1859 Résultats
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livres
livres
Titre:
The absence of Mark Manders
The absence of Mark Manders
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Essay by Laura Hoptman. Foreword by Loretta Yarlow. Interview by Marije Langelaar. At once a personal narrative and an encyclopedic collection of material, Dutch artist Mark Manders' "Self-Portrait" began its life as a building in 1986. Since then, Manders has exhibited fragments of the project, an array of created and found objects, furniture, sculpture, and drawings,(...)
$64.00
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Essay by Laura Hoptman. Foreword by Loretta Yarlow. Interview by Marije Langelaar. At once a personal narrative and an encyclopedic collection of material, Dutch artist Mark Manders' "Self-Portrait" began its life as a building in 1986. Since then, Manders has exhibited fragments of the project, an array of created and found objects, furniture, sculpture, and drawings,(...)
Publication:
février 2008, Bergen/Hannover/Ghent
février 2008, Bergen/Hannover/Ghent
Titre:
The absence of Mark Manders
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$64.00
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Résumé:
Essay by Laura Hoptman. Foreword by Loretta Yarlow. Interview by Marije Langelaar. At once a personal narrative and an encyclopedic collection of material, Dutch artist Mark Manders' "Self-Portrait" began its life as a building in 1986. Since then, Manders has exhibited fragments of the project, an array of created and found objects, furniture, sculpture, and drawings, keeping it in constant flux, changing with each manifestation.
The absence of Mark Manders
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$64.00
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Résumé:
Essay by Laura Hoptman. Foreword by Loretta Yarlow. Interview by Marije Langelaar. At once a personal narrative and an encyclopedic collection of material, Dutch artist Mark Manders' "Self-Portrait" began its life as a building in 1986. Since then, Manders has exhibited fragments of the project, an array of created and found objects, furniture, sculpture, and drawings, keeping it in constant flux, changing with each manifestation.
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livres
livres
Publication:
février 2008, Bergen/Hannover/Ghent
février 2008, Bergen/Hannover/Ghent
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livres
livres
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$92.00
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“Some people find a certain cruelty in parts of our work,” say the rising conceptualist-collaborators Michael Elmgreen and Ingar Dragset, “but they are definitely not more vicious than any real life experiences.” Since 1995, Elmgreen and Dragset have tackled issues of privatization, gentrification, social alienation and the dismantling of social welfare. For their first(...)
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“Some people find a certain cruelty in parts of our work,” say the rising conceptualist-collaborators Michael Elmgreen and Ingar Dragset, “but they are definitely not more vicious than any real life experiences.” Since 1995, Elmgreen and Dragset have tackled issues of privatization, gentrification, social alienation and the dismantling of social welfare. For their first(...)
Titre:
Elmgren & Dragset : this is the first day of my life
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“Some people find a certain cruelty in parts of our work,” say the rising conceptualist-collaborators Michael Elmgreen and Ingar Dragset, “but they are definitely not more vicious than any real life experiences.” Since 1995, Elmgreen and Dragset have tackled issues of privatization, gentrification, social alienation and the dismantling of social welfare. For their first show at Tanya Bonakdar Gallery in 2001 they papered over the windows with the announcement “Opening Soon Prada.” Pursuing and inverting this theme, in 2005 they installed a mocked-up Prada store on a deserted road near Marfa, Texas. They have recreated hospitals and prison cells, and have reconfigured gallery spaces to spatially deter their would-be audience. “Our aim is to investigate some of the power structures that these spaces derive from, and by exchanging and replacing some of these structures, show how fragile they actually are.” This monograph is the first extensive survey of their work to date.
Elmgren & Dragset : this is the first day of my life
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Résumé:
“Some people find a certain cruelty in parts of our work,” say the rising conceptualist-collaborators Michael Elmgreen and Ingar Dragset, “but they are definitely not more vicious than any real life experiences.” Since 1995, Elmgreen and Dragset have tackled issues of privatization, gentrification, social alienation and the dismantling of social welfare. For their first show at Tanya Bonakdar Gallery in 2001 they papered over the windows with the announcement “Opening Soon Prada.” Pursuing and inverting this theme, in 2005 they installed a mocked-up Prada store on a deserted road near Marfa, Texas. They have recreated hospitals and prison cells, and have reconfigured gallery spaces to spatially deter their would-be audience. “Our aim is to investigate some of the power structures that these spaces derive from, and by exchanging and replacing some of these structures, show how fragile they actually are.” This monograph is the first extensive survey of their work to date.
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livres
livres
Publication:
mai 2008, Ostfildern, Berlin
mai 2008, Ostfildern, Berlin
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livres
livres
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The art of Anselm Kiefer is rich with references to writers, philosophers, and poets, and his relationship with Paul Celan has been the most complex and intense of these dialogues with the past. Celan's poetry, inextricably linked with the memory of the Holocaust, has haunted Kiefer's work for more than twenty-five years and has influenced him on every level, from the(...)
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The art of Anselm Kiefer is rich with references to writers, philosophers, and poets, and his relationship with Paul Celan has been the most complex and intense of these dialogues with the past. Celan's poetry, inextricably linked with the memory of the Holocaust, has haunted Kiefer's work for more than twenty-five years and has influenced him on every level, from the(...)
Titre:
Anselm Kiefer, Paul Celan, Myth, Mourning and Memory
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The art of Anselm Kiefer is rich with references to writers, philosophers, and poets, and his relationship with Paul Celan has been the most complex and intense of these dialogues with the past. Celan's poetry, inextricably linked with the memory of the Holocaust, has haunted Kiefer's work for more than twenty-five years and has influenced him on every level, from the naming of works and exhibitions to the incorporation of symbolic materials from Celan's imagery—sand, straw, hair, and ashes—into his paintings. Like other German artists of his generation, Kiefer began by questioning his own artistic heritage, focusing on the iconographic and mythological elements of German culture that had been taken over by Nazi propaganda, and subsequently repressed and buried deep in the collective unconscious. It was his encounter with Celan's work in the early 1980s that first enabled him to escape from the vicious circle of fascination and disgust at the cultural ties that bound him to the Third Reich, leading him to confront the subject of the Holocaust and Jewish memory as a whole and to embrace this body of traditions within his art. Magnificently illustrated throughout with reproductions of Kiefer's best-known works, this book explores the intricate web of associations between the poet and the painter, a network that is extended to embrace other artistic and literary figures such as Ingeborg Bachmann and Joseph Beuys. 157 illustrations, 140 in color.
Anselm Kiefer, Paul Celan, Myth, Mourning and Memory
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The art of Anselm Kiefer is rich with references to writers, philosophers, and poets, and his relationship with Paul Celan has been the most complex and intense of these dialogues with the past. Celan's poetry, inextricably linked with the memory of the Holocaust, has haunted Kiefer's work for more than twenty-five years and has influenced him on every level, from the naming of works and exhibitions to the incorporation of symbolic materials from Celan's imagery—sand, straw, hair, and ashes—into his paintings. Like other German artists of his generation, Kiefer began by questioning his own artistic heritage, focusing on the iconographic and mythological elements of German culture that had been taken over by Nazi propaganda, and subsequently repressed and buried deep in the collective unconscious. It was his encounter with Celan's work in the early 1980s that first enabled him to escape from the vicious circle of fascination and disgust at the cultural ties that bound him to the Third Reich, leading him to confront the subject of the Holocaust and Jewish memory as a whole and to embrace this body of traditions within his art. Magnificently illustrated throughout with reproductions of Kiefer's best-known works, this book explores the intricate web of associations between the poet and the painter, a network that is extended to embrace other artistic and literary figures such as Ingeborg Bachmann and Joseph Beuys. 157 illustrations, 140 in color.
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livres
livres
Publication:
août 2007, New York
août 2007, New York
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livres
livres
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Romare Bearden (1911-1988) had a true Renaissance sensibility. He was a fine artist who also successfully turned his hand to printmaking, writing, costume and set design, as well as composing jazz music. In addition, he helped to found the Studio Museum in Harlem, New York's Cinque Gallery and the Black Academy of Arts and Letters, and was once even offered an opportunity(...)
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Romare Bearden (1911-1988) had a true Renaissance sensibility. He was a fine artist who also successfully turned his hand to printmaking, writing, costume and set design, as well as composing jazz music. In addition, he helped to found the Studio Museum in Harlem, New York's Cinque Gallery and the Black Academy of Arts and Letters, and was once even offered an opportunity(...)
Publication:
février 2008, New York
février 2008, New York
Titre:
Romare Bearden a black odyssey
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Romare Bearden (1911-1988) had a true Renaissance sensibility. He was a fine artist who also successfully turned his hand to printmaking, writing, costume and set design, as well as composing jazz music. In addition, he helped to found the Studio Museum in Harlem, New York's Cinque Gallery and the Black Academy of Arts and Letters, and was once even offered an opportunity to play professional baseball for the Philadelphia Athletics. But it is for his rich and textured collages that Bearden is best known today. In 1977, Bearden created a sequence of 20 collages based on episodes from Homer's Odyssey. It may come as a surprise to even his most avid followers that this devoted chronicler of African American culture and the Harlem Renaissance would gravitate to such a canonical text. But in the essay accompanying Romare Bearden: A Black Odyssey, scholar Robert G. O'Meally argues for their thematic consistency and suggests that, in the figures of Odysseus, Penelope, Poseidon, Nausicca and others, Bearden found themes sympathetic to the African American experience. These motifs of wandering, mourning and the questing for home--considering Bearden's scores of interiors and exteriors, country and city life and depictions of family love--emerge as the central themes of all his art. Romare Bearden: A Black Odyssey, the first in-depth consideration of these collages since they were originally exhibited 30 years ago, will prove a surprise to Bearden fans and newcomers alike.
Romare Bearden a black odyssey
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Romare Bearden (1911-1988) had a true Renaissance sensibility. He was a fine artist who also successfully turned his hand to printmaking, writing, costume and set design, as well as composing jazz music. In addition, he helped to found the Studio Museum in Harlem, New York's Cinque Gallery and the Black Academy of Arts and Letters, and was once even offered an opportunity to play professional baseball for the Philadelphia Athletics. But it is for his rich and textured collages that Bearden is best known today. In 1977, Bearden created a sequence of 20 collages based on episodes from Homer's Odyssey. It may come as a surprise to even his most avid followers that this devoted chronicler of African American culture and the Harlem Renaissance would gravitate to such a canonical text. But in the essay accompanying Romare Bearden: A Black Odyssey, scholar Robert G. O'Meally argues for their thematic consistency and suggests that, in the figures of Odysseus, Penelope, Poseidon, Nausicca and others, Bearden found themes sympathetic to the African American experience. These motifs of wandering, mourning and the questing for home--considering Bearden's scores of interiors and exteriors, country and city life and depictions of family love--emerge as the central themes of all his art. Romare Bearden: A Black Odyssey, the first in-depth consideration of these collages since they were originally exhibited 30 years ago, will prove a surprise to Bearden fans and newcomers alike.
Classification:
livres
livres
Publication:
février 2008, New York
février 2008, New York
Classification:
livres
livres
Titre:
Spartacus Chetwynd
Spartacus Chetwynd
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$75.00
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The British artist Spartacus Chetwynd (*1973, lives and works in London) is known for her baroque and surreal performances which, with great humor, bring together multiple image quotations from art history and pop culture. In the tradition of the grotesque she draws on elements from Giotto frescoes, characters from works by Hieronymus Bosch, or Yves Kleins(...)
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The British artist Spartacus Chetwynd (*1973, lives and works in London) is known for her baroque and surreal performances which, with great humor, bring together multiple image quotations from art history and pop culture. In the tradition of the grotesque she draws on elements from Giotto frescoes, characters from works by Hieronymus Bosch, or Yves Kleins(...)
Publication:
octobre 2007, Zurich
octobre 2007, Zurich
Titre:
Spartacus Chetwynd
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The British artist Spartacus Chetwynd (*1973, lives and works in London) is known for her baroque and surreal performances which, with great humor, bring together multiple image quotations from art history and pop culture. In the tradition of the grotesque she draws on elements from Giotto frescoes, characters from works by Hieronymus Bosch, or Yves Kleins "Anthropometries" (1960) together with heavy metal musicians, Michael Jacksons music video "Thriller," or the 1980s television series "The Hulk," and creates a unified whole. As well as performances, Chetwynd, who graduated from the Royal College of Art with an MA in painting, produced a series small canvases under the title "Bat Opera" (2004/2005), which also present quotations from pop culture, but in addition feature more romantic borrowings.
Spartacus Chetwynd
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The British artist Spartacus Chetwynd (*1973, lives and works in London) is known for her baroque and surreal performances which, with great humor, bring together multiple image quotations from art history and pop culture. In the tradition of the grotesque she draws on elements from Giotto frescoes, characters from works by Hieronymus Bosch, or Yves Kleins "Anthropometries" (1960) together with heavy metal musicians, Michael Jacksons music video "Thriller," or the 1980s television series "The Hulk," and creates a unified whole. As well as performances, Chetwynd, who graduated from the Royal College of Art with an MA in painting, produced a series small canvases under the title "Bat Opera" (2004/2005), which also present quotations from pop culture, but in addition feature more romantic borrowings.
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livres
livres
Publication:
octobre 2007, Zurich
octobre 2007, Zurich
Classification:
livres
livres
Titre:
Learning to love you more
Learning to love you more
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$21.95
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"Sometimes it is a relief to be told what to do," the authors of this wonderful, strange photo book explain. "We are two artists who are trying to come up with new ideas every day. But our most joyful and even profound experiences often come when we are following other people's instructions. When we are making crepes from a recipe, attempting to do a handstand in yoga(...)
$21.95
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"Sometimes it is a relief to be told what to do," the authors of this wonderful, strange photo book explain. "We are two artists who are trying to come up with new ideas every day. But our most joyful and even profound experiences often come when we are following other people's instructions. When we are making crepes from a recipe, attempting to do a handstand in yoga(...)
Publication:
septembre 2007, Munich, Berlin, London, New York
septembre 2007, Munich, Berlin, London, New York
Titre:
Learning to love you more
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$21.95
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"Sometimes it is a relief to be told what to do," the authors of this wonderful, strange photo book explain. "We are two artists who are trying to come up with new ideas every day. But our most joyful and even profound experiences often come when we are following other people's instructions. When we are making crepes from a recipe, attempting to do a handstand in yoga class, or singing someone else's song." With this in mind, Harrell Fletcher and Miranda July started a website in 2002 called Learning to Love You More. In it they provided assignments: Take a picture of your parents kissing; reread your favorite book from fifth grade; write your life story in less than a day; take a flash photo under your bed; and many others. The responses came thick and fast (more than 5,000 and still coming) from all over the world. The authors' favorites are here reproduced, and they are wildly beautiful, imaginative, complex, funny, sad and simple.
Learning to love you more
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$21.95
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"Sometimes it is a relief to be told what to do," the authors of this wonderful, strange photo book explain. "We are two artists who are trying to come up with new ideas every day. But our most joyful and even profound experiences often come when we are following other people's instructions. When we are making crepes from a recipe, attempting to do a handstand in yoga class, or singing someone else's song." With this in mind, Harrell Fletcher and Miranda July started a website in 2002 called Learning to Love You More. In it they provided assignments: Take a picture of your parents kissing; reread your favorite book from fifth grade; write your life story in less than a day; take a flash photo under your bed; and many others. The responses came thick and fast (more than 5,000 and still coming) from all over the world. The authors' favorites are here reproduced, and they are wildly beautiful, imaginative, complex, funny, sad and simple.
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livres
livres
Publication:
septembre 2007, Munich, Berlin, London, New York
septembre 2007, Munich, Berlin, London, New York
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livres
livres
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$58.00
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Please Listen I Have Something To Tell You About Is What is marks the first large-scale monograph by American artist Chris Johanson that began his career in the 1990s as part of the community of artists who based themselves in the bohemian community of San Franciscos Mission District (including Barry McGee and Margaret Kilgallen). Johansons first pieces were rough-hewn,(...)
$58.00
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Please Listen I Have Something To Tell You About Is What is marks the first large-scale monograph by American artist Chris Johanson that began his career in the 1990s as part of the community of artists who based themselves in the bohemian community of San Franciscos Mission District (including Barry McGee and Margaret Kilgallen). Johansons first pieces were rough-hewn,(...)
Titre:
Please listen I have something to tell you about what is by Chris Johanson
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Please Listen I Have Something To Tell You About Is What is marks the first large-scale monograph by American artist Chris Johanson that began his career in the 1990s as part of the community of artists who based themselves in the bohemian community of San Franciscos Mission District (including Barry McGee and Margaret Kilgallen). Johansons first pieces were rough-hewn, painted on old wood he found in the street. However, over time his works have grown to include a diverse variety of media executed in large-scale installations. Johansons work comments on the age of consumerism as well as modern psychological phenomena such as self-help and psychotherapy. He creates a world where nudist dancers and emotionally centred people exist next to power junkies and corporate automatons, cunningly reflecting the duality of the human condition.
Please listen I have something to tell you about what is by Chris Johanson
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Please Listen I Have Something To Tell You About Is What is marks the first large-scale monograph by American artist Chris Johanson that began his career in the 1990s as part of the community of artists who based themselves in the bohemian community of San Franciscos Mission District (including Barry McGee and Margaret Kilgallen). Johansons first pieces were rough-hewn, painted on old wood he found in the street. However, over time his works have grown to include a diverse variety of media executed in large-scale installations. Johansons work comments on the age of consumerism as well as modern psychological phenomena such as self-help and psychotherapy. He creates a world where nudist dancers and emotionally centred people exist next to power junkies and corporate automatons, cunningly reflecting the duality of the human condition.
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livres
livres
Publication:
janvier 2007, Bologna
janvier 2007, Bologna
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livres
livres
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How are you involved in the art world? Are you related to any specific scene? What would be the most productive place to present your work? What kind of curators do you like to work with, and why? What does the art market mean for your work? These are some of the questions that have been presented to every artist who has worked with Witte de With, the respected Rotterdam(...)
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How are you involved in the art world? Are you related to any specific scene? What would be the most productive place to present your work? What kind of curators do you like to work with, and why? What does the art market mean for your work? These are some of the questions that have been presented to every artist who has worked with Witte de With, the respected Rotterdam(...)
Publication:
mars 2008, Rotterdam
mars 2008, Rotterdam
Titre:
Changing roles artists' personal views and wishes
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How are you involved in the art world? Are you related to any specific scene? What would be the most productive place to present your work? What kind of curators do you like to work with, and why? What does the art market mean for your work? These are some of the questions that have been presented to every artist who has worked with Witte de With, the respected Rotterdam contemporary art center, over the past two years. This publication reflects on the ideas behind the works that the center has shown, and allows artists to voice concerns that are rarely discussed as part of a public initiative. The participants' answers serve as a model, suggesting what roles they need institutions, curators and programs to play. Contributors include Jesper Just, Erik van Lieshout, Sarah Morris and Robin Rhode. Liam Gillick was born in Aylesbury, Great Britain, in 1964 and studied at Hertfordshire College of Art, and Goldsmiths College, London. Often combining text and installation, Gillickis work frequently investigates economics and aesthetics in modern society. A finalist for the Turner Prize in 2002, his work has appeared at Documenta in 1997 and at The Museum of Modern Art, New York in 2003, as well as in numerous solo shows worldwide. He lives and works in London and New York.
Changing roles artists' personal views and wishes
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How are you involved in the art world? Are you related to any specific scene? What would be the most productive place to present your work? What kind of curators do you like to work with, and why? What does the art market mean for your work? These are some of the questions that have been presented to every artist who has worked with Witte de With, the respected Rotterdam contemporary art center, over the past two years. This publication reflects on the ideas behind the works that the center has shown, and allows artists to voice concerns that are rarely discussed as part of a public initiative. The participants' answers serve as a model, suggesting what roles they need institutions, curators and programs to play. Contributors include Jesper Just, Erik van Lieshout, Sarah Morris and Robin Rhode. Liam Gillick was born in Aylesbury, Great Britain, in 1964 and studied at Hertfordshire College of Art, and Goldsmiths College, London. Often combining text and installation, Gillickis work frequently investigates economics and aesthetics in modern society. A finalist for the Turner Prize in 2002, his work has appeared at Documenta in 1997 and at The Museum of Modern Art, New York in 2003, as well as in numerous solo shows worldwide. He lives and works in London and New York.
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livres
livres
Publication:
mars 2008, Rotterdam
mars 2008, Rotterdam
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livres
livres
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$53.00
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If Euro-America, under the weight of its projected discourses, is able only to imagine the work of individual African artists as metaphor for nation, continent or race, the art of Wangechi Mutu seduces us brutally into the intricacies of the feminine as an embodiment of nation and species. It down-ends the male-centered 'big men' narratives of post-colonial Africa in(...)
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If Euro-America, under the weight of its projected discourses, is able only to imagine the work of individual African artists as metaphor for nation, continent or race, the art of Wangechi Mutu seduces us brutally into the intricacies of the feminine as an embodiment of nation and species. It down-ends the male-centered 'big men' narratives of post-colonial Africa in(...)
Titre:
Wangechi Mutu: a shady promise
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$53.00
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If Euro-America, under the weight of its projected discourses, is able only to imagine the work of individual African artists as metaphor for nation, continent or race, the art of Wangechi Mutu seduces us brutally into the intricacies of the feminine as an embodiment of nation and species. It down-ends the male-centered 'big men' narratives of post-colonial Africa in favor of frightfully powerful animal-spirit women and their constituent body parts. Her work forces our collective engagement with the feminine form in its various conjugations of lover, giver and receptacle, but also as predator and merciless avenger. Michael E. Veal
Wangechi Mutu: a shady promise
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$53.00
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If Euro-America, under the weight of its projected discourses, is able only to imagine the work of individual African artists as metaphor for nation, continent or race, the art of Wangechi Mutu seduces us brutally into the intricacies of the feminine as an embodiment of nation and species. It down-ends the male-centered 'big men' narratives of post-colonial Africa in favor of frightfully powerful animal-spirit women and their constituent body parts. Her work forces our collective engagement with the feminine form in its various conjugations of lover, giver and receptacle, but also as predator and merciless avenger. Michael E. Veal
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livres
livres
Publication:
mai 2008
mai 2008
Classification:
livres
livres
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$52.00
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Painter Christopher Wool has written, "Some of the best stand-up performance I ever saw was Martin [Kippenberger] telling jokes in the back of some bar or restaurant." Which is not to dismiss the legendary German artist, who was at the forefront of the much-storied Cologne art scene of the early 1990s--Kippenberger, who died in 1997, used humor like a laser, to illuminate(...)
$52.00
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Painter Christopher Wool has written, "Some of the best stand-up performance I ever saw was Martin [Kippenberger] telling jokes in the back of some bar or restaurant." Which is not to dismiss the legendary German artist, who was at the forefront of the much-storied Cologne art scene of the early 1990s--Kippenberger, who died in 1997, used humor like a laser, to illuminate(...)
Titre:
Model Martin Kippenberger: Utopia for Everyone
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Painter Christopher Wool has written, "Some of the best stand-up performance I ever saw was Martin [Kippenberger] telling jokes in the back of some bar or restaurant." Which is not to dismiss the legendary German artist, who was at the forefront of the much-storied Cologne art scene of the early 1990s--Kippenberger, who died in 1997, used humor like a laser, to illuminate power structures and taboos. One of the most important artists of the twentieth century, he not only worked in a variety of media--painting, sculpture, books and multiples--but, taking a cue from Joseph Beuys, actively tried to conceive new possibilities on which to model an art practice. This volume, published for an exhibition at Austria's acclaimed Kunsthaus Graz, includes incisive essays by curator and critic Daniel Birnbaum and linguist and writer Martin Prinzhorn, which examine the softer, more utopian side of the artist.
Model Martin Kippenberger: Utopia for Everyone
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Painter Christopher Wool has written, "Some of the best stand-up performance I ever saw was Martin [Kippenberger] telling jokes in the back of some bar or restaurant." Which is not to dismiss the legendary German artist, who was at the forefront of the much-storied Cologne art scene of the early 1990s--Kippenberger, who died in 1997, used humor like a laser, to illuminate power structures and taboos. One of the most important artists of the twentieth century, he not only worked in a variety of media--painting, sculpture, books and multiples--but, taking a cue from Joseph Beuys, actively tried to conceive new possibilities on which to model an art practice. This volume, published for an exhibition at Austria's acclaimed Kunsthaus Graz, includes incisive essays by curator and critic Daniel Birnbaum and linguist and writer Martin Prinzhorn, which examine the softer, more utopian side of the artist.
Classification:
livres
livres
Publication:
mars 2008, D
mars 2008, D
