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In 1967, Richard Long walked back and forth along a straight line in the grass in the English countryside, leaving a track that he then photographed in black and white. The resulting work, A Line Made by Walking, was not only the starting point for Long's career as an artist but also a landmark for a new kind of art emerging in Europe and the Americas. The formal(...)
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In 1967, Richard Long walked back and forth along a straight line in the grass in the English countryside, leaving a track that he then photographed in black and white. The resulting work, A Line Made by Walking, was not only the starting point for Long's career as an artist but also a landmark for a new kind of art emerging in Europe and the Americas. The formal(...)
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Richard Long: A line made by walking
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In 1967, Richard Long walked back and forth along a straight line in the grass in the English countryside, leaving a track that he then photographed in black and white. The resulting work, A Line Made by Walking, was not only the starting point for Long's career as an artist but also a landmark for a new kind of art emerging in Europe and the Americas. The formal simplicity of Long's artwork suggested a relation to minimalism, but its location outside the gallery context and its suggestion of bodily actions also connected it to a new generation of artists whose work combined the organic, the temporary, the nonmaterial, and the performative to offer a critique of the art system and its language, forms, and values. Although A Line Made by Walking is an instantly recognizable work, this is the first detailed analysis of this foundational piece.
Richard Long: A line made by walking
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In 1967, Richard Long walked back and forth along a straight line in the grass in the English countryside, leaving a track that he then photographed in black and white. The resulting work, A Line Made by Walking, was not only the starting point for Long's career as an artist but also a landmark for a new kind of art emerging in Europe and the Americas. The formal simplicity of Long's artwork suggested a relation to minimalism, but its location outside the gallery context and its suggestion of bodily actions also connected it to a new generation of artists whose work combined the organic, the temporary, the nonmaterial, and the performative to offer a critique of the art system and its language, forms, and values. Although A Line Made by Walking is an instantly recognizable work, this is the first detailed analysis of this foundational piece.
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livres
livres
Publication:
avril 2010
avril 2010
Sujet:
Théorie de l’art
Théorie de l’art
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$41.99
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Robert Earl Paige is one of the most iconic artists and designers from Chicago’s South Side. A multidisciplinary artist and arts educator, he works across textile design, painting, collage, and sculpture. During the 1970s, he brought West African–inspired patterns to U.S. shoppers through the Dakkabar fabrics collection available at Sears, Roebuck, leading to the(...)
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Robert Earl Paige is one of the most iconic artists and designers from Chicago’s South Side. A multidisciplinary artist and arts educator, he works across textile design, painting, collage, and sculpture. During the 1970s, he brought West African–inspired patterns to U.S. shoppers through the Dakkabar fabrics collection available at Sears, Roebuck, leading to the(...)
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The united colors of Robert Earl Paige
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Robert Earl Paige is one of the most iconic artists and designers from Chicago’s South Side. A multidisciplinary artist and arts educator, he works across textile design, painting, collage, and sculpture. During the 1970s, he brought West African–inspired patterns to U.S. shoppers through the Dakkabar fabrics collection available at Sears, Roebuck, leading to the inclusion of Black culture in home design. In addition to exploring Paige’s personal and artistic practice, through essays by Dr. Romi Crawford and Dr. Gervais Marsh, ''The United Colors of Robert Earl Paige'' contextualizes his work in relation to social and artistic movements, from the minimalism and abstraction of the 1960s and 1970s to AfriCOBRA and the Black Arts Movement in Chicago and across the United States. Published in conjunction with Paige’s exhibition at Hyde Park Art Center in 2024, this fully illustrated book includes reproductions of the artist’s handpainted scarves, collages, and rugs made during the past sixty years, along with new ceramic tiles, collages, and textiles.
The united colors of Robert Earl Paige
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Robert Earl Paige is one of the most iconic artists and designers from Chicago’s South Side. A multidisciplinary artist and arts educator, he works across textile design, painting, collage, and sculpture. During the 1970s, he brought West African–inspired patterns to U.S. shoppers through the Dakkabar fabrics collection available at Sears, Roebuck, leading to the inclusion of Black culture in home design. In addition to exploring Paige’s personal and artistic practice, through essays by Dr. Romi Crawford and Dr. Gervais Marsh, ''The United Colors of Robert Earl Paige'' contextualizes his work in relation to social and artistic movements, from the minimalism and abstraction of the 1960s and 1970s to AfriCOBRA and the Black Arts Movement in Chicago and across the United States. Published in conjunction with Paige’s exhibition at Hyde Park Art Center in 2024, this fully illustrated book includes reproductions of the artist’s handpainted scarves, collages, and rugs made during the past sixty years, along with new ceramic tiles, collages, and textiles.
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livres
livres
Publication:
juin 2025
juin 2025
Sujet:
Design, monographies
Design, monographies
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livres
livres
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Hannes Meyer: Co-op interior
Hannes Meyer: Co-op interior
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In his Co-op Interieur (1926)—a simple corner of a room known only in a photograph— Swiss architect Hannes Meyer (1889–1954) gave expression to a radical, antibourgeois style of interior. Comprised only of a bed, a lamp, two chairs and a gramophone on a table, he imagined this room for the nomadic urban worker. Through the absence of people, objects and spatial features(...)
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In his Co-op Interieur (1926)—a simple corner of a room known only in a photograph— Swiss architect Hannes Meyer (1889–1954) gave expression to a radical, antibourgeois style of interior. Comprised only of a bed, a lamp, two chairs and a gramophone on a table, he imagined this room for the nomadic urban worker. Through the absence of people, objects and spatial features(...)
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Publication:
juillet 2016
juillet 2016
Titre:
Hannes Meyer: Co-op interior
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In his Co-op Interieur (1926)—a simple corner of a room known only in a photograph— Swiss architect Hannes Meyer (1889–1954) gave expression to a radical, antibourgeois style of interior. Comprised only of a bed, a lamp, two chairs and a gramophone on a table, he imagined this room for the nomadic urban worker. Through the absence of people, objects and spatial features as much as by the distinctiveness of its design, Meyer was proclaiming an alternative principle for housing, proposing that architecture and design were intended not to fulfill historically determined needs but to overcome their constraints. Historical photographs of the interior and three provocative essays on ownership, minimalism and the “unhomely,” by Brussels-based architecy Pier Vittrio, Mexican architect Raquel Franklin, and Gree architect Aristide Antonas, respectively, explore the layers of meaning within Meyer’s mise-en-scène manifesto on collectivity and utility as a counterpoint to ownership and private property.
Hannes Meyer: Co-op interior
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In his Co-op Interieur (1926)—a simple corner of a room known only in a photograph— Swiss architect Hannes Meyer (1889–1954) gave expression to a radical, antibourgeois style of interior. Comprised only of a bed, a lamp, two chairs and a gramophone on a table, he imagined this room for the nomadic urban worker. Through the absence of people, objects and spatial features as much as by the distinctiveness of its design, Meyer was proclaiming an alternative principle for housing, proposing that architecture and design were intended not to fulfill historically determined needs but to overcome their constraints. Historical photographs of the interior and three provocative essays on ownership, minimalism and the “unhomely,” by Brussels-based architecy Pier Vittrio, Mexican architect Raquel Franklin, and Gree architect Aristide Antonas, respectively, explore the layers of meaning within Meyer’s mise-en-scène manifesto on collectivity and utility as a counterpoint to ownership and private property.
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livres
livres
Publication:
juillet 2016
juillet 2016
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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$49.50
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Unlike traditional art works, installation art has no autonomous existence. It is usually created at the exhibition site, and its essence is spectator participation. Installation art originated as a radical art form presented only at alternative art spaces;(...)
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Unlike traditional art works, installation art has no autonomous existence. It is usually created at the exhibition site, and its essence is spectator participation. Installation art originated as a radical art form presented only at alternative art spaces;(...)
Publication:
avril 2000, Cambridge, Mass.
avril 2000, Cambridge, Mass.
Titre:
From margin to center : the spaces of installation art
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Unlike traditional art works, installation art has no autonomous existence. It is usually created at the exhibition site, and its essence is spectator participation. Installation art originated as a radical art form presented only at alternative art spaces; its assimilation into mainstream museums and galleries is a relatively recent phenomenon. The move of installation art from the margin to the center of the art world has had far-reaching effects on the works created and on museum practice. This is the first book-length study of installation art. Julie Reiss concentrates on some of the central figures in its emergence, including artists, critics, and curators. Her primary focus is installations created in New York City--which has a particularly rich history of installation art--beginning in the late 1950s. She takes us from Allan Kaprow's 1950s' environments to examples from minimalism, performance art, and process art to establish installation art¹s autonomy as its relationship to other movements.
From margin to center : the spaces of installation art
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Unlike traditional art works, installation art has no autonomous existence. It is usually created at the exhibition site, and its essence is spectator participation. Installation art originated as a radical art form presented only at alternative art spaces; its assimilation into mainstream museums and galleries is a relatively recent phenomenon. The move of installation art from the margin to the center of the art world has had far-reaching effects on the works created and on museum practice. This is the first book-length study of installation art. Julie Reiss concentrates on some of the central figures in its emergence, including artists, critics, and curators. Her primary focus is installations created in New York City--which has a particularly rich history of installation art--beginning in the late 1950s. She takes us from Allan Kaprow's 1950s' environments to examples from minimalism, performance art, and process art to establish installation art¹s autonomy as its relationship to other movements.
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livres
livres
Publication:
avril 2000, Cambridge, Mass.
avril 2000, Cambridge, Mass.
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livres
livres
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Lynne Cohen : observatoires/laboratoires / sous la direction de Florian Ebner et Matthias Pfaller.
Lynne Cohen : observatoires/laboratoires / sous la direction de Florian Ebner et Matthias Pfaller.
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Description:
103 pages : illustrations (some color) ; 31 cm.
Description:
103 pages : illustrations (some color) ; 31 cm.
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Paris : Atelier EXB, [2023]
Paris : Atelier EXB, [2023]
Titre:
Lynne Cohen : observatoires/laboratoires / sous la direction de Florian Ebner et Matthias Pfaller.
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Description:
103 pages : illustrations (some color) ; 31 cm.
Lynne Cohen : observatoires/laboratoires / sous la direction de Florian Ebner et Matthias Pfaller.
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103 pages : illustrations (some color) ; 31 cm.
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livres
livres
Publication:
Paris : Atelier EXB, [2023]
Paris : Atelier EXB, [2023]
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160 pages : illustrations (chiefly color) ; 29 cm.
Description:
160 pages : illustrations (chiefly color) ; 29 cm.
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London ; New York : Phaidon Press, 2004
London ; New York : Phaidon Press, 2004
Titre:
Hans Haacke / Walter Grasskamp, Molly Nesbit, Jon Bird.
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160 pages : illustrations (chiefly color) ; 29 cm.
Hans Haacke / Walter Grasskamp, Molly Nesbit, Jon Bird.
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160 pages : illustrations (chiefly color) ; 29 cm.
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livres
livres
Publication:
London ; New York : Phaidon Press, 2004
London ; New York : Phaidon Press, 2004
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Tim Carpenter: Little
Tim Carpenter: Little
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Tim Carpenter’s (born 1968) ''Little'' is a visual memoir that completes a trilogy rooted in the sensibility and approach to the practice of “camera” he elaborated in the best-selling, book-length essay ''To Photograph Is to Learn How to Die'' (2022). In other words, he steadfastly upholds photography’s capacity to bridge the gap between self and other, and to cultivate(...)
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Tim Carpenter’s (born 1968) ''Little'' is a visual memoir that completes a trilogy rooted in the sensibility and approach to the practice of “camera” he elaborated in the best-selling, book-length essay ''To Photograph Is to Learn How to Die'' (2022). In other words, he steadfastly upholds photography’s capacity to bridge the gap between self and other, and to cultivate(...)
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Tim Carpenter: Little
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Tim Carpenter’s (born 1968) ''Little'' is a visual memoir that completes a trilogy rooted in the sensibility and approach to the practice of “camera” he elaborated in the best-selling, book-length essay ''To Photograph Is to Learn How to Die'' (2022). In other words, he steadfastly upholds photography’s capacity to bridge the gap between self and other, and to cultivate meaning in an alienating world. Less formally rigorous than ''Local Objects'' (2017) and less introspective and linear than ''Christmas Day, Bucks Pond Road'', this new installment channels the perspective of a child’s meandering mind, open to possible meanings, absorbing whatever the eyes encounter—marks, buildings, branches, paths, the daylight of a Central Illinois afternoon—nascent symbols everywhere, fleeting images improvised of mind and matter. Adapting a style in the lineage of the New Topographics photographers—Robert Adams, John Gossage and Lewis Baltz—these black-and-white photographs are affecting in their minimalism, imbuing poignance within the banal composites of the Midwestern landscape. The volume itself is beautifully produced with a flush-cut cover treatment and a foil-stamped title.
Tim Carpenter: Little
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Tim Carpenter’s (born 1968) ''Little'' is a visual memoir that completes a trilogy rooted in the sensibility and approach to the practice of “camera” he elaborated in the best-selling, book-length essay ''To Photograph Is to Learn How to Die'' (2022). In other words, he steadfastly upholds photography’s capacity to bridge the gap between self and other, and to cultivate meaning in an alienating world. Less formally rigorous than ''Local Objects'' (2017) and less introspective and linear than ''Christmas Day, Bucks Pond Road'', this new installment channels the perspective of a child’s meandering mind, open to possible meanings, absorbing whatever the eyes encounter—marks, buildings, branches, paths, the daylight of a Central Illinois afternoon—nascent symbols everywhere, fleeting images improvised of mind and matter. Adapting a style in the lineage of the New Topographics photographers—Robert Adams, John Gossage and Lewis Baltz—these black-and-white photographs are affecting in their minimalism, imbuing poignance within the banal composites of the Midwestern landscape. The volume itself is beautifully produced with a flush-cut cover treatment and a foil-stamped title.
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livres
livres
Publication:
juillet 2024
juillet 2024
Sujet:
Monographies photo
Monographies photo
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livres
livres
Titre:
The art of Rachel Whiteread
The art of Rachel Whiteread
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$38.00
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Since achieving an international reputation in the early 1990s with casts of empty architectural spaces such as "House" and "Ghost", Rachel Whiteread has gone on making complex, subtle and often provocative works that consistently grab public attention. In pieces such as "Water Tower" in New York and her Holocaust Memorial in Vienna, Whiteread’s work is at once(...)
$38.00
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Since achieving an international reputation in the early 1990s with casts of empty architectural spaces such as "House" and "Ghost", Rachel Whiteread has gone on making complex, subtle and often provocative works that consistently grab public attention. In pieces such as "Water Tower" in New York and her Holocaust Memorial in Vienna, Whiteread’s work is at once(...)
Titre:
The art of Rachel Whiteread
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Since achieving an international reputation in the early 1990s with casts of empty architectural spaces such as "House" and "Ghost", Rachel Whiteread has gone on making complex, subtle and often provocative works that consistently grab public attention. In pieces such as "Water Tower" in New York and her Holocaust Memorial in Vienna, Whiteread’s work is at once immensely reflective, both in its reference to history and to social or political situations of the present, and aware of its place within art history. In "The Art of Rachel Whiteread" a group of leading critics from museums and universities in Europe and North America examine the full range of Whiteread’s work, from the early domestic pieces of the late 1980s, through to her most recent public art projects such as "Monument" and "Room 101". These essays examine both the art historical legacy of post-minimalism within which Whiteread works and the historical commentaries that her site specific projects engender, and they suggest new critical approaches to what is likely to be one of the most enduring artistic projects of our time.
The art of Rachel Whiteread
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$38.00
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Since achieving an international reputation in the early 1990s with casts of empty architectural spaces such as "House" and "Ghost", Rachel Whiteread has gone on making complex, subtle and often provocative works that consistently grab public attention. In pieces such as "Water Tower" in New York and her Holocaust Memorial in Vienna, Whiteread’s work is at once immensely reflective, both in its reference to history and to social or political situations of the present, and aware of its place within art history. In "The Art of Rachel Whiteread" a group of leading critics from museums and universities in Europe and North America examine the full range of Whiteread’s work, from the early domestic pieces of the late 1980s, through to her most recent public art projects such as "Monument" and "Room 101". These essays examine both the art historical legacy of post-minimalism within which Whiteread works and the historical commentaries that her site specific projects engender, and they suggest new critical approaches to what is likely to be one of the most enduring artistic projects of our time.
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livres
livres
Publication:
novembre 2004, London
novembre 2004, London
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livres
livres
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$28.95
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Résumé:
Artists surveyed include: Joseph Albers, Mel Bochner, Daniel Buren, Carlos Cruz-Diez, Robert Delaunay, Sonia Delaunay, Jimmie Durham, Helen Frankenthaler, Paul Gauguin, Donald Judd, Wassily Kandinsky, Paul Klee, Yves Klein, Kazimir Malevich, Piero Manzoni, Henri Matisse, Henri Michaux, Beatriz Milhazes, Piet Mondrian, Barnett Newman, Kenneth Noland, Hélio Oiticica, Paul(...)
$28.95
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Résumé:
Artists surveyed include: Joseph Albers, Mel Bochner, Daniel Buren, Carlos Cruz-Diez, Robert Delaunay, Sonia Delaunay, Jimmie Durham, Helen Frankenthaler, Paul Gauguin, Donald Judd, Wassily Kandinsky, Paul Klee, Yves Klein, Kazimir Malevich, Piero Manzoni, Henri Matisse, Henri Michaux, Beatriz Milhazes, Piet Mondrian, Barnett Newman, Kenneth Noland, Hélio Oiticica, Paul(...)
Titre:
Colour: Documents on comtemporary art
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Artists surveyed include: Joseph Albers, Mel Bochner, Daniel Buren, Carlos Cruz-Diez, Robert Delaunay, Sonia Delaunay, Jimmie Durham, Helen Frankenthaler, Paul Gauguin, Donald Judd, Wassily Kandinsky, Paul Klee, Yves Klein, Kazimir Malevich, Piero Manzoni, Henri Matisse, Henri Michaux, Beatriz Milhazes, Piet Mondrian, Barnett Newman, Kenneth Noland, Hélio Oiticica, Paul Signac, Ad Reinhardt, Gerhard Richter, Aleksandr Rodchenko, Bridget Riley, Mark Rothko, Yinka Shonibare, Jessica Stockholder, Theo van Doesburg, Vincent van Gogh, Victor Vasarely, Rachel Whiteread. Writers include: Theodor Adorno, Roland Barthes, Charles Baudelaire, Jean Baudrillard, Walter Benjamin, Charles Blanc, Jacques Derrida, Thierry de Duve, Umberto Eco, Victoria Finlay, Joris-Karl Huysmans, Johannes Itten, Julia Kristeva, Claude Lévi-Strauss, Jacqueline Lichtenstein, Maurice Merleau-Ponty, John Ruskin, Adrian Stokes, Ludwig Wittgenstein. About the Editor: David Batchelor is an artist and writer who has exhibited widely in Europe and America. Senior Tutor in Critical Theory in the Department of Curating Contemporary Art at the Royal College of Art, London, he is a frequent contributor to such journals as Artforum and Frieze and the author of Minimalism and Chromophobia.
Colour: Documents on comtemporary art
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$28.95
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Artists surveyed include: Joseph Albers, Mel Bochner, Daniel Buren, Carlos Cruz-Diez, Robert Delaunay, Sonia Delaunay, Jimmie Durham, Helen Frankenthaler, Paul Gauguin, Donald Judd, Wassily Kandinsky, Paul Klee, Yves Klein, Kazimir Malevich, Piero Manzoni, Henri Matisse, Henri Michaux, Beatriz Milhazes, Piet Mondrian, Barnett Newman, Kenneth Noland, Hélio Oiticica, Paul Signac, Ad Reinhardt, Gerhard Richter, Aleksandr Rodchenko, Bridget Riley, Mark Rothko, Yinka Shonibare, Jessica Stockholder, Theo van Doesburg, Vincent van Gogh, Victor Vasarely, Rachel Whiteread. Writers include: Theodor Adorno, Roland Barthes, Charles Baudelaire, Jean Baudrillard, Walter Benjamin, Charles Blanc, Jacques Derrida, Thierry de Duve, Umberto Eco, Victoria Finlay, Joris-Karl Huysmans, Johannes Itten, Julia Kristeva, Claude Lévi-Strauss, Jacqueline Lichtenstein, Maurice Merleau-Ponty, John Ruskin, Adrian Stokes, Ludwig Wittgenstein. About the Editor: David Batchelor is an artist and writer who has exhibited widely in Europe and America. Senior Tutor in Critical Theory in the Department of Curating Contemporary Art at the Royal College of Art, London, he is a frequent contributor to such journals as Artforum and Frieze and the author of Minimalism and Chromophobia.
Classification:
livres
livres
Publication:
mars 2008, London/Massachusetts
mars 2008, London/Massachusetts
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
Donal Judd : architecture
Donal Judd : architecture
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$30.00
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One of the leading representatives of Minimalism, Donald Judd's "specific objects," made of steel, wood, aluminum, and Plexiglass, undertook a radical and revolutionary analysis and redefinition of sculpture as it exists in space. Somewhat less familiar are Judd's numerous architectural and furniture designs, works which are closely related in formal terms to his(...)
$30.00
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Résumé:
One of the leading representatives of Minimalism, Donald Judd's "specific objects," made of steel, wood, aluminum, and Plexiglass, undertook a radical and revolutionary analysis and redefinition of sculpture as it exists in space. Somewhat less familiar are Judd's numerous architectural and furniture designs, works which are closely related in formal terms to his(...)
Sujet:
Architecture, monographies
Architecture, monographies
Publication:
septembre 2003, Ostfildern-Ruit, Germany
septembre 2003, Ostfildern-Ruit, Germany
Titre:
Donal Judd : architecture
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$30.00
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Résumé:
One of the leading representatives of Minimalism, Donald Judd's "specific objects," made of steel, wood, aluminum, and Plexiglass, undertook a radical and revolutionary analysis and redefinition of sculpture as it exists in space. Somewhat less familiar are Judd's numerous architectural and furniture designs, works which are closely related in formal terms to his ubiquitous art objects but which much more successfully reflect his concerns with utility. In 1971, Judd bought an old fort near Marfa, Texas; by systematically acquiring and transforming more and more local property, he amassed the largest ensemble of contemporary art in the world, with permanent installations of his own work and that of Carl André, John Chamberlan, Dan Flavin, and others. "Donald Judd : Architecture" presents drawings, design sketches, ground plans, and photographs of the grounds and architecture of this Minimalist desert oasis, and bears witness to Judd's role as the visionary architect and stage director of his own oeuvre. This book first appeared in 1991, in German. It has been thoroughly revised and expanded for this, its first English edition
Donal Judd : architecture
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$30.00
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Résumé:
One of the leading representatives of Minimalism, Donald Judd's "specific objects," made of steel, wood, aluminum, and Plexiglass, undertook a radical and revolutionary analysis and redefinition of sculpture as it exists in space. Somewhat less familiar are Judd's numerous architectural and furniture designs, works which are closely related in formal terms to his ubiquitous art objects but which much more successfully reflect his concerns with utility. In 1971, Judd bought an old fort near Marfa, Texas; by systematically acquiring and transforming more and more local property, he amassed the largest ensemble of contemporary art in the world, with permanent installations of his own work and that of Carl André, John Chamberlan, Dan Flavin, and others. "Donald Judd : Architecture" presents drawings, design sketches, ground plans, and photographs of the grounds and architecture of this Minimalist desert oasis, and bears witness to Judd's role as the visionary architect and stage director of his own oeuvre. This book first appeared in 1991, in German. It has been thoroughly revised and expanded for this, its first English edition
Classification:
livres
livres
Publication:
septembre 2003, Ostfildern-Ruit, Germany
septembre 2003, Ostfildern-Ruit, Germany
Sujet:
Architecture, monographies
Architecture, monographies
