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Oscar Murillo (Hardcover)
Okwui Enwezor; Anna Schneider
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R1,548
R1,175
Discovery Miles 11 750
Save R373 (24%)
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Ships in 12 - 17 working days
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"Excessive Exposure" documents all the chocolate-colored portraits
that Bronx-born artist Lyle Ashton Harris made with a large-format
Polaroid camera over the past ten years. This sequence of
approximately 200 paired front and back portraits, for which Harris
has become so well known, has now come to a close, making this
volume the definitive publication on the series. The portraits'
subjects include Harris' family and friends, art-world
personalities, noted cultural figures, celebrities and politicians.
These images are further distinguished by a strategic blurring of
conventional gender roles, sexual identities and racial categories,
and by a refined use of light and shade. Okwui Enwezor contributes
an essay analyzing Harris' portraits, situating these works in the
context of the artist's work of the past 20 years, as well as in
the broader history of the genre. The book also includes a
conversation between Harris and artist Chuck Close that took place
in 1999, when Harris was beginning the series. With a penetrating
foreword by Henry Louis Gates, Jr., "Excessive Exposure" offers a
wealth of superb portraiture and is destined to become a touchstone
volume among photo-books.
Over the course of his three-decade career, Thomas Ruff has taken
up many approaches to photography in his investigation into the
status of the image in contemporary culture. In Thomas Ruff, the
artist presents new work that continues his ongoing probe into the
history, different processes, techniques, and technology of
photography. One of the most influential photographers working
today, Thomas Ruff has redefined photography's conceptual
possibilities, simultaneously capturing and challenging the essence
of the medium as both a means and a tool for visual experience.
Over the past twenty-five years, he has investigated various
photographic genres, including portraiture, the nude, and landscape
and architectural photography, using both analog and digital
technologies, and culling imagery from scientific archives, print
media, and the internet. Presented here is a selection of Ruff's
most well-known works, as well as the newer Tripe series, begun in
2018, which draws on negatives of India and Burma taken in the
1850s by an officer in the East India Company army. Also included
is a conversation between Ruff and Okwui Enwezor, which took place
at the Haus der Kunst in Munich, in connection with Ruff's
retrospective then on view. The conversation, published here for
the first time, has been edited for this volume and examines Ruff's
artistic practice and inspiration, serving as an engaging and
dynamic introduction to the artist. Published on the occasion of
the artist's solo exhibition at David Zwirner, Hong Kong, in 2019,
Thomas Ruff is available in both English only and bilingual
English/traditional Chinese editions.
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Jason Moran (Paperback)
Jason Moran; Edited by Adrienne Edwards; Text written by Adrienne Edwards; Foreword by Olga Viso; Text written by Philip Bither, …
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R1,086
R922
Discovery Miles 9 220
Save R164 (15%)
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Ships in 12 - 17 working days
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Featuring some of the most iconic images of our time, this unique
combination of photojournalism and commentary offers a probing and
comprehensive exploration of the birth, evolution, and demise of
apartheid in South Africa. Photographers played an important role
in the documentation of apartheid, capturing the system's
penetration of even the most mundane aspects of life in South
Africa. Included in this vivid and compelling volume are works by
photographers such as Eli Weinberg, Alf Khumalo, David Goldblatt,
Peter Magubane, Ian Berry, and many others. Organized
chronologically, it interweaves images and essays exploring the
institutionalization of apartheid through the country's legal
apparatus; the growing resistance in the 1950s; and the
radicalization of the anti-apartheid movement within South Africa
and, later, throughout the world. Finally, the book investigates
the fall of apartheid, including Mandela's return from exile.
Far-reaching and exhaustively researched, this important book
features more than 60 years of powerful photographic material that
forms part of the historical record of South Africa.
In this landmark collection, world-renowned theorists, artists,
critics, and curators explore new ways of conceiving the present
and understanding art and culture in relation to it. They revisit
from fresh perspectives key issues regarding modernity and
postmodernity, including the relationship between art and broader
social and political currents, as well as important questions about
temporality and change. They also reflect on whether or not broad
categories and terms such as modernity, postmodernity,
globalization, and decolonization are still relevant or useful.
Including twenty essays and seventy-seven images, "Antinomies of
Art and Culture" is a wide-ranging yet incisive inquiry into how to
understand, describe, and represent what it is to live in the
contemporary moment.
In the volume's introduction the theorist Terry Smith argues
that predictions that postmodernity would emerge as a global
successor to modernity have not materialized as anticipated. Smith
suggests that the various situations of decolonized Africa,
post-Soviet Europe, contemporary China, the conflicted Middle East,
and an uncertain United States might be better characterized in
terms of their "contemporaneity," a concept which captures the
frictions of the present while denying the inevitability of all
currently competing universalisms. Essays range from Antonio
Negri's analysis of contemporaneity in light of the concept of
multitude to Okwui Enwezor's argument that the entire world is now
in a postcolonial constellation, and from Rosalind Krauss's defense
of artistic modernism to Jonathan Hay's characterization of
contemporary developments in terms of doubled and even
para-modernities. The volume's centerpiece is a sequence of
photographs from Zoe Leonard's "Analogue" project. Depicting used
clothing, both as it is bundled for shipment in Brooklyn and as it
is displayed for sale on the streets of Uganda, the sequence is
part of a striking visual record of new cultural forms and
economies emerging as others are left behind.
"Contributors" Monica Amor, Nancy Condee, Okwui Enwezor, Boris
Groys, Jonathan Hay, Wu Hung, Geeta Kapur, Rosalind Krauss, Bruno
Latour, Zoe Leonard, Lev Manovich, James Meyer, Gao Minglu, Helen
Molesworth, Antonio Negri, Sylvester Okwunodu Ogbechie, Nikos
Papastergiadis, Colin Richards, Suely Rolnik, Terry Smith, McKenzie
Wark
Rather than one overarching theme, the 56th International Art
Exhibition of the Biennale is informed by a layer of intersecting
filters. These filters are a constellation of parameters that
circumscribe multiple ideas which will be touched upon to imagine
and realize a diversity of practices. All the World's Futures
employs as a filter the historical trajectory that the Biennale
itself, over the course of its one hundred and twenty years
existence has run over. A filter through which to reflect on both
the current 'state of things' and the 'appearance of things.' At
its core is the notion of the exhibition as a stage, where
historical and counter-historical projects are explored. Within
this framework the main aspects of the 56th Biennale Exhibition
solicit and privilege new proposals and works conceived
specifically by invited artists, filmmakers, choreographers,
performers, composers, and writers.
Written by two acclaimed scholars Okwui Enwezor and Chika
Okeke-Agulu, El Anatsui, is the most comprehensive, incisive and
authoritative account yet on the work of El Anatsui, the
world-renowned, Ghanaian-born sculptor. The product of more than
three decades of research, scholarship and close collaboration with
the artist, this book shows why his early wood reliefs and
terracottas, and the later monumental metal sculptures, exemplify
an innovative critical search for alternative models of art making.
The authors argue that the pervasiveness of fragmentation as a
compositional device in Anatsui's oeuvre invites meditation on the
impact of colonization and postcolonial global forces on African
cultures. At the same time, the simultaneous invocation of
resilience and fragility across his media invests his abstract
sculptures with iconic power. Insisting on the intimate connection
between form and idea in Anatsui's work, the authors show how, in
his critically acclaimed metal works, the manual work of
flattening, cutting, twisting, and crushing bottle caps and using
copper wires to suture and stitch the elements into one dazzling,
reconfigurable epic piece serves as a powerful metaphor for the
constitution of human society. This book presents Anatsui as a
visionary of incomparable imagination. Yet, it places his work
within a broader historical context, specifically the postcolonial
modernism of mid-twentieth-century African artists and writers, the
cultural ferment of post-independence Ghana, as well as within the
intellectual environment of the 1970s Nsukka School. By recovering
these histories, and subjecting his work to vigorous analysis, the
authors show how and why Anatsui became one of the most formidable
sculptors of our time.
The first in-depth analysis of the stunning designs of one of the
world's most captivating and prominent architects Born in Tanzania,
David Adjaye (b. 1966) is rapidly emerging as a major international
figure in architecture and design-and this stunning catalogue
serves only to cement his role as one of the most important
architects of our time. His expanding portfolio of important civic
architecture, public buildings, and urban planning commissions
spans Europe, the United States, Africa, Asia, and the Middle East.
He transforms complex ideas and concepts into approachable and
innovative structures that respond to the geographical, ecological,
technological, engineering, economic, and cultural systems that
shape the practice of global architecture. The publication of this
compendium of work and essays coincides with the scheduled opening
of Adjaye's National Museum of African American History and Culture
on the National Mall in Washington, D.C. Adjaye's completed work in
the United States includes the Museum of Contemporary Art in
Denver, a pair of public libraries in D.C., and several private
residences. He is also known for his collaborations with artists,
most recently with the British painter Chris Ofili (b. 1968).
Following an introduction by Zoe Ryan, Adjaye writes on his current
and future work, with subsequent essays by an extraordinary cadre
of architectural scholars on Adjaye's master plans and urban
planning, transnational architecture, monuments and memorials, and,
finally, the forthcoming museum in D.C. Portfolios of Adjaye's work
thread throughout this comprehensive volume. Distributed for the
Art Institute of Chicago and Haus der Kunst Exhibition Schedule:
Haus der Kunst, Munich (01/30/15-06/28/15) The Art Institute of
Chicago (09/19/15-01/03/16)
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