233 Résultats
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Essays, plans and projects by various artists,including Max Bill, Heinrich Dunst, Helmut Federle, Per Kirkeby, Katarina Fritsch, Erwin Heerich, Gerhard Merz, Gottfried Honegger, Walther Pichler, Ulrich Rückriem, Bernar Venet, Daniel Buren, Christoph Haerle, Peter Wigglesworth, Donald Judd, Markus Lüpertz, Arnulf Rainer, Richard Serra among others showing their ideas for(...)
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Essays, plans and projects by various artists,including Max Bill, Heinrich Dunst, Helmut Federle, Per Kirkeby, Katarina Fritsch, Erwin Heerich, Gerhard Merz, Gottfried Honegger, Walther Pichler, Ulrich Rückriem, Bernar Venet, Daniel Buren, Christoph Haerle, Peter Wigglesworth, Donald Judd, Markus Lüpertz, Arnulf Rainer, Richard Serra among others showing their ideas for(...)
Titre:
Museum architecture : texts and projects by artists
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Essays, plans and projects by various artists,including Max Bill, Heinrich Dunst, Helmut Federle, Per Kirkeby, Katarina Fritsch, Erwin Heerich, Gerhard Merz, Gottfried Honegger, Walther Pichler, Ulrich Rückriem, Bernar Venet, Daniel Buren, Christoph Haerle, Peter Wigglesworth, Donald Judd, Markus Lüpertz, Arnulf Rainer, Richard Serra among others showing their ideas for how museums should be constructed. When discussing the increasing number of museums and exhibition spaces for modern art which have come into being in recent years, the deep-seated differences of opinion between architects and artists keep coming to the fore. The discussion seems to be almost exclusively dominated by the point of view of the architect and defined by his/her interests. The needs of the art itself are being widely neglected and the voice of the artist is simply not being heard. Donald Judd, the American sculptor and minimalist artist, once noted that museums are so rarely built on functional lines these days, the trend being more towards the creation of a showpiece for the architect. Why are painters and sculptors not asked for their input? The very obvious question was addressed by the Espace de l’art concret when in 1997, it asked a number of well-known artists to come up with ideas and projects for a museum for concrete art. They were invited to submit their ideal utopian suggestions as well as very concrete and architectural proposals and written statements. These are documented in this publication, supplemented with the material for the collection owned by the Kunsthaus in Bregenz and expanded with an extensive anthology of texts by artists on this subject. The résumé of the contributions presents a searing criticism of contemporary museum architecture by its most important users. Their voice will at last find an ear in the current architectural discussion about the new cathedrals of the post-industrial society.
Museum architecture : texts and projects by artists
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Essays, plans and projects by various artists,including Max Bill, Heinrich Dunst, Helmut Federle, Per Kirkeby, Katarina Fritsch, Erwin Heerich, Gerhard Merz, Gottfried Honegger, Walther Pichler, Ulrich Rückriem, Bernar Venet, Daniel Buren, Christoph Haerle, Peter Wigglesworth, Donald Judd, Markus Lüpertz, Arnulf Rainer, Richard Serra among others showing their ideas for how museums should be constructed. When discussing the increasing number of museums and exhibition spaces for modern art which have come into being in recent years, the deep-seated differences of opinion between architects and artists keep coming to the fore. The discussion seems to be almost exclusively dominated by the point of view of the architect and defined by his/her interests. The needs of the art itself are being widely neglected and the voice of the artist is simply not being heard. Donald Judd, the American sculptor and minimalist artist, once noted that museums are so rarely built on functional lines these days, the trend being more towards the creation of a showpiece for the architect. Why are painters and sculptors not asked for their input? The very obvious question was addressed by the Espace de l’art concret when in 1997, it asked a number of well-known artists to come up with ideas and projects for a museum for concrete art. They were invited to submit their ideal utopian suggestions as well as very concrete and architectural proposals and written statements. These are documented in this publication, supplemented with the material for the collection owned by the Kunsthaus in Bregenz and expanded with an extensive anthology of texts by artists on this subject. The résumé of the contributions presents a searing criticism of contemporary museum architecture by its most important users. Their voice will at last find an ear in the current architectural discussion about the new cathedrals of the post-industrial society.
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livres
livres
Publication:
janvier 1900, Cologne
janvier 1900, Cologne
Sujet:
Muséologie
Muséologie
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livres
livres
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"Art and its institutions" is a reader on current institutional conditions and the role of institutions within artistic processes. With essays by authors and academics such as Beatrice von Bismarck, Andrea Fraser, Simon Sheikh and Jan Verwoert, this book examines the interests of the various institutions involved in the creation of art, and explore the impact these(...)
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"Art and its institutions" is a reader on current institutional conditions and the role of institutions within artistic processes. With essays by authors and academics such as Beatrice von Bismarck, Andrea Fraser, Simon Sheikh and Jan Verwoert, this book examines the interests of the various institutions involved in the creation of art, and explore the impact these(...)
Titre:
Art and its institutions : current conflicts, critique and collaborations
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"Art and its institutions" is a reader on current institutional conditions and the role of institutions within artistic processes. With essays by authors and academics such as Beatrice von Bismarck, Andrea Fraser, Simon Sheikh and Jan Verwoert, this book examines the interests of the various institutions involved in the creation of art, and explore the impact these institutions have on the contemporary art world. It covers topics including the impact of the decline of the welfare state on art institutions; the social and physical architecture of art institutions in Nordic states and Eastern Europe; a critical re-evaluation of the institutional critique of the 70s and 90s and the introduction of new models of critique in current artistic practice. The book also documents and discusses two exhibition projects, and examine their relationship to the conflicts and desires provoked by institutions.
Art and its institutions : current conflicts, critique and collaborations
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"Art and its institutions" is a reader on current institutional conditions and the role of institutions within artistic processes. With essays by authors and academics such as Beatrice von Bismarck, Andrea Fraser, Simon Sheikh and Jan Verwoert, this book examines the interests of the various institutions involved in the creation of art, and explore the impact these institutions have on the contemporary art world. It covers topics including the impact of the decline of the welfare state on art institutions; the social and physical architecture of art institutions in Nordic states and Eastern Europe; a critical re-evaluation of the institutional critique of the 70s and 90s and the introduction of new models of critique in current artistic practice. The book also documents and discusses two exhibition projects, and examine their relationship to the conflicts and desires provoked by institutions.
Classification:
livres
livres
Publication:
février 2006, London
février 2006, London
Sujet:
Muséologie
Muséologie
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livres
livres
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In Punctuation: Art, Politics, and Play, Jennifer DeVere Brody places punctuation at center stage. She illuminates the performative aspects of dots, ellipses, hyphens, quotation marks, semicolons, colons, and exclamation points by considering them in relation to aesthetics and experimental art. Through her readings of texts and symbols ranging from style guides to digital(...)
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In Punctuation: Art, Politics, and Play, Jennifer DeVere Brody places punctuation at center stage. She illuminates the performative aspects of dots, ellipses, hyphens, quotation marks, semicolons, colons, and exclamation points by considering them in relation to aesthetics and experimental art. Through her readings of texts and symbols ranging from style guides to digital(...)
Titre:
Punctuation: Art, Politics, and Play
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In Punctuation: Art, Politics, and Play, Jennifer DeVere Brody places punctuation at center stage. She illuminates the performative aspects of dots, ellipses, hyphens, quotation marks, semicolons, colons, and exclamation points by considering them in relation to aesthetics and experimental art. Through her readings of texts and symbols ranging from style guides to digital art, from emoticons to dance pieces, Brody suggests that instead of always clarifying meaning, punctuation can sometimes open up space for interpretation, enabling writers and visual artists to interrogate and reformulate notions of life, death, art, and identity politics.
Punctuation: Art, Politics, and Play
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In Punctuation: Art, Politics, and Play, Jennifer DeVere Brody places punctuation at center stage. She illuminates the performative aspects of dots, ellipses, hyphens, quotation marks, semicolons, colons, and exclamation points by considering them in relation to aesthetics and experimental art. Through her readings of texts and symbols ranging from style guides to digital art, from emoticons to dance pieces, Brody suggests that instead of always clarifying meaning, punctuation can sometimes open up space for interpretation, enabling writers and visual artists to interrogate and reformulate notions of life, death, art, and identity politics.
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livres
livres
Publication:
mai 2008, Durham, London
mai 2008, Durham, London
Sujet:
Muséologie
Muséologie
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livres
livres
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$29.99
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Contested Histories in Public Space brings multiple perspectives to bear on historical narratives presented to the public in museums, monuments, texts, and festivals around the world, from Paris to Kathmandu, from the Mexican state of Oaxaca to the waterfront of Wellington, New Zealand. Paying particular attention to how race and empire are implicated in the creation and(...)
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Contested Histories in Public Space brings multiple perspectives to bear on historical narratives presented to the public in museums, monuments, texts, and festivals around the world, from Paris to Kathmandu, from the Mexican state of Oaxaca to the waterfront of Wellington, New Zealand. Paying particular attention to how race and empire are implicated in the creation and(...)
Sujet:
Muséologie
Muséologie
Publication:
février 2009, Durham & London
février 2009, Durham & London
Titre:
Contested histories in public space: memory, race and nation
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Contested Histories in Public Space brings multiple perspectives to bear on historical narratives presented to the public in museums, monuments, texts, and festivals around the world, from Paris to Kathmandu, from the Mexican state of Oaxaca to the waterfront of Wellington, New Zealand. Paying particular attention to how race and empire are implicated in the creation and display of national narratives, the contributing historians, anthropologists, and other scholars delve into representations of contested histories at such “sites” as a British Library exhibition on the East India Company, a Rio de Janeiro shantytown known as “the cradle of samba,” the Ellis Island immigration museum, and high-school history textbooks in Ecuador.
Contested histories in public space: memory, race and nation
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Contested Histories in Public Space brings multiple perspectives to bear on historical narratives presented to the public in museums, monuments, texts, and festivals around the world, from Paris to Kathmandu, from the Mexican state of Oaxaca to the waterfront of Wellington, New Zealand. Paying particular attention to how race and empire are implicated in the creation and display of national narratives, the contributing historians, anthropologists, and other scholars delve into representations of contested histories at such “sites” as a British Library exhibition on the East India Company, a Rio de Janeiro shantytown known as “the cradle of samba,” the Ellis Island immigration museum, and high-school history textbooks in Ecuador.
Classification:
livres
livres
Publication:
février 2009, Durham & London
février 2009, Durham & London
Sujet:
Muséologie
Muséologie
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livres
livres
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L’exposition se déploie sous de multiples formes dans les musées, mais aussi dans les centres d’art, les lieux culturels, dans l’espace public ou encore dans les entreprises et les collectivités. Serge Chaumier explore ce foisonnement et tente de le sérier ; l’auteur avance les raisons qui conduisent les expositions à être moins centrées sur les objets et les collections(...)
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L’exposition se déploie sous de multiples formes dans les musées, mais aussi dans les centres d’art, les lieux culturels, dans l’espace public ou encore dans les entreprises et les collectivités. Serge Chaumier explore ce foisonnement et tente de le sérier ; l’auteur avance les raisons qui conduisent les expositions à être moins centrées sur les objets et les collections(...)
Titre:
Traité d'expologie : les écritures de l'exposition
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L’exposition se déploie sous de multiples formes dans les musées, mais aussi dans les centres d’art, les lieux culturels, dans l’espace public ou encore dans les entreprises et les collectivités. Serge Chaumier explore ce foisonnement et tente de le sérier ; l’auteur avance les raisons qui conduisent les expositions à être moins centrées sur les objets et les collections et davantage tournées vers les discours et les narrations. « Fascinante polysémie qui témoigne à la fois de la richesse du médium et de la difficulté d’en circonscrire les langages, les registres, les canevas et les styles ». Parce que les musées et les expositions sont désormais moins souvent des lieux d’apprentissage que de mise en éveil des curiosités, l’écriture de l’exposition doit se réinventer ; cet ouvrage s’emploie à en dessiner les nouveaux contours, à fouiller le langage des concepteurs et fait surgir les nouvelles configurations du rapport avec les visiteurs.
Traité d'expologie : les écritures de l'exposition
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L’exposition se déploie sous de multiples formes dans les musées, mais aussi dans les centres d’art, les lieux culturels, dans l’espace public ou encore dans les entreprises et les collectivités. Serge Chaumier explore ce foisonnement et tente de le sérier ; l’auteur avance les raisons qui conduisent les expositions à être moins centrées sur les objets et les collections et davantage tournées vers les discours et les narrations. « Fascinante polysémie qui témoigne à la fois de la richesse du médium et de la difficulté d’en circonscrire les langages, les registres, les canevas et les styles ». Parce que les musées et les expositions sont désormais moins souvent des lieux d’apprentissage que de mise en éveil des curiosités, l’écriture de l’exposition doit se réinventer ; cet ouvrage s’emploie à en dessiner les nouveaux contours, à fouiller le langage des concepteurs et fait surgir les nouvelles configurations du rapport avec les visiteurs.
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livres
livres
Publication:
décembre 2012
décembre 2012
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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How many times have you heard the term “curate” in the past few years? But what exactly does it mean? Curating has been a key concept both in and outside the art world in the past few years, with the remit of what a curator does having changed and expanded with each new exhibition or biennale. With an emphasis on the "now" and the most recent exhibitions, this book(...)
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How many times have you heard the term “curate” in the past few years? But what exactly does it mean? Curating has been a key concept both in and outside the art world in the past few years, with the remit of what a curator does having changed and expanded with each new exhibition or biennale. With an emphasis on the "now" and the most recent exhibitions, this book(...)
Titre:
The new curator: researcher, commisioner, keeper, interpreter, producer, collaborator
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How many times have you heard the term “curate” in the past few years? But what exactly does it mean? Curating has been a key concept both in and outside the art world in the past few years, with the remit of what a curator does having changed and expanded with each new exhibition or biennale. With an emphasis on the "now" and the most recent exhibitions, this book examines the variety and richness of curating practices today, from public commissions such as Art Angel to experimental projects such as the Ghetto Biennale in Haiti, or the Rhizome digital archive.
The new curator: researcher, commisioner, keeper, interpreter, producer, collaborator
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How many times have you heard the term “curate” in the past few years? But what exactly does it mean? Curating has been a key concept both in and outside the art world in the past few years, with the remit of what a curator does having changed and expanded with each new exhibition or biennale. With an emphasis on the "now" and the most recent exhibitions, this book examines the variety and richness of curating practices today, from public commissions such as Art Angel to experimental projects such as the Ghetto Biennale in Haiti, or the Rhizome digital archive.
Classification:
livres
livres
Publication:
avril 2016
avril 2016
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
Titre:
Curating as ethics
Curating as ethics
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Today, everyone is a curator. What was once considered a hallowed expertise is now a commonplace and global activity. Can this new worldwide activity be ethical and, if yes, how? This book argues that curating can be more than just selecting, organizing, and presenting information in galleries or online. Curating can also constitute an ethics, one of acquiring, arranging,(...)
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Résumé:
Today, everyone is a curator. What was once considered a hallowed expertise is now a commonplace and global activity. Can this new worldwide activity be ethical and, if yes, how? This book argues that curating can be more than just selecting, organizing, and presenting information in galleries or online. Curating can also constitute an ethics, one of acquiring, arranging,(...)
Titre:
Curating as ethics
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Today, everyone is a curator. What was once considered a hallowed expertise is now a commonplace and global activity. Can this new worldwide activity be ethical and, if yes, how? This book argues that curating can be more than just selecting, organizing, and presenting information in galleries or online. Curating can also constitute an ethics, one of acquiring, arranging, and distributing an always conjectural knowledge about the world. 'Curating as Ethics' is primarily philosophical in scope, evading normative approaches to ethics in favor of an intuitive ethics that operates at the threshold of thought and action. It explores the work of authors as diverse as Heidegger, Spinoza, Meillassoux, Mudimbe, Chalier, and Kofman. Jean-Paul Martinon begins with the fabric of these ethics: how it stems from matter, how it addresses death, how it apprehends interhuman relationships. In the second part he establishes the ground on which the ethics is based, the things that make up the curatorial—for example, the textual and visual evidence or the digital medium. The final part focuses on the activity of curating as such—sharing, caring, preparing, dispensing, and so on.
Curating as ethics
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Today, everyone is a curator. What was once considered a hallowed expertise is now a commonplace and global activity. Can this new worldwide activity be ethical and, if yes, how? This book argues that curating can be more than just selecting, organizing, and presenting information in galleries or online. Curating can also constitute an ethics, one of acquiring, arranging, and distributing an always conjectural knowledge about the world. 'Curating as Ethics' is primarily philosophical in scope, evading normative approaches to ethics in favor of an intuitive ethics that operates at the threshold of thought and action. It explores the work of authors as diverse as Heidegger, Spinoza, Meillassoux, Mudimbe, Chalier, and Kofman. Jean-Paul Martinon begins with the fabric of these ethics: how it stems from matter, how it addresses death, how it apprehends interhuman relationships. In the second part he establishes the ground on which the ethics is based, the things that make up the curatorial—for example, the textual and visual evidence or the digital medium. The final part focuses on the activity of curating as such—sharing, caring, preparing, dispensing, and so on.
Classification:
livres
livres
Publication:
mars 2020
mars 2020
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
Titre:
The Curatorial Condition
The Curatorial Condition
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In spite of the heightened interest in the curatorial since the late twentieth century, the structural conditions and potentials underpinning its special sociocultural status have yet to be defined. Taking this as a starting point, Beatrice von Bismarck’s book outlines the curatorial—that field of cultural activity and knowledge that relates to the becoming-public of art(...)
$34.95
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Résumé:
In spite of the heightened interest in the curatorial since the late twentieth century, the structural conditions and potentials underpinning its special sociocultural status have yet to be defined. Taking this as a starting point, Beatrice von Bismarck’s book outlines the curatorial—that field of cultural activity and knowledge that relates to the becoming-public of art(...)
Titre:
The Curatorial Condition
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$34.95
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In spite of the heightened interest in the curatorial since the late twentieth century, the structural conditions and potentials underpinning its special sociocultural status have yet to be defined. Taking this as a starting point, Beatrice von Bismarck’s book outlines the curatorial—that field of cultural activity and knowledge that relates to the becoming-public of art and culture—as a domain of practice and meaning with its own structures, conditions, rules, and procedures. Von Bismarck focuses on the relations created by the curatorial—relations between human and nonhuman participants. Rather than foregrounding partial definitions of the activity of curating, the subjectivization of the curator, and the presentation format of the exhibition, she emphasizes the interplay of all these factors.
The Curatorial Condition
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In spite of the heightened interest in the curatorial since the late twentieth century, the structural conditions and potentials underpinning its special sociocultural status have yet to be defined. Taking this as a starting point, Beatrice von Bismarck’s book outlines the curatorial—that field of cultural activity and knowledge that relates to the becoming-public of art and culture—as a domain of practice and meaning with its own structures, conditions, rules, and procedures. Von Bismarck focuses on the relations created by the curatorial—relations between human and nonhuman participants. Rather than foregrounding partial definitions of the activity of curating, the subjectivization of the curator, and the presentation format of the exhibition, she emphasizes the interplay of all these factors.
Classification:
livres
livres
Publication:
juin 2022
juin 2022
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$35.00
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The unschooling movement questions traditional education through creativity. Curiosity, experimentation, unrestricted thinking, making and developing are basic elements of all forms of learning and living together. In the current educational system these values are frequently overshadowed by rules, bureaucracy and little attention to the intrinsic inquisitiveness of both(...)
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The unschooling movement questions traditional education through creativity. Curiosity, experimentation, unrestricted thinking, making and developing are basic elements of all forms of learning and living together. In the current educational system these values are frequently overshadowed by rules, bureaucracy and little attention to the intrinsic inquisitiveness of both(...)
Titre:
No school manifesto: a movement of creative learning
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The unschooling movement questions traditional education through creativity. Curiosity, experimentation, unrestricted thinking, making and developing are basic elements of all forms of learning and living together. In the current educational system these values are frequently overshadowed by rules, bureaucracy and little attention to the intrinsic inquisitiveness of both the student and the teacher. 'No School Manifesto' enumerates key concepts, values and attitudes such as Curiosity, Magnetism and Zigzag through an A-Z lexicon, complemented by examples of students’ work.
No school manifesto: a movement of creative learning
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The unschooling movement questions traditional education through creativity. Curiosity, experimentation, unrestricted thinking, making and developing are basic elements of all forms of learning and living together. In the current educational system these values are frequently overshadowed by rules, bureaucracy and little attention to the intrinsic inquisitiveness of both the student and the teacher. 'No School Manifesto' enumerates key concepts, values and attitudes such as Curiosity, Magnetism and Zigzag through an A-Z lexicon, complemented by examples of students’ work.
Classification:
livres
livres
Publication:
novembre 2020
novembre 2020
Sujet:
Muséologie
Muséologie
Classification:
livres
livres
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$64.95
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This catalogue pioneers a new approach to the art museum exhibition, using the power of design to explore how we experience the world through our varied senses. Six international design teams have collaborated with experts in neuroscience and cognitive, motor, and sensory issues to create site-specific, immersive, and participatory environments—one of which is the(...)
$64.95
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Résumé:
This catalogue pioneers a new approach to the art museum exhibition, using the power of design to explore how we experience the world through our varied senses. Six international design teams have collaborated with experts in neuroscience and cognitive, motor, and sensory issues to create site-specific, immersive, and participatory environments—one of which is the(...)
Titre:
Speechless: different by design
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This catalogue pioneers a new approach to the art museum exhibition, using the power of design to explore how we experience the world through our varied senses. Six international design teams have collaborated with experts in neuroscience and cognitive, motor, and sensory issues to create site-specific, immersive, and participatory environments—one of which is the publication itself. These revolutionary interpretations across various media will foster research intended to push our understanding of sensory perception and encourage new ways of conceiving, installing, and experiencing exhibitions. Designed by Laurie Haycock Makela, a leader in experimental graphic design, the book plays with the multiple meanings of the word “speechless,” exploring the evolution of the project, documenting the installations, and offering portraits of the creative individuals who defined this extraordinary undertaking. Topics range from personal connections to issues of inclusion, diversity, accessibility, and empathy.
Speechless: different by design
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$64.95
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Résumé:
This catalogue pioneers a new approach to the art museum exhibition, using the power of design to explore how we experience the world through our varied senses. Six international design teams have collaborated with experts in neuroscience and cognitive, motor, and sensory issues to create site-specific, immersive, and participatory environments—one of which is the publication itself. These revolutionary interpretations across various media will foster research intended to push our understanding of sensory perception and encourage new ways of conceiving, installing, and experiencing exhibitions. Designed by Laurie Haycock Makela, a leader in experimental graphic design, the book plays with the multiple meanings of the word “speechless,” exploring the evolution of the project, documenting the installations, and offering portraits of the creative individuals who defined this extraordinary undertaking. Topics range from personal connections to issues of inclusion, diversity, accessibility, and empathy.
Classification:
livres
livres
Publication:
février 2020
février 2020
Sujet:
Muséologie
Muséologie
