that eventually led him to the family letters, photo albums, and memories – all from a disappearing era of the province. Vanishing British Columbia is a record of these places and the stories they tell. It combines engaging and insightful historical commentary with over 160 of the author’s original paintings. It has an exceptional assortment of historic imagery, including old postcards, architectural plans, and photographs. The study of roadside memory demonstrates the visceral connection that people, especially those who are part of the rural-to-urban diaspora of modern times, have for the sites of their family memories. On a grander scale this approach leads to a broader understanding of more abstract historical themes and of the province’s history and culture. It also presents a compelling argument for stewardship of regional history in the face of urbanization and globalization.
Vanishing British Columbia
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$39.95
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The old buildings and historic places of British Columbia form a kind of “roadside memory,” a tangible link with stories of settlement, change, and abandonment that reflect the great themes of our history. With small towns declining and old rural properties changing, so little of the history of these places has been recorded in museums or archives, and so much of it may disappear as families disperse and memories dim. More than a decade ago, Michael Kluckner began painting these dots on his personal map of the province in a watercolour sketchbook. In 1999, after he put a few of the sketches on his website, a network of correspondents emerged that eventually led him to the family letters, photo albums, and memories – all from a disappearing era of the province. Vanishing British Columbia is a record of these places and the stories they tell. It combines engaging and insightful historical commentary with over 160 of the author’s original paintings. It has an exceptional assortment of historic imagery, including old postcards, architectural plans, and photographs. The study of roadside memory demonstrates the visceral connection that people, especially those who are part of the rural-to-urban diaspora of modern times, have for the sites of their family memories. On a grander scale this approach leads to a broader understanding of more abstract historical themes and of the province’s history and culture. It also presents a compelling argument for stewardship of regional history in the face of urbanization and globalization.
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livres
livres
Publication:
octobre 2005, Vancouver Toronto Seattle
octobre 2005, Vancouver Toronto Seattle
Sujet:
Architecture du Canada
Architecture du Canada
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livres
livres
Titre:
Reclaiming travel
Reclaiming travel
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Based on a controversial opinion piece originally published in the New York Times, Reclaiming Travel is a provocative meditation on the meaning of travel from ancient times to the twenty-first century. Ilan Stavans and Joshua Ellison seek to understand why we travel and what has come to be missing from our contemporary understanding of travel. Engaging with canonical and(...)
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Based on a controversial opinion piece originally published in the New York Times, Reclaiming Travel is a provocative meditation on the meaning of travel from ancient times to the twenty-first century. Ilan Stavans and Joshua Ellison seek to understand why we travel and what has come to be missing from our contemporary understanding of travel. Engaging with canonical and(...)
Publication:
décembre 2014
décembre 2014
Titre:
Reclaiming travel
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Based on a controversial opinion piece originally published in the New York Times, Reclaiming Travel is a provocative meditation on the meaning of travel from ancient times to the twenty-first century. Ilan Stavans and Joshua Ellison seek to understand why we travel and what has come to be missing from our contemporary understanding of travel. Engaging with canonical and contemporary texts, they explore the differences between travel and tourism, the relationship between travel and memory, the genre of travel writing, and the power of mapmaking, Stavans and Ellison call for a rethinking of the art of travel, which they define as a transformative quest that gives us deeper access to ourselves.
Reclaiming travel
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Based on a controversial opinion piece originally published in the New York Times, Reclaiming Travel is a provocative meditation on the meaning of travel from ancient times to the twenty-first century. Ilan Stavans and Joshua Ellison seek to understand why we travel and what has come to be missing from our contemporary understanding of travel. Engaging with canonical and contemporary texts, they explore the differences between travel and tourism, the relationship between travel and memory, the genre of travel writing, and the power of mapmaking, Stavans and Ellison call for a rethinking of the art of travel, which they define as a transformative quest that gives us deeper access to ourselves.
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livres
livres
Publication:
décembre 2014
décembre 2014
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Description:
x, 438 pages : illustrations ; 24 cm.
Description:
x, 438 pages : illustrations ; 24 cm.
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Publication:
Austin : University of Texas Press, 2014.
Austin : University of Texas Press, 2014.
Titre:
Cosmopolitanism in Mexican visual culture / by María Fernández.
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Description:
x, 438 pages : illustrations ; 24 cm.
Cosmopolitanism in Mexican visual culture / by María Fernández.
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Description:
x, 438 pages : illustrations ; 24 cm.
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livres
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Publication:
Austin : University of Texas Press, 2014.
Austin : University of Texas Press, 2014.
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Description:
525 pages : illustrations (some color), color maps ; 24 x 31 cm + 1 computer optical disc (4 3/4 in.)
Description:
525 pages : illustrations (some color), color maps ; 24 x 31 cm + 1 computer optical disc (4 3/4 in.)
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Buenos Aires : Gobierno de la Ciudad de Buenos Aires, Consejo del Plan Urbano Ambiental : Facultad de Arquitectura, Diseño y Urbanismo de la Universidad de Buenos Aires : Instituto Internacional de Medio Ambiente y Desarrollo, IIED-América Latina, ©1999.
Buenos Aires : Gobierno de la Ciudad de Buenos Aires, Consejo del Plan Urbano Ambiental : Facultad de Arquitectura, Diseño y Urbanismo de la Universidad de Buenos Aires : Instituto Internacional de Medio Ambiente y Desarrollo, IIED-América Latina, ©1999.
Titre:
Buenos Aires, 1910 : memoria del porvenir / edición, Margarita Gutman = Buenos Aires, 1910 : memories of the world to come / edición, Margarita Gutman.
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525 pages : illustrations (some color), color maps ; 24 x 31 cm + 1 computer optical disc (4 3/4 in.)
Buenos Aires, 1910 : memoria del porvenir / edición, Margarita Gutman = Buenos Aires, 1910 : memories of the world to come / edición, Margarita Gutman.
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Description:
525 pages : illustrations (some color), color maps ; 24 x 31 cm + 1 computer optical disc (4 3/4 in.)
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livres
livres
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Buenos Aires : Gobierno de la Ciudad de Buenos Aires, Consejo del Plan Urbano Ambiental : Facultad de Arquitectura, Diseño y Urbanismo de la Universidad de Buenos Aires : Instituto Internacional de Medio Ambiente y Desarrollo, IIED-América Latina, ©1999.
Buenos Aires : Gobierno de la Ciudad de Buenos Aires, Consejo del Plan Urbano Ambiental : Facultad de Arquitectura, Diseño y Urbanismo de la Universidad de Buenos Aires : Instituto Internacional de Medio Ambiente y Desarrollo, IIED-América Latina, ©1999.
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$49.95
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Résumé:
"The (un)common place" is the result of the research project "Trans : it. moving culture through Europe", a journey through creative practices between art, architecture and urban research that are redefining the concept of public space in Europe. A "common place", a shared vision, from Norway to Turkey, from Spain to Bulgaria, from Cyprus to Romania, emerged from the(...)
$49.95
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"The (un)common place" is the result of the research project "Trans : it. moving culture through Europe", a journey through creative practices between art, architecture and urban research that are redefining the concept of public space in Europe. A "common place", a shared vision, from Norway to Turkey, from Spain to Bulgaria, from Cyprus to Romania, emerged from the(...)
Titre:
The (un) common place : art, public space and urban aesthetics in Europe
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"The (un)common place" is the result of the research project "Trans : it. moving culture through Europe", a journey through creative practices between art, architecture and urban research that are redefining the concept of public space in Europe. A "common place", a shared vision, from Norway to Turkey, from Spain to Bulgaria, from Cyprus to Romania, emerged from the more than fifty artists and projects documented in this book. Artists, institutions and society are searching for new relations to experiment unforeseen forms of cohabitation, mutual understanding and visions of the urban landscape. The book, organised in five thematic chapters, presents a European interpretation of public space resulting from complexity and difference, translation and memory.
The (un) common place : art, public space and urban aesthetics in Europe
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"The (un)common place" is the result of the research project "Trans : it. moving culture through Europe", a journey through creative practices between art, architecture and urban research that are redefining the concept of public space in Europe. A "common place", a shared vision, from Norway to Turkey, from Spain to Bulgaria, from Cyprus to Romania, emerged from the more than fifty artists and projects documented in this book. Artists, institutions and society are searching for new relations to experiment unforeseen forms of cohabitation, mutual understanding and visions of the urban landscape. The book, organised in five thematic chapters, presents a European interpretation of public space resulting from complexity and difference, translation and memory.
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livres
livres
Publication:
juin 2005, Barcelona
juin 2005, Barcelona
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livres soldés
livres soldés
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livres
livres
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$96.95
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"The Italian Interiors of Elsa Peretti" charts a voyage through two sumptuous homes of the late artist whose designs completely reshaped jewellery in the 20th century and are still worn by the world’s biggest stars today. Capturing the terracotta glow of these spaces, Estelle Hanania’s ethereal photography introduces us to the wilds of Torre Avoltore, a towering residence(...)
$96.95
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"The Italian Interiors of Elsa Peretti" charts a voyage through two sumptuous homes of the late artist whose designs completely reshaped jewellery in the 20th century and are still worn by the world’s biggest stars today. Capturing the terracotta glow of these spaces, Estelle Hanania’s ethereal photography introduces us to the wilds of Torre Avoltore, a towering residence(...)
Titre:
The Italian interiors of Elsa Peretti
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$96.95
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"The Italian Interiors of Elsa Peretti" charts a voyage through two sumptuous homes of the late artist whose designs completely reshaped jewellery in the 20th century and are still worn by the world’s biggest stars today. Capturing the terracotta glow of these spaces, Estelle Hanania’s ethereal photography introduces us to the wilds of Torre Avoltore, a towering residence in Porto Ercole, and invites us to retire to stately Rome, where Elsa grew up. An introductory essay by longtime collaborator Stefano Palumbo centres Elsa’s creative relationship with architect and designer Lorenzo Mongiardino, and a brief dispatch from photographer Dominique Nabokov closes the book with a memory of her 2001 visit to the tower.
The Italian interiors of Elsa Peretti
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"The Italian Interiors of Elsa Peretti" charts a voyage through two sumptuous homes of the late artist whose designs completely reshaped jewellery in the 20th century and are still worn by the world’s biggest stars today. Capturing the terracotta glow of these spaces, Estelle Hanania’s ethereal photography introduces us to the wilds of Torre Avoltore, a towering residence in Porto Ercole, and invites us to retire to stately Rome, where Elsa grew up. An introductory essay by longtime collaborator Stefano Palumbo centres Elsa’s creative relationship with architect and designer Lorenzo Mongiardino, and a brief dispatch from photographer Dominique Nabokov closes the book with a memory of her 2001 visit to the tower.
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livres
livres
Publication:
mai 2024
mai 2024
Sujet:
Design d’intérieur
Design d’intérieur
