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![Martin Hogue: [Fake] Fake estates, reconsidering Gordon Matta-Clak's fake estates](/img-bookstore/pGcdNE4DldecDPlNsrSsLCQVyKI=/700x980/LV405.jpg)
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In [Fake] Fake Estates: Revisiting Gordon Matta-Clark's Fake Estates, Hogue spent several months systematically canvassing Queens, NY, for residual properties similar to the fourteen parcels purchased there and documented by Matta-Clark in 1975. Best known for his spatially dynamic extractions of large sections of walls and floors from abandoned buildings, Matta-Clark,(...)
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In [Fake] Fake Estates: Revisiting Gordon Matta-Clark's Fake Estates, Hogue spent several months systematically canvassing Queens, NY, for residual properties similar to the fourteen parcels purchased there and documented by Matta-Clark in 1975. Best known for his spatially dynamic extractions of large sections of walls and floors from abandoned buildings, Matta-Clark,(...)
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Martin Hogue: [Fake] Fake estates, reconsidering Gordon Matta-Clak's fake estates
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In [Fake] Fake Estates: Revisiting Gordon Matta-Clark's Fake Estates, Hogue spent several months systematically canvassing Queens, NY, for residual properties similar to the fourteen parcels purchased there and documented by Matta-Clark in 1975. Best known for his spatially dynamic extractions of large sections of walls and floors from abandoned buildings, Matta-Clark, one of the most important American conceptual artists of the 1970s, had purchased the Queens properties with the goal of highlighting neglected architectural environments that make up the urban and suburban fabric. Hogue's drawings, collages, and photographs that make up this book articulates those moments when conventions for establishing the location and the precise boundaries of a site produce a conceptual "excess of surveying", inviting speculation as to the value and purpose of land and revealing the conceptual potential of "real" sites- even small and unusable ones without architectural potential.
Martin Hogue: [Fake] Fake estates, reconsidering Gordon Matta-Clak's fake estates
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In [Fake] Fake Estates: Revisiting Gordon Matta-Clark's Fake Estates, Hogue spent several months systematically canvassing Queens, NY, for residual properties similar to the fourteen parcels purchased there and documented by Matta-Clark in 1975. Best known for his spatially dynamic extractions of large sections of walls and floors from abandoned buildings, Matta-Clark, one of the most important American conceptual artists of the 1970s, had purchased the Queens properties with the goal of highlighting neglected architectural environments that make up the urban and suburban fabric. Hogue's drawings, collages, and photographs that make up this book articulates those moments when conventions for establishing the location and the precise boundaries of a site produce a conceptual "excess of surveying", inviting speculation as to the value and purpose of land and revealing the conceptual potential of "real" sites- even small and unusable ones without architectural potential.
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livres
livres
Publication:
juillet 2006
juillet 2006
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livres
livres
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Erin Hogan hit the road in her Volkswagen Jetta and headed west from Chicago in search of the monuments of American land art: a salty coil of rocks, four hundred stainless steel poles, a gash in a mesa, four concrete tubes, and military sheds filled with cubes. Her journey took her through the states of Utah, Nevada, New Mexico, Arizona, and Texas. Spiral Jetta is a(...)
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Erin Hogan hit the road in her Volkswagen Jetta and headed west from Chicago in search of the monuments of American land art: a salty coil of rocks, four hundred stainless steel poles, a gash in a mesa, four concrete tubes, and military sheds filled with cubes. Her journey took her through the states of Utah, Nevada, New Mexico, Arizona, and Texas. Spiral Jetta is a(...)
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Spiral Jetta: a road trip through the land art of the American west
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Erin Hogan hit the road in her Volkswagen Jetta and headed west from Chicago in search of the monuments of American land art: a salty coil of rocks, four hundred stainless steel poles, a gash in a mesa, four concrete tubes, and military sheds filled with cubes. Her journey took her through the states of Utah, Nevada, New Mexico, Arizona, and Texas. Spiral Jetta is a chronicle of this journey. A lapsed art historian and devoted urbanite, Hogan initially sought firsthand experience of the monumental earthworks of the 1970s and the 1980s—Robert Smithson’s Spiral Jetty, Nancy Holt’s Sun Tunnels, Walter De Maria’s Lightning Field, James Turrell’s Roden Crater, Michael Heizer’s Double Negative, and the contemporary art mecca of Marfa, Texas. Armed with spotty directions, no compass, and less-than-desert-appropriate clothing, she found most of what she was looking for and then some.
Spiral Jetta: a road trip through the land art of the American west
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Erin Hogan hit the road in her Volkswagen Jetta and headed west from Chicago in search of the monuments of American land art: a salty coil of rocks, four hundred stainless steel poles, a gash in a mesa, four concrete tubes, and military sheds filled with cubes. Her journey took her through the states of Utah, Nevada, New Mexico, Arizona, and Texas. Spiral Jetta is a chronicle of this journey. A lapsed art historian and devoted urbanite, Hogan initially sought firsthand experience of the monumental earthworks of the 1970s and the 1980s—Robert Smithson’s Spiral Jetty, Nancy Holt’s Sun Tunnels, Walter De Maria’s Lightning Field, James Turrell’s Roden Crater, Michael Heizer’s Double Negative, and the contemporary art mecca of Marfa, Texas. Armed with spotty directions, no compass, and less-than-desert-appropriate clothing, she found most of what she was looking for and then some.
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livres
livres
Publication:
octobre 2009, Chicago
octobre 2009, Chicago
Sujet:
Land Art
Land Art
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livres
livres
Titre:
Not to play with dead things
Not to play with dead things
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$42.00
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From its Futurist and Dadaist origins to the body art of the 1970s and more recent developments in the genre, the history of Performance art is oriented around a fairly consistent set of elements: movements, speech, the body, impermanence, audience participation. But artists have also produced installations and performative objects for their performances, whose status(...)
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From its Futurist and Dadaist origins to the body art of the 1970s and more recent developments in the genre, the history of Performance art is oriented around a fairly consistent set of elements: movements, speech, the body, impermanence, audience participation. But artists have also produced installations and performative objects for their performances, whose status(...)
Publication:
mars 2010
mars 2010
Titre:
Not to play with dead things
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From its Futurist and Dadaist origins to the body art of the 1970s and more recent developments in the genre, the history of Performance art is oriented around a fairly consistent set of elements: movements, speech, the body, impermanence, audience participation. But artists have also produced installations and performative objects for their performances, whose status becomes ambiguous once the action is over. Not to Play with Dead Things pays overdue attention to these frequently orphaned props of performance art, documenting works from the 1960s to the present by artists as diverse as Richard Jackson, Paul McCarthy, Roman Signer, Mike Kelley, Franz West, Jim Shaw, Guy de Cointet, John Bock, Spartacus Chetwynd, Catherine Sullivan and Erwin Wurm. Not to Play with Dead Things asks: are these objects relics of their own making? And is their hybridity a kind of resistance to the streamlining of art?
Not to play with dead things
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From its Futurist and Dadaist origins to the body art of the 1970s and more recent developments in the genre, the history of Performance art is oriented around a fairly consistent set of elements: movements, speech, the body, impermanence, audience participation. But artists have also produced installations and performative objects for their performances, whose status becomes ambiguous once the action is over. Not to Play with Dead Things pays overdue attention to these frequently orphaned props of performance art, documenting works from the 1960s to the present by artists as diverse as Richard Jackson, Paul McCarthy, Roman Signer, Mike Kelley, Franz West, Jim Shaw, Guy de Cointet, John Bock, Spartacus Chetwynd, Catherine Sullivan and Erwin Wurm. Not to Play with Dead Things asks: are these objects relics of their own making? And is their hybridity a kind of resistance to the streamlining of art?
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livres
livres
Publication:
mars 2010
mars 2010
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livres
livres
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$35.00
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This publication is a result of visits and discussions carried out by Hans Ulrich Obrist in artists’ studios in Prague around 2001 and 2008. Interviews with Milan Grygar, Jií Kovanda, Karel Malich, Zdenk Sýkora, and many others, map the historical events as well as unknown stories of the actors of the Czech “second avant-garde” or “neo-modernism” of the former socialist(...)
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This publication is a result of visits and discussions carried out by Hans Ulrich Obrist in artists’ studios in Prague around 2001 and 2008. Interviews with Milan Grygar, Jií Kovanda, Karel Malich, Zdenk Sýkora, and many others, map the historical events as well as unknown stories of the actors of the Czech “second avant-garde” or “neo-modernism” of the former socialist(...)
Titre:
Hans Ulrich Obrist : the Czech files
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This publication is a result of visits and discussions carried out by Hans Ulrich Obrist in artists’ studios in Prague around 2001 and 2008. Interviews with Milan Grygar, Jií Kovanda, Karel Malich, Zdenk Sýkora, and many others, map the historical events as well as unknown stories of the actors of the Czech “second avant-garde” or “neo-modernism” of the former socialist block. The artists and intellectuals of this generation were born in between 1920–1945. They lived through the 1960s cultural upheaval known as the Prague Spring, becoming part of international cultural movements for a limited time, and witnessed the “normalization” of the 1970s when censorship was re-introduced. This series of interviews contextualize a generation of Czech artists within the historical events that marked their lives and careers, and draw attention to their urgency to resist historical events while keeping their artistic practices sustained, radical, and vital.
Hans Ulrich Obrist : the Czech files
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This publication is a result of visits and discussions carried out by Hans Ulrich Obrist in artists’ studios in Prague around 2001 and 2008. Interviews with Milan Grygar, Jií Kovanda, Karel Malich, Zdenk Sýkora, and many others, map the historical events as well as unknown stories of the actors of the Czech “second avant-garde” or “neo-modernism” of the former socialist block. The artists and intellectuals of this generation were born in between 1920–1945. They lived through the 1960s cultural upheaval known as the Prague Spring, becoming part of international cultural movements for a limited time, and witnessed the “normalization” of the 1970s when censorship was re-introduced. This series of interviews contextualize a generation of Czech artists within the historical events that marked their lives and careers, and draw attention to their urgency to resist historical events while keeping their artistic practices sustained, radical, and vital.
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livres
livres
Publication:
février 2015
février 2015
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
Franz West: the 1990s
Franz West: the 1990s
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Emerging in the early 1970s, Austrian artist Franz West created objects that serve to redefine art as a social experience, calling attention to how viewers interact with works of art and with each other. The 1990s proved critical in the development of the idiosyncratic style for which West is still known today. Key innovations from this period--which included the addition(...)
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Emerging in the early 1970s, Austrian artist Franz West created objects that serve to redefine art as a social experience, calling attention to how viewers interact with works of art and with each other. The 1990s proved critical in the development of the idiosyncratic style for which West is still known today. Key innovations from this period--which included the addition(...)
Publication:
août 2015
août 2015
Titre:
Franz West: the 1990s
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Emerging in the early 1970s, Austrian artist Franz West created objects that serve to redefine art as a social experience, calling attention to how viewers interact with works of art and with each other. The 1990s proved critical in the development of the idiosyncratic style for which West is still known today. Key innovations from this period--which included the addition of exuberant color to his papier-mâché forms, the incorporation of furniture both as art object and as social incubator, and the inclusion of work by other artists in his own installations--resulted in dynamic, frequently interactive installations that helped to redefine the possibilities of sculpture and the ways in which art is experienced. This publication gives an in-depth overview of this decade, arguably the most important of the artist's lengthy career, and features essays by noted West scholars Eva Badura-Triska and Veit Loers.
Franz West: the 1990s
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Emerging in the early 1970s, Austrian artist Franz West created objects that serve to redefine art as a social experience, calling attention to how viewers interact with works of art and with each other. The 1990s proved critical in the development of the idiosyncratic style for which West is still known today. Key innovations from this period--which included the addition of exuberant color to his papier-mâché forms, the incorporation of furniture both as art object and as social incubator, and the inclusion of work by other artists in his own installations--resulted in dynamic, frequently interactive installations that helped to redefine the possibilities of sculpture and the ways in which art is experienced. This publication gives an in-depth overview of this decade, arguably the most important of the artist's lengthy career, and features essays by noted West scholars Eva Badura-Triska and Veit Loers.
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livres
livres
Publication:
août 2015
août 2015
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livres
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Daido Moriyama (born 1938) first attracted international attention in the 1970s, with his gritty, black-and-white photographs of Shinjuku, a bustling area of Tokyo. Published for a spring 2012 exhibition at Reflex Art Gallery, Amsterdam, and with more than 230 large-scale images, Journey for Something offers an exciting overview of Moriyama’s new work, as well as his(...)
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Daido Moriyama (born 1938) first attracted international attention in the 1970s, with his gritty, black-and-white photographs of Shinjuku, a bustling area of Tokyo. Published for a spring 2012 exhibition at Reflex Art Gallery, Amsterdam, and with more than 230 large-scale images, Journey for Something offers an exciting overview of Moriyama’s new work, as well as his(...)
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Daido Moriyama: journey for something
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Daido Moriyama (born 1938) first attracted international attention in the 1970s, with his gritty, black-and-white photographs of Shinjuku, a bustling area of Tokyo. Published for a spring 2012 exhibition at Reflex Art Gallery, Amsterdam, and with more than 230 large-scale images, Journey for Something offers an exciting overview of Moriyama’s new work, as well as his classic images and some never-before-seen photographs that have been carefully selected by the artist for this volume. Many of Moriyama’s photographs are shot with a light, hand-held camera, at times through a window or from across the street, often as if he were a tourist himself. A wide assortment of playful and almost surrealist images, Journey for Something follows Moriyama from Tokyo to Osaka, from shimmering rows of nightclubs to shoes dangling from a telephone wire and a man running naked through the streets.
Daido Moriyama: journey for something
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Daido Moriyama (born 1938) first attracted international attention in the 1970s, with his gritty, black-and-white photographs of Shinjuku, a bustling area of Tokyo. Published for a spring 2012 exhibition at Reflex Art Gallery, Amsterdam, and with more than 230 large-scale images, Journey for Something offers an exciting overview of Moriyama’s new work, as well as his classic images and some never-before-seen photographs that have been carefully selected by the artist for this volume. Many of Moriyama’s photographs are shot with a light, hand-held camera, at times through a window or from across the street, often as if he were a tourist himself. A wide assortment of playful and almost surrealist images, Journey for Something follows Moriyama from Tokyo to Osaka, from shimmering rows of nightclubs to shoes dangling from a telephone wire and a man running naked through the streets.
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livres
livres
Publication:
janvier 2013
janvier 2013
Sujet:
Monographies photo
Monographies photo
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livres
livres
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Founded by Swiss settlers in 1845, New Glarus in Wisconsin evolved from being a dairy farming and cheese production village to a popular tourist destination. Following a grave economic downturn in the 1960s and 1970s, the community discovered embracing the image of its cultural heritage, particularly traditional architectural details, as a way of survival. Consequently,(...)
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Founded by Swiss settlers in 1845, New Glarus in Wisconsin evolved from being a dairy farming and cheese production village to a popular tourist destination. Following a grave economic downturn in the 1960s and 1970s, the community discovered embracing the image of its cultural heritage, particularly traditional architectural details, as a way of survival. Consequently,(...)
Titre:
Swissness applied: Learning from New Glarus
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Founded by Swiss settlers in 1845, New Glarus in Wisconsin evolved from being a dairy farming and cheese production village to a popular tourist destination. Following a grave economic downturn in the 1960s and 1970s, the community discovered embracing the image of its cultural heritage, particularly traditional architectural details, as a way of survival. Consequently, they began to change their commercial building façades to appear even more Swiss. Since 1999, the town has even regulated the production of new buildings via its building codes to preserve this particular aesthetic evoking the familiar traditional Swiss chalet style. This volume investigates the transformation of European immigrant towns in the United States, exemplified by New Glarus. It features the results of extensive fieldwork on buildings in the village as well as design projections based on the local building code and evaluates the outcomes through different representation techniques.
Swissness applied: Learning from New Glarus
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Founded by Swiss settlers in 1845, New Glarus in Wisconsin evolved from being a dairy farming and cheese production village to a popular tourist destination. Following a grave economic downturn in the 1960s and 1970s, the community discovered embracing the image of its cultural heritage, particularly traditional architectural details, as a way of survival. Consequently, they began to change their commercial building façades to appear even more Swiss. Since 1999, the town has even regulated the production of new buildings via its building codes to preserve this particular aesthetic evoking the familiar traditional Swiss chalet style. This volume investigates the transformation of European immigrant towns in the United States, exemplified by New Glarus. It features the results of extensive fieldwork on buildings in the village as well as design projections based on the local building code and evaluates the outcomes through different representation techniques.
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livres
livres
Publication:
décembre 2021
décembre 2021
Sujet:
Architecture contemporaine
Architecture contemporaine
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livres
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Description:
316 pages : illustrations (some color), color map ; 32 cm.
Description:
316 pages : illustrations (some color), color map ; 32 cm.
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Paris : Vis à vis éditions, [1997]
Paris : Vis à vis éditions, [1997]
Titre:
Architectures et grands travaux, 1977-1997.
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Description:
316 pages : illustrations (some color), color map ; 32 cm.
Architectures et grands travaux, 1977-1997.
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316 pages : illustrations (some color), color map ; 32 cm.
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livres
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Paris : Vis à vis éditions, [1997]
Paris : Vis à vis éditions, [1997]
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224 pages : chiefly illustrations ; 28 cm
Description:
224 pages : chiefly illustrations ; 28 cm
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Essen : Museum Folkwang, ©1985.
Essen : Museum Folkwang, ©1985.
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Bernd & Hilla Becher : Fördertürme = chevalements = mineheads / [Organisation der Ausstellung in Essen, Zdenek Felix, in Paris, Suzanne Pagé et Juliette Laffon, in Liège, Marie-Madeleine Spehl-Robeyns].
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224 pages : chiefly illustrations ; 28 cm
Bernd & Hilla Becher : Fördertürme = chevalements = mineheads / [Organisation der Ausstellung in Essen, Zdenek Felix, in Paris, Suzanne Pagé et Juliette Laffon, in Liège, Marie-Madeleine Spehl-Robeyns].
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224 pages : chiefly illustrations ; 28 cm
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livres
livres
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Essen : Museum Folkwang, ©1985.
Essen : Museum Folkwang, ©1985.
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périodiques
périodiques
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American antiquity.
American antiquity.
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Menasha, Wis. : Society for American Archaeology, 1935-
Menasha, Wis. : Society for American Archaeology, 1935-
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périodiques
périodiques
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Menasha, Wis. : Society for American Archaeology, 1935-
Menasha, Wis. : Society for American Archaeology, 1935-
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