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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, 1960 - > Conceptual art
Towards a Conceptual Militancy is aimed at the interested
art-viewing public, artists, the politically disillusioned, and
readers of both European Philosophy, particularly of Speculative
Realism/OOP, and Accelerationism. This book calls on the artist to
mount a defence of subjective freedom in opposition to the twin
objectifying factors of Science and Capital, personified by growing
surveillance technology. Presenting the artistic declaration of
freedom as exemplary of how the subject might circumvent its
objectification, Towards a Conceptual Militancy brings art back
into the social sphere following decades of cultural
commodification.
Expert colorist Teruko Sakurai takes you to the end of the
rainbow--and beyond--in this inspiring color dictionary! Over 2,750
traditional Japanese color combinations are presented, organized
into 100 different themes associated with the seasons, landscapes
and artistic heritage of Japan. Whether it's a shower of pink
cherry blossoms, the flutter of a carp flap or the austere and cool
tones of Mt. Fuji, flipping the pages of this color dictionary is
like taking a stroll through the sensual delights of Japanese
culture in all its dazzling tones, hues and palettes. Each two-page
section in this richly-illustrated book presents a different theme
with the following information: An introduction to the color scheme
and a description of how it can be used A number-coded nine-color
palette board showing the range of shades and hues that complement
and comprise the scheme CMYK, RGB and HEX (the color code used in
Japan) references for all nine colors 26 examples including two-
and three-color combinations with photos and illustrations This is
an indispensable guide for graphic designers, illustrators,
decorators, artists and publishing professionals. It will also be
enjoyable and inspiring for readers planning their own home design
or art projects.
A major reassessment of photography's pivotal role in 1960s
conceptual art Why do we continue to look to photographs for
evidence despite our awareness of photography's potential for
duplicity? Documents of Doubt critically reassesses the truth
claims surrounding photographs by looking at how conceptual artists
creatively undermined them. Studying the unique relationship
between photography and conceptual art practices in the United
States during the social and political instability of the late
1960s, Heather Diack offers vital new perspectives on our
"post-truth" world and the importance of suspending easy
conclusions in contemporary art. Considering the work of four
leading conceptual artists of the 1960s and '70s, Diack looks at
photographs as documents of doubt, pushing the form beyond commonly
assumed limits. Through in-depth and thorough reevaluations of
early work by noted artists Mel Bochner, Bruce Nauman, Douglas
Huebler, and John Baldessari, Diack advances the powerful thesis
that photography provided a means of moving away from the object
and toward performative effects, playing a crucial role in the
development of conceptual art as a medium of doubt and contingency.
Discussing how unexpected and contradictory meanings can exist in
the guise of ordinary pictures, Documents of Doubt offers evocative
and original ideas on truth's connection to photography in the
United States during the late 1960s and how conceptual art from
that period anticipated our current era of "alternative facts" in
contemporary politics and culture.
The sixth and final volume documenting the work of an iconic
American artist The sixth and final volume of this exceptional
catalogue raisonne project features over 360 works made by John
Baldessari (1931-2020) between 2011 and 2019. Here, Baldessari
continues his longstanding tradition of borrowing from artists as
varied as David Hockney, Giotto, Gustave Courbet, Maria Lassnig,
Lucas Cranach the Elder, Giorgio Morandi, and Jackson Pollock. Many
of the works in this volume are a testament to the artist's
fascination and engagement with art from previous eras. In one
example, Baldessari's 2012 series "Double Bill" combines scenes
from pairs of paintings, such as a Willem de Kooning face atop a
Jean Dubuffet body, with the words, "...And Dubuffet" painted
beneath: Baldessari is effectively collaborating with artists he
has revered for years. This volume also surveys Baldessari's
complete film and video output, from 1968 to 2004, as well as the
artist's books he made, from 1972 to 2019. Additionally, an
appendix catalogues works, mostly pre-1974, that were unknown at
the time Volume 1 was published. Published in association with
Marian Goodman Gallery
Edited by Clemens Apprich, Josephine Berry Slater, Anthony Iles and
Oliver Lerone Schultz Felix Guattari's visionary term 'post-media',
coined in 1990, heralded a break with mass media's production of
conformity and the dawn of a new age of media from below.
Understanding how digital convergence was remaking television,
film, radio, print and telecommunications into new, hybrid forms,
he advocated the production of 'enunciative assemblages' that break
with the manufacture of normative subjectivities. In this
anthology, historical texts are brought together with newly
commissioned ones to explore the shifting ideas, speculative
horizons and practices associated with post- media. In particular,
the book seeks to explore what post- media practice might be in
light of the commodification and homogenisation of digital networks
in the age of Web 2.0, e-shopping and mass surveillance. With texts
by: Adilkno, Clemens Apprich, Brian Holmes, Alejo Duque, Felipe
Fonseca, Gary Genosko, Michael Goddard, Felix Guattari, Cadence
Kinsey, Oliver Lerone Schultz, Rasa Smite & Raitis Smits, and
Howard Slater Part of the PML Books series. A collaboration between
Mute & the Post-Media Lab
A FAMILY STORY AND THE TALE OF A NATION. Ai Weiwei - one of the
world's most famous artists and activists - weaves a century-long
epic tale of China through the story of his own life and that of
his father, Ai Qing, the nation's most celebrated poet.
'Engrossing...a remarkable story' Sunday Times Here, through the
sweeping lens of his own and his father's life, Ai Weiwei tells an
epic tale of China over the last 100 years, from the Cultural
Revolution to the modern-day Chinese Communist Party. Here is the
story of a childhood spent in desolate exile after his father, Ai
Qing, once China's most celebrated poet, fell foul of the
authorities. Here is his move to America as a young man and his
return to China, his rise from unknown to art-world superstar and
international rights activist. Here is his extraordinary account of
how his work has been shaped by living under a totalitarian regime.
It's the story of a father and a son, of exceptional creativity and
passionate belief, and of how two indomitable spirits enabled the
world to understand their country. 'A story of inherited resilience
and self-determination' Observer 'A majestic and exquisitely
serious masterpiece about his China... One of the great voices of
our time' Andrew Solomon 'Intimate, unflinching...an instant
classic' Evan Osnos, author of Age of Ambition
A major reassessment of photography's pivotal role in 1960s
conceptual art Why do we continue to look to photographs for
evidence despite our awareness of photography's potential for
duplicity? Documents of Doubt critically reassesses the truth
claims surrounding photographs by looking at how conceptual artists
creatively undermined them. Studying the unique relationship
between photography and conceptual art practices in the United
States during the social and political instability of the late
1960s, Heather Diack offers vital new perspectives on our
"post-truth" world and the importance of suspending easy
conclusions in contemporary art. Considering the work of four
leading conceptual artists of the 1960s and '70s, Diack looks at
photographs as documents of doubt, pushing the form beyond commonly
assumed limits. Through in-depth and thorough reevaluations of
early work by noted artists Mel Bochner, Bruce Nauman, Douglas
Huebler, and John Baldessari, Diack advances the powerful thesis
that photography provided a means of moving away from the object
and toward performative effects, playing a crucial role in the
development of conceptual art as a medium of doubt and contingency.
Discussing how unexpected and contradictory meanings can exist in
the guise of ordinary pictures, Documents of Doubt offers evocative
and original ideas on truth's connection to photography in the
United States during the late 1960s and how conceptual art from
that period anticipated our current era of "alternative facts" in
contemporary politics and culture.
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Velocity
(Hardcover)
Stephan Martiniere
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R737
R629
Discovery Miles 6 290
Save R108 (15%)
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Following his previous books, Quantum Dreams and Quantumscapes,
Velocity is a stunning new visionary collection of sci-fi book
cover paintings, commercial and film art, video game designs, and
never before-seen artwork from the fantastic imagination of
acclaimed artist Stephan Martiniere.
Czech action art - a medium similar to performance art that does
not require an audience - emerged out of the political and social
turmoil of the 1960s. This movement has received little critical
attention, however, as the Iron Curtain prevented its dissemination
to an international audience. Here theorist and art historian
Pavlina Morganova gives this art scene its due, chronicling its
inception and tracing its evolution through to the present.
Morganova explains the various forms of action art, from the
"actions" and "happenings" of the 1960s; to the actions of land art
that encompass stones, trees, water, or fire; to recent displays of
body art; to the actions of the latest generation of artists, who
are using the principles of action art in contemporary
postconceptual and participative art. Along the way, she introduces
the most prominent Czech artists of each specific niche, including
Milan Knizak, Zorka Saglova, Ivan Kafka, Petr Stembera, Karel
Miler, Jiri Kovanda, and Katerina Seda, and demonstrates not only
the changes in the art forms themselves but also the shifting roles
of artists and spectators after World War II. With over one hundred
illustrations, Czech Action Art introduces this heretofore
overlooked but fascinating art form to a global readership.
Microgroove continues John Corbett's exploration of diverse musics,
with essays, interviews, and musician profiles that focus on jazz,
improvised music, contemporary classical, rock, folk, blues,
post-punk, and cartoon music. Corbett's approach to writing is as
polymorphous as the music, ranging from oral history and
journalistic portraiture to deeply engaged cultural critique.
Corbett advocates for the relevance of "little" music, which
despite its smaller audience is of enormous cultural significance.
He writes on musicians as varied as Sun Ra, PJ Harvey, Koko Taylor,
Steve Lacy, and Helmut Lachenmann. Among other topics, he discusses
recording formats; the relationship between music and visual art,
dance, and poetry; and, with Terri Kapsalis, the role of female
orgasm sounds in contemporary popular music. Above all, Corbett
privileges the importance of improvisation; he insists on the need
to pay close attention to "other" music and celebrates its ability
to open up pathways to new ideas, fresh modes of expression, and
unforeseen ways of knowing.
Featuring sculptural, sound-based, and language-based artworks,
this fascinating volume explores the experiential, psychological,
and metaphorical implications of blindness and invisibility in
recent American art. New research addresses the paradox of why and
how numerous sighted and unsighted artists, normally considered to
be 'visual artists' such as William Anastasi, Robert Morris, Joseph
Grigely and Lorna Simpson, have challenged the primacy of vision as
a bearer of perceptual authority. Their work explores what resides
on the other side of the visual field, prompting audiences to
reflect upon the significance of what we cannot see, whether by
choice, habit or physiological limitations, in the world around us.
In so doing, they point to ways of knowing beyond what can be
observed with the eyes, as well as to the invisible forces
(societal, political, cultural) that govern our own frameworks of
experience.
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Simon Starling
(Paperback, New)
Janet Harbord; Contributions by Francesco Manacorda; Dieter Roelstraete
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R957
R779
Discovery Miles 7 790
Save R178 (19%)
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When Marcel Duchamp shipped Constantin Brancusi's sculpture Bird in
Space to Edward Steichen in 1926, New York customs officials
refused to accept that it was a work of art, instead levying the
standard import tariff for a manufactured object. A legal battle
ensued, with the courts eventually declaring Bird in Space an
artwork and therefore exempt from the tariff. Seventy-eight years
later, visitors to Simon Starling's exhibition at New York's Casey
Kaplan Gallery were confronted with Staling's own Bird in Space
(2004): a two-ton slab of steel from Romania (Brancusi's country of
origin) leaning against the gallery wall and propped up on three
inflatable cushions. The United States had recently introduced a
new import tax of twenty per cent on foreign metals, which Starling
circumvented by labelling this unaltered chunk of European steel a
work of art. Its plinth of cushioned air not only introduced a
second, more representational valance to the work but also brought
to bear the traditional sculptural parameters of weight, gravity
and balance. Starling's art frequently traffics in deception. It
also traffics in traffic, meaning the circulation of goods,
knowledge and people (usually the artist himself). Many of his
works circle back on themselves, taking an idea on a journey that
ends at its point of origin. Wilhelm Noack oHG (2006), for example,
is an elaborate helical steel structure designed to loop a
thirty-five-millimetre film of the workshop in which it was
fabricated. The circuitous path that the film takes through the
towering metal structure is the perfect visual metaphor for the
work's own circular logic, a self-regulating system that adds up to
much more than the sum of its parts. Starling is a key figure in
one of contemporary art's most significant recent developments: the
linking of artistic practice and knowledge production. Although
this tendency flourished with Conceptual art in the 1960s and
1970s, in recent years it has taken on a new intensity. Unlike the
Conceptual artists, however, many of whom strove for a
language-based dematerialized art, for Starling the object is
always at the work's heart. Economies, ecologies, coincidences and
convergences are all simply means to an end - although 'simply' may
be the wrong word to describe the transformation of thousands of
miles of travel and hundreds of years of history into a single
sculpture, film or photograph. Starling's other predecessors are
the Land artists, such as Robert Smithson, with whom he shares a
fascination with entropy and other natural forces. But he is truly
an artist of the current age, setting out to understand and
illustrate the complex processes through which the natural and
human-made realms interact. The five platinum/palladium prints that
constitute One Ton (2005) show a single view of a South African
platinum mine. Together the five prints contain the precise amount
of platinum salts that can be derived from one ton of ore,
succinctly illustrating the enormous amount of energy required in
the extraction of precious metals. Born in England in 1967 and now
living in Denmark, Starling has been the subject of solo
exhibitions at museums around the world, including the Hiroshima
City Museum of Art (2011), Kunstmuseum Basel (2005) and the Museum
of Contemporary Art in Sydney (2002), and his work has been
featured in major international group shows, such as the Venice
Biennale (2009), the Moscow Biennial (2007) and the Sao Paulo
Biennial (2005). Awards include the Turner Prize (2005), the Blinky
Palermo Prize (1999) and the Paul Hamlyn Foundation Award for
Artists (1999). In the Survey, Dieter Roelstraete presents a
comprehensive overview of Starling's work, examining circularity
and serendipity and the their relationship to historical research.
For the Interview, Francesco Manacorda and the artist discuss the
central role of time in his work. Janet Harbord's Focus scrutinizes
Wilhelm Noack oHG (2006) as an example of material cinema. Artist's
Choice is a extract from Flann O'Brien's 1996 novel The Third
Policeman, a fantastical conversation about bicycles swapping atoms
with their riders. Artists Writings include five project
statements, all of which consist, in varying proportions, of
history, science and speculative fiction.
Alejandro Cesarco: Song, published on the occasion of the
exhibition of the same name at the Renaissance Society, brings
together both new commissions and existing works. In the
exhibition, Cesarco creates rhythm by incorporating silences and
withholdings. The works form an installation drawing on the poetics
of duration, refusal, repetition, and affective forms. This
presentation, as in the artist's broader practice, represents a
sustained investigation into time, memory, and how meaning is
perceived. Centering on two related video works, the exhibition
engaged deeply with histories of conceptual art. This catalog
features an introduction by Solveig Ovstebo, a conversation between
Alejandro Cesarco and Lynne Tillman, an essay by Julie Ault, and
new short fiction by Wayne Koestenbaum in response to the
exhibition.
This Limited Edition comes with a unique cover and a pristine
slipcase with metallic foil print. The print run is limited to
world-wide 1113 copies. At a stunning size of 12" x 14" (30.5cm x
35.5cm), and with full spread images spanning 24" in width, this
first book of a new fiction series will open the doors to a
parallel history of racing. Daniel Simon designed for Bugatti,
Lotus, Formula 1 and penned unforgettable vehicles for Hollywood
movies like Tron: Legacy or Oblivion. This is his second book after
Cosmic Motors.
Simon will present in this series over the next years fictitious
racing machines at impeccable detail up to 50 megapixel, including
vehicle specs and maps of the tracks they raced on. All vehicles
and characters are explained through the carefully written story of
racer Vic Cooper, who time-travels to the past and the future to
compete in the most challenging motor races between 1916 and 2615.
This is episode 1, the year 2027, written in English, French and
German.
Top Gear magazine says on the back cover: ' After Cosmic Motors and
his adventures in Hollywood, this is Daniel Simon's next big coup.
'
Design fans, car enthusiasts, CG addicts and science-fiction
aficionados can enjoy Simon's parallel world through hyper-real
renderings, drawings and photography of fictional drivers, managers
and beautiful women. This first episode puts three uniquely
designed race cars in the spotlight: The 1981 Masucci X-5, the 2027
Masucci X-7 and the 2027 Prideux -Martin MF/27.
The foreword has been written by racing legend Jacky Ickx, who
raced in the 1960s, '70s and '80s for many famed teams such as
Ferrari, McLaren, Porsche, Brabham or Lotus. He is the only driver
to have won in Formula One, Can-Am, Le Mans, and the Paris-Dakar
rally.
Gordon Matta-Clark (1943-78) died at only 35 of pancreatic cancer
and has since become a cult figure of late 20th-century art.
Trained in architecture at Cornell, he went on to question the
field's conventions in vivid projects--performance and recycling
pieces, space and texture works and word games--some of which
excised holes into existing buildings or assembled deeds to New
York City alleys and curbs. The artist used a variety of media to
document his work, including film, video and photography. His work
and words, while sophisticated enough to make him an artist's
artist, and colossal and outgoing enough to draw public attention
and affection, were always also grounded in social or political
convictions. In the early 1970s, Matta-Clark developed the idea of
anarchitecture, which encompassed his interest in voids, gaps and
left-over spaces. Gordon Matta-Clark: Experience Becomes the Object
collects five essays and ten individual interviews with various
friends and family members of Matta-Clark's. Together, they outline
a biographical profile and offer an analysis of the historical
period in which the artist developed his short but successful
career. New, never-before-published material and photographs as
well as an exclusive link to the documentary Crosswords:
Matta-Clark's Friends by Matias Cardone are also included.
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