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In the Mind, But Not From There: Real Abstraction and Contemporary
Art considers how the Marxian concept of Real
Abstraction--originally developed by Alfred Sohn Rethel, and
recently updated by Alberto Toscano--might help to define the
economic, social, political, and cultural complexities of our
contemporary moment. In doing so, this volume brings together noted
contemporary artists, literary critics, curators, historians, and
social theorists who connect the concept of Real Abstraction with
contemporary cultural production. Theoretical and artistic
contributions from Benjamin Noys, Paul Chan, Joao Enxuto and Erica
Love, Marina Vishmidt, Sven Lutticken, and many others help to map
out the relationship between political economy and artistic
production in the realm of contemporary, globalized cultural
exchange. This anthology places economic and social analyses
alongside creative projects and visual essays to consider the many
angles of contemporary art, and how inquiry into the the production
of abstraction through material and social processes can be used to
better understand, and hopefully change, the conditions under which
art is made, seen, and circulated today. Published in collaboration
with [NAME] publications.
One of the great conceptual artists of the twenty-first century,
Terry Adkins (1953-2014) was renowned for his pioneering work
across mediums, from sculpture, drawing, and site-specific
installation to photography, video, and performance. Terry Adkins:
Infinity is Always Less Than One accompanies the first
institutional posthumous exhibition of Adkins's sculptural
production. While Adkins is often recognized for his musical and
performative practice, this exhibition focuses on his complex
memorials and monuments to historical figures. The exhibition
showcases four of his major series, dedicated to four distinct
figures: Bessie Smith, John Brown, Zora Neale Hurston, and Jimi
Hendrix. These series are presented alongside a group of early
sculptures to reveal the development of the Adkins's mature
practice. The exhibition highlights Adkins's crucial contributions
to sculpture and to cultural protest, featuring major works that
have not been viewed in decades. It explores significant periods
and influences in Adkins's career, beginning with transitional
hand-wrought sculptures and continuing with his major immersive
installations. His often elegiac and always resonant objects
challenge dominant historical narratives and prompt a rethinking of
ways of being and moving in the world that are shaped by the
legacies of displacement and the sociability and community that
happen despite it. Adkins's work also enlarges the historical
legacies of the postwar avant-garde while reminding us of the
immaterial legacies that are passed on through ritual and sound.
Contributors. Alex Gartenfeld, Kobena Mercer, Gean Moreno, Nizan
Shaked, and Greg Tate A Publication of ICA Miami Distributed by
Duke University Press
Drawing on draftsmanship, painting, literature, and installations,
Michael Tedja's oeuvre erupts into a flamboyant and visually
playful whole. His boisterous storms of imagery recall the CoBrA
movement of artists from Copenhagen, Brussels and Amsterdam briefly
banded together after World War II. Aiming to banish bourgeois
rituals as well as theorizing around avant-garde art, they embraced
expressionist spontaneity, an unrestrained use of vivid colors,
folkloric elements, handwriting and graffiti. But Michael Tedja has
taken out the folkloric and anti-intellectual, his painting is a
kind of IQ test. With abstract and figurative visual vocabulary
complementing each other, Tedja's imagery is expressive and
linguistic, full of references and autobiographical elements. This
monograph encompasses large-scale paintings, his overwhelming
installation of large drawings Hypersubjective, as well as The
Color Guide Series. Here, Tedja deploys textured paint, crayon and
chalk on commercial paper stock-the color bars printed along the
paper's edge are left exposed-turning mass-produced standard into
something decidedly unique. Yet by constantly recycling and
repurposing images, Tedja explores the alterability of meaning
within the visual context of globalization.
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Paulo Nazareth - Melee (Hardcover)
Alex Gartenfeld, Gean Moreno; Contributions by M. Asbury, A. Araujo Bispo, D. Ferreira da Silva, …
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R989
Discovery Miles 9 890
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Ships in 12 - 19 working days
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Published to mark the artist's first solo US museum show, Paulo
Nazareth: Melee presents an engaging and timely look at the
artist's multifarious work. The exhibition, held at the Institute
of Contemporary Art, Miami in 2019, explored how Nazareth's work
engages the complex colonial and racial histories of the Americas.
An artist who works across mediums, Nazareth uses performance and
sculpture to critique the colonial experience and its afterlives in
Brazil and the Americas. His durational performances and
installations draw from his joint African and Indigenous heritage
to highlight marginalized historical legacies, progressive
political figures, non-Western worldviews, and potential methods of
nonexploitative living and relating. Nazareth's work assumes a new
poignancy in light of the return of repressive political forces and
the racial reckoning that our historical moment demands. This
beautifully produced volume offers over one hundred color
illustrations in addition to newly commissioned scholarship. Paulo
Nazareth: Melee is the first exhaustive catalogue of Nazareth's
work, solidifying his place as one of today's most important global
artists.
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