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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.
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.
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On Kawara Silence (Hardcover)
Daniel Buren, Whitney Davis, Jeffrey Weiss, Anne Wheeler
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R1,837
R1,583
Discovery Miles 15 830
Save R254 (14%)
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Given his recourse to language, photography and systems of
information, On Kawara is often described as a key figure in the
history of Conceptual art. Yet his work stands apart in its
devotion to painting and its existential reach. On Kawara Silence
is published in conjunction with a major exhibition of Kawaras
post-1964 work at the Guggenheim Museum in New York. Like the
exhibition itself, the structure of the book was devised in close
collaboration with the late artist and contains essays by leading
scholars and critics in various fields, including art history,
literary studies and cultural anthropology. It also includes
substantial, authoritative descriptions of every category of his
production the first time such comprehensive information has
appeared in print. Richly illustrated, On Kawara Silence reproduces
many examples of the Date Paintings (Today), calendars (One Hundred
Years and One Million Years), postcards (I Got Up), telegrams (I Am
Still Alive), news cuttings (I Read), maps (I Went), and lists (I
Met) that comprised the artists practice beginning in the
mid-1960s. Among other groups of works, the book includes images of
the ninety-seven Date Paintings (accompanied by their
newspaperlined storage boxes) that Kawara produced during a
three-month run of daily painting in 1970. The catalogue also
contains reproductions of paintings and drawings produced in Paris
and New York in the years that precede the works for which Kawara
is best known, as well as rare images of materials related to his
working process.
Born in Hungary in 1922, Simon Hantai moved to Paris at the age of
26, and fell in with Andre Breton's postwar Surrealist circle,
where he was quickly acclaimed by Breton himself. But it was not
until the early 1960s that Hantai developed the "pliage" or
"folding method" that has made him an influential figure on both
sides of the Atlantic. Hantai began applying paint to folded
canvasses, which--once the canvasses were unfolded and
stretched--resulted in irregular patterns of bold color punctuated
by strips of unprimed ground. Throughout the rest of his career,
Hantai devoted himself to developing new techniques that slowed
down or automated the painterly gesture--a concept that stemmed in
part from the early influences of Surrealist automatism, Pollock's
Abstract Expressionism and Matisse's cut-outs. Hantai was featured
in the Wexner's seminal "As Painting" exhibition of 2001, and his
work is housed in major collections worldwide, including The Museum
of Modern Art, New York. This elegant and comprehensive volume is
published for the Centre Pompidou's acclaimed Hantai retrospective,
held five years after his death in 2008, and constitutes the first
major publication in English on his work.
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