2332 Résultats
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Over a creative career of more than thirty years, Victor Burgin has established an international reputation as an artist and theoretician in the field of both moving and stationary images. Burgin became known in the late 1960s as one of the founders of Conceptual art. During the 1970s, his works consisted mainly of large-format photographic sequences that often involved(...)
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Over a creative career of more than thirty years, Victor Burgin has established an international reputation as an artist and theoretician in the field of both moving and stationary images. Burgin became known in the late 1960s as one of the founders of Conceptual art. During the 1970s, his works consisted mainly of large-format photographic sequences that often involved(...)
Publication:
septembre 2006, Ostfildern
septembre 2006, Ostfildern
Titre:
Victor Burgin : voyage to Italy
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Over a creative career of more than thirty years, Victor Burgin has established an international reputation as an artist and theoretician in the field of both moving and stationary images. Burgin became known in the late 1960s as one of the founders of Conceptual art. During the 1970s, his works consisted mainly of large-format photographic sequences that often involved text. At the beginning of the 1990s he turned to digital video art. This volume documents the many perspectives of the British artist’s reflections on Pompeii. Burgin created this series of images in 2006, while examining a nineteenth-century photograph of Pompeii from the collection of the Canadian Centre for Architecture in Montreal.
Victor Burgin : voyage to Italy
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Over a creative career of more than thirty years, Victor Burgin has established an international reputation as an artist and theoretician in the field of both moving and stationary images. Burgin became known in the late 1960s as one of the founders of Conceptual art. During the 1970s, his works consisted mainly of large-format photographic sequences that often involved text. At the beginning of the 1990s he turned to digital video art. This volume documents the many perspectives of the British artist’s reflections on Pompeii. Burgin created this series of images in 2006, while examining a nineteenth-century photograph of Pompeii from the collection of the Canadian Centre for Architecture in Montreal.
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livres
livres
Publication:
septembre 2006, Ostfildern
septembre 2006, Ostfildern
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livres
livres
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$31.25
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Eugène Atget, Jacques Henri Lartigue, André Kertész, Brassaï, Henri Cartier- Bresson, Robert Doisneau—some of the greatest photographers of Paris—were relatively unknown when they began their most innovative work. Not yet burdened with conventional career expectations, they found the city the perfect environment in which to invent and develop an entirely new approach to(...)
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Eugène Atget, Jacques Henri Lartigue, André Kertész, Brassaï, Henri Cartier- Bresson, Robert Doisneau—some of the greatest photographers of Paris—were relatively unknown when they began their most innovative work. Not yet burdened with conventional career expectations, they found the city the perfect environment in which to invent and develop an entirely new approach to(...)
Titre:
Paris : photographs from a time that was
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Eugène Atget, Jacques Henri Lartigue, André Kertész, Brassaï, Henri Cartier- Bresson, Robert Doisneau—some of the greatest photographers of Paris—were relatively unknown when they began their most innovative work. Not yet burdened with conventional career expectations, they found the city the perfect environment in which to invent and develop an entirely new approach to conceiving the photographic image. In the 1920s and 1930s, the generation of photographers after Atget responded not only to the physical city itself but also to a new sensibility of time as a spontaneous act. Masterworks by these now-famous visionaries of the medium are featured in this book of photographs of Paris from the 1850s to the 1950s, drawn from the collection of the Art Institute of Chicago. David Travis introduces the book with an essay on how these photographers inherited the culture of walking in and observing Paris from Jean-Jacques Rousseau, Charles Baudelaire, and the boulevard flâneurs of the late nineteenth century. Their acceptance and celebration of the fluidity of the city’s street life became the chief virtue of their profession as photojournalists for the new illustrated magazines that would eventually make them famous.
Paris : photographs from a time that was
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Eugène Atget, Jacques Henri Lartigue, André Kertész, Brassaï, Henri Cartier- Bresson, Robert Doisneau—some of the greatest photographers of Paris—were relatively unknown when they began their most innovative work. Not yet burdened with conventional career expectations, they found the city the perfect environment in which to invent and develop an entirely new approach to conceiving the photographic image. In the 1920s and 1930s, the generation of photographers after Atget responded not only to the physical city itself but also to a new sensibility of time as a spontaneous act. Masterworks by these now-famous visionaries of the medium are featured in this book of photographs of Paris from the 1850s to the 1950s, drawn from the collection of the Art Institute of Chicago. David Travis introduces the book with an essay on how these photographers inherited the culture of walking in and observing Paris from Jean-Jacques Rousseau, Charles Baudelaire, and the boulevard flâneurs of the late nineteenth century. Their acceptance and celebration of the fluidity of the city’s street life became the chief virtue of their profession as photojournalists for the new illustrated magazines that would eventually make them famous.
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livres
livres
Publication:
janvier 1900, New Haven, London
janvier 1900, New Haven, London
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
Titre:
Phyllis Ma: Special nothing
Phyllis Ma: Special nothing
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In a supermarket in Berlin, wandering through aisle after aisle of processed meats, the artist Phyllis Ma conceived of Special Nothing, a collection of travel photos that take the form of still lifes. To Ma, ''special nothings'' are those everyday objects that, on the right day, or in the right moment, are sources of pure delight: a very hairy flower; a block of head(...)
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In a supermarket in Berlin, wandering through aisle after aisle of processed meats, the artist Phyllis Ma conceived of Special Nothing, a collection of travel photos that take the form of still lifes. To Ma, ''special nothings'' are those everyday objects that, on the right day, or in the right moment, are sources of pure delight: a very hairy flower; a block of head(...)
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Phyllis Ma: Special nothing
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In a supermarket in Berlin, wandering through aisle after aisle of processed meats, the artist Phyllis Ma conceived of Special Nothing, a collection of travel photos that take the form of still lifes. To Ma, ''special nothings'' are those everyday objects that, on the right day, or in the right moment, are sources of pure delight: a very hairy flower; a block of head cheese the size and shape of an iPhone; a gherkin that looks especially perverse. If you pay attention, you can find these special nothings in your home or on your block, but we tend to be more attuned to them when we’re in an unfamiliar place. In a new country, the most mundane sights and tasks are often fascinating, difficult, and strange: doing laundry, boarding a bus, buying groceries. But it’s in supermarkets, with their promise of familiarity — the same bright overhead lighting, neat aisles, and row of checkout counters can be found the world over — where things become most uncanny. In today’s global economy, you can visit a supermarket in any major city and find many of the same goods and brands that you would in your hometown. And yet everything isn’t the same. Refrigeration practices differ, labels confuse. You are seduced by a product’s packaging, want to buy it badly, but then realize you’re not even sure what type of food it is. This feeling of wonderment is at the heart of Ma’s fantastical aesthetic. Created in Berlin, London, Tokyo, Mexico City and New York, ''Special nothing'' is a unique travel diary, a distillation of those moments when the commonplace and the strange coalesce, turn into something magical, surreal.
Phyllis Ma: Special nothing
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In a supermarket in Berlin, wandering through aisle after aisle of processed meats, the artist Phyllis Ma conceived of Special Nothing, a collection of travel photos that take the form of still lifes. To Ma, ''special nothings'' are those everyday objects that, on the right day, or in the right moment, are sources of pure delight: a very hairy flower; a block of head cheese the size and shape of an iPhone; a gherkin that looks especially perverse. If you pay attention, you can find these special nothings in your home or on your block, but we tend to be more attuned to them when we’re in an unfamiliar place. In a new country, the most mundane sights and tasks are often fascinating, difficult, and strange: doing laundry, boarding a bus, buying groceries. But it’s in supermarkets, with their promise of familiarity — the same bright overhead lighting, neat aisles, and row of checkout counters can be found the world over — where things become most uncanny. In today’s global economy, you can visit a supermarket in any major city and find many of the same goods and brands that you would in your hometown. And yet everything isn’t the same. Refrigeration practices differ, labels confuse. You are seduced by a product’s packaging, want to buy it badly, but then realize you’re not even sure what type of food it is. This feeling of wonderment is at the heart of Ma’s fantastical aesthetic. Created in Berlin, London, Tokyo, Mexico City and New York, ''Special nothing'' is a unique travel diary, a distillation of those moments when the commonplace and the strange coalesce, turn into something magical, surreal.
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livres
livres
Publication:
octobre 2020
octobre 2020
Sujet:
Monographies photo
Monographies photo
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livres
livres
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$60.00
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This publication from acclaimed architect and critic Mohsen Mostafavi traces a theoretical and visual narrative through architecture's relationship with the colour black. Bringing together a rich inventory of images, it illuminates this connection by considering parallel developments in global art practices with references ranging from Japanese screens to Rothko, Adolf(...)
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This publication from acclaimed architect and critic Mohsen Mostafavi traces a theoretical and visual narrative through architecture's relationship with the colour black. Bringing together a rich inventory of images, it illuminates this connection by considering parallel developments in global art practices with references ranging from Japanese screens to Rothko, Adolf(...)
Titre:
The color black: Antinomies of a color in architecture and art
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This publication from acclaimed architect and critic Mohsen Mostafavi traces a theoretical and visual narrative through architecture's relationship with the colour black. Bringing together a rich inventory of images, it illuminates this connection by considering parallel developments in global art practices with references ranging from Japanese screens to Rothko, Adolf Loos to Norman Foster, Hans Holbein to Derek Jarman. Alongside these renowned touchpoints, Mostafavi draws on a little-known and highly distinctive text by the Marxist German art historian Max Raphael, based on a collection of historic paintings in the Metropolitan Museum of Art, New York. Contemporaneous with the evolution of black paintings by New York's Abstract Expressionists, Raphael's essay offers a drastically contrasting approach to the same multivalent subject. The book is completed by Rapahel's luminous essay, published in its entirety for the first time in an English translation by Pamela Johnston, as well as conversations with Swiss architect Peter Märkli, whose work with the colour black is informed by Raphael's writings, and Theaster Gates. By juxtaposing the present with the recent and distant past, this book provides a many-layered reading of the colour black ? and of colour more widely ? in relation to contemporary architectural thinking and practice.
The color black: Antinomies of a color in architecture and art
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This publication from acclaimed architect and critic Mohsen Mostafavi traces a theoretical and visual narrative through architecture's relationship with the colour black. Bringing together a rich inventory of images, it illuminates this connection by considering parallel developments in global art practices with references ranging from Japanese screens to Rothko, Adolf Loos to Norman Foster, Hans Holbein to Derek Jarman. Alongside these renowned touchpoints, Mostafavi draws on a little-known and highly distinctive text by the Marxist German art historian Max Raphael, based on a collection of historic paintings in the Metropolitan Museum of Art, New York. Contemporaneous with the evolution of black paintings by New York's Abstract Expressionists, Raphael's essay offers a drastically contrasting approach to the same multivalent subject. The book is completed by Rapahel's luminous essay, published in its entirety for the first time in an English translation by Pamela Johnston, as well as conversations with Swiss architect Peter Märkli, whose work with the colour black is informed by Raphael's writings, and Theaster Gates. By juxtaposing the present with the recent and distant past, this book provides a many-layered reading of the colour black ? and of colour more widely ? in relation to contemporary architectural thinking and practice.
Classification:
livres
livres
Publication:
septembre 2024
septembre 2024
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
Prix:
$26.00
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Résumé:
Throughout his tenure as a registry clerk with the Immigration Division of Ellis Island, Augustus F. Sherman systematically photographed more than 200 families, groups, and individuals while they were being held by customs for special investigations. This volume collects and provides an essential revaluation of Sherman’s striking portraits, which predate August Sander’s(...)
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Throughout his tenure as a registry clerk with the Immigration Division of Ellis Island, Augustus F. Sherman systematically photographed more than 200 families, groups, and individuals while they were being held by customs for special investigations. This volume collects and provides an essential revaluation of Sherman’s striking portraits, which predate August Sander’s(...)
Titre:
Augustus F. Sherman: Ellis Island portraits 1905-1920
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Throughout his tenure as a registry clerk with the Immigration Division of Ellis Island, Augustus F. Sherman systematically photographed more than 200 families, groups, and individuals while they were being held by customs for special investigations. This volume collects and provides an essential revaluation of Sherman’s striking portraits, which predate August Sander’s cataloging efforts by several years. A historical document of unprecedented worth, Augustus F. Sherman: Ellis Island Portraits includes almost one-hundred portraits taken from 1904 through 1920. The subjects are frequently dressed in elaborate national costumes or folk dress, emphasizing the variety and richness of the cultural heritage that came together to form the United States. Romanian shepherds, German stowaways, Russian vegetarians, Greek priests, and Ghanaian women in elaborately patterned dresses, are treated with equal gravitas. The resulting body of work presents a unique and powerful picture of the stream of immigrants who came through Ellis Island. In its time, the material contributed to the larger project of ethnographic categorization and typology typical of the early twentieth century, much as Edward S. Curtis’s portraits romanticized the “last Indians” or John Thomson’s “Street Life in London” identified and codified social class in the late 1800s. Though originally taken for his own personal study, Sherman’s work appeared in the public eye as illustrations for publications with titles such as “Alien or American,” and hung on the walls of the custom offices as cautionary or exemplary models of the new American species. In this book, Peter Mesenhöller, Research Associate with the Rautenstrauch-Joest-Museum of Anthropology in Cologne, Germany provides new critical context and analysis of this rich collection, but also addresses the individual images as powerful, engaging photographs created by a master portraitist.
Augustus F. Sherman: Ellis Island portraits 1905-1920
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Throughout his tenure as a registry clerk with the Immigration Division of Ellis Island, Augustus F. Sherman systematically photographed more than 200 families, groups, and individuals while they were being held by customs for special investigations. This volume collects and provides an essential revaluation of Sherman’s striking portraits, which predate August Sander’s cataloging efforts by several years. A historical document of unprecedented worth, Augustus F. Sherman: Ellis Island Portraits includes almost one-hundred portraits taken from 1904 through 1920. The subjects are frequently dressed in elaborate national costumes or folk dress, emphasizing the variety and richness of the cultural heritage that came together to form the United States. Romanian shepherds, German stowaways, Russian vegetarians, Greek priests, and Ghanaian women in elaborately patterned dresses, are treated with equal gravitas. The resulting body of work presents a unique and powerful picture of the stream of immigrants who came through Ellis Island. In its time, the material contributed to the larger project of ethnographic categorization and typology typical of the early twentieth century, much as Edward S. Curtis’s portraits romanticized the “last Indians” or John Thomson’s “Street Life in London” identified and codified social class in the late 1800s. Though originally taken for his own personal study, Sherman’s work appeared in the public eye as illustrations for publications with titles such as “Alien or American,” and hung on the walls of the custom offices as cautionary or exemplary models of the new American species. In this book, Peter Mesenhöller, Research Associate with the Rautenstrauch-Joest-Museum of Anthropology in Cologne, Germany provides new critical context and analysis of this rich collection, but also addresses the individual images as powerful, engaging photographs created by a master portraitist.
Classification:
livres
livres
Publication:
juin 2008, New York
juin 2008, New York
Sujet:
Monographies photo
Monographies photo
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livres
livres
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$65.00
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This groundbreaking exploration of appropriation and institutional critique assembles a wide variety of artists and mediums to offer new insight and make unprecedented connections. Exploring two parallel strands of post-conceptual art, Take It or Leave It highlights artists known for their use of appropriation and those who engage in "institutional critique." Focusing on(...)
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This groundbreaking exploration of appropriation and institutional critique assembles a wide variety of artists and mediums to offer new insight and make unprecedented connections. Exploring two parallel strands of post-conceptual art, Take It or Leave It highlights artists known for their use of appropriation and those who engage in "institutional critique." Focusing on(...)
Publication:
mars 2014
mars 2014
Titre:
Take it or leave it: institution, image, ideology
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This groundbreaking exploration of appropriation and institutional critique assembles a wide variety of artists and mediums to offer new insight and make unprecedented connections. Exploring two parallel strands of post-conceptual art, Take It or Leave It highlights artists known for their use of appropriation and those who engage in "institutional critique." Focusing on American artists who emerged from the late 1970s to the early 1990s, the book highlights dynamic practices in a variety of media: from performance to photography; video to installation; painting to writing. Artists as wide-ranging in approach as Dara Birnbaum, Mark Dion, Robert Gober, Barbara Kruger, Zoe Leonard, Glenn Ligon, Adrian Piper, Stephen Prina, and Fred Wilson are examined within the context of the larger culture— from the political landscape to design strategies in advertising. Essays by curators Anne Ellegood and Johanna Burton as well as scholars George Baker, Julia Bryan-Wilson, Gavin Butt, and Darby English explore the historical and current terrain of appropriation and institutional critique, while pursuing topics including the downtown music scene in New York in the '80s, new strategies of painting, and theories of race after identity politics' heyday.
Take it or leave it: institution, image, ideology
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$65.00
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This groundbreaking exploration of appropriation and institutional critique assembles a wide variety of artists and mediums to offer new insight and make unprecedented connections. Exploring two parallel strands of post-conceptual art, Take It or Leave It highlights artists known for their use of appropriation and those who engage in "institutional critique." Focusing on American artists who emerged from the late 1970s to the early 1990s, the book highlights dynamic practices in a variety of media: from performance to photography; video to installation; painting to writing. Artists as wide-ranging in approach as Dara Birnbaum, Mark Dion, Robert Gober, Barbara Kruger, Zoe Leonard, Glenn Ligon, Adrian Piper, Stephen Prina, and Fred Wilson are examined within the context of the larger culture— from the political landscape to design strategies in advertising. Essays by curators Anne Ellegood and Johanna Burton as well as scholars George Baker, Julia Bryan-Wilson, Gavin Butt, and Darby English explore the historical and current terrain of appropriation and institutional critique, while pursuing topics including the downtown music scene in New York in the '80s, new strategies of painting, and theories of race after identity politics' heyday.
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livres
livres
Publication:
mars 2014
mars 2014
Classification:
livres
livres
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$62.50
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"New York City Transit Authority: objects" originated as a photography experiment. In 2011, New York photographer Brian Kelley began documenting collections of used MetroCards in his Brooklyn studio, arranging them in various grids with the goal of perfecting the lighting of an image. His brother suggested he make the grids more interesting by finding other types of(...)
$62.50
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"New York City Transit Authority: objects" originated as a photography experiment. In 2011, New York photographer Brian Kelley began documenting collections of used MetroCards in his Brooklyn studio, arranging them in various grids with the goal of perfecting the lighting of an image. His brother suggested he make the grids more interesting by finding other types of(...)
Titre:
New York city transit authority: objects
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$62.50
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"New York City Transit Authority: objects" originated as a photography experiment. In 2011, New York photographer Brian Kelley began documenting collections of used MetroCards in his Brooklyn studio, arranging them in various grids with the goal of perfecting the lighting of an image. His brother suggested he make the grids more interesting by finding other types of cards. Having exhausted his search for discarded MetroCards in many of the city’s 472 subway stations, Kelley turned to eBay for new finds. The online rabbit-hole gave him a crash course in the history of NYC transportation. Six years on, many MTA employees follow and advocate his project, sometimes contacting him with information and tips on rare items. As the collection grew, Kelley recognized that there were no comparable digital archives documenting the city’s transportation evolution.
New York city transit authority: objects
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$62.50
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"New York City Transit Authority: objects" originated as a photography experiment. In 2011, New York photographer Brian Kelley began documenting collections of used MetroCards in his Brooklyn studio, arranging them in various grids with the goal of perfecting the lighting of an image. His brother suggested he make the grids more interesting by finding other types of cards. Having exhausted his search for discarded MetroCards in many of the city’s 472 subway stations, Kelley turned to eBay for new finds. The online rabbit-hole gave him a crash course in the history of NYC transportation. Six years on, many MTA employees follow and advocate his project, sometimes contacting him with information and tips on rare items. As the collection grew, Kelley recognized that there were no comparable digital archives documenting the city’s transportation evolution.
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livres
livres
Publication:
octobre 2017
octobre 2017
Sujet:
Design industriel
Design industriel
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livres
livres
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$79.95
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Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries—hardly time enough. But how, in our culture of distraction, might we extend attention? Slow Art models sustained ways of looking, through encounters with various media both present and past—including photography, painting, sculpture, “living pictures,” film, video,(...)
$79.95
(disponible sur commande)
Résumé:
Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries—hardly time enough. But how, in our culture of distraction, might we extend attention? Slow Art models sustained ways of looking, through encounters with various media both present and past—including photography, painting, sculpture, “living pictures,” film, video,(...)
Titre:
Slow art: the experience of looking, sacred images to James Turrell
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$79.95
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Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries—hardly time enough. But how, in our culture of distraction, might we extend attention? Slow Art models sustained ways of looking, through encounters with various media both present and past—including photography, painting, sculpture, “living pictures,” film, video, digital and performance art—even light and space. Works by Diderot, Emma Hamilton, Oscar Wilde, Jeff Wall, Sam Taylor-Johnson, Andy Warhol, and Richard Serra, among others, shape a new and distinct aesthetic field. But rather than a collection of objects, slow art is participatory—it directly engages beholders to bring artworks to life. Against current orthodoxy, Arden Reed argues that, for contemporary viewers, the contemplation of slow art is akin to religious practices during the ages of faith.
Slow art: the experience of looking, sacred images to James Turrell
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$79.95
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Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries—hardly time enough. But how, in our culture of distraction, might we extend attention? Slow Art models sustained ways of looking, through encounters with various media both present and past—including photography, painting, sculpture, “living pictures,” film, video, digital and performance art—even light and space. Works by Diderot, Emma Hamilton, Oscar Wilde, Jeff Wall, Sam Taylor-Johnson, Andy Warhol, and Richard Serra, among others, shape a new and distinct aesthetic field. But rather than a collection of objects, slow art is participatory—it directly engages beholders to bring artworks to life. Against current orthodoxy, Arden Reed argues that, for contemporary viewers, the contemplation of slow art is akin to religious practices during the ages of faith.
Classification:
livres
livres
Publication:
juin 2017
juin 2017
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
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$39.95
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Résumé:
Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries—hardly time enough. But how, in our culture of distraction, might we extend attention? "Slow Art" models sustained ways of looking, through encounters with various media both present and past—including photography, painting, sculpture, “living pictures,” film, video,(...)
$39.95
(disponible sur commande)
Résumé:
Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries—hardly time enough. But how, in our culture of distraction, might we extend attention? "Slow Art" models sustained ways of looking, through encounters with various media both present and past—including photography, painting, sculpture, “living pictures,” film, video,(...)
Titre:
Slow art: the experience of looking, sacred images to James Turrell
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$39.95
(disponible sur commande)
Résumé:
Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries—hardly time enough. But how, in our culture of distraction, might we extend attention? "Slow Art" models sustained ways of looking, through encounters with various media both present and past—including photography, painting, sculpture, “living pictures,” film, video, digital and performance art—even light and space. Works by Diderot, Emma Hamilton, Oscar Wilde, Jeff Wall, Sam Taylor-Johnson, Andy Warhol, and Richard Serra, among others, shape a new and distinct aesthetic field. But rather than a collection of objects, slow art is participatory—it directly engages beholders to bring artworks to life. Against current orthodoxy, Arden Reed argues that, for contemporary viewers, the contemplation of slow art is akin to religious practices during the ages of faith.
Slow art: the experience of looking, sacred images to James Turrell
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Prix:
$39.95
(disponible sur commande)
Résumé:
Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries—hardly time enough. But how, in our culture of distraction, might we extend attention? "Slow Art" models sustained ways of looking, through encounters with various media both present and past—including photography, painting, sculpture, “living pictures,” film, video, digital and performance art—even light and space. Works by Diderot, Emma Hamilton, Oscar Wilde, Jeff Wall, Sam Taylor-Johnson, Andy Warhol, and Richard Serra, among others, shape a new and distinct aesthetic field. But rather than a collection of objects, slow art is participatory—it directly engages beholders to bring artworks to life. Against current orthodoxy, Arden Reed argues that, for contemporary viewers, the contemplation of slow art is akin to religious practices during the ages of faith.
Classification:
livres
livres
Publication:
mars 2019
mars 2019
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
Public collectors
Public collectors
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The Public Collectors project, operated by Marc Fischer since 2007, encourages collectors of material culture — the kind that most museums won’t collect or exhibit — to “open” their collections to the public. Fischer’s perspective is intrinsically linked to his participation in underground punk and metal scenes in the 1980s, a sensibility that also inflects his practice(...)
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The Public Collectors project, operated by Marc Fischer since 2007, encourages collectors of material culture — the kind that most museums won’t collect or exhibit — to “open” their collections to the public. Fischer’s perspective is intrinsically linked to his participation in underground punk and metal scenes in the 1980s, a sensibility that also inflects his practice(...)
Titre:
Public collectors
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$35.95
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The Public Collectors project, operated by Marc Fischer since 2007, encourages collectors of material culture — the kind that most museums won’t collect or exhibit — to “open” their collections to the public. Fischer’s perspective is intrinsically linked to his participation in underground punk and metal scenes in the 1980s, a sensibility that also inflects his practice as one-third of the celebrated artist collective Temporary Services. This collection meanders from paper ephemera to photography — including a visual tour of Chicago’s famed Swap-O-Rama. The contents also include adult Mexican comic books and postcards from outsider artist John Rininger. This publication is paired with documentation of the artist’s contribution to the 2014 Whitney Biennial plus an interview with punk ephemera collector Stephen Perkins, exploring the politics of collecting materials with little or no conventional cultural value.
Public collectors
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Résumé:
The Public Collectors project, operated by Marc Fischer since 2007, encourages collectors of material culture — the kind that most museums won’t collect or exhibit — to “open” their collections to the public. Fischer’s perspective is intrinsically linked to his participation in underground punk and metal scenes in the 1980s, a sensibility that also inflects his practice as one-third of the celebrated artist collective Temporary Services. This collection meanders from paper ephemera to photography — including a visual tour of Chicago’s famed Swap-O-Rama. The contents also include adult Mexican comic books and postcards from outsider artist John Rininger. This publication is paired with documentation of the artist’s contribution to the 2014 Whitney Biennial plus an interview with punk ephemera collector Stephen Perkins, exploring the politics of collecting materials with little or no conventional cultural value.
Classification:
livres
livres
Publication:
janvier 2015
janvier 2015
Sujet:
Muséologie
Muséologie
