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In her radical exploration of cultural and personal identity, the
writer and artist Theresa Hak Kyung Cha sought "the roots of
language before it is born on the tip of the tongue." Her first
book, the highly original postmodern text Dictee, is now an
internationally studied work of autobiography. This volume,
spanning the period between 1976 and 1982, brings together Cha's
previously uncollected writings and text-based pieces with images.
Exilee and Temps Morts are two related poem sequences that explore
themes of language, memory, displacement, and alienation-issues
that continue to resonate with artists today. Back in print with a
new cover, this stunning selection of Cha's works gives readers a
fuller view of a major figure in late twentieth-century art.
Copublished by Berkeley Art Museum and Pacific Film Archive
The first book devoted solely to Bruce Nauman's corridors and other
architectural installations, Bruce Nauman: Spatial Encounters
deftly explores the significance of these works in the development
of his singular art practice, examining them in the context of the
period and in relation to other artists like Dan Graham, Robert
Morris, Paul Kos, and James Turrell. Designed for viewer
participation, Bruce Nauman's architectural installations often
confound expectations and induce physical and psychological unease.
The essays in this book consider these works, which begin in 1969
and continue into the 1970s and beyond, in terms of the physical,
perceptual, and psychological pressures they exert on the
participant. Three interlocking perspectives on the topic-Constance
M. Lewallen's historical overview, Dore Bowen's case study of
Nauman's 1970 Corridor Installation with Mirror-San Jose
Installation (Double Wedge Corridor with Mirror), and a
supplementary essay by Ted Mann on Nauman's drawings-provide a
comprehensive and in-depth approach. The book coincides with the
major retrospective exhibition Bruce Nauman: Disappearing Acts at
the Schaulager Museum, Basel, Switzerland (March 17-August 26,
2018) and the Museum of Modern Art and MoMA PS1, New York (October
21, 2018-March 17, 2019).
500 Capp Street tells the story of David Ireland's house, a rundown
Victorian in the Mission District of San Francisco that the artist
transformed into an environmental artwork, taking the detritus of
his restoration labors as well as objects left behind by previous
owners and refashioning them into sculptures. Constance M. Lewallen
begins by recounting the history of the house from 1886, when it
was built, until Ireland acquired it in 1975. She then details
Ireland's renovation and continuing engagement with the site that
served simultaneously as his residence, studio, and evolving
artwork; the house's influence on his own work and that of artists
who followed him; and its relationship to other house museums. An
introduction by Jock Reynolds, who was close to the artist for many
years, chronicles the social scene that developed around 500 Capp
Street in the 1980s. The book also includes a 1983 article on the
house by renowned poet John Ashbery. Illustrated with a generous
selection of photographs taken over the years by the artist and his
many visitors, this is an invaluable and intimate record of
Ireland's best-known work. 500 Capp Street is essential reading for
anyone interested in the artistic and cultural history of the San
Francisco Bay Area and the California conceptual art movement.
One of the most innovative, provocative, and influential of
America's contemporary artists, Bruce Nauman spent his formative
years in Northern California--first as a graduate student at the
University of California, Davis, then living in and around San
Francisco. This splendidly illustrated book explores Nauman's
relationship to the place where he created his earliest and most
strikingly original works during the mid to late 1960s. "A Rose Has
No Teeth "demonstrates that Nauman established much of his artistic
vocabulary during this period and that he laid the groundwork for
fundamental ideas he addressed throughout his oeuvre, such as the
role of the artist, the function of art, and the primacy of the
idea over its form. Curator Constance M. Lewallen describes how the
late 1960s were not only a time of political and social change in
the San Francisco Bay Area; this was also a watershed period in art
internationally, when Minimalism gave way to Post-minimalism and
Conceptual Art, expanding into performance, film and video,
installation, text works, and the photographic documents. This book
shows that Nauman was at the forefront of these revolutionary
changes and almost single-handedly redefined what it meant to be an
artist.
"Copub: University of California, Berkeley Art Museum and Pacific
Film Archive"
"State of Mind," the lavishly illustrated companion book to the
exhibition of the same name, investigates California's vital
contributions to Conceptual art--in particular, work that emerged
in the late 1960s among scattered groups of young artists. The
essays reveal connections between the northern and southern
California Conceptual art scenes and argue that Conceptualism's
experimental practices and an array of then-new media--performance,
site-specific installations, film and video, mail art, and artists'
publications--continue to exert an enormous influence on the
artists working today.
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