1823 Résultats
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livres
Titre:
Gina Proenza
Gina Proenza
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Dans ses œuvres, l'artiste franco-colombienne et lausannoise d'adoption Gina Proenza (née en 1994 à Bogotá) mêle littératures, sciences, légendes ou encore recherches anthropologiques en convoquant aussi bien des références amérindiennes que des contes populaires européens, tout en évoquant l'histoire de la sculpture moderniste au travers de dispositifs théâtraux.(...)
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Dans ses œuvres, l'artiste franco-colombienne et lausannoise d'adoption Gina Proenza (née en 1994 à Bogotá) mêle littératures, sciences, légendes ou encore recherches anthropologiques en convoquant aussi bien des références amérindiennes que des contes populaires européens, tout en évoquant l'histoire de la sculpture moderniste au travers de dispositifs théâtraux.(...)
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Gina Proenza
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Dans ses œuvres, l'artiste franco-colombienne et lausannoise d'adoption Gina Proenza (née en 1994 à Bogotá) mêle littératures, sciences, légendes ou encore recherches anthropologiques en convoquant aussi bien des références amérindiennes que des contes populaires européens, tout en évoquant l'histoire de la sculpture moderniste au travers de dispositifs théâtraux. L'artiste allie la profondeur de la recherche à l'intelligence des matériaux, la précision d'exécution des objets à la poétique de leur mise en espace, pour créer des œuvres polysémiques en constant mouvement. Au gré de ses expositions, Gina Proenza développe des narrations où chaque œuvre fonctionne comme un indice, à la fois création autonome et partie prenante d'un tout à déchiffrer. Gargouilles qui tirent une langue motorisée, enseignes lumineuses transformées en partitions de chants ou bancs à bascule qui font dialoguer les corps du public entre eux : la langue, qu'elle soit orale, écrite, allégorique ou anatomique, est au cœur de sa pratique.
Gina Proenza
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Dans ses œuvres, l'artiste franco-colombienne et lausannoise d'adoption Gina Proenza (née en 1994 à Bogotá) mêle littératures, sciences, légendes ou encore recherches anthropologiques en convoquant aussi bien des références amérindiennes que des contes populaires européens, tout en évoquant l'histoire de la sculpture moderniste au travers de dispositifs théâtraux. L'artiste allie la profondeur de la recherche à l'intelligence des matériaux, la précision d'exécution des objets à la poétique de leur mise en espace, pour créer des œuvres polysémiques en constant mouvement. Au gré de ses expositions, Gina Proenza développe des narrations où chaque œuvre fonctionne comme un indice, à la fois création autonome et partie prenante d'un tout à déchiffrer. Gargouilles qui tirent une langue motorisée, enseignes lumineuses transformées en partitions de chants ou bancs à bascule qui font dialoguer les corps du public entre eux : la langue, qu'elle soit orale, écrite, allégorique ou anatomique, est au cœur de sa pratique.
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livres
Publication:
juillet 2024
juillet 2024
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livres
livres
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Cette publication a été produite dans le cadre de l'exposition "Collision monuments etcetera" présentée au Centre Culturel canadien du 7 février au 7 avril 2004.
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Cette publication a été produite dans le cadre de l'exposition "Collision monuments etcetera" présentée au Centre Culturel canadien du 7 février au 7 avril 2004.
Publication:
janvier 1900, Paris
janvier 1900, Paris
Titre:
Bernie Miller : collision monuments etc.
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Cette publication a été produite dans le cadre de l'exposition "Collision monuments etcetera" présentée au Centre Culturel canadien du 7 février au 7 avril 2004.
Bernie Miller : collision monuments etc.
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Cette publication a été produite dans le cadre de l'exposition "Collision monuments etcetera" présentée au Centre Culturel canadien du 7 février au 7 avril 2004.
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livres
Publication:
janvier 1900, Paris
janvier 1900, Paris
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livres
Titre:
Hamish Fulton : keep moving
Hamish Fulton : keep moving
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"Keep moving" is an artist’s book by Hamish Fulton, the British "walking artist." At the core of Fulton’s practice are the experiences he accumulates during his perambulations, which he records in photographs, pictograms, and texts. The exploration of self and the encounter with nature become one and the same. "Keep moving" resulted from a period of time the artist spent(...)
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"Keep moving" is an artist’s book by Hamish Fulton, the British "walking artist." At the core of Fulton’s practice are the experiences he accumulates during his perambulations, which he records in photographs, pictograms, and texts. The exploration of self and the encounter with nature become one and the same. "Keep moving" resulted from a period of time the artist spent(...)
Publication:
octobre 2005, Milano
octobre 2005, Milano
Titre:
Hamish Fulton : keep moving
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"Keep moving" is an artist’s book by Hamish Fulton, the British "walking artist." At the core of Fulton’s practice are the experiences he accumulates during his perambulations, which he records in photographs, pictograms, and texts. The exploration of self and the encounter with nature become one and the same. "Keep moving" resulted from a period of time the artist spent in the Corvara region of the Dolomites in the summer of 2004, during which he went on eight day-long walks and a guided climb, using a small mountain hut as his base. Contributing an essay here is legendary mountaineer Reinhold Messner, with whom Fulton hiked the imagined trail followed by Ötzi the Iceman, whose 5,000-year-old skeleton was recently discovered in the South Tyrol.
Hamish Fulton : keep moving
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"Keep moving" is an artist’s book by Hamish Fulton, the British "walking artist." At the core of Fulton’s practice are the experiences he accumulates during his perambulations, which he records in photographs, pictograms, and texts. The exploration of self and the encounter with nature become one and the same. "Keep moving" resulted from a period of time the artist spent in the Corvara region of the Dolomites in the summer of 2004, during which he went on eight day-long walks and a guided climb, using a small mountain hut as his base. Contributing an essay here is legendary mountaineer Reinhold Messner, with whom Fulton hiked the imagined trail followed by Ötzi the Iceman, whose 5,000-year-old skeleton was recently discovered in the South Tyrol.
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livres
livres
Publication:
octobre 2005, Milano
octobre 2005, Milano
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The newly founded gallery Haunch of Venison inaugurates its opening with an exhibition by internationally acclaimed sculptor Rachel Whiteread. The exhibition and accompanying publication feature Whiteread's newest work, Untitled (Domestic), a massive sculpture cast from the fire escape staircases of Haunch of Venison's premises--a 3-storey building constructed in the late(...)
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The newly founded gallery Haunch of Venison inaugurates its opening with an exhibition by internationally acclaimed sculptor Rachel Whiteread. The exhibition and accompanying publication feature Whiteread's newest work, Untitled (Domestic), a massive sculpture cast from the fire escape staircases of Haunch of Venison's premises--a 3-storey building constructed in the late(...)
Publication:
juillet 2003, London
juillet 2003, London
Titre:
Rachel Whiteread : Haunch of Venison
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The newly founded gallery Haunch of Venison inaugurates its opening with an exhibition by internationally acclaimed sculptor Rachel Whiteread. The exhibition and accompanying publication feature Whiteread's newest work, Untitled (Domestic), a massive sculpture cast from the fire escape staircases of Haunch of Venison's premises--a 3-storey building constructed in the late 18th century that was originally the home of Admiral Lord Nelson. Reincarnating the staircase in its negative form, the imposing white sculpture invokes the building's past while reflecting the artist's interest in the formal and purely architectural qualities of sculpture. This inaugural publication features installation views of the exhibition, including additional work dating from 1995 to the present day, as well as two amply illustrated essays and a complete bibliography. The first text considers Whiteread's immense public commissions in relation to their environment; the second outlines the history and techniques involved in creating the cast staircase sculptures.
Rachel Whiteread : Haunch of Venison
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The newly founded gallery Haunch of Venison inaugurates its opening with an exhibition by internationally acclaimed sculptor Rachel Whiteread. The exhibition and accompanying publication feature Whiteread's newest work, Untitled (Domestic), a massive sculpture cast from the fire escape staircases of Haunch of Venison's premises--a 3-storey building constructed in the late 18th century that was originally the home of Admiral Lord Nelson. Reincarnating the staircase in its negative form, the imposing white sculpture invokes the building's past while reflecting the artist's interest in the formal and purely architectural qualities of sculpture. This inaugural publication features installation views of the exhibition, including additional work dating from 1995 to the present day, as well as two amply illustrated essays and a complete bibliography. The first text considers Whiteread's immense public commissions in relation to their environment; the second outlines the history and techniques involved in creating the cast staircase sculptures.
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livres
livres
Publication:
juillet 2003, London
juillet 2003, London
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livres
livres
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Catalogue paru lors de l'exposition présentée à la Galerie de l'Uqam, à Montréal, du 18 octobre au 23 novembre 2002.
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Catalogue paru lors de l'exposition présentée à la Galerie de l'Uqam, à Montréal, du 18 octobre au 23 novembre 2002.
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décembre 2002, Montréal
décembre 2002, Montréal
Titre:
Alain Paiement : le monde en chantier
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Catalogue paru lors de l'exposition présentée à la Galerie de l'Uqam, à Montréal, du 18 octobre au 23 novembre 2002.
Alain Paiement : le monde en chantier
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Catalogue paru lors de l'exposition présentée à la Galerie de l'Uqam, à Montréal, du 18 octobre au 23 novembre 2002.
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Publication:
décembre 2002, Montréal
décembre 2002, Montréal
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$74.25
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The art in the Detroit People Mover stations is a world-class collection with a uniquely Detroit sensibility. When the People Mover, Detroit's elevated transit system, was being planned, the stations were designed simply to serve as basic points of entry and departure, but in 1984 Irene Walt and the Downtown Detroit People Mover Art Commission, a volunteer committee also(...)
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The art in the Detroit People Mover stations is a world-class collection with a uniquely Detroit sensibility. When the People Mover, Detroit's elevated transit system, was being planned, the stations were designed simply to serve as basic points of entry and departure, but in 1984 Irene Walt and the Downtown Detroit People Mover Art Commission, a volunteer committee also(...)
Titre:
Art in the stations : the Detroit People Mover
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The art in the Detroit People Mover stations is a world-class collection with a uniquely Detroit sensibility. When the People Mover, Detroit's elevated transit system, was being planned, the stations were designed simply to serve as basic points of entry and departure, but in 1984 Irene Walt and the Downtown Detroit People Mover Art Commission, a volunteer committee also known as Art in the Stations, undertook the task of incorporating major works by contemporary American artists into the thirteen People Mover stations. As a result Detroit now has one of the most impressive collections of public art in the country. With lush photographs by Balthazar Korab and accompanying narrative, Art in the Stations examines each of the gorgeous works that grace the People Mover stations. A stunning guide through the city's People Mover art installations, Art in the Stations documents Detroit's rich culture and testifies to the perseverance and hard work that made the display of this art possible.
Art in the stations : the Detroit People Mover
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The art in the Detroit People Mover stations is a world-class collection with a uniquely Detroit sensibility. When the People Mover, Detroit's elevated transit system, was being planned, the stations were designed simply to serve as basic points of entry and departure, but in 1984 Irene Walt and the Downtown Detroit People Mover Art Commission, a volunteer committee also known as Art in the Stations, undertook the task of incorporating major works by contemporary American artists into the thirteen People Mover stations. As a result Detroit now has one of the most impressive collections of public art in the country. With lush photographs by Balthazar Korab and accompanying narrative, Art in the Stations examines each of the gorgeous works that grace the People Mover stations. A stunning guide through the city's People Mover art installations, Art in the Stations documents Detroit's rich culture and testifies to the perseverance and hard work that made the display of this art possible.
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livres
livres
Publication:
août 2004, Detroit
août 2004, Detroit
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livres
Titre:
Dan Graham by Dan Graham
Dan Graham by Dan Graham
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Beautifully designed, this catalogue is from the exhibition held at Chiba City Art Museum at the end of 2003. It provides a detailed presentation of Graham's work with notes by the artist.
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Beautifully designed, this catalogue is from the exhibition held at Chiba City Art Museum at the end of 2003. It provides a detailed presentation of Graham's work with notes by the artist.
Publication:
janvier 1900, Chiba
janvier 1900, Chiba
Titre:
Dan Graham by Dan Graham
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Beautifully designed, this catalogue is from the exhibition held at Chiba City Art Museum at the end of 2003. It provides a detailed presentation of Graham's work with notes by the artist.
Dan Graham by Dan Graham
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Beautifully designed, this catalogue is from the exhibition held at Chiba City Art Museum at the end of 2003. It provides a detailed presentation of Graham's work with notes by the artist.
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Publication:
janvier 1900, Chiba
janvier 1900, Chiba
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In late 1960 Michael Snow made several naturalistic flat cut-out cardboard figures which used the/a wall as their background. In early 1961, to make one of these, he drew—then cut out with a matte knife—a side view of a female figure walking, 152 cm tall, within a drawn rectangle on a piece of cardboard. All his work between 1961 and 1967 used the outline or silhouette of(...)
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In late 1960 Michael Snow made several naturalistic flat cut-out cardboard figures which used the/a wall as their background. In early 1961, to make one of these, he drew—then cut out with a matte knife—a side view of a female figure walking, 152 cm tall, within a drawn rectangle on a piece of cardboard. All his work between 1961 and 1967 used the outline or silhouette of(...)
Publication:
mai 2004, Brussels
mai 2004, Brussels
Titre:
Michael Snow : Biographie of the walking woman / de la femme qui marche 1961 - 1967 (2004)
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In late 1960 Michael Snow made several naturalistic flat cut-out cardboard figures which used the/a wall as their background. In early 1961, to make one of these, he drew—then cut out with a matte knife—a side view of a female figure walking, 152 cm tall, within a drawn rectangle on a piece of cardboard. All his work between 1961 and 1967 used the outline or silhouette of the original cut-out as both tool and subject. "Biographie" is a 2004 The Walking Woman work which consists of the juxtaposition and the many-sided sequential ordering of a selection from these deliberate, inadvertent, and by-chance photographic documents. It is a Finnegan’s Wake, non-chronological biography. / À la fin des années 1960, Michael Snow réalisa plusieurs découpages naturalistes de figurines en carton en utilisant le mur comme arrière plan. Au début de 1961, il dessina, puis découpa la silhouette de profil d’une femme marchant, haute de 152 cm, dans un morceau de carton.Tout son travail, entre 1961 et 1967, utilise le profil ou la silhouette de la découpe originale aussi bien comme outil que comme sujet. Le livre "Biographie" est un livre d’artiste qui consiste en la juxtaposition et l’ordonnancement séquentiel de documents photographiques délibérés, inopinés ou aléatoires, conjuguant les apparitions ordinaires et sublimes de La femme qui marche. C’est une biographie non chronologique à la Finnegan’s Wake.
Michael Snow : Biographie of the walking woman / de la femme qui marche 1961 - 1967 (2004)
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In late 1960 Michael Snow made several naturalistic flat cut-out cardboard figures which used the/a wall as their background. In early 1961, to make one of these, he drew—then cut out with a matte knife—a side view of a female figure walking, 152 cm tall, within a drawn rectangle on a piece of cardboard. All his work between 1961 and 1967 used the outline or silhouette of the original cut-out as both tool and subject. "Biographie" is a 2004 The Walking Woman work which consists of the juxtaposition and the many-sided sequential ordering of a selection from these deliberate, inadvertent, and by-chance photographic documents. It is a Finnegan’s Wake, non-chronological biography. / À la fin des années 1960, Michael Snow réalisa plusieurs découpages naturalistes de figurines en carton en utilisant le mur comme arrière plan. Au début de 1961, il dessina, puis découpa la silhouette de profil d’une femme marchant, haute de 152 cm, dans un morceau de carton.Tout son travail, entre 1961 et 1967, utilise le profil ou la silhouette de la découpe originale aussi bien comme outil que comme sujet. Le livre "Biographie" est un livre d’artiste qui consiste en la juxtaposition et l’ordonnancement séquentiel de documents photographiques délibérés, inopinés ou aléatoires, conjuguant les apparitions ordinaires et sublimes de La femme qui marche. C’est une biographie non chronologique à la Finnegan’s Wake.
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livres
Publication:
mai 2004, Brussels
mai 2004, Brussels
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livres
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$55.95
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A fully illustrated 200- page book produced by The Museum of Contemporary Art, Los Angeles, and distributed by Distributed Art Publishers, New York. The publication includes essays by the organizing curators Grant Arnold (Vancouver), Connie Butler (Los Angeles) and Jessica Bradley (Toronto), and guest writers Lynne Cooke (New York), Diedrich Diederichsen (Berlin), Sara(...)
$55.95
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A fully illustrated 200- page book produced by The Museum of Contemporary Art, Los Angeles, and distributed by Distributed Art Publishers, New York. The publication includes essays by the organizing curators Grant Arnold (Vancouver), Connie Butler (Los Angeles) and Jessica Bradley (Toronto), and guest writers Lynne Cooke (New York), Diedrich Diederichsen (Berlin), Sara(...)
Publication:
janvier 1900, Toronto
janvier 1900, Toronto
Titre:
Rodney Graham : a little thought
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A fully illustrated 200- page book produced by The Museum of Contemporary Art, Los Angeles, and distributed by Distributed Art Publishers, New York. The publication includes essays by the organizing curators Grant Arnold (Vancouver), Connie Butler (Los Angeles) and Jessica Bradley (Toronto), and guest writers Lynne Cooke (New York), Diedrich Diederichsen (Berlin), Sara Krajewski (Seattle) and Shepherd Steiner (Vancouver).
Rodney Graham : a little thought
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A fully illustrated 200- page book produced by The Museum of Contemporary Art, Los Angeles, and distributed by Distributed Art Publishers, New York. The publication includes essays by the organizing curators Grant Arnold (Vancouver), Connie Butler (Los Angeles) and Jessica Bradley (Toronto), and guest writers Lynne Cooke (New York), Diedrich Diederichsen (Berlin), Sara Krajewski (Seattle) and Shepherd Steiner (Vancouver).
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livres
livres
Publication:
janvier 1900, Toronto
janvier 1900, Toronto
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livres
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In the 1960s art fell out of time; both artists and critics lost their temporal bearings in response to what E. M. Cioran called "not being entitled to time." This anxiety and uneasiness about time, which Pamela Lee calls "chronophobia," cut across movements, media, and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films. Despite its(...)
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In the 1960s art fell out of time; both artists and critics lost their temporal bearings in response to what E. M. Cioran called "not being entitled to time." This anxiety and uneasiness about time, which Pamela Lee calls "chronophobia," cut across movements, media, and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films. Despite its(...)
Titre:
Chronophobia : on time in the art of the 1960's
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In the 1960s art fell out of time; both artists and critics lost their temporal bearings in response to what E. M. Cioran called "not being entitled to time." This anxiety and uneasiness about time, which Pamela Lee calls "chronophobia," cut across movements, media, and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films. Despite its pervasiveness, the subject of time and 1960s art has gone largely unexamined in historical accounts of the period. Chronophobia is the first critical attempt to define this obsession and analyze it in relation to art and technology. Lee discusses the chronophobia of art relative to the emergence of the Information Age in postwar culture. The accompanying rapid technological transformations, including the advent of computers and automation processes, produced for many an acute sense of historical unknowing; the seemingly accelerated pace of life began to outstrip any attempts to make sense of the present. Lee sees the attitude of 1960s art to time as a historical prelude to our current fixation on time and speed within digital culture. Reflecting upon the 1960s cultural anxiety about temporality, she argues, helps us historicize our current relation to technology and time.
Chronophobia : on time in the art of the 1960's
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In the 1960s art fell out of time; both artists and critics lost their temporal bearings in response to what E. M. Cioran called "not being entitled to time." This anxiety and uneasiness about time, which Pamela Lee calls "chronophobia," cut across movements, media, and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films. Despite its pervasiveness, the subject of time and 1960s art has gone largely unexamined in historical accounts of the period. Chronophobia is the first critical attempt to define this obsession and analyze it in relation to art and technology. Lee discusses the chronophobia of art relative to the emergence of the Information Age in postwar culture. The accompanying rapid technological transformations, including the advent of computers and automation processes, produced for many an acute sense of historical unknowing; the seemingly accelerated pace of life began to outstrip any attempts to make sense of the present. Lee sees the attitude of 1960s art to time as a historical prelude to our current fixation on time and speed within digital culture. Reflecting upon the 1960s cultural anxiety about temporality, she argues, helps us historicize our current relation to technology and time.
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livres
livres
Publication:
mai 2004, Cambridge, Mass.
mai 2004, Cambridge, Mass.
