Françoise Sullivan
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At 95 years of age, Françoise Sullivan still works in her studio most every day. From her participation in the 1948 publication Refus Global - a radical statement by Quebec avant garde artists of the time - she has broken through boundaries as both an artist and a woman and her creations throughout the decades include paintings, sculptures, photographs, performance and(...)
Françoise Sullivan
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At 95 years of age, Françoise Sullivan still works in her studio most every day. From her participation in the 1948 publication Refus Global - a radical statement by Quebec avant garde artists of the time - she has broken through boundaries as both an artist and a woman and her creations throughout the decades include paintings, sculptures, photographs, performance and dance. This retrospective monograph highlights the key role she has played in the history of modern and contemporary art in Canada. In addition to presenting the artist's diverse and multidisciplinary practice, the authors offer an in-depth exploration of some of the milestones in her career. The various styles and approaches adopted by Sullivan over the years are contextualized with the help of a large number of archival documents, both personal and professional. As a whole, the publication provides a fascinating portrait of a singular artist's trajectory through several decades of the changing nature of art.
Art canadien
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780 pages : illustrations (some color) ; 24 cm
Fribourg, Switzerland : Fri Art ; London : Koenig Books, [2017], ©2017
The anti-museum : an anthology / by Mathieu Copeland and Balthazar Lovay ; authors & contributors, Guillaume Apollinaire [and many others] ; translation, Thomas Butler [and nine others].
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780 pages : illustrations (some color) ; 24 cm
livres
Fribourg, Switzerland : Fri Art ; London : Koenig Books, [2017], ©2017
$63.95
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Is less really more? At long last, designers, artists, and architects have rediscovered the evocative effect of patterns and are paying homage to décors once rejected as superfluous, by covering lamps, chairs, rooms or entire façades with stripes, polka dots and camouflage designs. Indispensable for anyone interested in contemporary trends in design, art and(...)
Ornementation
mai 2007, Basel - Boston - Berlin
Patterns in design, art and architecture
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Is less really more? At long last, designers, artists, and architects have rediscovered the evocative effect of patterns and are paying homage to décors once rejected as superfluous, by covering lamps, chairs, rooms or entire façades with stripes, polka dots and camouflage designs. Indispensable for anyone interested in contemporary trends in design, art and architecture, this softcover edition of a classic is quite simply opulent and dazzling – a lavishly illustrated overview composed by experts. This book presents the various multidisciplinary approaches to patterns, showing the many functions and fields of application. Using examples of contemporary work by internationally renowned designers such as Fabio Novembre, Claesson Koivisto Rune and Karim Rashid, by architects such as Herzog & de Meuron, Steven Holl and Sauerbruch Hutton, and artists such as Bridget Riley and Gerhard Richter, a kaleidoscope of colours and forms are laid out before the reader. New interpretations of traditional motifs are illustrated, as well as the impact and influence of technical innovations such as laser engraving and digital milling on the creation and realization of patterns today.
Ornementation
Enoura Observatory
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Apart from photography, Japanese artist Hiroshi Sugimoto has been working in sculpture, performing arts and architecture for more than 20 years. Since the early 2010s, he has been constructing the Enoura Observatory, and with his singular vision he has brought together ancient and contemporary Japanese traditions in one art and architectural complex. This book provides an(...)
Enoura Observatory
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Apart from photography, Japanese artist Hiroshi Sugimoto has been working in sculpture, performing arts and architecture for more than 20 years. Since the early 2010s, he has been constructing the Enoura Observatory, and with his singular vision he has brought together ancient and contemporary Japanese traditions in one art and architectural complex. This book provides an account of this stunning multidisciplinary project. The Observatory, part of the artist's Odawara Art Foundation, is sited on a hilly area covered with citrus trees in Odawara, nestled against the outer rim of the Hakone Mountains and overlooking Sagami Bay. Odawara is home to groups of artisans with mastery of sophisticated techniques that have been handed down for centuries. Sugimoto has constructed the Enoura Observatory using these techniques, which are growing increasingly difficult to preserve. He envisions it as a forum for disseminating art and culture both within Japan and to the rest of the world. The stunning photographs in ''Enoura Observatory: Land of Distant Memories" reveal Sugimoto's poetic vision for this total work of art that is the culmination of his art practice.
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This book presents objects from the 21st Century by Spanish designers of the 21st century. This publication is motivated by the conviction that the concept of the object, as such, has been left behind. The universe of objects, or perhaps we would have to say of "offjects," put forward here is that of the work of those generation that graduated after the Barcelona(...)
Offjects. Concepts and designs for a change of century
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This book presents objects from the 21st Century by Spanish designers of the 21st century. This publication is motivated by the conviction that the concept of the object, as such, has been left behind. The universe of objects, or perhaps we would have to say of "offjects," put forward here is that of the work of those generation that graduated after the Barcelona Olympics: from 1992 into these first few years of the 21st century. What seems clear is that the classic definition of "design" has been rendered obsolete. In the first place because an object's conceptual and narrative charge largely determines its material and physical configuration, and in second place, because many present-day pieces are not produced industrially - some because their designers chose not to, others because they seem not to fit into excessively conservative industrial set-ups. What does seem to be the case is that we are dealing with a new typology of designer, more open, more multidisciplinary and more remote from the traditional commercial circuit, which is not to say remote from the market.
Design industriel
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"Recycled theory" is a multidisciplinary dictionary made of entries in form of texts, drawings and quotes, which explore the concept of “recycling” in design cultures and in the theories that nurture them. Usually we recycle things, objects, spaces but more often we return on principles and approaches to rearrange them, put them back into circulation, and override them.(...)
Recycled theory: illustrated dictionary
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"Recycled theory" is a multidisciplinary dictionary made of entries in form of texts, drawings and quotes, which explore the concept of “recycling” in design cultures and in the theories that nurture them. Usually we recycle things, objects, spaces but more often we return on principles and approaches to rearrange them, put them back into circulation, and override them. The practice of recycling is therefore placed in an area of negotiation between memory and amnesia, it brings out the unexpected self-regeneration potential of what exists, our ability to preserve and reinvent it, even through its partial breakdown. The words here collected (from “amnesia” to “zone”) identify materials, procedures, ambiguities, deviations, and potential nexus of recycling, recording terms that tell the different processes of production and sense of city and landscape after recent socio-economic upheavals and the widening of preservation as the prevalent scenario for the project. Recycled Theory comes out of the collaboration of eleven Italian universities engaged in the research “Re-cycle Italy: New Life Cycles for Architecture and Infrastructure of City and Landscape.”
Architecture écologique
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This book explores the evolving concept of unfinishedness as essential to understanding art movements from the Renaissance to the present day. Unfinished features more than 200 works, created in a variety of media, by artists ranging from Leonardo, Titian, Rembrandt, Turner, and Cézanne to Picasso, Warhol, Twombly, Freud, Richter, and Nauman. What unites these works,(...)
mai 2016
Unfinished: thoughts left visible
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This book explores the evolving concept of unfinishedness as essential to understanding art movements from the Renaissance to the present day. Unfinished features more than 200 works, created in a variety of media, by artists ranging from Leonardo, Titian, Rembrandt, Turner, and Cézanne to Picasso, Warhol, Twombly, Freud, Richter, and Nauman. What unites these works, across centuries and media, is that each one displays some aspect of being unfinished. Essays and case studies by major contemporary scholars address this key concept from the perspective of both the creator and the viewer, probing the impact that this long artistic trajectory—which can be traced back to the first century—has had on modern and contemporary art. The book explores the degrees to which instances of incompleteness were accidental or intentional, experimental or conceptual. Also included are illuminating interviews with contemporary artists, including Tuymans, Celmins, and Marden, and parallel considerations of the unfinished in literature and film. The result is a multidisciplinary approach and thought-provoking analysis that provide valuable insight into the making, meaning, and critical reception of the unfinished in art.
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Excluded from traditional design history and educational canons that heavily favor European modernist influences, the work and experiences of Black designers have been systematically overlooked in the profession for decades. However, given the national focus on diversity, equity, and inclusion in the aftermath of the nationwide Black Lives Matter protests in the United(...)
Théorie du design
février 2022
The black experience in design: identity, expression & reflection
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Excluded from traditional design history and educational canons that heavily favor European modernist influences, the work and experiences of Black designers have been systematically overlooked in the profession for decades. However, given the national focus on diversity, equity, and inclusion in the aftermath of the nationwide Black Lives Matter protests in the United States, educators, practitioners, and students now have the opportunity to make long-term, systemic changes in design education, research, and practice, reclaiming the contributions of Black designers in the process. This anthology centers on a range of perspectives, spotlights teaching practices, research, stories, and conversations from a Black/African diasporic lens. Through the voices represented, this text exemplifies the inherently collaborative and multidisciplinary nature of design, providing access to ideas and topics for a variety of audiences, meeting people as they are and wherever they are in their knowledge about design. Ultimately, this book serves as both inspiration and a catalyst for the next generation of creative minds tasked with imagining, shaping, and designing our future.
Théorie du design
Vatnasafn/ library of water
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The distinctive geography, climate and culture of Iceland has engaged Roni Horn for over 30 years. Her intimate relationship with the island has led to a multidisciplinary series of works, including books, drawings, sculpture, texts and photographs. Located in a converted library building on a promontory overlooking the ocean in Stykkishólmur on Iceland's west coast,(...)
Vatnasafn/ library of water
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The distinctive geography, climate and culture of Iceland has engaged Roni Horn for over 30 years. Her intimate relationship with the island has led to a multidisciplinary series of works, including books, drawings, sculpture, texts and photographs. Located in a converted library building on a promontory overlooking the ocean in Stykkishólmur on Iceland's west coast, Vatnasafn/Library of Water incorporates Horn's abiding interest in water and weather, reflection and illumination, and the relation of these phenomena to the fluidity of human identity. The installation houses 24 glass columns containing local glacier water that reflect outside weather conditions onto a rubber floor embedded with weather-related adjectives. It also functions as a community space, a writers' studio and an oral archive of local weather reports. An introduction by co-director of the London-based nonprofit Artangel, James Lingwood, surveys Horn's substantial body of Iceland-related work alongside essays by critics Briony Fer and Adrian Searle, a selection of weather reports and writings by Horn, inspired by her experience of the enigmatic island.
Elastic architecture: Frederick Kiesler and design research in the first age of robotic culture
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In 1960, architect Philip Johnson championed Frederick Kiesler, calling him “the greatest non-building architect of our time.” Kiesler’s ideas were difficult to construct, but as Johnson believed, “enormous” and “profound.” Kiesler (1890–1965) went against the grain of the accepted modern style, rejecting rectilinear glass and steel in favor of more organic forms and(...)
Elastic architecture: Frederick Kiesler and design research in the first age of robotic culture
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In 1960, architect Philip Johnson championed Frederick Kiesler, calling him “the greatest non-building architect of our time.” Kiesler’s ideas were difficult to construct, but as Johnson believed, “enormous” and “profound.” Kiesler (1890–1965) went against the grain of the accepted modern style, rejecting rectilinear glass and steel in favor of more organic forms and flexible structures that could respond to the ever-changing needs of the body in motion. In Elastic Architecture, Stephen Phillips offers the first in-depth exploration of Kiesler’s innovative and multidisciplinary research and design practice. Exploring Kiesler’s formative relationships with the European avant-garde, Phillips shows how Kiesler found inspiration in the plastic arts, experimental theater, early animation, and automatons to develop and refine his spatial concept of the Endless. Moving from Europe to New York in the 1920s, Kiesler applied these radical Dadaist, constructivist, and surrealist practices to his urban display projects, which included shop windows for Saks Fifth Avenue. After launching his innovative Design Correlation Laboratory at Columbia and Yale, Kiesler went on to invent new houses, theaters, and galleries that were meant to move, shift, and adapt to evolutionary changes occurring within the natural and built environment.
Théorie de l’architecture