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In this important volume, Jay Sanders and J. Hoberman explore the vibrant underground performance art scene of 1970s New York. Focusing on little-known and long-forgotten works, which were often performed in live/work lofts, storefronts, and alternative spaces of the city's SoHo district, often for an audience comprising a handful of ...
Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama-Manhattan, 1970-1980
In this important volume, Jay Sanders and J. Hoberman explore the vibrant underground performance art scene of 1970s New York. Focusing on little-known and long-forgotten works, which were often performed in live/work lofts, storefronts, and alternative spaces of the city's SoHo district, often for an audience comprising a handful of fellow artists, this catalogue makes newly visible a critical period in the development of performance art. Rituals of Rented Island examines the disparate yet related practices of twenty artists, including Stuart Sherman; collaborators Yvonne Rainer and Babette Mangotle; Julia Heyward; Jill Kroesen; Richard Foreman; Squat Theatre; composer-musician John Zorn; and legendary playwright and filmmaker Jack Smith; among others. With an array of previously unpublished images, including installation photographs, scripts, handwritten notes, and other ephemera, drawn from the artists' own archives, this volume illuminates the eccentric singularities of the performance art of this era and its relevance today.
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37.19 USD

Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama-Manhattan, 1970-1980

by Jay Sanders
Paperback / softback
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In his book A Lover's Discourse, Roland Barthes attempted to theorize the language used by lovers to describe each other. It is arguably a text about loneliness, suggesting that even romantic language confesses the distance that always exists between people-if we could achieve perfect unity with others, language would not ...
Couples Discourse
In his book A Lover's Discourse, Roland Barthes attempted to theorize the language used by lovers to describe each other. It is arguably a text about loneliness, suggesting that even romantic language confesses the distance that always exists between people-if we could achieve perfect unity with others, language would not be necessary. This book is about how couples discourse-about the ways in which artists cope with the social connections and practicalities of being artists in a couple. It is about the commonalities as well as the differences, the intimacies as well as the public articulations-in other words, the negotiations that are required in any relationship. It might be a truism to say that the very notion of the couple is undergoing significant transformation at the moment. Legal changes now allow many same-sex marriages in the United States, even as increasing numbers of people both gay and straight choose to enjoy unions and family structures beyond such conventional forms. Now is, of course, the perfect time to investigate more carefully the ways in which artists construct and articulate their position as couples. Co-curated by Joyce Henri Robinson, curator, and Micaela Amato, professor of art and women's studies, Penn State, Couples Discourse features work by twenty-one artist-couples including Eleanor and David Antin, Nene Humphrey and Benny Andrews, Patricia Cronin and Deborah Kass, Joyce and Max Kozloff, Helen and Brice Marden, Gladys Nilsson and Jim Nutt, Julie Burleigh and Catherine Opie, Roy Dowell and Lari Pittman, Sylvia Plimack Mangold and Robert Mangold, Lisa Sigal and Byron Kim, Nancy Spero (recently widowed), Deborah Willis (recently divorced), and Betty and George Woodman.
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33.38 USD

Couples Discourse

Paperback / softback
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This volume brings together essays by leading philosophers of art who consider what can be learned from the meaning of art about society, morality, and life in general. This subject inevitably leads to discussion of other issues. Is art distinct from life? Is a concern with art's messages consistent with ...
Art and Its Messages: Meaning, Morality, and Society
This volume brings together essays by leading philosophers of art who consider what can be learned from the meaning of art about society, morality, and life in general. This subject inevitably leads to discussion of other issues. Is art distinct from life? Is a concern with art's messages consistent with an appropriately aesthetic appreciation of its works? Is there anything distinctive about the manner in which art communicates its messages, or about the messages it conveys? The topic of art's social and moral importance has always been a central one in aesthetics. However, whereas Plato and Schiller, for instance, viewed art as intimately implicated in a person's moral and social education, modernist theories have argued for art's autonomy and separation from worldly matters. The essays presented here provide a contemporary perspective on this long-standing debate and reveal the recent revitalization of humanist concerns in describing art and its significance. Contributors are Stephen Davies, Susan L. Feagin, T. J. Diffey, Jenefer Robinson, Gregory Currie, Peter Lamarque, Jerrold Levinson, David Novitz, Ismay Barwell, Goeran Hermeren, and Richard Shusterman.
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22.000000 USD

Art and Its Messages: Meaning, Morality, and Society

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The synthetic proposition examines the impact of Civil Rights, Black Power, the student, feminist and sexual-liberty movements on conceptualism and its legacies in the United States between the late 1960s and the 1990s. It focuses on the turn to political reference in practices originally concerned with abstract ideas, as articulated ...
The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art
The synthetic proposition examines the impact of Civil Rights, Black Power, the student, feminist and sexual-liberty movements on conceptualism and its legacies in the United States between the late 1960s and the 1990s. It focuses on the turn to political reference in practices originally concerned with abstract ideas, as articulated by Joseph Kosuth, and traces key strategies in contemporary art to the reciprocal influences of conceptualism and identity politics: movements that have so far been historicised as mutually exclusive. The book demonstrates that while identity-based strategies were particular, their impact spread far beyond the individuals or communities that originated them. It offers a study of Adrian Piper, David Hammons, Renee Green, Mary Kelly, Martha Rosler, Silvia Kolbowski, Daniel Joseph Martinez, Lorna Simpson, Hans Haacke, Andrea Fraser and Charles Gaines. By turning to social issues, these artists analysed the conventions of language, photography, moving image, installation and display. -- .
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35.31 USD

The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art

by Nizan Shaked
Paperback / softback
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Interdisciplinary in design and concept, Speculation, Now illuminates unexpected convergences between images, concepts, and language. Artwork is interspersed among essays that approach speculation and progressive change from surprising perspectives. A radical cartographer asks whether the speculative can be represented on a map. An ethnographer investigates religious possession in Islam to ...
Speculation, Now: Essays and Artwork
Interdisciplinary in design and concept, Speculation, Now illuminates unexpected convergences between images, concepts, and language. Artwork is interspersed among essays that approach speculation and progressive change from surprising perspectives. A radical cartographer asks whether the speculative can be represented on a map. An ethnographer investigates religious possession in Islam to contemplate states between the divine and the seemingly human. A financial technologist queries understandings of speculation in financial markets. A multimedia artist and activist considers the relation between social change and assumptions about the conditions to be changed, and an architect posits purposeful neglect as political strategy. The book includes an extensive glossary with more than twenty short entries in which scholars contemplate such speculation-related notions as insurance, hallucination, prophecy, the paradox of beginnings, and states of half-knowledge. The book's artful, nonlinear design mirrors and reinforces the notion of contingency that animates it. By embracing speculation substantively, stylistically, seriously, and playfully, Speculation, Now reveals its subversive and critical potential. Artists and essayists include William Darity Jr., Filip De Boeck, Boris Groys, Hans Haacke, Darrick Hamilton, Laura Kurgan, Lin + Lam, Gary Lincoff, Lize Mogel, Christina Moon, Stefania Pandolfo, Satya Pemmaraju, Mary Poovey, Walid Raad, Sherene Schostak, Robert Sember, and Srdjan Jovanovic Weiss. Published by Duke University Press and the Vera List Center for Art and Politics at The New School
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31.450000 USD

Speculation, Now: Essays and Artwork

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What, After All, Is a Work of Art? directs our attention toward historicity, the inherent historied nature of thinking, and the artifactual, culturally emergent nature of both art and human selves. While these are familiar themes in Margolis's well-known studies of art and culture, they are largely neglected in English-language ...
What, After All, Is a Work of Art?: Lectures in the Philosophy of Art
What, After All, Is a Work of Art? directs our attention toward historicity, the inherent historied nature of thinking, and the artifactual, culturally emergent nature of both art and human selves. While these are familiar themes in Margolis's well-known studies of art and culture, they are largely neglected in English-language aesthetics and even philosophy in general. Margolis brings these primary themes to bear on a number of strategically selected issues: the modernism/postmodernism dispute; the treatment of modernist and post-historical painting in Clement Greenberg and Arthur Danto; the coherence of relativism in interpreting art and the relevance of cultural relativity; the difference between artworks and persons as culturally constituted entities in contrast to natural entities and with regard to the logic of interpretation; the import of film on the theory of the relationship between understanding ourselves and understanding art, with special attention to the views of Walter Benjamin; and the propriety of the analogy between artworks and selves, as cultural entities, by way of treating the arts (also history, action, and language) as a form of human utterance. Although the argument is largely focused on certain particularly strenuous puzzles in the philosophy of art, the validity of Margolis's claims are more far reaching. If, through incorporating the reality of physical and biological nature, the emergence of art and human selves cannot rest satisfactorily on exemplars selected from nature alone, then certain fashionable views of science, of canons of understanding, conceptual resources, logic, rationality, and the like may well have to yield ground to ampler models that have been largely marginalized or overridden. In particular, the admission of historicity, the nerve of Margolis's argument, invites a decisive conceptual reorientation. What, After All, Is a Work of Art? is based on a series of lectures Margolis delivered at various universities in Japan in the Spring of 1997, while serving as a fellow of the Japan Society for the Promotion of Science.
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37.750000 USD

What, After All, Is a Work of Art?: Lectures in the Philosophy of Art

by Joseph Margolis
Paperback / softback
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Memory Dump Analysis Anthology: Volume 6
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36.750000 USD

Memory Dump Analysis Anthology: Volume 6

by Dmitry Vostokov
Paperback / softback
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Forum
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24.16 USD

Forum

by Webb Richard
Hardback
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With essays by Alex Alberro, Stephen Bann, Jon Bird, David Campany, Helen Molesworth, Michael Newman, Peter Osborne, Birgit Pelzer, Desa Philipagesi, Anne Rorimer, Peter Wollen and William Wood. An international movement that followed specific geographical-cultural patterns, Conceptual Art built on the legacy of Marcel Duchamp, redefining the institutional and social ...
Rewriting Conceptual Art
With essays by Alex Alberro, Stephen Bann, Jon Bird, David Campany, Helen Molesworth, Michael Newman, Peter Osborne, Birgit Pelzer, Desa Philipagesi, Anne Rorimer, Peter Wollen and William Wood. An international movement that followed specific geographical-cultural patterns, Conceptual Art built on the legacy of Marcel Duchamp, redefining the institutional and social relationships among production, work and audience in ways which have comprehensively transformed the nature of the art object and forms of artistic practice, both historically and in the present. Investigating and documenting the histories, theories and forms of Conceptual Art, this timely book, including both established writers and a new generation of art historians, shows that Conceptual Art was a broad movement encompassing a range of artistic tendencies. This is the most stimulating account of the movement to date, arguing forcefully for its vitality and potential as well as examining its influence on art today.
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12.51 USD
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An exploration of walking and mapping as both form and content in art projects using old and new technologies, shoe leather and GPS. From Guy Debord in the early 1950s to Richard Long, Janet Cardiff, and Esther Polak more recently, contemporary artists have returned again and again to the walking ...
Walking and Mapping: Artists as Cartographers
An exploration of walking and mapping as both form and content in art projects using old and new technologies, shoe leather and GPS. From Guy Debord in the early 1950s to Richard Long, Janet Cardiff, and Esther Polak more recently, contemporary artists have returned again and again to the walking motif. Today, the convergence of global networks, online databases, and new tools for mobile mapping coincides with a resurgence of interest in walking as an art form. In Walking and Mapping, Karen O'Rourke explores a series of walking/mapping projects by contemporary artists. She offers close readings of these projects-many of which she was able to experience firsthand-and situates them in relation to landmark works from the past half-century. Together, they form a new entity, a dynamic whole greater than the sum of its parts. By alternating close study of selected projects with a broader view of their place in a bigger picture, Walking and Mapping itself maps a complex phenomenon.
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36.750000 USD
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Our homes contain us, but they are also within us. They can represent places to be ourselves, to recollect childhood memories, or to withdraw into adult spaces of intimacy; they can be sites for developing rituals, family relationships, and acting out cultural expectations. Like the personal, social, and cultural elements ...
Art and the Home: Comfort, Alienation and the Everyday
Our homes contain us, but they are also within us. They can represent places to be ourselves, to recollect childhood memories, or to withdraw into adult spaces of intimacy; they can be sites for developing rituals, family relationships, and acting out cultural expectations. Like the personal, social, and cultural elements out of which they are constructed, homes can be not only comforting, but threatening too. The home is a rich theme running through post-war western art, and it continues to engage contemporary artists today - yet it has been the subject of relatively little critical writing. Art and the Home: Comfort, Alienation and the Everyday is the first single-authored, up-to-date book on the subject. Imogen Racz provides a theme-led discussion about how the physical experience of the dwelling space and the psychological complexities of the domestic are manifested in art, focusing mainly on sculpture, installation and object-based practice; discussing the work and ideas of artists as diverse as Louise Bourgeois, Gordon Matta-Clark, George Segal and Cornelia Parker within their artistic and cultural contexts
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26.200000 USD
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At a time of structural changes in the labour market, growing youth unemployment and sharp transitions in business practice to address global recession, the subject of rethinking working life is both relevant and timely. Time & Motion re-examines the relevance of our traditional notions of the eight-hour day, in particular ...
Time & Motion: Redefining Working Life
At a time of structural changes in the labour market, growing youth unemployment and sharp transitions in business practice to address global recession, the subject of rethinking working life is both relevant and timely. Time & Motion re-examines the relevance of our traditional notions of the eight-hour day, in particular the effects of digital technology on patterns of working life and on digital public space. Amid the new realities of a globalised experience economy and a working environment that is increasingly distributed, virtualised and digital, our definitions of production and consumption, work and recreation are becoming increasingly blurred. This book seeks to redefine our understanding of working life by documenting and describing contemporary artworks commissioned on this theme, and to provide some theoretical building blocks with essays by key thinkers in the field. Emerging from a collaboration between the Royal College of Art's Creative Exchange (CX) Hub and FACT (Foundation for Art and Creative Technology),Time & Motion will be required reading for anyone interested in the ways in which the digital revolution has altered the fabric of society.
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20.950000 USD
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The objective world is one of facts, data, and actuality. The world of the nonobject is about perception, experience, and possibility. In this highly original and visually extravant book, Branko Lukic (an award-winning designer) and Barry Katz (an authority on the history and philosophy of design) imagine what would happen ...
Nonobject
The objective world is one of facts, data, and actuality. The world of the nonobject is about perception, experience, and possibility. In this highly original and visually extravant book, Branko Lukic (an award-winning designer) and Barry Katz (an authority on the history and philosophy of design) imagine what would happen if design started not from the object but from the space between people and the objects they use. The nonobject, they explain, is the designer's personal experiment to explore our relation to the observable world. So they show us an umbrella that puts us in a harmonious relationship with nature by sending falling rain rushing through the handle from an upturned top that resembles a flower; a spoon with a myriad of tiny bowls that allow us to savor our soup; a superpractical cell phone with keypad, speaker, and microphone on every surface. They imagine the ideal material, Thinium, incredibly thin and incredibly strong, environmentally and aesthetically beneficial. They show us clocks and watches that free us from time told by artificial demarcation and consider the possibility of a digital camera that captures the part of the scene we didn't see. In NONOBJECT, product design meets philosophy, poetry, and the theater of the imagination. The nonobject fills us with surprise and delight.
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18.55 USD

Nonobject

by Barry M. Katz, Branko Lukic
Hardback
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Frederick MacMonnies is best known today as one of the leading figurative sculptors of the American Renaissance. Residing in France for much of his professional career, MacMonnies, along with his first wife, the painter Mary Fairchild MacMonnies, often visited Giverny, home to the reclusive Claude Monet and numerous American Impressionists ...
An Interlude in Giverny
Frederick MacMonnies is best known today as one of the leading figurative sculptors of the American Renaissance. Residing in France for much of his professional career, MacMonnies, along with his first wife, the painter Mary Fairchild MacMonnies, often visited Giverny, home to the reclusive Claude Monet and numerous American Impressionists in the final decade of the nineteenth century. By 1894 the town was the MacMonnies's favorite summer retreat, and in 1898 they moved permanently into an old priory in Giverny, dubbed the MacMonastery by friends. It was at this time, just as the new century dawned, that MacMonnies launched his career as a painter. Although he continued to produce sculpture, the artist happily painted portraits and occasionally submitted paintings to the annual salons for nearly a decade. Mary MacMonnies also continued to pursue her artistic career from their remote enclave outside Paris. This catalogue, which accompanied two exhibitions, An Interlude in Giverny: The French Chevalier by Frederick MacMonnies and An Interlude in Giverny: Dans la nursery by Mary MacMonnies Low, explores the artistic and personal milieus surrounding the creation of two masterworks by the MacMonnieses during this Giverny interlude.
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24.63 USD

An Interlude in Giverny

by Derrick R. Cartwright, Joyce Henri Robinson
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The analytic philosophers writing here engage with the cluster of philosophical questions raised by conceptual art. They address four broad questions: What kind of art is conceptual art? What follows from the fact that conceptual art does not aim to have aesthetic value? What knowledge or understanding can we gain ...
Philosophy and Conceptual Art
The analytic philosophers writing here engage with the cluster of philosophical questions raised by conceptual art. They address four broad questions: What kind of art is conceptual art? What follows from the fact that conceptual art does not aim to have aesthetic value? What knowledge or understanding can we gain from conceptual art? How ought we to appreciate conceptual art? Conceptual art, broadly understood by the contributors as beginning with Marcel Duchamp's ready-mades and as continuing beyond the 1970s to include some of today's contemporary art, is grounded in the notion that the artist's 'idea' is central to art, and, contrary to tradition, that the material work is by no means essential to the art as such. To use the words of the conceptual artist Sol LeWitt, 'In conceptual art the idea of the concept is the most important aspect of the work . . . and the execution is a perfunctory affair'. Given this so-called 'dematerialization' of the art object, the emphasis on cognitive value, and the frequent appeal to philosophy by many conceptual artists, there are many questions that are raised by conceptual art that should be of interest to analytic philosophers. Why, then, has so little work been done in this area? This volume is most probably the first collection of papers by analytic philosophers tackling these concerns head-on.
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47.200000 USD

Philosophy and Conceptual Art

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Artists have utilized walking as an autonomous form of art, a subject in their work, and as social practice since the early 20th century. Today walking continues to offer a salient means for artists to challenge social, political, and economic orders through a radical remapping of civic space. In this ...
Walking Sculpture 1967-2015
Artists have utilized walking as an autonomous form of art, a subject in their work, and as social practice since the early 20th century. Today walking continues to offer a salient means for artists to challenge social, political, and economic orders through a radical remapping of civic space. In this engaging and original book, Lexi Lee Sullivan traces the history of walking as an aesthetic action from the Dadaists to contemporary ramblers. Titled after Michelangelo Pistoletto's performance Walking Sculpture, the catalogue features 50 color illustrations ranging from photographs of Yvonne Rainer's street actions to Francis Alys's fantastical processions, poems by Cole Swensen, and a new project by artist Helen Mirra, who produces poetic meditations on landscape, ecology, and locomotion. Sculpture, film, video, photography, and performance converge to address the multi-disciplinary practice of ambulation through the cityscape and the countryside. For those who hike; march in fundraisers, protests, or parades; walk the dog; stroll in the park; or commute daily, this catalogue will invite new thought into basic human movement.
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26.250000 USD
Hardback
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Over the period 1999-2005, choreographer and dancer Tess de Quincey and a team of international artists conducted a series of art-laboratories and performances in and around the Central Desert town of Alice Springs. These art-labs culminated in the 2005 performance of Dictionary of Atmospheres, staged during the Alice Desert Festival. ...
Meeting Places: Locating Desert Consciousness in Performance
Over the period 1999-2005, choreographer and dancer Tess de Quincey and a team of international artists conducted a series of art-laboratories and performances in and around the Central Desert town of Alice Springs. These art-labs culminated in the 2005 performance of Dictionary of Atmospheres, staged during the Alice Desert Festival. Drawing upon practice-based research conducted while interning with de Quincey during the development and staging of Dictionary of Atmospheres, Anderson contemplates the way in which moments from the production illustrate the artist's approach to and articulation of place. Meeting Places offers meditation on the nature of experience as it manifests in serial site-specific art encounters in desert locations.
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33.84 USD
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Well-known art historians from Europe and the Americas discuss the influence of conceptualism on art since the 1970s. Art After Conceptual Art tracks the various legacies of conceptualist practice over the past three decades. This collection of essays by art historians from Europe and the Americas introduces and develops the ...
Art After Conceptual Art
Well-known art historians from Europe and the Americas discuss the influence of conceptualism on art since the 1970s. Art After Conceptual Art tracks the various legacies of conceptualist practice over the past three decades. This collection of essays by art historians from Europe and the Americas introduces and develops the idea that conceptual art generated several different, and even contradictory, forms of art practice. Some of these contested commonplace assumptions of what art is; others served to buttress those assumptions. The bulk of the volume features newly written and highly innovative essays challenging standard interpretations of the legacy of conceptualism and discussing the influence of conceptualism's varied practices on art since the 1970s. The essays explore topics as diverse as the interrelationships between conceptualism and institutional critique, neoexpressionist painting and conceptualist paradigms, conceptual art's often-ignored complicity with design and commodity culture, the specific forms of identity politics taken up by the reception of conceptual art, and conceptualism's North/South and East/West dynamics. A few texts that continue to be crucial for critical debates within the fields of conceptual and postconceptual art practice, history, and theory have been reprinted in order to convey the vibrant and ongoing discussion on the status of art after conceptual art. Taken together, the essays will inspire an exploration of the relationship between postconceptualist practices and the beginnings of contemporary art. Distributed for the Generali Foundation, Vienna.
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21.24 USD
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Over the past 40 years, sculptor and installation artist Jannis Kounellis has established himself as a unique presence in the world of contemporary art. His work, whether included in temporary exhibitions or placed in semi-permanent installations, invariably lingers in the memory because of its forceful character and its ability to ...
Jannis Kounellis
Over the past 40 years, sculptor and installation artist Jannis Kounellis has established himself as a unique presence in the world of contemporary art. His work, whether included in temporary exhibitions or placed in semi-permanent installations, invariably lingers in the memory because of its forceful character and its ability to transform its immediate environment. Stephen Bann refers to Kounellis' working practice as a process of making strange'. In all his installations, the material impact of the work sets off a trail of associations. Potent examples include his 1969 installation of twelve tethered live horses in a gallery in Rome, the city where the prototypes of the equestrian monuments of Antiquity can still be seen, or his 1975 Civil Tragedy installation in which a hat-stand with black hat and coat against a gold-leaf background lit by a small lamp recalled the cafe society of Central Europe against a wall of Byzantine splendour. As an artist, Kounellis has found his special location in Rome. At the age of 20, he made the journey there from Piraeus, the ancient port of Athens, and began his career. His works continue to bear the hallmarks of his Eastern Mediterranean origin, as well as testifying to his concern with the links between Russian Modernism and the Byzantine tradition. Stephen Bann has not set out to write a conventional monograph about the artist. Rather, he looks at the underlying mechanisms in Kounellis' practice, suggesting the ways in which they are important in the broader context of late modernist art. He outlines the distinctive way in which Kounellis takes account of space as a necessary preliminary to working within it, and discusses the historical and cultural dimension to which Kounellis lays claim.
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19.02 USD

Jannis Kounellis

by Stephen Bann
Paperback / softback
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A new approach to writing culture has arrived: multispecies ethnography. Plants, animals, fungi, and microbes appear alongside humans in this singular book about natural and cultural history. Anthropologists have collaborated with artists and biological scientists to illuminate how diverse organisms are entangled in political, economic, and cultural systems. Contributions from ...
The Multispecies Salon
A new approach to writing culture has arrived: multispecies ethnography. Plants, animals, fungi, and microbes appear alongside humans in this singular book about natural and cultural history. Anthropologists have collaborated with artists and biological scientists to illuminate how diverse organisms are entangled in political, economic, and cultural systems. Contributions from influential writers and scholars, such as Dorion Sagan, Karen Barad, Donna Haraway, and Anna Lowenhaupt Tsing, are featured along with essays by emergent artists and cultural anthropologists. Delectable mushrooms flourishing in the aftermath of ecological disaster, microbial cultures enlivening the politics and value of food, and nascent life forms running wild in the age of biotechnology all figure in this curated collection of essays and artifacts. Recipes provide instructions on how to cook acorn mush, make cheese out of human milk, and enliven forests after they have been clear-cut. The Multispecies Salon investigates messianic dreams, environmental nightmares, and modest sites of biocultural hope. For additional materials see the companion website: www.multispecies-salon.org/ Contributors. Karen Barad, Caitlin Berrigan, Karin Bolender, Maria Brodine, Brandon Costelloe-Kuehn, David S. Edmunds, Christine Hamilton, Donna J. Haraway, Stefan Helmreich, Angela James, Lindsay Kelley, Eben Kirksey, Linda Noel, Heather Paxson, Nathan Rich, Anna Rodriguez, Dorion Sagan, Craig Schuetze, Nicholas Shapiro, Miriam Simun, Kim TallBear, Anna Lowenhaupt Tsing
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29.350000 USD
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If, as Walter Benjamin claimed, it is the function of artistic form...to make historical content into a philosophical truth then it is the function of criticism to recover and to complete that truth. Never has this been more necessary or more difficult than with respect to contemporary art. Contemporary art ...
The Postconceptual Condition
If, as Walter Benjamin claimed, it is the function of artistic form...to make historical content into a philosophical truth then it is the function of criticism to recover and to complete that truth. Never has this been more necessary or more difficult than with respect to contemporary art. Contemporary art is a point of condensation of a vast array of social and historical forces, economic and political forms and technologies of image production. Contemporary art expresses this condition, Osborne maintains, through its distinctively postconceptual form. These essays-extending the scope and arguments of Osborne's Anywhere or Not at All: Philosophy of Contemporary Art-move from philosophical consideration of the changing temporal conditions of capitalist modernity, via problems of formalism, the politics of art and the changing shape of art institutions, to interpretation and analysis of particular works by Akram Zataari, Xavier Le Roy and Ilya Kabakov, and the postconceptual situation of a crisis-ridden New Music.
31.450000 USD
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'Play art' or interactive art is becoming a central concept in the contemporary art world, disrupting the traditional role of passive observance usually assumed by audiences, allowing them active participation. The work of 'play' artists - from Carsten Holler's 'Test Site' at the Tate Modern to Gabriel Orozco's 'Ping Pond ...
Time to Play: Action and Interaction in Contempororary Art
'Play art' or interactive art is becoming a central concept in the contemporary art world, disrupting the traditional role of passive observance usually assumed by audiences, allowing them active participation. The work of 'play' artists - from Carsten Holler's 'Test Site' at the Tate Modern to Gabriel Orozco's 'Ping Pond Table' - must be touched, influenced and experienced; the gallery-goer is no longer a spectator but a co-creator. Time to Play explores the role of play as a central but neglected concept in aesthetics and a model for ground-breaking modern and postmodern experiments which have tended to blur the boundary between art and life. Moving freely between disciplines, Katarzyna Zimna links the theory and history of 20th and 21st century art with ideas developed within play, game and leisure studies, and the philosophical theories of Kant, Gadamer and Derrida, to critically engage with current discussion on the role of the artist, viewers, curators and their spaces of encounter.
33.600000 USD
Paperback
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Anthony McCall's Line Describing a Cone has long been a classic of American avant-garde cinema, but because it was most often screened in dusty Soho lofts in the past, the piece was little know to a wider audience. The inclusion of Line Describing a Cone, 1973 in the Whitney Museum ...
Anthony McCall: The Solid Light Films and Related Works
Anthony McCall's Line Describing a Cone has long been a classic of American avant-garde cinema, but because it was most often screened in dusty Soho lofts in the past, the piece was little know to a wider audience. The inclusion of Line Describing a Cone, 1973 in the Whitney Museum of American Art exhibition Into the Light: the Projected Image in American Art, 1964-1977 has opened McCall's work to a great deal of interest both in America and abroad. While curators are only now beginning to mine the history of the projected image in art, McCall continues to be one of the most important of the Post-Minimalist artists to use projected film. This book includes a major essay by Branden Joseph, an interview with the artist by Jonathon Walley and the first photo-documentation ever made of his pieces as well as diagrams of related works. Additional biographical and bibliographic materials are included in the book to provide a baseline for further scholarly research in the area, as well as 100 never-before-seen reproductions of historical photographs, sketches, and diagrams from the artists archive. New photography of the never-before-photographed Long Film For Four Projectors, 1974 was commissioned for this book. Anthony McCall: The Solid Light Films and Related Works is a co-publication with the New Art Trust in San Francisco, California.
26.200000 USD
Paperback / softback
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