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Texte de la conférence donnée par Yves Klein le 3 juin 1959, dans le Grand amphithéâtre de la Sorbonne à Paris, dans lequel il révèle les motifs constitutifs de son oeuvre (le rituel, la couleur, le vide, entre autres) et élabore une théorie autant poétique que spirituelle d'un art sans limites.
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Cet ouvrage entend modifier le point de vue sur l’art conceptuel en partant des multiples manières dont des artistes associés au mouvement ont eu recours à la photographie. Cette approche de l’art conceptuel nécessite de prendre de la distance par rapport au modèle anglo-américain en élargissant l’observation à d’autres aires géographiques comme celles du Brésil, de l’Italie, du Japon et de la Pologne. Le choix d’une focale élargie rassemble également des notions a priori étrangères à l’idée de dématérialisation de l’art qui reste attachée à l’historiographie de l’art conceptuel. La triade « Photo / Objet / Concept » insiste sur la dimension matérielle des expressions artistiques étudiées. La notion d’objet constitue en effet une des idées directrices de ce volume. Elle permet d’interroger les caractéristiques matérielles du médium à travers des pratiques spécifiques comme la sculpture, la délégation ou l’exposition. Reconsidérer l’usage et les pratiques de la photographie au sein de l’art conceptuel amène à renouveler la réception d’un moment historique pour comprendre l’importance et la place du médium dans l’art d’aujourd’hui.
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Karl Haendel visited twenty-four artists from the L.A. scene (Walead Beshty, Amanda Ross-Ho, Oscar Tuazon) to photograph their dominant hand. He painstakingly crafted digital images incorporating two iterations of the dominant hand into a carefully choregraphed double portrait. Then he and his studio assistants drew the new unnatural pairs at a colossal, almost architectural scale. This publication is the sixth in a series of artist books dedicated to b/w portraits.
Haendel, Karl --- Photography, Artistic --- Conceptual art --- History
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"Writing in Space, 1973-2019 gathers the writings of conceptual artist Lorraine O'Grady, including artist statements, scripts, magazine articles, critical essays on art and culture, and interviews."--
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During his first European exhibition in 1969, American conceptual and performance artist James Lee Byars (1932-1997) presented three actions, and with them provided a guideline for experiencing his art: viewers had to believe in the reality he was offering. His premise was the less you had to go by, the greater the scope of your imagination. The artist travelled extensively throughout his life, and maintained his extensive international network by writing letters. Starting from his correspondence with Flor Bex, Lieve De Deyne, and Wies Smals, this Boijmans Study recounts Byars's activities in the Netherlands and Belgium, and also recounts his formative years in Japan.
Correspondence --- Conceptual art --- Travel writing --- Byars, James Lee
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Cet ouvrage entend modifier le point de vue sur l’art conceptuel en partant des multiples manières dont des artistes associés au mouvement ont eu recours à la photographie. Cette approche de l’art conceptuel nécessite de prendre de la distance par rapport au modèle anglo-américain en élargissant l’observation à d’autres aires géographiques comme celles du Brésil, de l’Italie, du Japon et de la Pologne. Le choix d’une focale élargie rassemble également des notions a priori étrangères à l’idée de dématérialisation de l’art qui reste attachée à l’historiographie de l’art conceptuel. La triade « Photo / Objet / Concept » insiste sur la dimension matérielle des expressions artistiques étudiées. La notion d’objet constitue en effet une des idées directrices de ce volume. Elle permet d’interroger les caractéristiques matérielles du médium à travers des pratiques spécifiques comme la sculpture, la délégation ou l’exposition. Reconsidérer l’usage et les pratiques de la photographie au sein de l’art conceptuel amène à renouveler la réception d’un moment historique pour comprendre l’importance et la place du médium dans l’art d’aujourd’hui.
Conceptual art --- Photography, Artistic --- Installations (Art) --- Photography in art --- Photography [Artistic ]
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"Maya Stovall uses her Liquor Store Theatre conceptual art project--in which she danced near her Detroit neighborhood's liquor stores as a way to start conversations with her neighbors--as a point of departure for understanding everyday life in Detroit and the possibilities for ethnographic research, art, and knowledge creation."--
Experimental theater --- Performance art --- Conceptual art --- Political art --- Liquor Store Theatre.
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Stilspraak, Strijdom van der Merwe en Landkuns is 'n populêr-wetenskaplike kunsboek en bestaan uit drie hoofafdelings. Die geskiedenis van landkuns wat in deel een bespreek word kom uit twee lande, naamlik die Verenigde State van Amerika (VSA) en Nederland. Ten eerste is dit 'n momentopname van landkuns aan die begin van die een-en-twintigste eeu en word Van der Merwe vervolgens met hierdie publikasie geplaas binne die internasionale konteks van landkuns. Stilspraak, Strijdom van der Merwe en Landkuns popular science art book got 3 parts. This work is a 1st attempt to create an inventory of 21st centurary Earthworks from an American (U.S.A) and Dutch perspective.
Conceptual art. --- Earthworks (Art) --- Van der Merwe, Strijdom, --- Criticism and interpretation
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Victor Burgin counts among the most versatile figures within art and visual culture since the late 1960s. His artwork both connects with and reacts to minimalism, conceptual art, staged photography, appropriation art, video art and, more recently, computer-based imaging. As a scholar his thinking is informed by phenomenology, semiotics, poststructuralism, feminist theory, and psychoanalysis. This monograph provides a comprehensive and unique overview of Victor Burgin's body of work over the past five decades. Identifying the concept of 'psychical realism' as an overarching umbrella term, Alexander Streitberger traces back the artist's parallel unfolding of practice and theory, while situating this process within various historical contexts and critical debates. Five chapters link insightful case studies to key issues such as conceptual art and situational aesthetics, the relationship between representation and politics, postmodernist concepts of space, and the digital environment of media images. The book is richly illustrated and includes a sequence from the major work 'Dear Urania' (2016) especially designed by the artist for this book.
77 --- 77 Fotografie --- Fotografie --- Burgin, Victor --- Criticism and interpretation. --- Criticism and interpretation --- Art styles --- Conceptual art --- Art --- Photography, Artistic --- Photomontage --- Political aspects --- Burgin, Victor - Criticism and interpretation
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"Better Read Than Dead" was the title Seth Siegelaub had chosen for an anthology of his own writing-one of the projects for which he never found the time, busy as he was running his global one-man operation. The selected writings, interviews, extended bibliography and chronology in this source book fill historical gaps in the sprawling network of exhibitions, publications, projects, and collections that constitute Siegelaub's life's work. "Siegelaubian paperwork" comprises Siegelaub's writings, which are reproduced as scans in order to convey the variety of the documents and to give a sense of archival immersion. Interspersed with these "writings" are interviews and talks, several newly transcribed. The majority of interviews from 1969-1972 are reprinted here.
Artists and art museum curators --- Art museum curators --- Art --- Conceptual art. --- Interviews. --- Biography. --- Political aspects --- Siegelaub, Seth, --- texts [documents] --- Conceptual --- Siegelaub, Seth
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