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Monica Bonvicini (Paperback)
Monica Bonvicini; Juliane Rebentisch, Alexander Alberro
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R1,211
R785
Discovery Miles 7 850
Save R426 (35%)
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Ships in 12 - 17 working days
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An exhaustive monograph on the work of the multi-media, award
winning artist Monica Bonvicini.
During the mid-twentieth century, Latin American artists working in
several different cities radically altered the nature of modern
art. Reimagining the relationship of art to its public, these
artists granted the spectator a greater role than ever before in
the realization of the artwork. The first book to explore this
phenomenon on an international scale, Abstraction in Reverse traces
the movement as it evolved across South America and parts of
Europe. Alexander Alberro demonstrates that artists such as Tomas
Maldonado, Jesus Soto, Julio Le Parc, and Lygia Clark, in breaking
with the core tenets of the form of abstract art known as Concrete
art, redefined the role of both the artist and the spectator.
Instead of manufacturing autonomous artworks prior to the act of
viewing, these artists presented a range of projects that required
the spectator in order to be complete. Importantly, as Alberro
shows, these artists set aside regionalist art in favor of a
modernist approach that transcended the traditions of any
nation-state. Along the way, the artists fundamentally altered the
concept of the subject and of how art should address its audience,
a revolutionary development with parallels in the greater art
world.
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Lygia Pape (Hardcover)
Alexander Alberro
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R1,263
R861
Discovery Miles 8 610
Save R402 (32%)
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Ships in 12 - 17 working days
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"Reading the interviews gathered by Patricia Norvell more than
thirty years ago is like opening one of the time capsules Steven
Kaltenbach made at around the same time and discusses here. It
makes one feel nostalgic for these uncompromising times-so much has
changed, so fast! One should be immensely grateful to Norvell for
her undertaking and, paradoxically, for the long delay in the
publication of these conversations: nothing could have better
highlighted the candor and commitment of the artists who
participated in this project than their willingness, long after the
fact, to let their youthful voices be heard unedited. This is a
precious document that casts a fresh light on the early history of
Conceptual art, revealing all the doubts and uncertainties its
practitioners had to overcome."--Yve-Alain Bois, Harvard University
"These interviews, full of the rich texture and confusion of an
art movement at its inception, began as a "process piece" in
mid-1969 when formalism still seemed worth defeating. The artists,
tired of talking about turpentine, struggle to extend the rhetoric
of form, and as they do so, reveal their roles as theorists and
philosophers of a newly cerebral art, Conceptualism. Alberro's
helpful introduction frames both Norvell's provocative questions
and the surprising responses in a useful book that continues the
process of historicizing 20th century art."--Caroline Jones, author
of "Machine in the Studio
"The contemporary interviews collected in this volume shift the
ground on which conceptualism in the United States should be
understood. The middle months of 1969 were a time of artistic and
social unease when artists were anxious to test-and occasionally
todeclaim, as the interviews demonstrate-ideas in conversation with
a sympathetic interlocutor. Patricia Norvell proves to have been an
ideal listener. She knew conceptualism well enough to keep the
conversations honest, but not so well as to make the artists
defensive and wary. The artists had things to say, and were not
afraid to put themselves out on a limb."--John O'Brian, Professor
of Art History, University of British Columbia
"A key document of the late 1960s avant-garde."--James Meyer,
Emory University
"[This book is] a reminder that the project of Conceptual art
and its artists' reasons for refusing the object of art were far
from monolithic. The differences that emerge in the interviews are
spoken in voices that are still fresh and particular, but each
voice and position is tied to the moment of the late 1960s, from
stoned mysticism to philosophical idealism, from political optimism
to materialist critique."--Howard Singerman, author of "Art
Subjects"
Texts by Hans Haacke that range from straightforward descriptions
of his artworks to wide-ranging reflections on the relationship
between art and politics. Hans Haacke's art articulates the
interdependence of multiple elements. An artwork is not merely an
object but is also its context-the economic, social, and political
conditions of the art world and the world at large. Among his
best-known works are MoMA-Poll (1970), which polled museumgoers on
their opinions about Nelson Rockefeller and the Nixon
administration's Indochina policy; Gallery-Goers' Birthplace and
Residence Profile (1969), which canvassed visitors to the Howard
Wise Gallery in Manhattan; and the famously canceled 1971 solo
exhibition at the Guggenheim Museum, which was meant to display,
among other things, works on two New York real estate empires. This
volume collects writings by Haacke that explain and document his
practice. The texts, some of which have never before been
published, run from straightforward descriptions to wide-ranging
reflections and full-throated polemics. They include correspondence
with MoMA and the Guggenheim and a letter refusing to represent the
United States at the 1969 Sao Paulo Biennial; the title piece,
"Working Conditions," which discusses corporate influence on the
art world; Haacke's thinking about "real-time social systems"; and
texts written for museum catalogs on various artworks, including
GERMANIA, in the German Pavilion of the 1993 Venice Biennial; DER
BEVOELKERUNG (To the Population) of 2000 at the Berlin Reichstag;
Mixed Messages, an exhibition of objects from the Victoria and
Albert Museum (2001); and Gift Horse, unveiled on the fourth plinth
in Trafalgar Square in 2015.
Spanning 1989 to 2009, this anthology collects the influential
writings of American artist, musician and critic John Miller (born
1954), which have been lauded by Bruce Hainley in "Artforum" as "a
pungent intervention into the ideologies of beauty, representation
and looking." Ranging from reviews and cultural essays to theory
and artist's statements, Miller's writings distinguish themselves
from other styles of art criticism insofar as they relate to his
larger artistic concerns with the social context of the art object
and its sociopolitical ramifications as a commodity (as the title
of this volume implies); they are also deeply informed by Miller's
vast knowledge of art history and popular culture. More recently,
Miller has entered into close dialogue with Dan Graham, Bob Nickas
and Nicolas Guagnini. Many of the essays collected here--such as
his contributions to the German magazine "Texte zur Kunst"--appear
in English for the first time.
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