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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, 1960 - > Conceptual art
The second in a projected four-volume series of the complete
catalogue of works by John Baldessari Compiling four-hundred-plus
unique works of art, this volume traces the shifts and developments
in conceptual artist John Baldessari's work from 1975-86. It covers
his photo-based works such as the "Strobe," "Word Chain," and
"Pathetic Fallacy" series from 1975; the "Violent Space" and the
seminal "Concerning Diachronic/Synchronic Time: Above, On, Under
(With Mermaid)," from 1976; and the "Blasted Allegories" series
from 1977-78, which drew heavily from the artist's vast collection
of photo stills taken from commercial television. In the 1980s,
Baldessari's art took a different direction, beginning with the
expansive "Fugitive Essays" triptychs from 1980 and leading to
1982's photographic interpretations of Grimm's Fairy Tales.
Building on these themes, Baldessari began producing a body of work
that was inspired in part by dreams, psychology, film, and popular
culture. Ensuing works were more formal, elaborate, and
large-scale. From 1984 to 1986 Baldessari created a number of works
that employed his soon-to-be-signature colored discs painted over
people's faces in the photos. An introductory essay will provide a
close reading of selected works and a historical context for
understanding Baldessari's art from this period. A detailed
chronology and exhibition history and bibliography are also
included. This is the second of a projected four-volume catalogue
raisonne. Published in association with Marian Goodman Gallery
Providing a lively snapshot of the state of art and social justice
today on a global level, Entry Points accompanies the inaugural
Vera List Center Prize for Art and Politics, launched at The New
School on the occasion of the center's twentieth anniversary. This
book captures some of the most significant worldwide examples of
art and social justice and introduces an interested audience of
artists, policy makers, scholars, and writers to new ways of
thinking about how justice is defined, advanced, and practiced
through the arts. In so doing, it assembles some of the latest
scholarship in this field while refining our vocabulary for
speaking about social justice, social engagement, community
enhancement, empowerment, and even art itself. The book's first
half contains three essays by Thomas Keenan, Joao Ribas, and Sharon
Sliwinski that map the field of art and social justice. These
essays are accompanied by more than twenty profiles of recent
artist projects that consist of brief essays and artist pages. This
curated and carefully considered map of artists and projects
identifies key moments in art and social justice. The book's second
half consists of an in-depth analysis of Theaster Gates's The
Dorchester Projects, which won the inaugural Vera List Prize for
Art and Politics. Produced to complement the project's exhibition
at the Sheila C. Johnson Design Center, Parsons School of Design in
September 2013, this analysis illuminates Gates's rich, complex,
and exemplary work. This section includes an interview between
Gates and Vera List Center director Carin Kuoni; essays by Horace
D. Ballard Jr., Romi N. Crawford, Shannon Jackson, and Mabel O.
Wilson; and a number of responses to The Dorchester Projects by
faculty in departments across The New School. Published by Duke
University Press and the Vera List Center for Art and Politics at
The New School
This striking, oversized book, designed to evoke encyclopedias, is
a highly creative amalgam of collage with a political bent and
poetry. From 2011 to 2012, American artist Mel Chin (b. 1951)
extracted all of the images from a twenty-five-volume set of Funk
& Wagnall's Universal Standard Encyclopedia (ca. 1953-56) and
began visually re-editing. Thousands of images rendered by
photomechanical reproduction that served a populist, mid-century
encyclopedia are reconfigured with 21st-century hindsight and
idiosyncratic connections that convey social and artistic
commentaries. Surrealism, humor, sarcasm, politics, history, and
beauty permeate these sometimes raucous, often confounding, but
consistently stunning images. Over 500 black-and-white collages are
accompanied by twenty-five poems, one per encyclopedia volume,
commissioned by Chin and author Nick Flynn specifically for this
publication. Writers range from the well-known to the surprising.
The Funk & Wag from A to Z offers mischievous fun with pointed
commentary and hilarity. Distributed for The Menil Collection
In "What We Made," Tom Finkelpearl examines the activist,
participatory, coauthored aesthetic experiences being created in
contemporary art. He suggests social cooperation as a meaningful
way to think about this work and provides a framework for
understanding its emergence and acceptance. In a series of fifteen
conversations, artists comment on their experiences working
cooperatively, joined at times by colleagues from related fields,
including social policy, architecture, art history, urban planning,
and new media. Issues discussed include the experiences of working
in public and of working with museums and libraries, opportunities
for social change, the lines between education and art,
spirituality, collaborative opportunities made available by new
media, and the elusive criteria for evaluating cooperative art.
Finkelpearl engages the art historians Grant Kester and Claire
Bishop in conversation on the challenges of writing critically
about this work and the aesthetic status of the dialogical
encounter. He also interviews the often overlooked co-creators of
cooperative art, "expert participants" who have worked with
artists. In his conclusion, Finkelpearl argues that pragmatism
offers a useful critical platform for understanding the
experiential nature of social cooperation, and he brings pragmatism
to bear in a discussion of Houston's "Project Row Houses."
"Interviewees." Naomi Beckwith, Claire Bishop, Tania Bruguera,
Brett Cook, Teddy Cruz, Jay Dykeman, Wendy Ewald, Sondra Farganis,
Harrell Fletcher, David Henry, Gregg Horowitz, Grant Kester, Mierle
Laderman Ukeles, Pedro Lasch, Rick Lowe, Daniel Martinez, Lee
Mingwei, Jonah Peretti, Ernesto Pujol, Evan Roth, Ethan Seltzer,
and Mark Stern
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A new understanding of Marcel Duchamp and his significance as an
artist through an investigation of his non-art
activities-archiving, art-dealing, and, most persistently,
curating. This groundbreaking and richly illustrated book tells a
new story of the twentieth century's most influential artist,
recounted not so much through his artwork as through his "non-art"
work. Marcel Duchamp is largely understood in critical and popular
discourse in terms of the objects he produced, whether readymade or
meticulously fabricated. Elena Filipovic asks us instead to
understand Duchamp's art through activities not normally seen as
artistic-from exhibition making and art dealing to administrating
and publicizing. These were no occasional pursuits; Filipovic
argues that for Duchamp, these fugitive tasks were a veritable
lifework. Drawing on many rarely seen images, Filipovic traces a
variety of practices and projects undertaken by Duchamp from 1913
to 1969, from his invention of the readymade to the release of his
last, posthumous work. She examines Duchamp's note writing,
archiving, and quasi-photographic activities, which resulted in the
Box of 1914 and the Green Box; his art dealing, marketing, and
curating that culminated in experimental exhibitions for the
Surrealists and his miniature museum, The Boite-en-valise; and his
administrative efforts and clandestine maneuvering in order to
posthumously embed his Etant donnes into a museum. Demonstrating
how those activities reflect the artist's questioning of
reproduction and originality, as well as photography and the
exhibition, Filipovic proposes that Duchamp's "non-art" labor, and
in particular his curatorial strategies, more than merely
accompanied his more famous artworks; in a certain sense, they made
them. Through Duchamp's elusive but vital activities he revised the
idea of what a modern artist could be. With this fascinating book,
Filipovic in turn revises the very idea of Duchamp
How artists' magazines, in all their ephemerality, materiality, and
temporary intensity, challenged mainstream art criticism and the
gallery system. During the 1960s and 1970s, magazines became an
important new site of artistic practice, functioning as an
alternative exhibition space for the dematerialized practices of
conceptual art. Artists created works expressly for these
mass-produced, hand-editioned pages, using the ephemerality and the
materiality of the magazine to challenge the conventions of both
artistic medium and gallery. In Artists' Magazines, Gwen Allen
looks at the most important of these magazines in their heyday (the
1960s to the 1980s) and compiles a comprehensive, illustrated
directory of hundreds of others. Among the magazines Allen examines
are Aspen (1965-1971), a multimedia magazine in a box-issues
included Super-8 films, flexi-disc records, critical writings,
artists' postage stamps, and collectible chapbooks; Avalanche
(1970-1976), which expressed the countercultural character of the
emerging SoHo art community through its interviews and
artist-designed contributions; and Real Life (1979-1994), published
by Thomas Lawson and Susan Morgan as a forum for the Pictures
generation. These and the other magazines Allen examines expressed
their differences from mainstream media in both form and content:
they cast their homemade, do-it-yourself quality against the
slickness of an Artforum, and they created work that defied the
formalist orthodoxy of the day. Artists' Magazines, featuring
abundant color illustrations of magazine covers and content, offers
an essential guide to a little-explored medium.
The first book-length study of this influential artist's work,
focusing on the participatory role of the human subject rather than
the art object. Michael Asher doesn't make typical installations.
Instead, he extracts his art from the institutions in which it is
shown, culling it from collections, histories, or museums' own
walls. Since the late 1960s, Asher has been creating situations
that have not only taught us about the conditions and contexts of
contemporary art, but have worked to define it. In Situation
Aesthetics, Kirsi Peltomaki examines Asher's practice by analyzing
the social situations that the artist constructs in his work for
viewers, participants, and institutional representatives (including
gallery directors, curators, and other museum staff members).
Drawing on art criticism, the reports of viewers and participants
in Asher's projects, and the artist's own archives, Peltomaki
offers a comprehensive account of Asher's work over the past four
decades. Because of the intensely site-specific nature of this
work, as well as the artist's refusal to reconstruct past works or
mount retrospectives, many of the projects Peltomaki discusses are
described here for the first time. By emphasizing the social and
psychological sites of art rather than the production of autonomous
art objects, Peltomaki argues, Asher constructs experientially
complex situations that profoundly affect those who encounter them,
bringing about both personal and institutional transformation.
An exploration of walking and mapping as both form and content in
art projects using old and new technologies, shoe leather and GPS.
From Guy Debord in the early 1950s to Richard Long, Janet Cardiff,
and Esther Polak more recently, contemporary artists have returned
again and again to the walking motif. Today, the convergence of
global networks, online databases, and new tools for mobile mapping
coincides with a resurgence of interest in walking as an art form.
In Walking and Mapping, Karen O'Rourke explores a series of
walking/mapping projects by contemporary artists. She offers close
readings of these projects-many of which she was able to experience
firsthand-and situates them in relation to landmark works from the
past half-century. Together, they form a new entity, a dynamic
whole greater than the sum of its parts. By alternating close study
of selected projects with a broader view of their place in a bigger
picture, Walking and Mapping itself maps a complex phenomenon.
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Peter Fischli David Weiss
(Hardcover)
Peter Fischli, David Weiss; Edited by Emily Wei Rales, Ali Nemerov; Text written by Boris Groys, …
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Peter Fischli (born 1952) and David Weiss (1946-2012) collaborate
to transform the stuff of ordinary life into a series of quizzical,
whimsical, even disquieting encounters. Fascinated with
unconventional subject matter and material, Fischli and Weiss toy
with the idea of high art, questioning popular narratives and
movements in art and cultural history. Peter Fischli David Weiss
presents an in-depth survey of the artists' work from 1979 through
2012, drawn exclusively from Glenstone's collection. The volume
includes rubber and clay sculptures, photographic series including
Equilibres (A Quiet Afternoon) and Sausage Series, digital slides
such as Airports and Flowers and Mushrooms, stills from their
acclaimed video The Way Things Go and the most recent iteration of
their alter egos, Rat and Bear. Also reproduced is the artists'
most ambitious polyurethane installation, The Objects for
Glenstone, and Questions, a slide installation of over 400
handwritten existential queries such as Is the Devil a cheerful
person? and Will happiness find me? which won the Golden Lion Prize
at the 2003 Venice Biennale.
This book presents an analysis of how the processes described in
Conceptual Blending Theory can be applied in practice, on the basis
of Michal Batory's posters designed for artistic events. Therefore,
it begins with an introduction of the origins of Conceptual
Blending Theory, the very nature and elements of conceptual
blending as a linguistic and mental phenomenon. It also provides an
overview of the models and types of integration networks, which is
followed by an analysis of vital relations that accompany the
blending process. Importantly, the principles constraining
Conceptual Blending Theory, together with the criticism levelled at
Fauconnier and Turner's approach are put forward. The book then
moves on to analyse Michal Batory's posters in terms of conceptual
blending processes. The blended space is meticulously discussed and
illustrated to show explicitly how two distinct notions are
combined to create a new meaning that is non-computable from the
two input spaces. The interaction that occurs between the
inscriptions and images is very distinct in every single poster.
The analysis highlights how Batory's artefacts influence people and
convey the hidden message, with the use of strong visual and verbal
elements that accompany the blending process.
This volume represents a collection of six essays written by
artists and art historians about journeys to places and methods of
practice that challenge perceived taxonomies. The artist as
traveler has deep historical precedents as contemporary art
production today, and has historically followed political,
economic, and cultural expansion. The role of the artist as
witness, reporter, geographer, collector, and educator exemplifies
the significance of mobility, geographic and cultural mediation in
the productions of art and visual culture, and the critical
questions raised as a result.The book encompasses a variety of
perspectives on how artist-travelers have embraced and
contextualized the places, people, cultures and overall experiences
encountered on their journeys. Each chapter unveils different and
unique approaches which artists have taken in reacting and creating
as part of a journey in which they are often the outsiders to the
culture and place. Visual mappings conveying geo-locative walking
data, recreations of indigenous ritual as installation,
participatory video installations uncovering community
perspectives, and a reflective diary about walking across lands
affected by natural disaster are some of the ways these artists and
historians examine the experiences the artists have encountered
abroad. Each piece is completely unique, yet united in the act of
journey and pursuit of alternative narrative born of the
experience.
Depicted here, Ruby s YARD paintings test the formal limits of the
medium, using rollers and brooms to spread a multicolored palette
of acrylic paints over unprimed canvases, while fabric, cardboard,
and other materials are attached to the edges of each painting,
like mysterious satellites at the borders of indeterminate
topographies. Meanwhile, huge fragments of reclaimed American
submarine combine with engine parts and steel pipes to convey the
raw potential of sculpture. Featuring more than 40 color plates,
including detail images that highlight the various aspects of each
piece, this book presents stunning installation photo- graphs of
both of the artist s recent Paris shows and an insightful new essay
by critic Philippe Dagen. Colorful double-page spreads of the
artist s two studios depict the creative process for the
aforementioned paintings and sculptures.
This revised edition of "What We Want Is Free" examines a
twenty-year history of artistic productions that both model and
occupy the various forms of exchange within contemporary society.
From shops, gifts, and dinner parties to contract labor and petty
theft, contemporary artists have used a variety of methods that
both connect participants to tangible goods and services and, at
the same time, offer critiques of and alternatives to global
capitalism and other forms of social interaction. Examples of these
various projects include the creation of free commuter bus lines
and medicinal plant gardens, the distribution of such services as
free housework or computer programming, and the production of
community media projects such as free commuter newspapers and
democratic low-wattage radio stations.
Like the first edition, the second edition includes a detailed
survey of artists projects from around the globe, as well as
critical essays and artists texts that explore the underlying
social history and contemporary issues that further inform our
reading of these works. This new edition also features a new
introduction and additional chapters on the relation of exchange
practices to democracy, the commons, object-oriented philosophy,
and an examination of the impact of ongoing globalization on the
economics of artists projects. It also features a significantly
expanded scope for the project histories, including work from the
past decade and a new section dedicated to artist-initiated
organizations and innovative models for new institutions."
Sculptor, poet, pioneer of artist's books, performer, publisher and
musician--Dieter Roth (1930-1998) has long been beloved as an
artist's artist. Constantly trying to undo his art education, he
would set up systems that discouraged the conventional and the
consistent: he drew with both hands at once, preserved the
discarded and reveled in the transitory. Grease stains, mold
formations, insect borings and rotting foodstuffs were just some of
the materials used, both out of a fascination with their painterly,
textural aspects and for their innate ability to make time visible
and play to chance. This oversized, faux-leather-bound book
collects some 260 never-before-published drawings from the famous
"Copy Books" group, heretofore hidden away in the late artist's
archive. Organized in series, these works span from 1977 to 1998.
For more than two months in 2006, Berlin-based artist Nicole Schuck
hiked across Iceland, carrying just a rucksack and a tent. This
volume collects the drawings, films and performances that resulted
from her hikes, all of which helped her to process her experiences
of the island.
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