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This publication accompanies a major new exhibition of
Chicago-based artist Theaster Gates (b.1973), focussing on his
clay-based work, collaborative projects and large scale sculptures
and installations since 2005. Gates's interdisciplinary practice
draws on his training in both urban planning and pottery, resulting
in work which aims to instigate the creation of cultural
communities and the recirculation of art-world capital, all the
time considering the notion of Black space and ideology. Fully
illustrated with examples of pottery, sculptures, installations,
films and archive materials, the book also documents a new film by
Gates and features essays from leading craft historians and
writers. This in-depth exploration of Gates's work is timely and
relevant now in a world where a new generation are raising
questions through making, identity and activism.
In recent years, music videos, celebrity dance contests and TikTok
challenges have shaped the way we experience choreography and dance
culture. During the Covid-19 pandemic when live performance events
were cancelled, people confined to their homes turned to making and
viewing short dance videos: created on mobile phones and designed
to be easily replicable and shared on social media platforms. Dance
has long had a relationship to film and the screen, from early
films of Loie Fuller's Serpentine Dance (c. 1890s) which
highlighted the mediums ability to capture movement and light, to
the multi-screen presentations of the choreography of Merce
Cunningham transposed into video by Charles Atlas. Visual artists
today are inventively reformatting dance and choreographed movement
for not only film and the screen but also specifically for the
gallery setting, with its repeatable presentation and spatialised
viewing conditions. Between Poetics and Politics will feature 10-12
short films by contemporary artists and choreographers that explore
the intersection of dance, movement and moving image. These moving
image works focus on performing bodies, and unfold as both as
individual works but also as collective storytelling, exploring
timely topics, ranging from gender politics and desire to bodily
memory, resistance and personal healing, to indigeneity and
collective identities. The works will be contextualised by three
new essays.
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Ryan Gander - A Melted Snowman (Paperback)
Ryan Gander; Contributions by Cory Arcangel; Text written by Katharine Brinson; Interview by Sohrab Mohebbi; Contributions by Hamza Walker; Text written by …
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R1,011
R847
Discovery Miles 8 470
Save R164 (16%)
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Ships in 12 - 17 working days
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Is This Tomorrow? (Paperback)
Lydia Yee, Cameron Foote, Trinidad Fombella
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R781
R611
Discovery Miles 6 110
Save R170 (22%)
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Ships in 12 - 17 working days
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Accompanying the innovative new 2019 exhibition `Is This Tomorrow?'
at Whitechapel Gallery, this fully-illustrated catalogue
re-imagines the classic 1956 publication made for the Gallery's
seminal exhibition `This is Tomorrow'. For a major new presentation
in 2019, Whitechapel Gallery is taking as a model its
groundbreaking 1956 exhibition `This is Tomorrow', an event which
is indelibly linked to the institution's history. Organised and
developed by architect, writer and sculptor Theo Crosby, `This is
Tomorrow' featured 37 artists, architects, designers and writers
who worked together in 12 small groups. In the catalogue, Lawrence
Alloway introduced the exhibition as `devoted to the possibilities
of collaboration', the results of which `appear to be setting up a
programme for the future.' `Is This Tomorrow?' will also feature 12
groups of contemporary architects, artists and other cultural
practitioners to highlight the potential of collaboration, to
address key issues we face today and to offer a vision of the
future. Both UK and international participants will explore
subjects from conflict and warfare, economic inequality, migration
and resource scarcity, to education, labour, trade and technology,
comparing and contrasting the ideas of the original `This is
Tomorrow' artists and architects whose concerns with communication
theory, mass culture and the vernacular reflected their
associations with British Constructivism and the Independent Group.
The accompanying catalogue will take its inspiration from the
original seminal 1956 publication, with each group presenting their
process of design and collaboration through plans, sketches and
photographs, plus accompanying explanatory texts. Architects
featured include Adjaye Associates (UK/US/Ghana), Alberto
Kalach/TAX (Mexico), Marina Tabassum Architects (Bangladesh) and
Studio Anne Holtrop (Netherlands). Artists featured include Rana
Begum, Cecile B. Evans, Simon Fujiwara and Kapwani Kiwanga.
The catalogue to accompany a major solo presentation of the work of
the influential New York-based artist Mary Heilmann, her first in a
public institution in the UK in 15 years. Born in California in
1940, Heilmann studied ceramics and poetry before moving to New
York in 1968 and taking up painting. A pioneer of infusing abstract
painting with influences from craft traditions and popular culture
(especially rock music and California's beach culture), Heilmann is
one of the most important yet still underrecognised artists working
today. This publication explores Heilmann's approach to abstraction
from two distinct but interrelated perspectives: the formal and the
personal. The personal is reflected in the title Looking at
Pictures, named after a section in the artist's memoir The All
Night Movie (1999), in which she writes, `Each of my paintings can
be seen as an autobiographical marker', clearly represented here
through works that relate to moments in the artist's friendships,
memories of places where she has lived or spent time and her love
of music and film. The juxtaposing formal aspect of her work is
also explored, most evidently in her early paintings of grids and
squares rendered in primary colours and in works that are based on
architectural or interior planes, such as doors and mirrors. As
well as new essays by Lydia Yee (Chief Curator, Whitechapel
Gallery) and Briony Fer (Professor of History of Art, University
College London), and writings by the artist on key works, the
publication will feature 100 beautiful full-colour illustrations of
paintings, works on paper, furniture and ceramics from Heilmann's
five-decade career.
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