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Tokyo 1955–1970: A New Avant-Garde explores the extraordinary convergence of artists and other creators in Japan’s capital city during the radically transformative postwar period. Examining works from a range of media--painting, sculpture, photography, drawing, printmaking, video and film, as well as graphic design, architecture, musical composition and dance--this is the(...)
Tokyo 1955-1970: a new avant-garde
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Tokyo 1955–1970: A New Avant-Garde explores the extraordinary convergence of artists and other creators in Japan’s capital city during the radically transformative postwar period. Examining works from a range of media--painting, sculpture, photography, drawing, printmaking, video and film, as well as graphic design, architecture, musical composition and dance--this is the first publication in English to focus in depth on the full scope of postwar art in Japan. Essays by scholars Hayashi Michio and Miryam Sas and curator Mika Yoshitake discuss critical concepts in art and culture at this time, including “graphism,” which manifested itself across various mediums; the development of new sculptural languages; and the “intermedia” tendency that engendered provocative cross-pollination among artistic genres. Masatoshi Nakajima provides an illustrated chronology and Yuri Mitsuda supplies artist biographies.
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Prior to 1966, if artists wanted to create works larger than their studios or metalworking abilities allowed, they had to turn to industrial manufacturers, who were often unable to accommodate the creative process of making art. Large Scale tells the story of Lippincott, Inc., which, from 1966 to 1994, put the tools of industrial fabrication in the hands of artists,(...)
juillet 2012
Large scale : fabricating sculpture in the 1960's and 1970's
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Prior to 1966, if artists wanted to create works larger than their studios or metalworking abilities allowed, they had to turn to industrial manufacturers, who were often unable to accommodate the creative process of making art. Large Scale tells the story of Lippincott, Inc., which, from 1966 to 1994, put the tools of industrial fabrication in the hands of artists, allowing them to produce at a scale they had previously only dreamed of on paper. Lippincott worked with artists from the conception of a project to the completed sculpture, displaying pieces in the field adjoining the shop before installing them all over the country and the world. Drawing on the vast collection of images in the Lippincott archive, Large Scale presents more than three hundred photographs of these artists and their iconic works. *** An important lost chapter in the history of modern art is now available in paperback.
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This catalogue was published in conjunction with the exhibition "Skyscraper: Art and Architecture Against Gravity," organized by the Museum of Contemporary Art Chicago; curated by Michael Darling, James W. Alsdorf Chief Curator, and Joanna Szupinska, Marjorie Susman Curatorial Fellow; and presented at the Museum of Contemporary Art Chicago, June 30-September 23, 2012.
août 2012
Skyscraper: Art and architecture against gravity
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This catalogue was published in conjunction with the exhibition "Skyscraper: Art and Architecture Against Gravity," organized by the Museum of Contemporary Art Chicago; curated by Michael Darling, James W. Alsdorf Chief Curator, and Joanna Szupinska, Marjorie Susman Curatorial Fellow; and presented at the Museum of Contemporary Art Chicago, June 30-September 23, 2012.
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The longest line on the London Underground network, the Central line opened in 1900 and has nearly quadrupled in size, now serving 49 stations and spanning 74 km (46 miles). The Central line’s sheer size presents significant challenges for personal interaction amongst its 1,408 operational staff. Artworks in the Central Line Series take the theme of ‘communication’ as a(...)
août 2012
Central lines series: art on the underground
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The longest line on the London Underground network, the Central line opened in 1900 and has nearly quadrupled in size, now serving 49 stations and spanning 74 km (46 miles). The Central line’s sheer size presents significant challenges for personal interaction amongst its 1,408 operational staff. Artworks in the Central Line Series take the theme of ‘communication’ as a starting point to explore ideas around interaction, engagement and exchange, in the context of the Central line, and specific locations along the line.
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One Thing Leads to Another - Everything is Connected is part of a new series in collaboration with Art on the Underground. Each year Art on the Underground focuses its temporary commissions programme on a specific tube line on the London Underground network and this book centres on the Jubilee Line.
août 2012
One thing leads to another - everything is connected
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One Thing Leads to Another - Everything is Connected is part of a new series in collaboration with Art on the Underground. Each year Art on the Underground focuses its temporary commissions programme on a specific tube line on the London Underground network and this book centres on the Jubilee Line.
Jana Sterbak: Velleitas
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A l'occasion d'une exposition rétrospective des travaux de Sterbak, Murray met en lumière les composantes architecturale et géométrique présentes dans l'oeuvre de l'artiste. Noble décèle dans l'oeuvre une dialectique situant le corps entre autonomie et confinement. Comprend des anecdotes relatées par l'artiste, deux extraits d'écrits de Calvino et De Azua, ainsi qu'une(...)
Jana Sterbak: Velleitas
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A l'occasion d'une exposition rétrospective des travaux de Sterbak, Murray met en lumière les composantes architecturale et géométrique présentes dans l'oeuvre de l'artiste. Noble décèle dans l'oeuvre une dialectique situant le corps entre autonomie et confinement. Comprend des anecdotes relatées par l'artiste, deux extraits d'écrits de Calvino et De Azua, ainsi qu'une nouvelle de Bowles. On the occasion of a retrospective exhibition of Sterbak's work, Murray brings to light architectural and geometrical components in the artist's work. Noble uncovers a dialectic in the work which situates the body between autonomy and containment. Includes anecdotes by the artist, two excerpts from Calvino and De Azua, and a short story by Bowles.
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The art world is no longer defined by the activity of traditional art centers such as New York, Berlin, Beijing, or London, but is instead shaped by many cities, small and large. These new artistic communities, each reflecting the history, culture, and conditions of its region, have established a vibrant network for contemporary art. Six Lines of Flight explores the(...)
septembre 2012
Six lines of flight: shifting geographies in contemporary art
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The art world is no longer defined by the activity of traditional art centers such as New York, Berlin, Beijing, or London, but is instead shaped by many cities, small and large. These new artistic communities, each reflecting the history, culture, and conditions of its region, have established a vibrant network for contemporary art. Six Lines of Flight explores the hybrid nature of today's international artistic landscape by introducing readers to the art scenes in six featured cities--Beirut, Lebanon; Cali, Colombia; Cluj, Romania; Ho Chi Minh City, Vietnam; San Francisco, USA; and Tangier, Morocco. In bringing together work by artists whose efforts have anchored each city's cultural scene, this book maps the pathways between them, illuminating the dynamic, global, interconnected spirit of twenty-first-century art. Essays by writers active in each region are accompanied by color images of representative artworks, along with brief texts on key local artists and organizations.
Ghosts in the machine
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A sweeping survey on an evergreen subject—the relationship between man and machines. Featuring more than sixty international artists, this volume surveys the constantly shifting relationships between humans, machines, and art. The book spans more than fifty years of history, tracing various movements’ and artists’ engagement with machines—both low- and high-tech—across(...)
octobre 2012
Ghosts in the machine
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A sweeping survey on an evergreen subject—the relationship between man and machines. Featuring more than sixty international artists, this volume surveys the constantly shifting relationships between humans, machines, and art. The book spans more than fifty years of history, tracing various movements’ and artists’ engagement with machines—both low- and high-tech—across generations. The exhibition and accompanying catalogue present a transhistorical reassessment of optical, kinetic, and technological art, bringing together a wide range of work from—among others—Bridget Riley, Hans Haacke, Gianni Colombo, Channa Horowitz, Heinz Mack, Otto Piene, Stan VanDerBeek, and Victor Vasarely. Truly diverse in its scope, the show investigates the ways in which outsider artists, writers, and other cult figures have illustrated the symbiosis between man and machine, including documents and artifacts by J. G. Ballard, Emery Blagdon, Franz Kafka, Marshall McLuhan, Emma Kunz, and Edoardo Paolozzi.
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Art & Agenda explores the current interrelationship between politics, art, and activism. The book introduces a variety of artists who are advocating political and social reform on a local or a global scale. The personalities and approaches of the featured artists are as diverse as their subject matter the artists goals, techniques, and degrees of radicalness depend on(...)
novembre 2011
Art & agenda: political art and activism
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Art & Agenda explores the current interrelationship between politics, art, and activism. The book introduces a variety of artists who are advocating political and social reform on a local or a global scale. The personalities and approaches of the featured artists are as diverse as their subject matter the artists goals, techniques, and degrees of radicalness depend on the cultures to which they belong as well as the social and political circles in which they move.
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This book accompanies Saying It, an exhibition by artists Mieke Bal & Michelle Williams Gamaker and Renate Ferro at the Freud Museum, London, curated by Joanne Morra. Besides images, and descriptions of the works in the exhibition written by the artists themselves, the book contains new essays by Cathy Caruth, Marjorie Garber, Miguel Á. Hernández-Navarro, Ranjana Khanna(...)
décembre 2012
Saying it: Mieke Bal, Michelle Williams Gamaker, Renate Ferro
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This book accompanies Saying It, an exhibition by artists Mieke Bal & Michelle Williams Gamaker and Renate Ferro at the Freud Museum, London, curated by Joanne Morra. Besides images, and descriptions of the works in the exhibition written by the artists themselves, the book contains new essays by Cathy Caruth, Marjorie Garber, Miguel Á. Hernández-Navarro, Ranjana Khanna and Joanne Morra, as well as a foreword by Carol Seigel, Director of the Freud Museum. Together, the artists’ words and those of the other authors underscore the significance of Saying It as what Morra terms a ‘site-responsive’ exhibition : not only do Bal & Williams Gamaker and Ferro shed light on key concepts of psychoanalysis (psychosis, transference, screen memories), but they reveal new layers of narrative and meaning enfolded in the site where their work is displayed, namely the former home of Anna and Sigmund Freud, now a world-renowned museum and archive.