Vie des arts 270
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Le dernier numéro est maintenant en vente à la librairie.
Vie des arts 270
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$12.00
(disponible sur commande)
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Le dernier numéro est maintenant en vente à la librairie.
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Les objets ayant appartenu à Elsie Reford témoignent d’une vie pleine et entière, celle d’une femme audacieuse et déterminée, animée de mille passions. Montréalaise bien ancrée dans son quartier, le Mille carré doré, Elsie passait ses étés à son domaine bordant le fleuve Saint-Laurent, où elle a créé les éblouissants Jardins de Métis. Son passé riche et complexe nous(...)
avril 2023
Elsie Reford : 150 objets de passion
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Les objets ayant appartenu à Elsie Reford témoignent d’une vie pleine et entière, celle d’une femme audacieuse et déterminée, animée de mille passions. Montréalaise bien ancrée dans son quartier, le Mille carré doré, Elsie passait ses étés à son domaine bordant le fleuve Saint-Laurent, où elle a créé les éblouissants Jardins de Métis. Son passé riche et complexe nous révèle des aspects méconnus mais fascinants de l’histoire du Québec et du Canada.
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The objects that belonged to Elsie Reford speak to a full life – that of a woman of daring and determination, and of many passions. The story of Elsie, a long-time resident of Montreal’s Golden Square Mile and the creator of the magnificent Jardins de Métis at her summer home on the St. Lawrence River, sheds light on little-known but fascinating aspects of the history of(...)
avril 2023
Elsie Reford : 150 objects of passion
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$59.95
(disponible en magasin)
Résumé:
The objects that belonged to Elsie Reford speak to a full life – that of a woman of daring and determination, and of many passions. The story of Elsie, a long-time resident of Montreal’s Golden Square Mile and the creator of the magnificent Jardins de Métis at her summer home on the St. Lawrence River, sheds light on little-known but fascinating aspects of the history of Quebec and the rest of Canada.
Le dépassement de l'« art »
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Alexander Dorner écrivit le dépassement de l’ «art» en 1947, à dessein de reconstruire les outils dont se servent l’histoire de l’art, l’esthétique et la muséologie, – à commencer par le concept d’art. Indissolublement lié à la représentation d’un espace à trois dimensions peuplé de formes exprimant des essences immuables, l’ «art» était, à ses yeux, voué à céder le pas à(...)
Le dépassement de l'« art »
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Alexander Dorner écrivit le dépassement de l’ «art» en 1947, à dessein de reconstruire les outils dont se servent l’histoire de l’art, l’esthétique et la muséologie, – à commencer par le concept d’art. Indissolublement lié à la représentation d’un espace à trois dimensions peuplé de formes exprimant des essences immuables, l’ «art» était, à ses yeux, voué à céder le pas à une «nouvelle espèce de communication visuelle» qui serait en phase avec les découvertes de la physique. Il en voyait l’émergence dans le travail d’artistes-designers, issus du constructivisme et du Bauhaus. L’ouvrage explicite en outre les principes ayant guidé Dorner dans ses expérimentations muséologiques : premier directeur d’un musée d’art contemporain, dont il aurait aimé faire une «centrale électrique sociale» productrice de nouvelles énergies, Dorner demeure une référence cruciale pour nombre d’historiens de l’art, de conservateurs et de commissaires d’exposition.
Théorie de l’art
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This volume presents the OFFICE projects through a critical analysis based on archive documents. It also reconstructs the influence of OFFICE’s creative principles among the new generations of architects. The projects appeared in the early 2000s and gained prominence as new forms of digital collage with a cultural engagement. The author traces the evolution of their early(...)
Architecture, monographies
mai 2023
Architectural works by OFFICE for the 21st Century: The incomplete rationalism of OFFICE Geers van Severen
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This volume presents the OFFICE projects through a critical analysis based on archive documents. It also reconstructs the influence of OFFICE’s creative principles among the new generations of architects. The projects appeared in the early 2000s and gained prominence as new forms of digital collage with a cultural engagement. The author traces the evolution of their early ideas developed as paper architecture to the current buildings of a significant scale and presence. The underlying argument of the book demonstrates OFFICE’s ability to preserve in every project the spark of a theoretical construction, which in most cases is carried out according to a rigorous economy of means. Even the new monuments for public institutions continue to be illuminated by a creative tension of radical superiority.
Architecture, monographies
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In this new approach to the history of colour, Kelly Grovier takes readers on a search for the intriguing and unusual. In Grovier’s telling, a colour’s connotations are never fixed but are endlessly evolving. Knowledge of a pigment and its history can unlock meaning in the works that feature it. Grovier employs the term ''artymology'' to suggest that colour is a(...)
The art of colour: a history in 39 pigments
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In this new approach to the history of colour, Kelly Grovier takes readers on a search for the intriguing and unusual. In Grovier’s telling, a colour’s connotations are never fixed but are endlessly evolving. Knowledge of a pigment and its history can unlock meaning in the works that feature it. Grovier employs the term ''artymology'' to suggest that colour is a linguistic device, where pigments stand in for syllables in art’s language. Colour is the site of invigorating conflict—a battleground where past and present, influence and originality, and superstition and science merge into meanings that complicate and intensify our appreciation of a given work. How might it change our understanding of a well-known masterpiece like Vincent van Gogh’s ''Starry Night'' to know that the intense yellow moon in that painting was sculpted from clumps of dehydrated urine from cows that were fed nothing but mango leaves? Or that the cobalt blue pigment in Van Gogh’s sky shares a material bloodline with the glaze of Ming Dynasty porcelain? Consisting of ten chapters, each presenting a biography of a family of colours, this volume mines a rich vein of pigmentation from prehistoric cave painting to art of the present day. The book also includes features exploring important milestones in the history of colour theory from the Enlightenment to the twentieth century.
Warhol: the textiles
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The late Matt Wrbican, former chief archivist of the Warhol Museum in Pittsburgh, once said ''there are very few stories left to tell about Warhol, but textiles is one of them''. This is the first book devoted to the commercial textile designs of this leading figure in the history of art. With new photography throughout, including unpublished images of newly discovered(...)
mars 2023
Warhol: the textiles
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The late Matt Wrbican, former chief archivist of the Warhol Museum in Pittsburgh, once said ''there are very few stories left to tell about Warhol, but textiles is one of them''. This is the first book devoted to the commercial textile designs of this leading figure in the history of art. With new photography throughout, including unpublished images of newly discovered textiles, the book sheds new light on a previously undocumented but important aspect of Warhol’s oeuvre. Featuring over 30 different textiles, from ice cream sundaes to acrobatic clowns, ''Warhol: The textiles'' offers a unique record of the beginnings of one of the twentieth century’s most notable artists.
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In this radical rethinking of the art of Louise Nevelson (1899–1988), Julia Bryan-Wilson provides a long-overdue critical account of a signature figure in postwar sculpture. A Ukraine-born Jewish immigrant, Nevelson persevered in the male-dominated New York art world. Nonetheless, her careful procedures of construction—in which she assembled found pieces of wood into(...)
Louise Nevelson Sculpture: Drag, color, join, face
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In this radical rethinking of the art of Louise Nevelson (1899–1988), Julia Bryan-Wilson provides a long-overdue critical account of a signature figure in postwar sculpture. A Ukraine-born Jewish immigrant, Nevelson persevered in the male-dominated New York art world. Nonetheless, her careful procedures of construction—in which she assembled found pieces of wood into elaborate structures, usually painted black—have been little studied. Organized around a series of key operations in Nevelson’s own process (dragging, coloring, joining, and facing), the book comprises four slipcased, individually bound volumes that can be read in any order. Both form and content thus echo Nevelson’s own modular sculptures, the gridded boxes of which the artist herself rearranged. Exploring how Nevelson’s making relates to domesticity, racialized matter, gendered labor, and the environment, Bryan-Wilson offers a sustained examination of the social and political implications of Nevelson’s art. The author also approaches Nevelson’s sculptures from her own embodied subjectivity as a queer feminist scholar. She forges an expansive art history that places Nevelson’s assemblages in dialogue with a wide array of marginalized worldmaking and underlines the artist’s proclamation of allegiance to blackness.
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This book is the first extended study of the life and work of German-born Venezuelan artist Gertrude Goldschmidt (1912–94), known as Gego. In locating the artist’s contribution to postwar art and her important place in the global conversations around modernity, Mónica Amor explores her intermedial practice as a model of cultural complexity at the ''edge of modernity.'' In(...)
Gego: Weaving the space between
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This book is the first extended study of the life and work of German-born Venezuelan artist Gertrude Goldschmidt (1912–94), known as Gego. In locating the artist’s contribution to postwar art and her important place in the global conversations around modernity, Mónica Amor explores her intermedial practice as a model of cultural complexity at the ''edge of modernity.'' In situating Gego’s work alongside other local archives and against her European education and global reception, Amor offers a monographic model that complicates traditional approaches to history. She investigates the full range of Gego’s work, including her furniture workshop, her teaching at schools of architecture and design, her seminal reticuláreas, and her lesser-known prints. Through rigorous archival research, formal analysis, theoretical relevance, and deep exploration of historical context, this essential book unpacks Gego’s radical recasting of the modern sculptural project through her engagement with architecture, craft, and design pedagogy.
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Through essays, photo-essays, and a conversation between Black designer Stephen Burks (b. 1969) and the late cultural critic bell hooks, this book contextualizes Burks’s wide-ranging work while exploring design’s influence on politics, society, and culture. Burks’s work is underpinned by his belief in a pluralistic vision of design that is inclusive of all cultural(...)
Stephen Burks: Shelter in place
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Through essays, photo-essays, and a conversation between Black designer Stephen Burks (b. 1969) and the late cultural critic bell hooks, this book contextualizes Burks’s wide-ranging work while exploring design’s influence on politics, society, and culture. Burks’s work is underpinned by his belief in a pluralistic vision of design that is inclusive of all cultural perspectives; the award-winning designer has been commissioned by many of the world’s leading design-driven brands to develop collections that engage hand production as a strategy for innovation.
Design, monographies