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Books > Arts & Architecture > Art forms, treatments & subjects > Sculpture & other three-dimensional art forms > Installations
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Look Here
(Paperback)
Axelle Russo
1
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R339
R274
Discovery Miles 2 740
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This ultimate picture book packed with wonderful, quirky, amusing
and delightful images from the British Museum. There is no text at
all: the pictures, and combinations of pictures, speak for
themselves. This makes the book accessible to all ages. Quite young
children will enjoy examining and talking about the pictures; even
adult visitors familiar with the museums galleries will find much
to surprise and entertain them. Every reader is likely to be
surprised at the breadth and variety of images, all of which come
from the British Museum.
The artist Dan Graham (b. 1942) has a wide-ranging practice that
encompasses writing, performance art, installation, video,
photography, and architecture. Throughout his career, Graham has
examined the symbiosis between architectural environments and their
inhabitants, particularly in his pavilions made of glass and
mirrors. His new installation, created for the roof garden of The
Metropolitan Museum of Art, addresses current issues about suburban
psychology and political surveillance. Graham's work combines
landscaping, hedges, and two-way mirrors to create a provocative,
immersive experience for viewers. This creatively designed
publication includes an insightful interview between the artist and
Sheena Wagstaff and focuses not only on Graham's latest commission
but also on his previous landscape-oriented installations,
providing a focused, fascinating study of one of today's leading
contemporary artists. Published by The Metropolitan Museum of
Art/Distributed by Yale University Press Exhibition Schedule: The
Metropolitan Museum of Art (04/28/14-11/02/14)
With his new artist's book The Fabric of Reality, Beat Streuli for
the first time lays a trail leading through his oeuvre. Following
Public Works (JRP Ringier, 2012), which delivered an overview of
Streuli's installations from 1996-2011, the artist now links
projects, photographs, and video stills from the past seven years
with early black-and-white works. Arranged in close succession and
with frequent superimposition, the works create a visual rhythm
that conveys an impression of an oeuvre marked by sober conceptual
observation verging on documentary status. Essays on the themes of
urbanism and sociology, as well as on media theory and the theory
of perception, embed Streuli's work in a discursive context.
Film and video create an illusory world, a reality elsewhere, and a
material presence that both dramatizes and demystifies the magic
trick of moving pictures. Beginning in the 1960s, artists have
explored filmic and televisual phenomena in the controlled
environments of galleries and museums, drawing on multiple
antecedents in cinema, television, and the visual arts. This volume
traces the lineage of moving-image installation through
architecture, painting, sculpture, performance, expanded cinema,
film history, and countercultural film and video from the 1960s,
1970s, and 1980s. Sound is given due attention, along with the
shift from analogue to digital, issues of spectatorship, and the
insights of cognitive science. Woven into this genealogy is a
discussion of the procedural, political, theoretical, and
ideological positions espoused by artists from the mid-twentieth
century to the present. Historical constructs such as Peter Gidal's
structural materialism, Maya Deren's notion of vertical and
horizontal time, and identity politics are reconsidered in a
contemporary context and intersect with more recent thinking on
representation, subjectivity, and installation art. The book is
written by a critic, curator, and practitioner who was a pioneer of
British video and feminist art politics in the late 1970s. Elwes
writes engagingly of her encounters with works by Anthony McCall,
Gillian Wearing, David Hall, and Janet Cardiff, and her narrative
is informed by exchanges with other practitioners. While the book
addresses the key formal, theoretical, and historical parameters of
moving-image installation, it ends with a question: "What's in it
for the artist?"
Originally published in 1970, The Urban Revolution marked Henri
Lefebvre's first sustained critique of urban society, a work in
which he pioneered the use of semiotic, structuralist, and
poststructuralist methodologies in analyzing the development of the
urban environment. Although it is widely considered a foundational
book in contemporary thinking about the city, The Urban Revolution
has never been translated into English-until now. This first
English edition, deftly translated by Robert Bononno, makes
available to a broad audience Lefebvre's sophisticated insights
into the urban dimensions of modern life.Lefebvre begins with the
premise that the total urbanization of society is an inevitable
process that demands of its critics new interpretive and perceptual
approaches that recognize the urban as a complex field of inquiry.
Dismissive of cold, modernist visions of the city, particularly
those embodied by rationalist architects and urban planners like Le
Corbusier, Lefebvre instead articulates the lived experiences of
individual inhabitants of the city. In contrast to the ideology of
urbanism and its reliance on commodification and
bureaucratization-the capitalist logic of market and state-Lefebvre
conceives of an urban utopia characterized by self-determination,
individual creativity, and authentic social relationships.A
brilliantly conceived and theoretically rigorous investigation into
the realities and possibilities of urban space, The Urban
Revolution remains an essential analysis of and guide to the nature
of the city.Henri Lefebvre (d. 1991) was one of the most
significant European thinkers of the twentieth century. His many
books include The Production of Space (1991), Everyday Life in the
Modern World (1994), Introduction to Modernity (1995), and Writings
on Cities (1995).Robert Bononno is a full-time translator who lives
in New York. His recent translations include The Singular Objects
of Architecture by Jean Baudrillard and Jean Nouvel (Minnesota,
2002) and Cyberculture by Pierre Levy (Minnesota, 2001).
The KfW Foundation and the cultural centre Kunstlerhaus Bethanien
are collaborating on a studio programme offering a twelve month
residency in Berlin to young artists from Africa, Latin America and
the Middle East. Verlag Kettler presents the artistic work of the
grant holders in an on-going book series. Matheus Rocha Pitta (born
1980 in Tiradentes, Brazil, lives and works in Rio de Janeiro) has
created a new group of works entitled For the Winners the Potatoes.
At the time of publication, this work an be found at the exhibition
room of Kunstlerhaus Bethanien, as well as in two of Berlin's
underground stations, Hermannplatz and Gesundbrunnen, and in a
showcase at SOX in Berlin's Oranienstrasse. Rocha Pitta's
performative installations at Kunstlerhaus Bethanien and in the
underground stations allow him to interact with the public. He
presents trophies that are made of plastic bags or concrete instead
of gold, silver or bronze, and invites visitors to take along
potatoes as victory trophies. His work deconstructs the concept of
victory and the hierarchy of winners and losers, creating a dense
network of historical references going back to Ancient Greece and
asking fundamental questions about the meaning of gestures, the
community and its value. Rocha Pitta portrays his trophies with a
mocking sense of humour. By connecting glory with mundane, everyday
objects, he aims to subvert the hierarchy of winners and losers and
invites the spectator to rethink the meaning of victory and defeat.
Thomas Hirschhorn is a leading installation artist whose work is
owned and exhibited by modern art museums throughout Europe and the
United States. Known for his compelling, often site-specific and
activated environments which tackle issues of critical theory,
global politics, and consumerism, his work initially engages the
viewer through sheer superabundance. Combining found images and
texts, bound up in handcrafted constructions of cardboard, foil,
and packing tape, they correlate to the intellectual scavenging and
sensory overload that characterize our own grapplings with the
excess of information in daily life. Christina Braun is the first
to compile and systematically analyze the extensive source material
on this artist's theoretical principles. Now translated into
English, her study sheds light on the complicated yet constitutive
relations between Hirschhorn's work and theory, providing a major
contribution to the study of contemporary art.
This book is dedicated to Godai, an installation by Japanese artist
Tanabe Chikuunsai IV, who represents the fourth generation of a
prestigious line of kagoshi (master wickerwork weavers) in Japan.
Godai is a homage to nature and to a tradition of
handcraftsmanship. This monumental work, six meters high and nearly
as broad at its base, was installed in 2016 in the Rotunda of the
Musee des Arts Asiatiques Guimet in Paris and presented to the
public from April 12th through September 19th, when the artist
still presented himself under the name of Tanabe Shouchiku III. The
structure, composed of 8,000 small pieces of bamboo prepared in
Japan, was extremely well received. It represents a world in which
the five elements, godoi, that make up our world (wind, water,
earth, void and fire, according to Japanese tradition) intertwine.
Tanabe couldn't find a more suitable material. Tough yet flexible,
bamboo has been part of the lives of people in Asia since ancient
times and used for numerous purposes. Because of its great
significance (it represents 'principles, integrity and constancy'),
it has also been represented in many historic paintings and used as
a design motif in stationery and furniture. Tanabe's works are both
historic and modern and invite a response from the viewer. His
bamboo installations, presented in a form adapted to the space in
which they are displayed, induce viewers to be aware of and
appreciate that space. Each work is dismantled at the end of the
exhibition to leave just its memory. And the same bamboo is used
for new installations, giving a tangible sense to the concepts of
'continuity' and 'rebirth' and providing a sense of connection with
space that transcends time. Godai is no exception: a monumental and
ephemeral work, like a piece of organic architecture, it transmits
positive energy. Text in English and French.
Reimagines black and brown sensuality to develop new modes of
knowledge production In Sensual Excess, Amber Jamilla Musser
imagines epistemologies of sensuality that emerge from fleshiness.
To do so, she works against the framing of black and brown bodies
as sexualized, objectified, and abject, and offers multiple ways of
thinking with and through sensation and aesthetics. Each chapter
draws our attention to particular aspects of pornotropic capture
that black and brown bodies must always negotiate. Though these
technologies differ according to the nature of their encounters
with white supremacy, together they add to our understanding of the
ways that structures of domination produce violence and work to
contain bodies and pleasures within certain legible parameters. To
do so, Sensual Excess analyzes moments of brown jouissance that
exceed these constraints. These ruptures illuminate multiple
epistemologies of selfhood and sensuality that offer frameworks for
minoritarian knowledge production which is designed to enable one
to sit with uncertainty. Through examinations of installations and
performances like Judy Chicago's The Dinner Party, Kara Walker's A
Subtlety, Patty Chang's In Love and Nao Bustamante's Neapolitan,
Musser unpacks the relationships between racialized sexuality and
consumption to interrogate foundational concepts in psychoanalytic
theory, critical race studies, feminism, and queer theory. In so
doing, Sensual Excess offers a project of knowledge production
focused not on mastery, but on sensing and imagining otherwise,
whatever and wherever that might be.
Portuguese artist Andre Romao has developed his practice over the
past years to include a diversity of media, from poetry and
sculpture to installations and video works. His work explores
notions of violence, resistance, and eroticism, having the human
body and its often problematic interaction with historical,
environmental, and economical macrostructures at its core. Romao
draws on a broad range of references, from classical antiquity to
Surrealism, from modern literature to the Baroque. The richly
illustrated catalogue accompanies Romao's solo exhibition at Museu
Colecao Berardo, in Lisbon, and includes an in-depth essay on the
artist's work by the curator, Pedro Lapa.
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Olafur Eliasson: Experience
(Hardcover)
Olafur Eliasson; Contributions by Michelle Kuo; Edited by Anna Engberg-Pedersen
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R2,145
R1,618
Discovery Miles 16 180
Save R527 (25%)
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Experience spans Eliasson's career to date via images of his
installations, sculptures, paintings, photographs, films,
architectural projects, and interventions in public space - each
with an extended caption to guide readers through the work
With her unique artistic installations, Madame Tricot - real name
Dominique Kaehler Schweizer - displaces the viewer into an illusory
world of knitted delicacies. Her smokehouses, refrigerators,
counters of sausage and cheese, and platters of vegetables and
desserts are full of wit and irony. The knitted human heads and
anthropomorphic specimens, on the other hand, confront the viewer
with the breaking of taboos and surreal allusions. The
installation-like staging represents a balancing act of fine art
and virtuosic craftsmanship, and draws on the Eat Art movement of
the 1960s. The work of the Swiss artist thus repeatedly awakens
associations with the work of Daniel Spoerri, Dieter Roth and
Fischli/Weiss. Text in English and German.
Doris Salcedo, a Colombian-born artist, addresses the politics of
memory and forgetting in work that embraces fraught situations in
dangerous places. Noted critic and theorist Mieke Bal narrates
between the disciplines of contemporary culture in order to boldly
reimagine the role of the visual arts. Both women are pathbreaking
figures, globally renowned and widely respected. Doris Salcedo,
meet Mieke Bal. In "Of What One Cannot Speak", Bal leads us into
intimate encounters with Salcedo's art, encouraging us to consider
each work as a 'theoretical object' that invites - and demands -
certain kinds of considerations about history, death, erasure, and
grief. Bal ranges widely through Salcedo's work, from "Salcedo's
Atrabiliarios" series - in which the artist uses worn shoes to
retrace los desaparecidos ('the disappeared') from nations like
Argentina, Chile, and Colombia - to Shibboleth, Salcedo's
once-in-a-lifetime commission by the Tate Modern, for which she
created a rupture, as if by earthquake, that stretched the length
of the museum hall's concrete floor. In each instance, Salcedo's
installations speak for themselves, utilizing household items,
human bones, and common domestic architecture to explore the silent
spaces between violence, trauma, and identity. Yet Bal draws out
even deeper responses to the work, questioning the nature of
political art altogether and introducing concepts of metaphor,
time, and space in order to contend with Salcedo's powerful
sculptures and installations. An unforgettable fusion of art and
essay, "Of What One Cannot Speak" takes us to the very core of
events we are capable of remembering - yet still uncomfortably
cannot speak aloud.
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Stief Desmet
(Hardcover)
Christophe Vekeman, Bruno Roels
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R778
R608
Discovery Miles 6 080
Save R170 (22%)
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An insightful look in to the multifaceted work of rising Belgian
painter and sculptor, Stief Desmet Desmet's works are endowed with
an unique and fascinating imagery that tell stories Stief Desmet
(1973) is one of the new names in the Belgian art world. His
unusual painting technique sets him apart from the many followers
of artists such as Luc Tuymans and Michael Borremans. He has
developed his own visual language, in which he draws on all the
resources available to him. Painting is just one of the disciplines
he practices; he also creates installations and sculptures and is
renowned for his videos. Desmet questions his own position as a
contemporary artist alongside the "golden river" landscape painters
(Leieschilders) from his youth, who immortalized the landscape in
their pastoral works. Typical characteristics of his work include
its escapism, in which the artist withdraws into nature, and the
humor that is evident in many of his works. Text in English and
Dutch."
Throughout her career, the photographer and installation artist
Sophie Calle has been creating tableaux that recreate her personal
journeys. Projects from the past 10 years are explored in this
magnificently illustrated volume. Following on the heels of Calle's
highly acclaimed Did You See Me? this new book offers numerous
images of Calle's most recent works. Among the projects included
are "The Phone Booth, Garigiliano Bridge," which involved a public
phone that Calle called at random to initiate conversations with
strangers; "Take Care of Yourself," which documents the
interpretations of more than 100 women of a breakup note Calle
received from a former lover; "The North Pole," a touching tribute
to the artist's mother that imagines her realizing a lifelong
dream; and the latest iteration of "What do You See," which was
created in response to one of the most brazen art heists of all
time, at Boston's Isabella Stewart Gardner Museum. Many ongoing
series are also illustrated here, including "Unfinished," "Herein
Lie Secrets," and "Photos without Stories." Calle's many fans will
discover how the artist continues to examine the boundaries of
public and private life in ways that surprise, engage, and inspire.
British artist Michael Landy (b. 1963) is known primarily as an
installation artist. His work, along with others associated with
the Young British Artists (YBAs), was first catapulted to the world
spotlight when it was featured in the notorious Sensation
exhibition (1997). His sculptural installations and performances
explore political and social themes, such as the nature of
consumerism and commodity. In 2009, Landy began a three-year artist
residency at the National Gallery, London. He chose to focus his
project on representations of saints and their accompanying
stories, often gruesome, which were once part of common culture but
are now largely unknown. Landy's preoccupation with recycling
narratives and repurposing imagery results in Saints Alive, the
subject of this book, conceived to include drawings, collages, and
a series of kinetic, interactive sculptures with moving parts and
sounds.
Just like the first theories in physics viewed atoms as independent
and surrounded by a void, our bodies' microscopic constituents are
often portrayed as disconnected from the body as a unified
organism, and from its cultural and social contexts. In this book
the authors examine the relations between culture, society and
bioscientific research and show how our bodies' singularised
particles indeed still are socially and culturally embedded. In
today's medicine, the biosciences are entangled with state power,
commercialism, and cultural ideas and expectations, as well as with
the hopes and fears of individuals. Therefore, biomedicine and
biotechnology also reshape our perceptions of selfhood and life.
From multidisciplinary perspectives, including visual studies,
theology, and ethnology, this volume discusses the biosciences and
the atomised body in their social, cultural and philosophical
contexts.
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