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"Part art history essay, part experimental fiction, part theoretical manifesto on the politics of equivalence, Helicography examines questions of scale in relation to Robert Smithson’s iconic 1970 artwork Spiral Jetty. In an essay and film made to accompany the earthwork, Smithson invites us to imagine the stone helix of his structure at various orders of magnitude, from microscopic molecules to entire galaxies.Taking up this invitation with an unrelenting and literal enthusiasm, Helicography pursues the implications of such transformations all the way to the limits of logic. If other spirals, from the natural to the man-made, were expanded or condensed to the size of Spiral Jetty, what are the consequences of their physical metamorphoses? What other equivalences follow in turn, and where do their surprising historical, cultural, and mechanical connections lead? This book considers a number of forms in order to find out: the fluid vortices of whirlpools, hurricanes, and galaxies; the delicate shells of snails and the threatening pose of rattlesnakes; prehistoric ferns and the turns of the inner ear; the monstrous jaws of ancient sharks; a baroque finial scroll on a bass viol; a 19th-century watch spring; phonograph discs and spooled film; the largest open-pit mine on the planet.The result is a narrative laboratory for the “science of imaginary solutions” proposed by Alfred Jarry (whose King Ubu also plays a central role in the story told here), a work of fictocriticism blurring form and content, and the story of a single instant in time lost in the deserts of the intermountain west."

Experimental fiction, American. --- American experimental fiction --- American fiction --- Alfred Jarry, conceptual art, land art, Robert Smithson, pataphysics, scale, Spiral Jetty

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"Speech acts: Richard Grayson and Matt Mullican illuminates the video-based practices of these two internationally acclaimed artists, who use the format of the monologue to construct and narrate hypothetical worlds. British artist Richard Grayson imbues vernacular culture with a sense of classicism, extracting layers of meaning from an array of subject matter, including scientific explanations, flash-mob videos, dinner party conversations and purposefully bad jokes. By contrast, American artist Matt Mullican​ examines the circularities of language, conducting performances under hypnosis to vacillate between primal and public speech. Who is it we are watching as Mullican performs in an hypnotic state? How do we interrogate and categorise what is being created?"--Publisher's website.=530 \$aAvailable in EPUB format.

Language and languages in art --- Electronic books. --- Grayson, Richard, --- Mullican, Matt, --- Richard Grayson --- Exhibitions --- Language and Languages in Art --- Matt Mullican --- Australia --- Words in Art --- Conceptual Art

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The ROTOЯ partnership between Huddersfield Art Gallery and the University of Huddersfield was established in 2011. ROTOЯ I and II was a programme of eight exhibitions and accompanying events that commenced in 2012 and was completed in 2013. ROTOЯ continues into 2014 and the programme for 2015 and 2016 is already firmly underway. In brief, the aim of ROTOЯ is to improve the cultural vitality of Kirklees, expand audiences, and provide new ways for people to engage with and understand academic research in contemporary art and design. Why ROTOЯ , Why Now?As Vice Chancellors position their institutions’ identities and future trajectories in context to national and international league tables, Professor John Goddard1 proposes the notion of the ‘civic’ university as a ‘place embedded’ institution; one that is committed to ‘place making’ and which recognises its responsibility to engaging with the public. The civic university has deep institutional connections to different social, cultural and economic spheres within its locality and beyond.A fundamental question for both the university sector and cultural organisations alike, including local authority, is how the many different articulations of public engagement and cultural leadership which exist can be brought together to form one coherent, common language. It is critical that we reach out and engage the community so we can participate in local issues, impact upon society, help to forge well-being and maintain a robust cultural economy. Within the lexicon of public centered objectives sits the Arts Council England’s strategic goals, and those of the Arts and Humanities Research Council – in particular its current Cultural Value initiative. What these developments reveal is that art and design education and professional practice, its projected oeuvre as well as its relationship to cultural life and public funding, is now challenged with having to comprehensively audit its usefulness in financially austere times. It was in the wake of these concerns coming to light, and of the 2010 Government Spending Review that ROTOЯ was conceived. These issues and the discussions surrounding them are not completely new. Research into the social benefits of the arts, for both the individual and the community, was championed by the Community Arts Movement in the 1960s. During the 1980s and ‘90s, John Myerscough and Janet Wolff, amongst others, provided significant debate on the role and value of the arts in the public domain. What these discussions demonstrated was a growing concern that the cultural sector could not, and should not, be understood in terms of economic benefit alone. Thankfully, the value of the relationships between art, education, culture and society is now recognised as being far more complex than the reductive quantification of their market and GDP benefits. Writing in ‘Art School (Propositions for the 21st Century)’, Ernesto Pujol proposes:‘…it is absolutely crucial that art schools consider their institutional role in support of democracy. The history of creative expression is linked to the history of freedom. There is a link between the state of artistic expression and the state of democracy.’ When we were approached by Huddersfield Art Gallery to work collaboratively on an exhibition programme that could showcase academic staff research, one of our first concerns was to ask the question, how can we really contribute to cultural leadership within the town?’ The many soundbite examples of public engagement that we might underline within our annual reports or website news are one thing, but what really makes a difference to a town’s cultural identity, and what affects people in their daily lives? With these questions in mind we sought a distinctive programme within the muncipal gallery space, that would introduce academic research in art, design and architecture beyond the university in innovative ways. Published

Conceptual art --- Installation art --- ART / Conceptual. --- Pasternak, Gil --- McAra, Catriona --- Powell, Anna, --- Swindells, Steve, --- Stansbie, Lisa, --- Almond, Kevin, --- Brennand, Kathryn --- Swindells, Barber, --- Procktor, Patrick --- Massey, Ian --- Townsley, Jill, --- Swann, David, --- Swindells, Stephen, --- Brass Art (Artistic Group), --- Arts. --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Humanities --- Arts, Primitive --- arts in general --- Graphic design --- Health care --- Photography --- Research

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Nothing in MoMA is a series of photographs captured in areas of Manhattan museums in which there are no artworks, written words, or people. Addressing the “grammar that organizes and secures our scene of looking,” in the words of art historian David Joselit’s introduction, the book imagines a composite empty museum or a narrative of marginal attention. Originally displayed in partial prototype as a children’s board book at Artists Space in 2015, Nothing in MoMA is here collected for the first time in the series’ entirety. Evoking the history of indeterminacy as much as that of institutional critique, the deadpan composition of Adams’s photographs likewise recalls François Jullien’s theory of bland aesthetics, in a playful reductio of socio-institutional space to a bare literality. Both a visual essay on museum phenomenology and a performance document, Nothing in MoMA describes a choreography of avoidance, in which a conceptual constraint becomes a means of seeing and navigating concrete space.

Individual photographers --- Photography, Artistic. --- Museum of Modern Art (New York, N.Y.). --- New York (State) --- Art museums. --- Artistic photography --- Photography --- Photography, Pictorial --- Pictorial photography --- Art --- Aesthetics --- Nyu Yorḳ (State) --- NYS --- Niyū Yūrk (State) --- Nʹi︠u︡-Ĭork (State) --- Shtat Nʹi︠u︡ Ĭork --- State of New York --- State of N. York --- NY (State) --- N.Y. (State) --- N. York (State) --- نيويورك (State) --- ولاية نيويورك --- Wilāyat Niyū Yūrk --- Штат Нью-Ёрк --- Нью-Ёрк (State) --- Ню Йорк (State) --- Nova York (State) --- С̧ӗнӗ Йорк (State) --- Śĕnĕ Ĭork (State) --- Efrog Newydd (State) --- Kin Yótʼááh Deezʼá Hahoodzo --- Nííyóó Hahoodzo --- New Yorgi osariik --- Νέα Υόρκη (State) --- Nea Yorkē (State) --- Πολιτεία της Νέας Υόρκης --- Politeia tēs Neas Yorkēs --- Nueva York (State) --- Estado de Nueva York --- Nov-Jorkio --- Ŝtato de Nov-Jorkio --- État de New York --- Nua-Eabhrac (State) --- York Noa (State) --- Eabhraig Nuadh (State) --- Estado de Nova York --- Néu-Yok (State) --- Шин Йорк (State) --- Shin Ĭork (State) --- 뉴욕 주 --- Nyuyok-ju --- 뉴욕 (State) --- Nyuyok (State) --- Nuioka (State) --- Nú Yọk (State) --- Tchiaq York (State) --- New York Isifunda --- New York-fylki --- ניו יורק (State) --- מדינת ניו יורק --- Medinat Nyu Yorḳ --- Stat Evrek Nowydh --- Evrek Nowydh (State) --- Nou Yòk (State) --- Novum Eboracum (State) --- N̦ujorka (State) --- Niujorko valstija --- Niujorkas (State) --- Niorche (State) --- Њујорк (State) --- Njujork (State) --- Yancuīc York (State) --- ニューヨーク州 --- Nyū Yōku-shū --- ニューヨーク (State) --- Nyū Yōku (State) --- New York (Colony) --- conceptual art --- museology --- photography --- void studies --- architecture --- Museum of Modern Art (New York, N.Y.) --- New York (City). --- New York (N.Y.). --- Nyū Yōku Kindai Bijutsukan --- MOMA