|
Showing 1 - 4 of
4 matches in All Departments
This richly illustrated volume offers an in-depth look into artist
Sadie Benning's exhibition Shared Eye, presented at the Renaissance
Society and the Kunsthalle Basel. The forty mixed-media panels in
Shared Eye defy easy categorization: they include collage,
painting, photography, and sculpture. The seriality of the
installation also nods to the artist's history with the moving
image. Throughout the 1990s, Benning created an extraordinary body
of experimental video work, improvising with materials at hand and
a toy camera. More than two decades later, in Shared Eye we see the
handmade aesthetic, grainy imagery, and durational logic of
Benning's early videos take on different forms to correspond to our
current moment. The catalog documents the exhibition in full color,
and it features an interview between the artist and Julie Ault,
essays by John Corbett and Christine Mehring, and an introduction
by the Renaissance Society's executive director, Solveig Ovstebo,
and Elena Filipovic, director of Kunsthalle Basel. These texts
provide illuminating framework for the exhibition and key insights
into how Benning pushes the limits of abstraction in response to
our present political climate.
Drawing on unpublished documents and oral histories, an illustrated
examination of an iconic artwork of an artist who has made a
lifework of tactical evasion. One wintry day in 1983, alongside
other street sellers in the East Village, David Hammons peddled
snowballs of various sizes. He had neatly laid them out in
graduated rows and spent the day acting as obliging salesman. He
called the evanescent and unannounced street action Bliz-aard Ball
Sale, thus inscribing it into a body of work that, from the late
1960s to the present, has used a lexicon of ephemeral actions and
self-consciously "black" materials to comment on the nature of the
artwork, the art world, and race in America. And although Bliz-aard
Ball Sale has been frequently cited and is increasingly
influential, it has long been known only through a mix of
eyewitness rumors and a handful of photographs. Its details were as
elusive as the artist himself; even its exact date was unrecorded.
Like so much of the artist's work, it was conceived, it seems, to
slip between our fingers-to trouble the grasp of the market, as
much as of history and knowability. In this engaging study, Elena
Filipovic collects a vast oral history of the ephemeral action,
uncovering rare images and documents, and giving us singular
insight into an artist who made an art of making himself difficult
to find. And through it, she reveals Bliz-aard Ball Sale to be the
backbone of a radical artistic oeuvre that transforms such notions
as "art," "commodity," "performance," and even "race" into
categories that shift and dissolve, much like slowly melting
snowballs.
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
|
You may like...
Hot Water
Nadine Dirks
Paperback
R265
R207
Discovery Miles 2 070
|