Fur diesen Band wurden Texte von Daniel Buren ausgewahlt, die seine kunstlerische wie theoretische Arbeit seit 1967 besonders anschaulich dokumentieren. Vor allem die Schriften, die bereits einen festen Platz in der kunstgeschichtlichen Literatur einnehmen, wurden ausnahmslos aufgenommen. Fur eine detaillierte Auseinandersetzung mit allen Formen der Textproduktion Burens - vor allem den zahlreichen Werkbeschreibungen und Interviews - verweisen wir auf die dreibandige Schriftenausgabe Daniel Buren. Les Ecrits (1965-1990), die 1991 vom Musee d'art contemporain de Bordeaux herausgegeben wurde. Die Texte erscheinen in chronologischer Reihenfolge. Texts by Daniel Buren were selected for this volume, his artistic and theoretical work Documented particularly clearly since 1967. In front all the fonts that already have a permanent place in the occupy literature on art history recorded without exception. For a detailed discussion with all forms of text production Burens - especially the numerous work descriptions and interviews - we refer to the three-volume. Written edition by Daniel Buren. Les Ecrits (1965-1990), the 1991 of the Musee d'art contemporain de Bordeaux was issued. The texts appear in chronological order.

Parkett # 66 features collaborations with Angela Bulloch (Canada), Daniel Buren (France), and Pierre Huyghe (France). Huyghe reassesses conceptual art concerns by reinterpreting familiar films and themes in popular culture; he also draws on disregarded aspects of everyday life, such as time and alienation, and brings them back into our awareness. Bulloch's participatory sculptures explore the physical and psychological aspects of space by using simple light and sound effects that require the viewer's active participation. In the 1960s, Buren began producing works by using the striped cloth he calls "a seeing tool, " seeking a new way to make art exist outside the museum and gallery spaces that delimited its socializing capacity. Since then he has continued his striped works and remains one of France's most important and cherished living artists.

The image of a tortured genius working in near isolation has long dominated our conceptions of the artist's studio. Examples abound: think Jackson Pollock dripping resin on a cicada carcass in his shed in the Hamptons. But times have changed; ever since Andy Warhol declared his art space a "factory," artists have begun to envision themselves as the leaders of production teams, and their sense of what it means to be in the studio has altered just as dramatically as their practices.

"The Studio Reader "pulls back the curtain from the art world to reveal the real activities behind artistic production. What does it mean to be in the studio? What is the space of the studio in the artist's practice? How do studios help artists envision their agency and, beyond that, their own lives? This forward-thinking anthology features an all-star array of contributors, ranging from Svetlana Alpers, Bruce Nauman, and Robert Storr to Daniel Buren, Carolee Schneemann, and Buzz Spector, each of whom locates the studio both spatially and conceptually--at the center of an art world that careens across institutions, markets, and disciplines. A companion for anyone engaged with the spectacular sites of art at its making, "The Studio Reader "reconsiders this crucial space as an actual way of being that illuminates our understanding of both artists and the world they inhabit.