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The dictionary. The ubiquitous high-gloss fashion ad. The fraught relationship between artist and critic. Sleeping Beauty ties these disparate strands of our everyday lives together only to strip away everything we thought we knew about each of them. A collaborative work by the artist John Sparagana and the critic Mieke Bal, this truly cutting-edge work takes the shape of(...)
Contemporary Art Monographs
January 1900, Chicago
Sleeping beauty: a one-artist dictionary
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The dictionary. The ubiquitous high-gloss fashion ad. The fraught relationship between artist and critic. Sleeping Beauty ties these disparate strands of our everyday lives together only to strip away everything we thought we knew about each of them. A collaborative work by the artist John Sparagana and the critic Mieke Bal, this truly cutting-edge work takes the shape of a conversation between his creations—distressed, or “fatigued,” magazine pages—and her words, imagining anew the relationships of image to text and of art to those who write about it.
Contemporary Art Monographs
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Doris Salcedo, a Colombian-born artist, addresses the politics of memory and forgetting in work that embraces fraught situations in dangerous places. Noted critic and theorist Mieke Bal narrates between the disciplines of contemporary culture in order to boldly reimagine the role of the visual arts. In Of What One Cannot Speak, Bal leads us into intimate encounters with(...)
Doris Salcedo's political art: Of what one cannot speak
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Doris Salcedo, a Colombian-born artist, addresses the politics of memory and forgetting in work that embraces fraught situations in dangerous places. Noted critic and theorist Mieke Bal narrates between the disciplines of contemporary culture in order to boldly reimagine the role of the visual arts. In Of What One Cannot Speak, Bal leads us into intimate encounters with Salcedo’s art, encouraging us to consider each work as a “theoretical object” that invites—and demands—certain kinds of considerations about history, death, erasure, and grief.
Contemporary Art Monographs
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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(...)
December 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.
Exhibition-ism
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In "Exhibition-ism," theorist and artist Mieke Bal develops the idea that exhibiting is a significant form of the contemporary. In an exhibition, visitors are in the actual company of artworks that can perform. This book considers recent shows of Bal’s own video work, and is framed by observations on contemporary sculpture’s response to classics of the form. Looking at(...)
Exhibition-ism
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In "Exhibition-ism," theorist and artist Mieke Bal develops the idea that exhibiting is a significant form of the contemporary. In an exhibition, visitors are in the actual company of artworks that can perform. This book considers recent shows of Bal’s own video work, and is framed by observations on contemporary sculpture’s response to classics of the form. Looking at art as process, Bal makes the case that the being-together-in-time of an exhibition visit encourages and, if the curation is well-thought-out, can heighten the sense of the contemporaneity–art being more capable of this than anything else.
Art Theory