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How much do criminal acts and their representation in cinema, literature and music really have in common? Is the execution of crime in everyday life as appealing or as inspired as creative artists have made it seem since, say, Arthur Conan Doyle’s Professor Moriarty? Does the film industry continue to learn from the real-life Mafia, or have the imaginings of scriptwriters(...)
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Summary:
How much do criminal acts and their representation in cinema, literature and music really have in common? Is the execution of crime in everyday life as appealing or as inspired as creative artists have made it seem since, say, Arthur Conan Doyle’s Professor Moriarty? Does the film industry continue to learn from the real-life Mafia, or have the imaginings of scriptwriters(...)
Title:
Crime: a series of interviews
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How much do criminal acts and their representation in cinema, literature and music really have in common? Is the execution of crime in everyday life as appealing or as inspired as creative artists have made it seem since, say, Arthur Conan Doyle’s Professor Moriarty? Does the film industry continue to learn from the real-life Mafia, or have the imaginings of scriptwriters had their own effect on organized crime? And what experience do these people who mold our perceptions of crime and criminals have of the real thing? This remarkable book is the first to explore our images of crime by interviewing those involved on, in and around all sides of the law, both real and fictional, and often somewhere in between. Through a series of exclusive interviews with artists, authors and actors such as Ben Affleck, David Cronenberg, Elmore Leonard, Viggo Mortensen, Ice-T, David Mamet and Takeshi Kitano, as well as real life bank robbers, gangsters and current prison inmates, editor Alix Lambert (artist, photographer of Russian prisoners’ tattoos and writer for HBO’s Deadwood) explores the gaps and overlaps between real crime and its representation in the arts, each commenting on and assessing the impact of the other.
Crime: a series of interviews
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How much do criminal acts and their representation in cinema, literature and music really have in common? Is the execution of crime in everyday life as appealing or as inspired as creative artists have made it seem since, say, Arthur Conan Doyle’s Professor Moriarty? Does the film industry continue to learn from the real-life Mafia, or have the imaginings of scriptwriters had their own effect on organized crime? And what experience do these people who mold our perceptions of crime and criminals have of the real thing? This remarkable book is the first to explore our images of crime by interviewing those involved on, in and around all sides of the law, both real and fictional, and often somewhere in between. Through a series of exclusive interviews with artists, authors and actors such as Ben Affleck, David Cronenberg, Elmore Leonard, Viggo Mortensen, Ice-T, David Mamet and Takeshi Kitano, as well as real life bank robbers, gangsters and current prison inmates, editor Alix Lambert (artist, photographer of Russian prisoners’ tattoos and writer for HBO’s Deadwood) explores the gaps and overlaps between real crime and its representation in the arts, each commenting on and assessing the impact of the other.
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books
books
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June 2008, London
June 2008, London
Subject:
Art Theory
Art Theory
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books
books
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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(...)
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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(...)
Title:
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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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.
Form:
books
books
Publication:
March 2008, London/Massachusetts
March 2008, London/Massachusetts
Subject:
Art Theory
Art Theory
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books
books
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$29.95
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Ever since the Dadaists, humour in one or more of its guises - absurd, ironic, tragi-comic, mordant, gothical dark, deadpan, camp or kitsch - has frequently surfaced as a subversive, troubling or liberating element in art. This anthology traces humour's role in transforming the pratice and experience of art, from the early twentieth-century avant-gardes, through Fluxus(...)
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Ever since the Dadaists, humour in one or more of its guises - absurd, ironic, tragi-comic, mordant, gothical dark, deadpan, camp or kitsch - has frequently surfaced as a subversive, troubling or liberating element in art. This anthology traces humour's role in transforming the pratice and experience of art, from the early twentieth-century avant-gardes, through Fluxus(...)
Title:
The Artist's joke: Documents of contemporary art
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Ever since the Dadaists, humour in one or more of its guises - absurd, ironic, tragi-comic, mordant, gothical dark, deadpan, camp or kitsch - has frequently surfaced as a subversive, troubling or liberating element in art. This anthology traces humour's role in transforming the pratice and experience of art, from the early twentieth-century avant-gardes, through Fluxus and Pop, to the diverse, often uncategorizable works of some of the most influential artists today.
The Artist's joke: Documents of contemporary art
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Ever since the Dadaists, humour in one or more of its guises - absurd, ironic, tragi-comic, mordant, gothical dark, deadpan, camp or kitsch - has frequently surfaced as a subversive, troubling or liberating element in art. This anthology traces humour's role in transforming the pratice and experience of art, from the early twentieth-century avant-gardes, through Fluxus and Pop, to the diverse, often uncategorizable works of some of the most influential artists today.
Form:
books
books
Publication:
October 2007, London, Cambridege
October 2007, London, Cambridege
Subject:
Art Theory
Art Theory
Form:
books
books
Title:
The Aesthetics of Risk
The Aesthetics of Risk
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$35.00
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Edited and introduced by John C. Welchman, The "Aesthetics of Risk" is based on the third SoCCAS symposia, held at the J Paul Getty Museum. The anthology collects 16 essays and conversations about the nature and consequences of risk in and out of the art world, beginning with the premise that the modern subject is caught up in an ever-expanding network of predictive and(...)
$35.00
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Summary:
Edited and introduced by John C. Welchman, The "Aesthetics of Risk" is based on the third SoCCAS symposia, held at the J Paul Getty Museum. The anthology collects 16 essays and conversations about the nature and consequences of risk in and out of the art world, beginning with the premise that the modern subject is caught up in an ever-expanding network of predictive and(...)
Title:
The Aesthetics of Risk
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$35.00
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Summary:
Edited and introduced by John C. Welchman, The "Aesthetics of Risk" is based on the third SoCCAS symposia, held at the J Paul Getty Museum. The anthology collects 16 essays and conversations about the nature and consequences of risk in and out of the art world, beginning with the premise that the modern subject is caught up in an ever-expanding network of predictive and proactive stratagems for the management of risk.
The Aesthetics of Risk
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$35.00
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Summary:
Edited and introduced by John C. Welchman, The "Aesthetics of Risk" is based on the third SoCCAS symposia, held at the J Paul Getty Museum. The anthology collects 16 essays and conversations about the nature and consequences of risk in and out of the art world, beginning with the premise that the modern subject is caught up in an ever-expanding network of predictive and proactive stratagems for the management of risk.
Form:
books
books
Publication:
December 2007, Zurich
December 2007, Zurich
Subject:
Art Theory
Art Theory
Form:
books
books
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$45.99
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Summary:
How can a political or social movement create so many positive changes, while simultaneously developing negative connotations? Such is the central paradox of feminism for the editors of this book. The dwindling interest of students to continue an academic career after their studies has been called "cooling out" by Burton Clark. The collaborative exhibition project took(...)
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Summary:
How can a political or social movement create so many positive changes, while simultaneously developing negative connotations? Such is the central paradox of feminism for the editors of this book. The dwindling interest of students to continue an academic career after their studies has been called "cooling out" by Burton Clark. The collaborative exhibition project took(...)
Subject:
Art Theory
Art Theory
Publication:
October 2007, Zürich
October 2007, Zürich
Title:
Cooling out-on the paradox of feminism
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How can a political or social movement create so many positive changes, while simultaneously developing negative connotations? Such is the central paradox of feminism for the editors of this book. The dwindling interest of students to continue an academic career after their studies has been called "cooling out" by Burton Clark. The collaborative exhibition project took this term to describe the disinterest of young women toward ideas and forms of feminism, resulting from a lack of palpable aims on the one hand, and the acceptance of existing structures on the other. The exhibition "Cooling Out" examined through the works of contemporary female and male artists the influences of the media, education, and existing social structures on the constitution of a gender identity.
Cooling out-on the paradox of feminism
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How can a political or social movement create so many positive changes, while simultaneously developing negative connotations? Such is the central paradox of feminism for the editors of this book. The dwindling interest of students to continue an academic career after their studies has been called "cooling out" by Burton Clark. The collaborative exhibition project took this term to describe the disinterest of young women toward ideas and forms of feminism, resulting from a lack of palpable aims on the one hand, and the acceptance of existing structures on the other. The exhibition "Cooling Out" examined through the works of contemporary female and male artists the influences of the media, education, and existing social structures on the constitution of a gender identity.
Form:
books
books
Publication:
October 2007, Zürich
October 2007, Zürich
Subject:
Art Theory
Art Theory
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books
books
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$18.00
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Summary:
The collection 'Positions' is dedicated to the publishing of artists' writings. John Miller's essays clearly embody the aims of this series: to question artistic and curatorial practice and theory from the singular position of an artist involved in both his own and other artist´s work.
$18.00
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Summary:
The collection 'Positions' is dedicated to the publishing of artists' writings. John Miller's essays clearly embody the aims of this series: to question artistic and curatorial practice and theory from the singular position of an artist involved in both his own and other artist´s work.
Title:
The Price Club: selected Writings (1977-1998)
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The collection 'Positions' is dedicated to the publishing of artists' writings. John Miller's essays clearly embody the aims of this series: to question artistic and curatorial practice and theory from the singular position of an artist involved in both his own and other artist´s work.
The Price Club: selected Writings (1977-1998)
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Summary:
The collection 'Positions' is dedicated to the publishing of artists' writings. John Miller's essays clearly embody the aims of this series: to question artistic and curatorial practice and theory from the singular position of an artist involved in both his own and other artist´s work.
Form:
books
books
Publication:
October 2006, Genève
October 2006, Genève
Subject:
Art Theory
Art Theory
Form:
books
books
Title:
Warhol's dream
Warhol's dream
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"12 February 1972--I had slept badly. I decided to go out for breakfast, but when I got down to the street, there was no one there, and I thought, Andy, you must be still dreaming. It was like New York at eight in the morning on New Year's Day. Completely deserted. Everything shut. It's my favorite time to be out, actually. I decided to go to my favorite diner, the Star(...)
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"12 February 1972--I had slept badly. I decided to go out for breakfast, but when I got down to the street, there was no one there, and I thought, Andy, you must be still dreaming. It was like New York at eight in the morning on New Year's Day. Completely deserted. Everything shut. It's my favorite time to be out, actually. I decided to go to my favorite diner, the Star(...)
Subject:
Art Theory
Art Theory
Publication:
January 1900, Paris Zurich
January 1900, Paris Zurich
Title:
Warhol's dream
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"12 February 1972--I had slept badly. I decided to go out for breakfast, but when I got down to the street, there was no one there, and I thought, Andy, you must be still dreaming. It was like New York at eight in the morning on New Year's Day. Completely deserted. Everything shut. It's my favorite time to be out, actually. I decided to go to my favorite diner, the Star Palace, on 37th and Madison. And there, sitting alone at the window was, believe it or not, Robert Smithson, who I've met a few times. They all think he's a genius. But I still can't get through the stuff he writes in Artforum. I get a headache almost right away." Saul Anton, an Editor-at-Large at Cabinet magazine who has written for Salon and Artforum, among other publications, describes an imaginary encounter between Robert Smithson and Andy Warhol, drifting together for a day through an empty New York City, talking about entropy, glamour, science fiction, cinema and the art of their times. Published in conjunction with les Presses du reel, this highly informative and witty essay on both artists' works in the form of a fiction could be considered a contemporary Platonic Symposium.
Warhol's dream
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$26.00
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"12 February 1972--I had slept badly. I decided to go out for breakfast, but when I got down to the street, there was no one there, and I thought, Andy, you must be still dreaming. It was like New York at eight in the morning on New Year's Day. Completely deserted. Everything shut. It's my favorite time to be out, actually. I decided to go to my favorite diner, the Star Palace, on 37th and Madison. And there, sitting alone at the window was, believe it or not, Robert Smithson, who I've met a few times. They all think he's a genius. But I still can't get through the stuff he writes in Artforum. I get a headache almost right away." Saul Anton, an Editor-at-Large at Cabinet magazine who has written for Salon and Artforum, among other publications, describes an imaginary encounter between Robert Smithson and Andy Warhol, drifting together for a day through an empty New York City, talking about entropy, glamour, science fiction, cinema and the art of their times. Published in conjunction with les Presses du reel, this highly informative and witty essay on both artists' works in the form of a fiction could be considered a contemporary Platonic Symposium.
Form:
books
books
Publication:
January 1900, Paris Zurich
January 1900, Paris Zurich
Subject:
Art Theory
Art Theory
Form:
books
books
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$22.00
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Summary:
Liam Gillick has consistently used text as a site of artistic, theoretical and political intervention in his work. This book brings together a selection of his published critical writings, focusing on his role among a group of artists who emerged in the 1990s.
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Liam Gillick has consistently used text as a site of artistic, theoretical and political intervention in his work. This book brings together a selection of his published critical writings, focusing on his role among a group of artists who emerged in the 1990s.
Title:
Proxemics: Selected Writings (1988-2006)
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Liam Gillick has consistently used text as a site of artistic, theoretical and political intervention in his work. This book brings together a selection of his published critical writings, focusing on his role among a group of artists who emerged in the 1990s.
Proxemics: Selected Writings (1988-2006)
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Liam Gillick has consistently used text as a site of artistic, theoretical and political intervention in his work. This book brings together a selection of his published critical writings, focusing on his role among a group of artists who emerged in the 1990s.
Form:
books
books
Publication:
October 2007, Zurich
October 2007, Zurich
Subject:
Art Theory
Art Theory
Form:
books
books
Title:
Postproduction
Postproduction
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$22.95
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Since the early nineties, an ever increasing number of artworks have been created on the basis of preexisting works; more and more artists interprete, reproduce, re-exhibit, or use works made by others or available cultural products. This art of postproduction seems to repond to the proliferating chaos of global culture in the information age, which is characterized by an(...)
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Summary:
Since the early nineties, an ever increasing number of artworks have been created on the basis of preexisting works; more and more artists interprete, reproduce, re-exhibit, or use works made by others or available cultural products. This art of postproduction seems to repond to the proliferating chaos of global culture in the information age, which is characterized by an(...)
Title:
Postproduction
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Since the early nineties, an ever increasing number of artworks have been created on the basis of preexisting works; more and more artists interprete, reproduce, re-exhibit, or use works made by others or available cultural products. This art of postproduction seems to repond to the proliferating chaos of global culture in the information age, which is characterized by an increase in the supply of works and the art world's annexation of forms ignored or disdained until now.
Postproduction
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$22.95
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Summary:
Since the early nineties, an ever increasing number of artworks have been created on the basis of preexisting works; more and more artists interprete, reproduce, re-exhibit, or use works made by others or available cultural products. This art of postproduction seems to repond to the proliferating chaos of global culture in the information age, which is characterized by an increase in the supply of works and the art world's annexation of forms ignored or disdained until now.
Form:
books
books
Publication:
January 1900, New York
January 1900, New York
Subject:
Art Theory
Art Theory
Form:
books
books
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$36.95
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Summary:
This reader, a companion volume to the 'Uncertain States of America' exhibition catalogue, began in 2005 when the curators met with artists in their studios. What were the artists reading? What articles, books, reviews -and, they soon discovered, cartoons, cookbooks, memoirs, and film script- were influencing their practices?
$36.95
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Summary:
This reader, a companion volume to the 'Uncertain States of America' exhibition catalogue, began in 2005 when the curators met with artists in their studios. What were the artists reading? What articles, books, reviews -and, they soon discovered, cartoons, cookbooks, memoirs, and film script- were influencing their practices?
Title:
The Uncertain States of America Reader
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$36.95
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Summary:
This reader, a companion volume to the 'Uncertain States of America' exhibition catalogue, began in 2005 when the curators met with artists in their studios. What were the artists reading? What articles, books, reviews -and, they soon discovered, cartoons, cookbooks, memoirs, and film script- were influencing their practices?
The Uncertain States of America Reader
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$36.95
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Summary:
This reader, a companion volume to the 'Uncertain States of America' exhibition catalogue, began in 2005 when the curators met with artists in their studios. What were the artists reading? What articles, books, reviews -and, they soon discovered, cartoons, cookbooks, memoirs, and film script- were influencing their practices?
Form:
books
books
Publication:
October 2007, New York, Berlin
October 2007, New York, Berlin
Subject:
Art Theory
Art Theory
