1111 Résultats
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In his thoughtful collection of essays on the relationship of architecture and the arts, Giuliana Bruno addresses the crucial role that architecture plays in the production of art and the making of public intimacy. As art melts into spatial construction and architecture mobilizes artistic vision, Bruno argues, a new moving space--a screen of vital cultural memory--has(...)
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In his thoughtful collection of essays on the relationship of architecture and the arts, Giuliana Bruno addresses the crucial role that architecture plays in the production of art and the making of public intimacy. As art melts into spatial construction and architecture mobilizes artistic vision, Bruno argues, a new moving space--a screen of vital cultural memory--has(...)
Titre:
Public intimacy: architecture and the visual arts
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In his thoughtful collection of essays on the relationship of architecture and the arts, Giuliana Bruno addresses the crucial role that architecture plays in the production of art and the making of public intimacy. As art melts into spatial construction and architecture mobilizes artistic vision, Bruno argues, a new moving space--a screen of vital cultural memory--has come to shape our visual culture. Taking on the central topic of museum culture, Bruno leads the reader on a series of architectural promenades from modernity to our times. Through these "museum walks," she demonstrates how artistic collection has become a culture of recollection, and examines the public space of the pavilion as reinvented in the moving-image art installation of Turner Prize nominees Jane and Louise Wilson. Investigating the intersection of science and art, Bruno looks at our cultural obsession with techniques of imaging and its effect on the privacy of bodies and space. She finds in the work of artist Rebecca Horn a notable combination of the artistic and the scientific that creates an architecture of public intimacy. Considering the role of architecture in contemporary art that refashions our "lived space"--and the work of contemporary artists including Rachel Whiteread, Mona Hatoum, and Guillermo Kuitca--Bruno argues that architecture is used to define the frame of memory, the border of public and private space, and the permeability of exterior and interior space. Architecture, Bruno contends, is not merely a matter of space, but an art of time.
Public intimacy: architecture and the visual arts
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In his thoughtful collection of essays on the relationship of architecture and the arts, Giuliana Bruno addresses the crucial role that architecture plays in the production of art and the making of public intimacy. As art melts into spatial construction and architecture mobilizes artistic vision, Bruno argues, a new moving space--a screen of vital cultural memory--has come to shape our visual culture. Taking on the central topic of museum culture, Bruno leads the reader on a series of architectural promenades from modernity to our times. Through these "museum walks," she demonstrates how artistic collection has become a culture of recollection, and examines the public space of the pavilion as reinvented in the moving-image art installation of Turner Prize nominees Jane and Louise Wilson. Investigating the intersection of science and art, Bruno looks at our cultural obsession with techniques of imaging and its effect on the privacy of bodies and space. She finds in the work of artist Rebecca Horn a notable combination of the artistic and the scientific that creates an architecture of public intimacy. Considering the role of architecture in contemporary art that refashions our "lived space"--and the work of contemporary artists including Rachel Whiteread, Mona Hatoum, and Guillermo Kuitca--Bruno argues that architecture is used to define the frame of memory, the border of public and private space, and the permeability of exterior and interior space. Architecture, Bruno contends, is not merely a matter of space, but an art of time.
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livres
livres
Publication:
avril 2007
avril 2007
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
The cinematic
The cinematic
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The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography(...)
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The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography(...)
Publication:
mars 2007, London / Cambridge
mars 2007, London / Cambridge
Titre:
The cinematic
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The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel’s Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism.
The cinematic
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The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel’s Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism.
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livres
livres
Publication:
mars 2007, London / Cambridge
mars 2007, London / Cambridge
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livres
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This reader in Whitechapel's Documents of Contemporary Art series investigates the interchange between art and design. Since the Pop and Minimalist eras--as the work of artists ranging from Andy Warhol to Dan Graham demonstrates--the traditional boundaries between art and architectural, graphic, and product design have dissolved in critically significant ways. Design and(...)
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This reader in Whitechapel's Documents of Contemporary Art series investigates the interchange between art and design. Since the Pop and Minimalist eras--as the work of artists ranging from Andy Warhol to Dan Graham demonstrates--the traditional boundaries between art and architectural, graphic, and product design have dissolved in critically significant ways. Design and(...)
Titre:
Design and art: Documents of contemporary art
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This reader in Whitechapel's Documents of Contemporary Art series investigates the interchange between art and design. Since the Pop and Minimalist eras--as the work of artists ranging from Andy Warhol to Dan Graham demonstrates--the traditional boundaries between art and architectural, graphic, and product design have dissolved in critically significant ways. Design and Art traces the rise of the "design-art" phenomenon through the writings of critics and practitioners active in both fields. The texts include writings by Paul Rand, Hal Foster, Miwon Kwon, and others that set the parameters of the debate; utopian visions, including those of architect Peter Cook and writer Douglas Coupland; project descriptions by artists (among them Tobias Rehberger and Jorge Pardo) juxtaposed with theoretical writings; surveys of group practices by such collectives as N55 and Superflex; and views of the artist as mediator--a role assumed in the past to be the province of the designer--as seen in work by Frederick Kiesler, Ed Ruscha, and others. Finally, a book that doesn't privilege either the art world or the design world but puts them in dialogue with each other.
Design and art: Documents of contemporary art
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This reader in Whitechapel's Documents of Contemporary Art series investigates the interchange between art and design. Since the Pop and Minimalist eras--as the work of artists ranging from Andy Warhol to Dan Graham demonstrates--the traditional boundaries between art and architectural, graphic, and product design have dissolved in critically significant ways. Design and Art traces the rise of the "design-art" phenomenon through the writings of critics and practitioners active in both fields. The texts include writings by Paul Rand, Hal Foster, Miwon Kwon, and others that set the parameters of the debate; utopian visions, including those of architect Peter Cook and writer Douglas Coupland; project descriptions by artists (among them Tobias Rehberger and Jorge Pardo) juxtaposed with theoretical writings; surveys of group practices by such collectives as N55 and Superflex; and views of the artist as mediator--a role assumed in the past to be the province of the designer--as seen in work by Frederick Kiesler, Ed Ruscha, and others. Finally, a book that doesn't privilege either the art world or the design world but puts them in dialogue with each other.
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livres
livres
Publication:
mars 2007, Cambridge / London
mars 2007, Cambridge / London
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
Histoire de l'art
Histoire de l'art
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«Histoire de l'art» de E.H. Gombrich est l'un des ouvrages sur l'art les plus célèbres et les plus populaires jamais publiés. Depuis plus de cinquante ans, il demeure une introduction inégalée à l'ensemble du sujet, des premières peintures rupestres à l'art d'aujourd'hui. Dans le monde entier, les lecteurs de tous âges et de tous milieux ont trouvé en Gombrich un(...)
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«Histoire de l'art» de E.H. Gombrich est l'un des ouvrages sur l'art les plus célèbres et les plus populaires jamais publiés. Depuis plus de cinquante ans, il demeure une introduction inégalée à l'ensemble du sujet, des premières peintures rupestres à l'art d'aujourd'hui. Dans le monde entier, les lecteurs de tous âges et de tous milieux ont trouvé en Gombrich un(...)
Titre:
Histoire de l'art
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«Histoire de l'art» de E.H. Gombrich est l'un des ouvrages sur l'art les plus célèbres et les plus populaires jamais publiés. Depuis plus de cinquante ans, il demeure une introduction inégalée à l'ensemble du sujet, des premières peintures rupestres à l'art d'aujourd'hui. Dans le monde entier, les lecteurs de tous âges et de tous milieux ont trouvé en Gombrich un véritable maître, qui allie la connaissance et la sagesse à un don unique pour communiquer directement sa profonde affection pour les œuvres qu'il décrit. Cette «Histoire de l'art» doit sa popularité durable au style simple et direct de l'auteur, ainsi qu'à son ton narratif. Son but, écrit-il, est «d'apporter un certain ordre, une certaine clarté dans l'abondance de noms propres, de dates, de styles qui compliquent quelque peu les ouvrages plus spécialisés». Grâce à son intelligence de la psychologie des arts visuels, il nous fait percevoir l'histoire de l'art comme un «enchaînement interrompu de traditions encore vivantes» qui «relie l'art de notre temps à celui de l'âge des pyramides».
Histoire de l'art
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«Histoire de l'art» de E.H. Gombrich est l'un des ouvrages sur l'art les plus célèbres et les plus populaires jamais publiés. Depuis plus de cinquante ans, il demeure une introduction inégalée à l'ensemble du sujet, des premières peintures rupestres à l'art d'aujourd'hui. Dans le monde entier, les lecteurs de tous âges et de tous milieux ont trouvé en Gombrich un véritable maître, qui allie la connaissance et la sagesse à un don unique pour communiquer directement sa profonde affection pour les œuvres qu'il décrit. Cette «Histoire de l'art» doit sa popularité durable au style simple et direct de l'auteur, ainsi qu'à son ton narratif. Son but, écrit-il, est «d'apporter un certain ordre, une certaine clarté dans l'abondance de noms propres, de dates, de styles qui compliquent quelque peu les ouvrages plus spécialisés». Grâce à son intelligence de la psychologie des arts visuels, il nous fait percevoir l'histoire de l'art comme un «enchaînement interrompu de traditions encore vivantes» qui «relie l'art de notre temps à celui de l'âge des pyramides».
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livres
livres
Publication:
septembre 2006, Paris
septembre 2006, Paris
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
Titre:
Location
Location
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A collection of essays by art historians, anthropologists and commentators on contemporary visual culture on the theme of "Location". This publication explores the theme of "Location", including transatlantic exchanges and global connections, and the nature of hospitality that arises in acknowledging migration and diaspora. It also questions how important location is(...)
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A collection of essays by art historians, anthropologists and commentators on contemporary visual culture on the theme of "Location". This publication explores the theme of "Location", including transatlantic exchanges and global connections, and the nature of hospitality that arises in acknowledging migration and diaspora. It also questions how important location is(...)
Sujet:
Théorie de l’art
Théorie de l’art
Publication:
avril 2007, Malden, Oxford, Victoria
avril 2007, Malden, Oxford, Victoria
Titre:
Location
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A collection of essays by art historians, anthropologists and commentators on contemporary visual culture on the theme of "Location". This publication explores the theme of "Location", including transatlantic exchanges and global connections, and the nature of hospitality that arises in acknowledging migration and diaspora. It also questions how important location is in producing, understanding and curating art. The contributors consider such topics as site-specificity, examinations of the trans-national/trans-cultural, how images/visual forms migrate, and the repositioning of ownership.
Location
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A collection of essays by art historians, anthropologists and commentators on contemporary visual culture on the theme of "Location". This publication explores the theme of "Location", including transatlantic exchanges and global connections, and the nature of hospitality that arises in acknowledging migration and diaspora. It also questions how important location is in producing, understanding and curating art. The contributors consider such topics as site-specificity, examinations of the trans-national/trans-cultural, how images/visual forms migrate, and the repositioning of ownership.
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livres
livres
Publication:
avril 2007, Malden, Oxford, Victoria
avril 2007, Malden, Oxford, Victoria
Sujet:
Théorie de l’art
Théorie de l’art
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livres
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In the modern era, the archive--official or personal--has become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and(...)
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In the modern era, the archive--official or personal--has become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and(...)
Publication:
novembre 2006, London / Cambridge
novembre 2006, London / Cambridge
Titre:
The archive: Documents of contemporary art
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In the modern era, the archive--official or personal--has become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and ensuing conflicts, the emergence of the postcolonial era, and the fall of communism have each provoked a reconsideration of the authority given the archive--no longer viewed as a neutral, transparent site of record but as a contested subject and medium in itself. This volume surveys the full diversity of our transformed theoretical and critical notions of the archive--as idea and as physical presence--from Freud's "mystic writing pad" to Derrida's "archive fever"; from Christian Boltanski's first autobiographical explorations of archival material in the 1960s to the practice of artists as various as Susan Hiller, Ilya Kabakov, Thomas Hirshhorn, Renée Green, and The Atlas Group in the present.
The archive: Documents of contemporary art
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In the modern era, the archive--official or personal--has become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and ensuing conflicts, the emergence of the postcolonial era, and the fall of communism have each provoked a reconsideration of the authority given the archive--no longer viewed as a neutral, transparent site of record but as a contested subject and medium in itself. This volume surveys the full diversity of our transformed theoretical and critical notions of the archive--as idea and as physical presence--from Freud's "mystic writing pad" to Derrida's "archive fever"; from Christian Boltanski's first autobiographical explorations of archival material in the 1960s to the practice of artists as various as Susan Hiller, Ilya Kabakov, Thomas Hirshhorn, Renée Green, and The Atlas Group in the present.
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livres
livres
Publication:
novembre 2006, London / Cambridge
novembre 2006, London / Cambridge
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livres
livres
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The use of the metaphor has from time immemorial been a central practice of art, and it represents an important issue for all three artists here, who work with language, film and installations. Their discussion leads to a new perception of the metaphor and the function for art and architecture, of the role and interests of artists and mediators of art. A discussion(...)
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The use of the metaphor has from time immemorial been a central practice of art, and it represents an important issue for all three artists here, who work with language, film and installations. Their discussion leads to a new perception of the metaphor and the function for art and architecture, of the role and interests of artists and mediators of art. A discussion(...)
Titre:
Again the metaphor problem and other engaged critical discouses about art : a conversation between John Baldessari, Liam Gillick and Lawrence Weiner, moderated by Beatrix Ruf
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The use of the metaphor has from time immemorial been a central practice of art, and it represents an important issue for all three artists here, who work with language, film and installations. Their discussion leads to a new perception of the metaphor and the function for art and architecture, of the role and interests of artists and mediators of art. A discussion about the world of art and art in the world.
Again the metaphor problem and other engaged critical discouses about art : a conversation between John Baldessari, Liam Gillick and Lawrence Weiner, moderated by Beatrix Ruf
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$27.95
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Résumé:
The use of the metaphor has from time immemorial been a central practice of art, and it represents an important issue for all three artists here, who work with language, film and installations. Their discussion leads to a new perception of the metaphor and the function for art and architecture, of the role and interests of artists and mediators of art. A discussion about the world of art and art in the world.
Classification:
livres
livres
Publication:
juillet 2006, Wien, New York
juillet 2006, Wien, New York
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
About Stephan Bann
About Stephan Bann
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A distinguished group of eminent contributors reflect on the writings of Stephen Bann and his influence on the fields of visual studies, art history and cultural history. Engages with a wide range of subjects from French art and architecture to histories of the garden and painting in China. Includes a portfolio of Bann's poem prints.
$37.50
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Résumé:
A distinguished group of eminent contributors reflect on the writings of Stephen Bann and his influence on the fields of visual studies, art history and cultural history. Engages with a wide range of subjects from French art and architecture to histories of the garden and painting in China. Includes a portfolio of Bann's poem prints.
Titre:
About Stephan Bann
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A distinguished group of eminent contributors reflect on the writings of Stephen Bann and his influence on the fields of visual studies, art history and cultural history. Engages with a wide range of subjects from French art and architecture to histories of the garden and painting in China. Includes a portfolio of Bann's poem prints.
About Stephan Bann
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$37.50
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A distinguished group of eminent contributors reflect on the writings of Stephen Bann and his influence on the fields of visual studies, art history and cultural history. Engages with a wide range of subjects from French art and architecture to histories of the garden and painting in China. Includes a portfolio of Bann's poem prints.
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livres
livres
Publication:
juin 2006, Malden / Oxford / Victoria
juin 2006, Malden / Oxford / Victoria
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
Titre:
The new normal
The new normal
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We live in a time of condessions, both voluntary and forced - a time when more and more of our personal information and behavior is recorded, archived, and shared. This is not only due to government surveillance, but increasingly because our ways of communicating (via camera phones, e-mail, etc.) make it difficult for us to control who has access to information about us.(...)
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We live in a time of condessions, both voluntary and forced - a time when more and more of our personal information and behavior is recorded, archived, and shared. This is not only due to government surveillance, but increasingly because our ways of communicating (via camera phones, e-mail, etc.) make it difficult for us to control who has access to information about us.(...)
Sujet:
Théorie de l’art
Théorie de l’art
Publication:
mai 2008, New York
mai 2008, New York
Titre:
The new normal
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$31.00
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We live in a time of condessions, both voluntary and forced - a time when more and more of our personal information and behavior is recorded, archived, and shared. This is not only due to government surveillance, but increasingly because our ways of communicating (via camera phones, e-mail, etc.) make it difficult for us to control who has access to information about us. The New Normal features works made between 2001 and 2008 that draw on private information - ranging from home videos to financial data - for their raw material and subject matter. These works, and the catalogue essays, shed light on the new circumstances created by our highly technological society, in which private information has never been less private.
The new normal
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We live in a time of condessions, both voluntary and forced - a time when more and more of our personal information and behavior is recorded, archived, and shared. This is not only due to government surveillance, but increasingly because our ways of communicating (via camera phones, e-mail, etc.) make it difficult for us to control who has access to information about us. The New Normal features works made between 2001 and 2008 that draw on private information - ranging from home videos to financial data - for their raw material and subject matter. These works, and the catalogue essays, shed light on the new circumstances created by our highly technological society, in which private information has never been less private.
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livres
livres
Publication:
mai 2008, New York
mai 2008, New York
Sujet:
Théorie de l’art
Théorie de l’art
Classification:
livres
livres
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$39.00
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The art that has been produced in the last fifteen years has generated virtually no theoretical reflection or historial contextualization. The contrast with the previous decades could scarcely be starker. In the 1960s artists and critics fell over each other to come up with names, complete with theory and genealogy, for each new trend. Pop Art, Op Art, Minimal Art,(...)
$39.00
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The art that has been produced in the last fifteen years has generated virtually no theoretical reflection or historial contextualization. The contrast with the previous decades could scarcely be starker. In the 1960s artists and critics fell over each other to come up with names, complete with theory and genealogy, for each new trend. Pop Art, Op Art, Minimal Art,(...)
Titre:
Right about now: art & theory since the 1990s
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$39.00
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The art that has been produced in the last fifteen years has generated virtually no theoretical reflection or historial contextualization. The contrast with the previous decades could scarcely be starker. In the 1960s artists and critics fell over each other to come up with names, complete with theory and genealogy, for each new trend. Pop Art, Op Art, Minimal Art, Conceptual Art - they all had to have their own story. In the 1990s it was mainly the art itself and the experience it provided that were key. And yet this 'art without theory' ca, of course, be interpreted theoretically and put into a historical context. In Right about Now: Art and Theory since the 1990s and international group of renowned authors and new comers in the field has accepted the challenge and endeavoured to bring together the art and theory of the recent past. Their thought-provoking contributions revolve around six topical themes: the body, interactivity, engagement, documentary strategies, money, curating.
Right about now: art & theory since the 1990s
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$39.00
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Résumé:
The art that has been produced in the last fifteen years has generated virtually no theoretical reflection or historial contextualization. The contrast with the previous decades could scarcely be starker. In the 1960s artists and critics fell over each other to come up with names, complete with theory and genealogy, for each new trend. Pop Art, Op Art, Minimal Art, Conceptual Art - they all had to have their own story. In the 1990s it was mainly the art itself and the experience it provided that were key. And yet this 'art without theory' ca, of course, be interpreted theoretically and put into a historical context. In Right about Now: Art and Theory since the 1990s and international group of renowned authors and new comers in the field has accepted the challenge and endeavoured to bring together the art and theory of the recent past. Their thought-provoking contributions revolve around six topical themes: the body, interactivity, engagement, documentary strategies, money, curating.
Classification:
livres
livres
Publication:
mars 2008, Amsterdam
mars 2008, Amsterdam
Sujet:
Théorie de l’art
Théorie de l’art
