1859 Résultats
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Although highly regarded during his short life--and honored by artists and architects today--the American artist Gordon Matta-Clark (1943-78) has been largely ignored within the history of art. Matta-Clark is best remembered for site-specific projects known as(...)
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Résumé:
Although highly regarded during his short life--and honored by artists and architects today--the American artist Gordon Matta-Clark (1943-78) has been largely ignored within the history of art. Matta-Clark is best remembered for site-specific projects known as(...)
Publication:
octobre 2001
octobre 2001
Titre:
Object to be destroyed : the work of Gordon Matta-Clark
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Although highly regarded during his short life--and honored by artists and architects today--the American artist Gordon Matta-Clark (1943-78) has been largely ignored within the history of art. Matta-Clark is best remembered for site-specific projects known as "building cuts." Sculptural transformations of architecture produced through direct cuts into buildings scheduled for demolition, these works now exist only as sculptural fragments, photographs, and film and video documentations. Matta-Clark is also remembered as a catalytic force in the creation of SoHo in the early 1970s. Through loft activities, site projects at the exhibition space 112 Greene Street, and his work at the restaurant Food, he participated in the production of a new social and artistic space. In this first critical account of Matta-Clark's work, Lee considers it in the context of the art of the 1970s--particularly site-specific, conceptual, and minimalist practices--and its confrontation with issues of community, property, the alienation of urban space, the "right to the city," and the ideologies of progress that have defined modern building programs.
Object to be destroyed : the work of Gordon Matta-Clark
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Although highly regarded during his short life--and honored by artists and architects today--the American artist Gordon Matta-Clark (1943-78) has been largely ignored within the history of art. Matta-Clark is best remembered for site-specific projects known as "building cuts." Sculptural transformations of architecture produced through direct cuts into buildings scheduled for demolition, these works now exist only as sculptural fragments, photographs, and film and video documentations. Matta-Clark is also remembered as a catalytic force in the creation of SoHo in the early 1970s. Through loft activities, site projects at the exhibition space 112 Greene Street, and his work at the restaurant Food, he participated in the production of a new social and artistic space. In this first critical account of Matta-Clark's work, Lee considers it in the context of the art of the 1970s--particularly site-specific, conceptual, and minimalist practices--and its confrontation with issues of community, property, the alienation of urban space, the "right to the city," and the ideologies of progress that have defined modern building programs.
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livres
Publication:
octobre 2001
octobre 2001
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livres
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"One place after another" offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public(...)
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"One place after another" offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public(...)
Publication:
novembre 2001, Cambridge, Mass.
novembre 2001, Cambridge, Mass.
Titre:
One place after another : site-specific art and locational identity
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"One place after another" offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renée Green, Suzanne Lacy, Iñigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.
One place after another : site-specific art and locational identity
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"One place after another" offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renée Green, Suzanne Lacy, Iñigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.
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livres
livres
Publication:
novembre 2001, Cambridge, Mass.
novembre 2001, Cambridge, Mass.
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livres
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Rachel Whiteread (b. 1963) creates spare, poetic sculptures that challenge perceptions of the commonplace. Working from everyday domestic items, she casts - in rubber, concrete, plaster, and polyester resin - the negative spaces inside closets and underneath beds, sinks, bathtubs, and chairs. Now, in what may be her most personal project to date, the Turner Prize-winning(...)
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Rachel Whiteread (b. 1963) creates spare, poetic sculptures that challenge perceptions of the commonplace. Working from everyday domestic items, she casts - in rubber, concrete, plaster, and polyester resin - the negative spaces inside closets and underneath beds, sinks, bathtubs, and chairs. Now, in what may be her most personal project to date, the Turner Prize-winning(...)
Publication:
octobre 2001, New York
octobre 2001, New York
Titre:
Rachel Whiteread : transient spaces
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Rachel Whiteread (b. 1963) creates spare, poetic sculptures that challenge perceptions of the commonplace. Working from everyday domestic items, she casts - in rubber, concrete, plaster, and polyester resin - the negative spaces inside closets and underneath beds, sinks, bathtubs, and chairs. Now, in what may be her most personal project to date, the Turner Prize-winning artist has been commissioned by Deutsche Guggenheim Berlin to make two large-scale casts from distinct spaces in a London building that she recently purchased to become her home and studio. Although the building has a history as both a synagogue and a factory, it is a product of austere postwar architecture, lacking many of the traditional embellishments associated with such structures. This fully illustrated volume documents Whiteread's process as she creates casts from this religious-cum-industrial-cum-personal space, which blurs boundaries between the spiritual and secular, as well as the public and private.
Rachel Whiteread : transient spaces
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Rachel Whiteread (b. 1963) creates spare, poetic sculptures that challenge perceptions of the commonplace. Working from everyday domestic items, she casts - in rubber, concrete, plaster, and polyester resin - the negative spaces inside closets and underneath beds, sinks, bathtubs, and chairs. Now, in what may be her most personal project to date, the Turner Prize-winning artist has been commissioned by Deutsche Guggenheim Berlin to make two large-scale casts from distinct spaces in a London building that she recently purchased to become her home and studio. Although the building has a history as both a synagogue and a factory, it is a product of austere postwar architecture, lacking many of the traditional embellishments associated with such structures. This fully illustrated volume documents Whiteread's process as she creates casts from this religious-cum-industrial-cum-personal space, which blurs boundaries between the spiritual and secular, as well as the public and private.
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livres
livres
Publication:
octobre 2001, New York
octobre 2001, New York
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livres
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$41.50
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What would it mean today to think or to imagine, to design or to construct, in relation not to "things made" but to "things in the making"? This question, first posed by the philosopher William James, was the point of departure for "The Pragmatist Imagination". The volume brings together position statements, theoretical speculations, and critical commentary by 33 leading(...)
$41.50
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Résumé:
What would it mean today to think or to imagine, to design or to construct, in relation not to "things made" but to "things in the making"? This question, first posed by the philosopher William James, was the point of departure for "The Pragmatist Imagination". The volume brings together position statements, theoretical speculations, and critical commentary by 33 leading(...)
Publication:
novembre 2001, New York
novembre 2001, New York
Titre:
The pragmatist imagination : thinking about things in the making
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What would it mean today to think or to imagine, to design or to construct, in relation not to "things made" but to "things in the making"? This question, first posed by the philosopher William James, was the point of departure for "The Pragmatist Imagination". The volume brings together position statements, theoretical speculations, and critical commentary by 33 leading thinkers and makers from over a dozen disciplines. Based on the proceedings of an international workshop held at Columbia University under the auspices of the Buell Center for the Study of American Architecture in spring 2000, a preamble to the much-ballyhooed conference at the Museum of Modern Art in November, 2000, the contributions traverse a set of burning questions about the future, ranging from the relationship between art and experience to the impact of new technologies on human consciousness, from transformations in everyday life to problems of public space, and from the destiny of the nation-state to emergent forms of transnationalism. The authors include Stanley Aronowitz, Marshall Berman, Casey Nelson Blake, Sandra Buckley, Teresa Caldeira, Jean-Louis Cohen, Jonathan Crary, Rosalyn Deutsche, Kenneth Frampton, Gerald E. Frug, Peter Galison, Elizabeth Grosz, Andreas Huyssen, Isaac Joseph, David Lapoujade, Reinhold Martin, Brian Massumi, Mary McLeod, Paul Miller a.k.a. DJ Spooky, Chantal Mouffe, Joan Ockman, John Rajchman, Martha Rosler, Hashim Sarkis, Saskia Sassen, Sandhya Shukla, Richard Shusterman, Abdoumaliq Simone, Anders Stephanson, Bernard Tschumi, Nadia Urbinati, Mabel Wilson, and Gwendolyn Wright. The book includes an introduction by John Rajchman and an afterword by Casey Nelson Blake.
The pragmatist imagination : thinking about things in the making
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Résumé:
What would it mean today to think or to imagine, to design or to construct, in relation not to "things made" but to "things in the making"? This question, first posed by the philosopher William James, was the point of departure for "The Pragmatist Imagination". The volume brings together position statements, theoretical speculations, and critical commentary by 33 leading thinkers and makers from over a dozen disciplines. Based on the proceedings of an international workshop held at Columbia University under the auspices of the Buell Center for the Study of American Architecture in spring 2000, a preamble to the much-ballyhooed conference at the Museum of Modern Art in November, 2000, the contributions traverse a set of burning questions about the future, ranging from the relationship between art and experience to the impact of new technologies on human consciousness, from transformations in everyday life to problems of public space, and from the destiny of the nation-state to emergent forms of transnationalism. The authors include Stanley Aronowitz, Marshall Berman, Casey Nelson Blake, Sandra Buckley, Teresa Caldeira, Jean-Louis Cohen, Jonathan Crary, Rosalyn Deutsche, Kenneth Frampton, Gerald E. Frug, Peter Galison, Elizabeth Grosz, Andreas Huyssen, Isaac Joseph, David Lapoujade, Reinhold Martin, Brian Massumi, Mary McLeod, Paul Miller a.k.a. DJ Spooky, Chantal Mouffe, Joan Ockman, John Rajchman, Martha Rosler, Hashim Sarkis, Saskia Sassen, Sandhya Shukla, Richard Shusterman, Abdoumaliq Simone, Anders Stephanson, Bernard Tschumi, Nadia Urbinati, Mabel Wilson, and Gwendolyn Wright. The book includes an introduction by John Rajchman and an afterword by Casey Nelson Blake.
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livres
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novembre 2001, New York
novembre 2001, New York
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Between 1999 and 2001, small old-fashioned landscapes painstakingly painted in oil started appearing on graffiti sites in New York City. The paintings were the work of artist Ellen Harvey. Documented here are both the works and Harvey's diary-like experiences of painting illegally throughout the city. The narrative of her "beautification project" is both provocative and(...)
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Between 1999 and 2001, small old-fashioned landscapes painstakingly painted in oil started appearing on graffiti sites in New York City. The paintings were the work of artist Ellen Harvey. Documented here are both the works and Harvey's diary-like experiences of painting illegally throughout the city. The narrative of her "beautification project" is both provocative and(...)
Titre:
Ellen Harvey : New York Beautification Project
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Between 1999 and 2001, small old-fashioned landscapes painstakingly painted in oil started appearing on graffiti sites in New York City. The paintings were the work of artist Ellen Harvey. Documented here are both the works and Harvey's diary-like experiences of painting illegally throughout the city. The narrative of her "beautification project" is both provocative and hilarious. It touches on serious issues, such as who is allowed to make art in our society and what distinguishes art from graffiti, while never losing touch with the frequently comical reality of creating a contemporary art project on the streets of New York.
Ellen Harvey : New York Beautification Project
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Between 1999 and 2001, small old-fashioned landscapes painstakingly painted in oil started appearing on graffiti sites in New York City. The paintings were the work of artist Ellen Harvey. Documented here are both the works and Harvey's diary-like experiences of painting illegally throughout the city. The narrative of her "beautification project" is both provocative and hilarious. It touches on serious issues, such as who is allowed to make art in our society and what distinguishes art from graffiti, while never losing touch with the frequently comical reality of creating a contemporary art project on the streets of New York.
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livres
livres
Publication:
septembre 2005, New York
septembre 2005, New York
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Long considered a pioneer creator of ecological artworks for urban environments, Alan Sonfist has been fusing human history and the natural environment since the mid 1960s. Few artists have had such an unswerving, or generative, interest in the landscape - be it physical, social, or historical - that surrounds us. Essays by Lawrence Alloway, Jonathan Carpenter, John(...)
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Long considered a pioneer creator of ecological artworks for urban environments, Alan Sonfist has been fusing human history and the natural environment since the mid 1960s. Few artists have had such an unswerving, or generative, interest in the landscape - be it physical, social, or historical - that surrounds us. Essays by Lawrence Alloway, Jonathan Carpenter, John(...)
Titre:
Nature, the end of art : enviromental landscapes
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Long considered a pioneer creator of ecological artworks for urban environments, Alan Sonfist has been fusing human history and the natural environment since the mid 1960s. Few artists have had such an unswerving, or generative, interest in the landscape - be it physical, social, or historical - that surrounds us. Essays by Lawrence Alloway, Jonathan Carpenter, John Grande, Uwe Rüth, and Michael Danoff. Introduction by Robert Rosenblum and Wolfgang Becker.
Nature, the end of art : enviromental landscapes
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Long considered a pioneer creator of ecological artworks for urban environments, Alan Sonfist has been fusing human history and the natural environment since the mid 1960s. Few artists have had such an unswerving, or generative, interest in the landscape - be it physical, social, or historical - that surrounds us. Essays by Lawrence Alloway, Jonathan Carpenter, John Grande, Uwe Rüth, and Michael Danoff. Introduction by Robert Rosenblum and Wolfgang Becker.
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livres
Publication:
octobre 2004, New York
octobre 2004, New York
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$24.00
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Inspired by the symmetrical, Jeffersonian layout of the American Pavilion’s neoclassical architecture, and by Thomas Cole's cycle of the same name, Ed Ruscha installed this ten-painting exhibition titled "Course of empire" at the 2005 Venice biennale. Five pieces are painted in color and five in black and white. The artist paired each work from his 1992 Blue collar series(...)
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Inspired by the symmetrical, Jeffersonian layout of the American Pavilion’s neoclassical architecture, and by Thomas Cole's cycle of the same name, Ed Ruscha installed this ten-painting exhibition titled "Course of empire" at the 2005 Venice biennale. Five pieces are painted in color and five in black and white. The artist paired each work from his 1992 Blue collar series(...)
Publication:
septembre 2005, New York
septembre 2005, New York
Titre:
Course of empire : paintings of Ed Ruscha, United State pavilion, 51st Venice biennale, 2005
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Inspired by the symmetrical, Jeffersonian layout of the American Pavilion’s neoclassical architecture, and by Thomas Cole's cycle of the same name, Ed Ruscha installed this ten-painting exhibition titled "Course of empire" at the 2005 Venice biennale. Five pieces are painted in color and five in black and white. The artist paired each work from his 1992 Blue collar series with a new color canvas depicting the future of the same urban landscape, some deteriorated, some growing and changing, some seemingly gentrifying. The exhibition will travel in 2006 to The Whitney museum of American art in New York. Essays from Linda Norden, the U.S. commissioner for the Venice Biennale, and artist Frances Stark celebrate the work, while Joan Didion’s coolly written but deeply felt piece about her own brokenhearted longing for Los Angeles hits a perfect note.
Course of empire : paintings of Ed Ruscha, United State pavilion, 51st Venice biennale, 2005
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Inspired by the symmetrical, Jeffersonian layout of the American Pavilion’s neoclassical architecture, and by Thomas Cole's cycle of the same name, Ed Ruscha installed this ten-painting exhibition titled "Course of empire" at the 2005 Venice biennale. Five pieces are painted in color and five in black and white. The artist paired each work from his 1992 Blue collar series with a new color canvas depicting the future of the same urban landscape, some deteriorated, some growing and changing, some seemingly gentrifying. The exhibition will travel in 2006 to The Whitney museum of American art in New York. Essays from Linda Norden, the U.S. commissioner for the Venice Biennale, and artist Frances Stark celebrate the work, while Joan Didion’s coolly written but deeply felt piece about her own brokenhearted longing for Los Angeles hits a perfect note.
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livres
livres
Publication:
septembre 2005, New York
septembre 2005, New York
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$42.00
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A book for all the senses, exuding the flowery scent of wallflower, tufted violet, vanilla, calamint, lavender, and sage. Olafur Eliasson (*1967 in Copenhagen) is one of the most famous artists of his generation. In his installations, the Icelandic artist deals with aspects of land art, transplanting his contemporary interpretations of it to museums and thoughtfully(...)
$42.00
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A book for all the senses, exuding the flowery scent of wallflower, tufted violet, vanilla, calamint, lavender, and sage. Olafur Eliasson (*1967 in Copenhagen) is one of the most famous artists of his generation. In his installations, the Icelandic artist deals with aspects of land art, transplanting his contemporary interpretations of it to museums and thoughtfully(...)
Publication:
septembre 2005, Ostfildern (Ruit)
septembre 2005, Ostfildern (Ruit)
Titre:
Olafur Eliasson : scent tunnel
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$42.00
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A book for all the senses, exuding the flowery scent of wallflower, tufted violet, vanilla, calamint, lavender, and sage. Olafur Eliasson (*1967 in Copenhagen) is one of the most famous artists of his generation. In his installations, the Icelandic artist deals with aspects of land art, transplanting his contemporary interpretations of it to museums and thoughtfully planned park settings. The scented tunnel created for Wolfsburg, Germany's motor city, elucidates a fascinating interplay of nature and technology, where multiple sensory impressions combine to form a whole in the observer's perception. This publication documents Dufttunnel throughout an entire season. The various blooming phases of different plants are accompanied by scientific and art-historical interpretations of the Dufttunnel phenomenon.
Olafur Eliasson : scent tunnel
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$42.00
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A book for all the senses, exuding the flowery scent of wallflower, tufted violet, vanilla, calamint, lavender, and sage. Olafur Eliasson (*1967 in Copenhagen) is one of the most famous artists of his generation. In his installations, the Icelandic artist deals with aspects of land art, transplanting his contemporary interpretations of it to museums and thoughtfully planned park settings. The scented tunnel created for Wolfsburg, Germany's motor city, elucidates a fascinating interplay of nature and technology, where multiple sensory impressions combine to form a whole in the observer's perception. This publication documents Dufttunnel throughout an entire season. The various blooming phases of different plants are accompanied by scientific and art-historical interpretations of the Dufttunnel phenomenon.
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livres
livres
Publication:
septembre 2005, Ostfildern (Ruit)
septembre 2005, Ostfildern (Ruit)
Classification:
livres
livres
Titre:
Gordon Matta-Clark
Gordon Matta-Clark
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Born in New York and trained in architecture, Gordon Matta-Clark is most famous for his slicing through façades, walls and floors of derelict buildings. This 'deconstructing' gesture, provocative and extreme, turns architecture into astonishing sculptures, where the mass of the building is entwined with the light and air that penetrate it. Matta-Clark's interventions are(...)
$49.95
(disponible sur commande)
Résumé:
Born in New York and trained in architecture, Gordon Matta-Clark is most famous for his slicing through façades, walls and floors of derelict buildings. This 'deconstructing' gesture, provocative and extreme, turns architecture into astonishing sculptures, where the mass of the building is entwined with the light and air that penetrate it. Matta-Clark's interventions are(...)
Publication:
janvier 2006, New York / London
janvier 2006, New York / London
Titre:
Gordon Matta-Clark
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Born in New York and trained in architecture, Gordon Matta-Clark is most famous for his slicing through façades, walls and floors of derelict buildings. This 'deconstructing' gesture, provocative and extreme, turns architecture into astonishing sculptures, where the mass of the building is entwined with the light and air that penetrate it. Matta-Clark's interventions are always grounded in social or political convictions. Some of his projects include opening a restaurant (Food, 1971)in the SoHo in New York, purchasing at auction fractions of unusable urban land in New York (Reality Properties: Fake Estates, 1973), dispensing oxygen to passersby in the streets of New York from a self-made cart (Fresh Air Cart, 1972), and other visionary urban projects that he conceived as a founding member of the New York-based Anarchitecture group.
Gordon Matta-Clark
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Born in New York and trained in architecture, Gordon Matta-Clark is most famous for his slicing through façades, walls and floors of derelict buildings. This 'deconstructing' gesture, provocative and extreme, turns architecture into astonishing sculptures, where the mass of the building is entwined with the light and air that penetrate it. Matta-Clark's interventions are always grounded in social or political convictions. Some of his projects include opening a restaurant (Food, 1971)in the SoHo in New York, purchasing at auction fractions of unusable urban land in New York (Reality Properties: Fake Estates, 1973), dispensing oxygen to passersby in the streets of New York from a self-made cart (Fresh Air Cart, 1972), and other visionary urban projects that he conceived as a founding member of the New York-based Anarchitecture group.
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livres
livres
Publication:
janvier 2006, New York / London
janvier 2006, New York / London
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livres
livres
Titre:
Roman Signer
Roman Signer
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Since the mid 1970s Roman Signer has examined the forces of the elements – air, fire, earth and water – in a combination of performance (documented by photography and video) and sculpture (the physical remains of his acts). With a Dadaist love for the absurd, his artworks include Race (1981), in which the artist races a rocket across a field (hopelessly behind from the(...)
$59.95
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Résumé:
Since the mid 1970s Roman Signer has examined the forces of the elements – air, fire, earth and water – in a combination of performance (documented by photography and video) and sculpture (the physical remains of his acts). With a Dadaist love for the absurd, his artworks include Race (1981), in which the artist races a rocket across a field (hopelessly behind from the(...)
Publication:
juin 2006, London
juin 2006, London
Titre:
Roman Signer
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Since the mid 1970s Roman Signer has examined the forces of the elements – air, fire, earth and water – in a combination of performance (documented by photography and video) and sculpture (the physical remains of his acts). With a Dadaist love for the absurd, his artworks include Race (1981), in which the artist races a rocket across a field (hopelessly behind from the outset, the artist loses by nearly the entire length); Action at Hotel Weissbad (1992), in which an ordinary table is shot out a hotel window, the resulting photographs showing a table flying incongruously over a sleepy Swiss village; Power of Rain (1974), in which rainwater gathers slowly in a funnel until its force shatters a block of plaster; and Bicycle with Rockets (1991), the photographs of which show a fiery bicycle flying through the gallery like a demon comet. Often Signer will exhibit in the gallery the remains of an event not witnessed by the public, such as four empty barrels and a violently splattered wall, the remains of an explosion of paint in the gallery space (Portrait Gallery, 1993), or four sand piles with perfectly round craters on each, the neat result of four simultaneous explosions at their peaks (Cones of Sand, 1988). Roman Signer’s work has been exhibited at major venues across Europe and North America, as well as important international exhibitions such as Documenta 8 (1987), Skulptur Projekte in Munster (1997) and the 48th Venice Biennale (1999), in which he represented Switzerland.
Roman Signer
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Since the mid 1970s Roman Signer has examined the forces of the elements – air, fire, earth and water – in a combination of performance (documented by photography and video) and sculpture (the physical remains of his acts). With a Dadaist love for the absurd, his artworks include Race (1981), in which the artist races a rocket across a field (hopelessly behind from the outset, the artist loses by nearly the entire length); Action at Hotel Weissbad (1992), in which an ordinary table is shot out a hotel window, the resulting photographs showing a table flying incongruously over a sleepy Swiss village; Power of Rain (1974), in which rainwater gathers slowly in a funnel until its force shatters a block of plaster; and Bicycle with Rockets (1991), the photographs of which show a fiery bicycle flying through the gallery like a demon comet. Often Signer will exhibit in the gallery the remains of an event not witnessed by the public, such as four empty barrels and a violently splattered wall, the remains of an explosion of paint in the gallery space (Portrait Gallery, 1993), or four sand piles with perfectly round craters on each, the neat result of four simultaneous explosions at their peaks (Cones of Sand, 1988). Roman Signer’s work has been exhibited at major venues across Europe and North America, as well as important international exhibitions such as Documenta 8 (1987), Skulptur Projekte in Munster (1997) and the 48th Venice Biennale (1999), in which he represented Switzerland.
Classification:
livres
livres
Publication:
juin 2006, London
juin 2006, London
