Filter
(found 23 products)
Book cover image
Explorations of the many ways of being material in the digital age. In his oracular 1995 book Being Digital, Nicholas Negroponte predicted that social relations, media, and commerce would move from the realm of atoms to bits -that human affairs would be increasingly untethered from the material world. And yet ...
Being Material
Explorations of the many ways of being material in the digital age. In his oracular 1995 book Being Digital, Nicholas Negroponte predicted that social relations, media, and commerce would move from the realm of atoms to bits -that human affairs would be increasingly untethered from the material world. And yet in 2019, an age dominated by the digital, we have not quite left the material world behind. In Being Material, artists and technologists explore the relationship of the digital to the material, demonstrating that processes that seem wholly immaterial function within material constraints. Digital technologies themselves, they remind us, are material things-constituted by atoms of gold, silver, silicon, copper, tin, tungsten, and more. The contributors explore five modes of being material: programmable, wearable, livable, invisible, and audible. Their contributions take the form of reports, manifestos, philosophical essays, and artist portfolios, among other configurations. The book's cover merges the possibilities of paper with those of the digital, featuring a bookmark-like card that, when seen by a smartphone, generates graphic arrangements that unlock films, music, and other dynamic content on the book's website. At once artist's book, digitally activated object, and collection of scholarship, this book both demonstrates and chronicles the many ways of being material. Contributors Christina Agapakis, Azra Aksamija, Sandy Alexandre, Dewa Alit, George Barbastathis, Maya Beiser, Marie-Pier Boucher, Benjamin H. Bratton, Hussein Chalayan, Jim Cybulski, Tal Danino, Deborah G. Douglas, Arnold Dreyblatt, M. Amah Edoh, Michelle Tolini Finamore, Team Foldscope and Global Foldscope community, Ben Fry, Victor Gama, Stefan Helmreich, Hyphen-Labs, Leila Kinney, Rebecca Konte, Winona LaDuke, Brendan Landis, Grace Leslie, Bill Maurer, Lucy McRae, Tom OEzden-Schilling, Trevor Paglen, Lisa Parks, Nadya Peek, Claire Pentecost, Manu Prakash,Casey Reas, Pawel Romanczuk, Natasha D. Schull, Nick Shapiro, Skylar Tibbits, Rebecca Uchill, Evan Ziporyn Book Design: E Roon Kang Electronics, interactions, and product designer: Marcelo Coelho
https://magrudy-assets.storage.googleapis.com/9780262043281.jpg
59.51 USD

Being Material

Hardback
Book cover image
A milestone work that examines the democratic idea of photography and its expansion in common culture, particularly in the United States; generously illustrated. This influential text by French historian and theorist Francois Brunet considers the invention and history of photography as the birth of an idea, rather than a new ...
The Birth of the Idea of Photography
A milestone work that examines the democratic idea of photography and its expansion in common culture, particularly in the United States; generously illustrated. This influential text by French historian and theorist Francois Brunet considers the invention and history of photography as the birth of an idea, rather than a new type of image. This idea photography combines a logical theme-that of an art without artistry-and the democratic political promise of an art for all. Officially endorsed by the 1839 French law on the daguerreotype, this idea reverberated throughout the nineteenth century in Europe and America. Brunet shows how emerging image technologies and practices in France and Britain were linked to this logical/political construction of photography, from the earliest researches of Nicephore Niepce, Louis-Jacques-Mande Daguerre, and Henry Fox Talbot up to the turn of the twentieth century. The parallel development of the Kodak camera and Alfred Stieglitz's straight vision in the United States then fulfilled, while also depreciating, the utopian promise of photography for all. This history reached a provisional climax with the reflections on images by Ralph Waldo Emerson, Hippolyte Adolphe Taine, Sigmund Freud, Henri-Louis Bergson, and Charles Sanders Peirce, reflections that both demonstrated the novelty of photography and forecast many later debates on its technology and aesthetics. The Birth of the Idea of Photography has been enriched with more than fifty photographs, reproduced in color, from North American and European collections. This edition also features a new preface by the author.
https://magrudy-assets.storage.googleapis.com/9780262043267.jpg
52.07 USD

The Birth of the Idea of Photography

by Francois Brunet
Hardback
Book cover image
Essays, conversations, and archival investigations explore the paradoxes, limitations, and social ramifications of trans representation within contemporary culture. The increasing representation of trans identity throughout art and popular culture in recent years has been nothing if not paradoxical. Trans visibility is touted as a sign of a liberal society, but ...
Trap Door: Trans Cultural Production and the Politics of Visibility
Essays, conversations, and archival investigations explore the paradoxes, limitations, and social ramifications of trans representation within contemporary culture. The increasing representation of trans identity throughout art and popular culture in recent years has been nothing if not paradoxical. Trans visibility is touted as a sign of a liberal society, but it has coincided with a political moment marked both by heightened violence against trans people (especially trans women of color) and by the suppression of trans rights under civil law. Trap Door grapples with these contradictions. The essays, conversations, and dossiers gathered here delve into themes as wide-ranging yet interconnected as beauty, performativity, activism, and police brutality. Collectively, they attest to how trans people are frequently offered doors -entrances to visibility and recognition-that are actually traps, accommodating trans bodies and communities only insofar as they cooperate with dominant norms. The volume speculates about a third term, perhaps uniquely suited for our time: the trapdoor, neither entrance nor exit, but a secret passageway leading elsewhere. Trap Door begins a conversation that extends through and beyond trans culture, showing how these issues have relevance for anyone invested in the ethics of visual culture. Contributors Lexi Adsit, Sara Ahmed, Nicole Archer, Kai Lumumba Barrow, Johanna Burton, micha cardenas, Mel Y. Chen, Grace Dunham, Treva Ellison, Sydney Freeland, Che Gossett, Reina Gossett, Stamatina Gregory, Miss Major Griffin-Gracy, Robert Hamblin, Eva Hayward, Juliana Huxtable, Yve Laris Cohen, Abram J. Lewis, Heather Love, Park McArthur, CeCe McDonald, Toshio Meronek, Fred Moten, Tavia Nyong'o, Morgan M. Page, Roy Perez, Dean Spade, Eric A. Stanley, Jeannine Tang, Wu Tsang, Jeanne Vaccaro, Chris E. Vargas, Geo Wyeth, Kalaniopua Young, Constantina Zavitsanos
https://magrudy-assets.storage.googleapis.com/9780262036603.jpg
52.450000 USD

Trap Door: Trans Cultural Production and the Politics of Visibility

Hardback
Book cover image
Reflections on how institutions inform art, curatorial, educational, and research practices while they shape the world around us. Contemporary art and curatorial work, and the institutions that house them, have often been centers of power, hierarchy, control, value, and discipline. Even the most progressive among them face the dilemma of ...
How Institutions Think: Between Contemporary Art and Curatorial Discourse
Reflections on how institutions inform art, curatorial, educational, and research practices while they shape the world around us. Contemporary art and curatorial work, and the institutions that house them, have often been centers of power, hierarchy, control, value, and discipline. Even the most progressive among them face the dilemma of existing as institutionalized anti-institutions. This anthology-taking its title from Mary Douglas's 1986 book, How Institutions Think-reconsiders the practices, habits, models, and rhetoric of the institution and the anti-institution in contemporary art and curating. Contributors reflect upon how institutions inform art, curatorial, educational, and research practices as much as they shape the world around us. They consider the institution as an object ofienquiry across many disciplines, including political theory, organizational science, and sociology. Bringing together an international and multidisciplinary group of writers, How Institutions Think addresses such questions as whether institution building is still possible, feasible, or desirable; if there are emergent institutional models for progressive art and curatorial research practices; and how we can establish ethical principles and build our institutions accordingly. The first part, Thinking via Institution, moves from the particular to the general; the second part, Thinking about Institution, considers broader questions about the nature of institutional frameworks. Contributors include Natasa Petresin Bachelez, Dave Beech, Melanie Bouteloup, Nikita Yingqian Cai, Binna Choi and Annette Kraus, Celine Condorelli, Pip Day, Clementine Deliss, Keller Easterling and Andrea Phillips, Bassam El Baroni, Charles Esche, Patricia Falguieres, Patrick D. Flores, Marina Grzinic, Stefano Harney and Fred Moten, Alhena Katsof, Emily Pethick, Sarah Pierce, Moses Serubiri, Simon Sheikh, Mick Wilson
https://magrudy-assets.storage.googleapis.com/9780262534321.jpg
52.07 USD

How Institutions Think: Between Contemporary Art and Curatorial Discourse

Paperback / softback
Book cover image
An anthology of writings and projects by artists who developed and extended the genre of institutional critique. Institutional critique is an artistic practice that reflects critically on its own housing in galleries and museums and on the concept and social function of art itself. Such concerns have always been a ...
Institutional Critique: An Anthology of Artists' Writings
An anthology of writings and projects by artists who developed and extended the genre of institutional critique. Institutional critique is an artistic practice that reflects critically on its own housing in galleries and museums and on the concept and social function of art itself. Such concerns have always been a part of modern art but took on new urgency at the end of the 1960s, when-driven by the social upheaval of the time and enabled by the tools and techniques of conceptual art-institutional critique emerged as a genre. This anthology traces the development of institutional critique as an artistic concern from the 1960s to the present by gathering writings and representative art projects of artists from across Europe and throughout the Americas who developed and extended the genre. The texts and artworks included are notable for the range of perspectives and positions they reflect and for their influence in pushing the boundaries of what is meant by institutional critique. Like Alberro and Stimson's Conceptual Art: A Critical Anthology this volume will shed new light on its subject through its critical and historical framing. Even readers already familiar with institutional critique will come away from this book with a greater and often redirected understanding of its significance. Artists represented include Wieslaw Borowski, Daniel Buren, Marcel Broodthaers, Groupe de Recherche d'Art Visuel, Hans Haacke, Robert Smithson, John Knight, Graciela Carnevale, Osvaldo Mateo Boglione, Guerilla Art Action Group, Art Workers' Coalition, Mierle Laderman Ukeles, Michael Asher, Mel Ramsden, Adrian Piper, The Guerrilla Girls, Laibach, Silvia Kolbowski, Andrea Fraser, Fred Wilson, Mark Dion, Maria Eichhorn, Critical Art Ensemble, Bureau d'Etudes, WochenKlausur, The Yes Men, Hito Steyerl, Andreas Siekmann.
https://magrudy-assets.storage.googleapis.com/9780262516648.jpg
62.950000 USD

Institutional Critique: An Anthology of Artists' Writings

Paperback / softback
Book cover image
From the Renaissance idea of the painting as an open window to the nested windows and multiple images on today's cinema, television, and computer screens: a cultural history of the metaphoric, literal, and virtual window. As we spend more and more of our time staring at the screens of movies, ...
The Virtual Window: From Alberti to Microsoft
From the Renaissance idea of the painting as an open window to the nested windows and multiple images on today's cinema, television, and computer screens: a cultural history of the metaphoric, literal, and virtual window. As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices- windows full of moving images, texts, and icons-how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen. In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti's metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective-Alberti's metaphorical window-has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple 'windows' coexist and overlap, perspective may have met its end. In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.
https://magrudy-assets.storage.googleapis.com/9780262512503.jpg
46.49 USD

The Virtual Window: From Alberti to Microsoft

by Anne Friedberg
Paperback / softback
Book cover image
Sound, tone, music, voice, and noise as forms of sonority through which our current economic and ecological crises can be understood. In this wide-ranging book, Frances Dyson examines the role of sound in the development of economic and ecological systems that are today in crisis. Connecting early theories of harmony, ...
The Tone of Our Times: Sound, Sense, Economy, and Ecology
Sound, tone, music, voice, and noise as forms of sonority through which our current economic and ecological crises can be understood. In this wide-ranging book, Frances Dyson examines the role of sound in the development of economic and ecological systems that are today in crisis. Connecting early theories of harmony, cosmology, and theological doctrine to contemporary media and governance, Dyson uses sound, tone, music, voice, and noise as forms of sonority through which the crises of eco can be read. The sonic environment, Dyson argues, is fundamental to both sense and sensibility, and its delimitation has contributed to the senselessness of a world now caught between spiraling debt and environmental degradation. Dyson draws on scenes, historical moments, artworks, and artistic and theoretical practice to situate the reverberative atmosphere that surrounds and sustains us. From Pythagoras's hammer and the transmutation of music into mathematics, to John Cage's famous experience in the anechoic chamber, to the relocation of the stock market from the street to the computer screen, to Occupy Wall Street's people's microphone : Dyson finds policies and practices of exclusion. The sound of Pythagoras's forge and the rabble of the market have been muted, rearticulated, and transformed, Dyson argues, through the monotones of media, the racket of financialization, and the gibberish of political speech. Informed by contemporary sound art, philosophy, media and sociopolitical theory, The Tone of Our Times offers insights into present crises that are relevant to a broader understanding of how space, the aural, and listening have shaped and continue to shape the world we live in.
https://magrudy-assets.storage.googleapis.com/9780262028080.jpg
59.51 USD

The Tone of Our Times: Sound, Sense, Economy, and Ecology

by Frances Dyson
Hardback
Book cover image
In the Paris art world of the 1920s, Georges Bataille and his journal DOCUMENTS represented a dissident branch of surrealism. Bataille--poet, philosopher, writer, and self-styled enemy within surrealism--used DOCUMENTS to put art into violent confrontation with popular culture, ethnography, film, and archaeology. Undercover Surrealism, taking the visual richness of DOCUMENTS ...
Undercover Surrealism: Georges Bataille and Documents
In the Paris art world of the 1920s, Georges Bataille and his journal DOCUMENTS represented a dissident branch of surrealism. Bataille--poet, philosopher, writer, and self-styled enemy within surrealism--used DOCUMENTS to put art into violent confrontation with popular culture, ethnography, film, and archaeology. Undercover Surrealism, taking the visual richness of DOCUMENTS as its starting point, recovers the explosive and vital intellectual context of works by Picasso, Dali, Miro, Giacometti, and others in 1920s Paris. Featuring 180 color images and translations of original texts from DOCUMENTS accompanied by essays and shorter descriptive texts, Undercover Surrealism recreates and recontextualizes Bataille's still unsettling approach to culture. Putting Picasso's Three Dancers back into its original context of sex, sacrifice, and violence, for example, then juxtaposing it with images of gang wars, tribal masks, voodoo ritual, Hollywood musicals, and jazz, makes the urgency and excitement of Bataille's radical ideas startlingly vivid to a twenty-first-century reader.Copublished by Hayward Gallery Publishing, London
https://magrudy-assets.storage.googleapis.com/9780262012300.jpg
25.66 USD
Paperback / softback
Book cover image
The work of art's mattering and materialization in a globalized world, with close readings of works by Takahashi Murakami, Andreas Gursky, Thomas Hirschhorn, and others. It may be time to forget the art world-or at least to recognize that a certain historical notion of the art world is in eclipse. ...
Forgetting the Art World
The work of art's mattering and materialization in a globalized world, with close readings of works by Takahashi Murakami, Andreas Gursky, Thomas Hirschhorn, and others. It may be time to forget the art world-or at least to recognize that a certain historical notion of the art world is in eclipse. Today, the art world spins on its axis so quickly that its maps can no longer be read; its borders blur. In Forgetting the Art World, Pamela Lee connects the current state of this world to globalization and its attendant controversies. Contemporary art has responded to globalization with images of movement and migration, borders and multitudes, but Lee looks beyond iconography to view globalization as a world process. Rather than think about the global art world as a socioeconomic phenomenon, or in terms of the imagery it stages and sponsors, Lee considers the work of art's world as a medium through which globalization takes place. She argues that the work of art is itself both object and agent of globalization. Lee explores the ways that art actualizes, iterates, or enables the processes of globalization, offering close readings of works by artists who have come to prominence in the last two decades. She examines the just in time managerial ethos of Takahashi Murakami; the production of ethereal spaces in Andreas Gursky's images of contemporary markets and manufacture; the logic of immanent cause dramatized in Thomas Hirschhorn's mixed-media displays; and the pseudo-collectivism in the contemporary practice of the Atlas Group, the Raqs Media Collective, and others. To speak of the work of art's world, Lee says, is to point to both the work of art's mattering and its materialization, to understand the activity performed by the object as utterly continuous with the world it at once inhabits and creates.
https://magrudy-assets.storage.googleapis.com/9780262017732.jpg
55.70 USD

Forgetting the Art World

by Pamela M. Lee
Hardback
Book cover image
A new theory of aesthetics and music, grounded in the collision between language and the body. In this book, Tim Hodgkinson proposes a theory of aesthetics and music grounded in the boundary between nature and culture within the human being. His analysis discards the conventional idea of the human being ...
Music and the Myth of Wholeness: Toward a New Aesthetic Paradigm
A new theory of aesthetics and music, grounded in the collision between language and the body. In this book, Tim Hodgkinson proposes a theory of aesthetics and music grounded in the boundary between nature and culture within the human being. His analysis discards the conventional idea of the human being as an integrated whole in favor of a rich and complex field in which incompatible kinds of information-biological and cultural-collide. It is only when we acknowledge the clash of body and language within human identity that we can understand how art brings forth the special form of subjectivity potentially present in aesthetic experiences. As a young musician, Hodgkinson realized that music was, in some mysterious way, of itself -not isolated from life, but not entirely continuous with it, either. Drawing on his experiences as a musician, composer, and anthropologist, Hodgkinson shows how when we listen to music a new subjectivity comes to life in ourselves. The normal mode of agency is suspended, and the subjectivity inscribed in the music comes toward us as a formative other to engage with. But this is not our reproduction of the composer's own subjectivation; when we perform our listening of the music, we are sharing the formative risks taken by its maker. To examine this in practice, Hodgkinson looks at the work of three composers who have each claimed to stimulate a new way of listening: Pierre Schaeffer, John Cage, and Helmut Lachenmann.
https://magrudy-assets.storage.googleapis.com/9780262034067.jpg
52.07 USD

Music and the Myth of Wholeness: Toward a New Aesthetic Paradigm

by Tim Hodgkinson
Hardback
Book cover image
A new theory of moral and aesthetic value for the age of remix, going beyond the usual debates over originality and appropriation. Remix-or the practice of recombining preexisting content-has proliferated across media both digital and analog. Fans celebrate it as a revolutionary new creative practice; critics characterize it as a ...
Of Remixology: Ethics and Aesthetics after Remix
A new theory of moral and aesthetic value for the age of remix, going beyond the usual debates over originality and appropriation. Remix-or the practice of recombining preexisting content-has proliferated across media both digital and analog. Fans celebrate it as a revolutionary new creative practice; critics characterize it as a lazy and cheap (and often illegal) recycling of other people's work. In Of Remixology, David Gunkel argues that to understand remix, we need to change the terms of the debate. The two sides of the remix controversy, Gunkel contends, share certain underlying values-originality, innovation, artistic integrity. And each side seeks to protect these values from the threat that is represented by the other. In reevaluating these shared philosophical assumptions, Gunkel not only provides a new way to understand remix, he also offers an innovative theory of moral and aesthetic value for the twenty-first century. In a section called Premix, Gunkel examines the terminology of remix (including collage, sample, bootleg, and mashup ) and its material preconditions, the technology of recording. In Remix, he takes on the distinction between original and copy; makes a case for repetition; and considers the question of authorship in a world of seemingly endless recompiled and repurposed content. Finally, in Postmix, Gunkel outlines a new theory of moral and aesthetic value that can accommodate remix and its cultural significance, remixing-or reconfiguring and recombining-traditional philosophical approaches in the process.
https://magrudy-assets.storage.googleapis.com/9780262033930.jpg
70.66 USD

Of Remixology: Ethics and Aesthetics after Remix

by David J. Gunkel
Hardback
Book cover image
Ten grids that changed the world: the emergence and evolution of the most prominent visual structure in Western culture. Emblematic of modernity, the grid is the underlying form of everything from skyscrapers and office cubicles to paintings by Mondrian and a piece of computer code. And yet, as Hannah Higgins ...
The Grid Book
Ten grids that changed the world: the emergence and evolution of the most prominent visual structure in Western culture. Emblematic of modernity, the grid is the underlying form of everything from skyscrapers and office cubicles to paintings by Mondrian and a piece of computer code. And yet, as Hannah Higgins makes clear in this engaging and evocative book, the grid has a history that long predates modernity; it is the most prominent visual structure in Western culture. In The Grid Book, Higgins examines the history of ten grids that changed the world: the brick, the tablet, the gridiron city plan, the map, musical notation, the ledger, the screen, moveable type, the manufactured box, and the net. Charting the evolution of each grid, from the Paleolithic brick of ancient Mesopotamia through the virtual connections of the Internet, Higgins demonstrates that once a grid is invented, it may bend, crumble, or shatter, but its organizing principle never disappears. The appearance of each grid was a watershed event. Brick, tablet, and city gridiron made possible sturdy housing, the standardization of language, and urban development. Maps, musical notation, financial ledgers, and moveable type promoted the organization of space, music, and time, international trade, and mass literacy. The screen of perspective painting heralded the science of the modern period, classical mechanics, and the screen arts, while the standardization of space made possible by the manufactured box suggested the purified box forms of industrial architecture and visual art. The net, the most ancient grid, made its first appearance in Stone Age Finland; today, the loose but clearly articulated networks of the World Wide Web suggest that we are in the middle of an emergent grid that is reshaping the world, as grids do, in its image.
https://magrudy-assets.storage.googleapis.com/9780262512404.jpg
59.51 USD

The Grid Book

by Hannah B. Higgins
Paperback / softback
Book cover image
Scholars and artists revisit a hugely influential essay by Rosalind Krauss and map the interactions between art and architecture over the last thirty-five years. Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five ...
Retracing the Expanded Field: Encounters between Art and Architecture
Scholars and artists revisit a hugely influential essay by Rosalind Krauss and map the interactions between art and architecture over the last thirty-five years. Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible synthesis of the arts, their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary art's transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss published an essay, Sculpture in the Expanded Field, that laid out in a precise diagram the structural parameters of sculpture, architecture, and landscape art. Krauss tried to clarify what these art practices were, what they were not, and what they could become if logically combined. The essay soon assumed a canonical status and affected subsequent developments in all three fields. Retracing the Expanded Field revisits Krauss's hugely influential text and maps the ensuing interactions between art and architecture. Responding to Krauss and revisiting the milieu from which her text emerged, artists, architects, and art historians of different generations offer their perspectives on the legacy of Sculpture in the Expanded Field. Krauss herself takes part in a roundtable discussion (moderated by Hal Foster). A selection of historical documents, including Krauss's essay, presented as it appeared in October, accompany the main text. Neither eulogy nor hagiography, Retracing the Expanded Field documents the groundbreaking nature of Krauss's authoritative text and reveals the complex interchanges between art and architecture that increasingly shape both fields. Contributors Stan Allen, George Baker, Yve-Alain Bois, Benjamin Buchloh, Beatriz Colomina, Penelope Curtis, Sam Durant, Edward Eigen, Kurt W. Forster, Hal Foster, Kenneth Frampton, Branden W. Joseph, Rosalind Krauss, Miwon Kwon, Sylvia Lavin, Sandro Marpillero, Josiah McElheny, Eve Meltzer, Michael Meredith, Mary Miss, Sarah Oppenheimer, Matthew Ritchie, Julia Robinson, Joe Scanlan, Emily Eliza Scott, Irene Small, Philip Ursprung, Anthony Vidler
https://magrudy-assets.storage.googleapis.com/9780262027595.jpg
55.79 USD

Retracing the Expanded Field: Encounters between Art and Architecture

Hardback
Book cover image
An investigation into the affective modes of perception, temporality, and experience enabled by experimental new media sonic art. The sonic has come to occupy center stage in the arts and humanities. In the age of computational media, sound and its subcultures can offer more dynamic ways of accounting for bodies, ...
The Rhythmic Event: Art, Media, and the Sonic
An investigation into the affective modes of perception, temporality, and experience enabled by experimental new media sonic art. The sonic has come to occupy center stage in the arts and humanities. In the age of computational media, sound and its subcultures can offer more dynamic ways of accounting for bodies, movements, and events. In The Rhythmic Event, Eleni Ikoniadou explores traces and potentialities prompted by the sonic but leading to contingent and unknowable forces outside the periphery of sound. She investigates the ways in which recent digital art experiments that mostly engage with the virtual dimensions of sound suggest alternate modes of perception, temporality, and experience. Ikoniadou draws on media theory, digital art, and philosophical and technoscientific ideas to work toward the articulation of a media philosophy that rethinks the media event as abstract and affective. The Rhythmic Event seeks to define the digital media artwork as an assemblage of sensations that outlive the space, time, and bodies that constitute and experience it. Ikoniadou proposes that the notion of rhythm-detached, however, from the idea of counting and regularity-can unlock the imperceptible, aesthetic potential enveloping the artwork. She speculates that addressing the event on the level of rhythm affords us a glimpse into the nonhuman modalities of thought proper to the digital and hidden in the gaps between strict definitions (e.g., human/sonic/digital) and false dichotomies (e.g., virtual/real). Operating at the margins of perception, the rhythmic artwork summons an obscure zone of sonic thought, which considers the event according to its power to become.
https://magrudy-assets.storage.googleapis.com/9780262027649.jpg
46.49 USD

The Rhythmic Event: Art, Media, and the Sonic

by Eleni Ikoniadou
Hardback
Book cover image
Leading international artists and art educators consider the challenges of art education in today's dramatically changed art world. The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world-its increasing professionalization, the pervasive power of the ...
Art School: (Propositions for the 21st Century)
Leading international artists and art educators consider the challenges of art education in today's dramatically changed art world. The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world-its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era-combined with a revolution in information technology, raise fundamental questions about the education of today's artists. Art School(Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms. The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramovic, as well as questionnaire responses from a dozen important artists-among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat-about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls. And throughout the volume, attention is paid to new initiatives and proposals about what an art school can and should be in the twenty-first century-and what it shouldn't be. No other book on the subject covers more of the questions concerning art education today or offers more insight into the pressures, challenges, risks, and opportunities for artists and art educators in the years ahead. Contributors Marina Abramovic, Dennis Adams, John Baldessari, Ute Meta Bauer, Daniel Birnbaum, Saskia Bos, Tania Bruguera, Luis Camnitzer, Michael Craig-Martin, Thierry de Duve, Clementine Deliss, Charles Esche, Liam Gillick, Boris Groys, Hans Haacke, Ann Lauterbach, Ken Lum, Steven Henry Madoff, Brendan D. Moran, Ernesto Pujol, Raqs Media Collective, Charles Renfro, Jeffrey T. Schnapp, Michael Shanks, Robert Storr, Anton Vidokle
https://magrudy-assets.storage.googleapis.com/9780262134934.jpg
70.66 USD

Art School: (Propositions for the 21st Century)

Paperback / softback
Book cover image
Now in paperback, an updated edition of a visually stunning documentary record and critical account of Tehching Hsieh's epic performance works. In the vibrant downtown Manhattan art scene of the late 1970s and early 1980s, the Taiwanese-American artist Tehching Hsieh made a series of extraordinary performance art works. Between September ...
Out of Now: The Lifeworks of Tehching Hsieh
Now in paperback, an updated edition of a visually stunning documentary record and critical account of Tehching Hsieh's epic performance works. In the vibrant downtown Manhattan art scene of the late 1970s and early 1980s, the Taiwanese-American artist Tehching Hsieh made a series of extraordinary performance art works. Between September 1978 and July 1986, Hsieh realized five separate one-year-long performance pieces in which he conformed to simple but highly restrictive rules throughout each entire year. Through the course of these lifeworks, Hsieh moved from a year of solitary confinement in a sealed cell to a year in which he punched a worker's time clock in his studio every hour on the hour to a year spent living without shelter in Manhattan to a year in which he was tied by an eight-foot rope to the artist Linda Montano and finally to a year of total abstention from all art activities and influences. In 1986 Hsieh announced that he would spend the next thirteen years making art but not showing it publicly. When this final lifework-an immense act of self-affirmation and self-erasure-came to a close at the turn of the millennium, he tersely and enigmatically said that during this time he had simply kept himself alive. After years of near-invisibility, Hsieh collaborated with the British writer and curator Adrian Heathfield to create this meticulous and visually arresting documentary record of the complete body of Tehching Hsieh's performance projects from 1978 to 1999. This milestone volume is now available again, in a paperback edition featuring the full text and all the illustrations in the hardcover, with an updated list of Hsieh's exhibitions. Copublished with the Live Art Development Agency, London.
https://magrudy-assets.storage.googleapis.com/9780262528214.jpg
59.51 USD

Out of Now: The Lifeworks of Tehching Hsieh

by Tehching Hsieh, Adrian Heathfield
Paperback / softback
Book cover image
This first book-length study of Robert Ryman argues that his work is a continuous experiment in the possibilities of painting. In this first book-length study of Robert Ryman, Suzanne Hudson traces the artist's production from his first paintings in the early 1950s, many of which have never been exhibited or ...
Robert Ryman: Used Paint
This first book-length study of Robert Ryman argues that his work is a continuous experiment in the possibilities of painting. In this first book-length study of Robert Ryman, Suzanne Hudson traces the artist's production from his first paintings in the early 1950s, many of which have never been exhibited or reproduced, to his recent gallery shows. Ryman's largely white-on-white paintings represent his careful working over of painting's conventions at their most radically reduced. Through close readings of the work, Hudson casts Ryman as a painter for whom painting was conducted as a continuous personal investigation. Ryman's method-an act of learning by doing -as well as his conception of painting as used paint sets him apart from second-generation abstract expressionists, minimalists, or conceptualists. Ryman (born in 1930) is a self-taught artist who began to paint in earnest while working as a guard at the Museum of Modern Art in New York in the 1950s. Hudson argues that Ryman's approach to painting developed from quotidian contact with the story of modern painting as assembled by MoMA director and curator Alfred Barr and rendered widely accessible by director of the education department Victor D'Amico and colleagues. Ryman's introduction to artistic practice within the (white) walls of MoMA, Hudson contends, was shaped by an institutional ethos of experiential learning. (Others who worked at the MoMA during these years include Lucy Lippard, who married Ryman in 1961; Dan Flavin, another guard; and Sol LeWitt, a desk assistant.) Hudson's chapters- Primer, Paint, Support, Edge, and Wall, named after the most basic elements of the artist's work-eloquently explore Ryman's ongoing experiment in what makes a painting a painting. Ryman's work, she writes, tests the medium's material and conceptual possibilities. It signals neither the end of painting nor guarantees its continued longevity but keeps the prospect of painting an open question, answerable only through the production of new paintings.
https://magrudy-assets.storage.googleapis.com/9780262012805.jpg
47.200000 USD

Robert Ryman: Used Paint

by Suzanne P. Hudson
Hardback
Book cover image
Explorations of the formering of the West in contemporary art in the post-communist, postcolonial, posthuman, post-ideological, and posthistorical era. What has become of the so-called West after the Cold War? Why hasn't the West simply become former, as has its supposed counterpart, the former East ? In this book, artists, ...
Former West: Art and the Contemporary after 1989
Explorations of the formering of the West in contemporary art in the post-communist, postcolonial, posthuman, post-ideological, and posthistorical era. What has become of the so-called West after the Cold War? Why hasn't the West simply become former, as has its supposed counterpart, the former East ? In this book, artists, thinkers, and activists explore the repercussions of the political, cultural, and economic events of 1989 on both art and the contemporary. The culmination of an eight-year curatorial research experiment, Former West imagines a world beyond our immediate condition. The writings, visual essays, and conversations in Former West-more than seventy diverse contributions with global scope-unfold a tangled cartography far more complex than the simplistic dichotomy of East vs. West. In fact, the Cold War was a contest not between two ideological blocs but between two variants of Western modernity. It is this conceptual Westcentrism that a formering of the West seeks to undo. The contributions revisit contemporary debates through the lens of a former West. They rethink conceptions of time and space dominating the legacy of the 1989-1990 revolutions in the former East, and critique historical periodization of the contemporary. The contributors map the political economy and social relations of the contemporary, consider the implications of algorithmic cultures and the posthuman condition, and discuss notions of solidarity-the difficulty in constructing a new we despite migration, the refugee crisis, and the global class recomposition. Can art institute the contemporary it envisions, and live as if it were possible? Contributors include Nancy Adajania, Edit Andras, Athena Athanasiou, Zygmunt Bauman, Dave Beech, Brett Bloom, Rosi Braidotti, Susan Buck-Morss, Campus in Camps, Dipesh Chakrabarty, Chto Delat?/What is to be done?, Jodi Dean, Boaventura de Sousa Santos, Angela Dimitrakaki, Dilar Dirik, Marlene Dumas, Keller Easterling, Charles Esche, Okwui Enwezor, Silvia Federici, Mark Fisher, Federica Giardini and Anna Simone, Boris Groys, Gulf Labor Coalition, Stefano Harney, Sharon Hayes, Brian Holmes, Tung-Hui Hu, Wendy Hui Kyong Chun, Sami Khatib, Delaine Le Bas, Boaz Levin and Vera Tollmann, Isabell Lorey, Sven Lutticken, Ewa Majewska, Suhail Malik, Artemy Magun, Teresa Margolles, Achille Mbembe, Laura McLean, Cuauhtemoc Medina, Sandro Mezzadra, Walter D. Mignolo, Aernout Mik, Angela Mitropoulos, Rastko Mocnik, Nastio Mosquito, Rabih Mroue, Pedro Neves Marques, Peter Osborne, Matteo Pasquinelli, Andrea Phillips, Nina Power, Vijay Prashad, Gerald Raunig, Irit Rogoff, Naoki Sakai, Rasha Salti, Francesco Salvini, Georg Schoellhammer, Christoph Schlingensief, Susan Schuppli, Andreas Siekmann, Jonas Staal, Hito Steyerl, Mladen Stilinovic, Paulo Tavares, Tr?nh Th? Minh Ha, Florin Tudor, Mona Vatamanu, Marina Vishmidt, Marion von Osten, McKenzie Wark, Eyal Weizman
https://magrudy-assets.storage.googleapis.com/9780262533836.jpg
59.51 USD

Former West: Art and the Contemporary after 1989

Paperback / softback
Book cover image
Essays, dialogues, and art projects that illuminate the changing role of art as it responds to radical economic, political, and global shifts. How should we understand the purpose of publicly engaged art in the twenty-first century, when the very term public art is largely insufficient to describe such practices? Concepts ...
Public Servants: Art and the Crisis of the Common Good: Volume 2
Essays, dialogues, and art projects that illuminate the changing role of art as it responds to radical economic, political, and global shifts. How should we understand the purpose of publicly engaged art in the twenty-first century, when the very term public art is largely insufficient to describe such practices? Concepts such as new genre public art, social practice, or socially engaged art may imply a synergy between the role of art and the role of government in providing social services. Yet the arts and social services differ crucially in terms of their methods and metrics. Socially engaged artists need not be aligned (and may often be opposed) to the public sector and to institutionalized systems. In many countries, structures of democratic governance and public responsibility are shifting, eroding, and being remade in profound ways-driven by radical economic, political, and global forces. According to what terms and through what means can art engage with these changes? This volume gathers essays, dialogues, and art projects-some previously published and some newly commissioned-to illuminate the ways the arts shape and reshape a rapidly changing social and governmental landscape. An artist portfolio section presents original statements and projects by some of the key figures grappling with these ideas.
https://magrudy-assets.storage.googleapis.com/9780262034814.jpg
47.200000 USD

Public Servants: Art and the Crisis of the Common Good: Volume 2

Hardback
Book cover image
The work of artist Mike Kelley (b. 1954) embraces performance, installation, drawing, painting, video, and sculpture. Drawing distinctively on high art and vernacular traditions, including historical research, popular culture, and psychology, Kelley came to prominence in the 1980s with a series of sculptures composed of craft materials. His recent work ...
Foul Perfection: Essays and Criticism
The work of artist Mike Kelley (b. 1954) embraces performance, installation, drawing, painting, video, and sculpture. Drawing distinctively on high art and vernacular traditions, including historical research, popular culture, and psychology, Kelley came to prominence in the 1980s with a series of sculptures composed of craft materials. His recent work offers dialogues with architecture and with repressed memory syndrome, and a sustained inquiry into his own aesthetic and social history. The subjects on which Kelley has written are as varied as his artistic media. They include the work of fellow artists, sound, caricature, the uncanny, UFOlogy, and gender-bending. This book offers a diverse collection of Kelley's writings from the last twenty-five years. It contains major critical texts on art, film, and the wider culture, including his piece on the aesthetic he calls urban Gothic. It also contains essays, mostly commissioned for exhibition catalogs and journals, on the artists and groups David Askevold, Oyvind Fahlstrom, Douglas Huebler, John Miller, Survival Research Laboratories, and Paul Thek, among others. Kelley's voices are passionate, analytic, and ironic, and his critical intelligence is leavened with touches of whimsy.
https://magrudy-assets.storage.googleapis.com/9780262112703.jpg
38.96 USD
Hardback
Book cover image
Influential writings by the legendary art critic and theorist Jack Burnham-a pioneer in new media systems aesthetics and an early advocate of conceptualism. Jack Burnham is one of the few critics and theorists alive today who can claim to have radically altered the way we think about works of art. ...
Dissolve into Comprehension: Writings and Interviews, 1964-2004
Influential writings by the legendary art critic and theorist Jack Burnham-a pioneer in new media systems aesthetics and an early advocate of conceptualism. Jack Burnham is one of the few critics and theorists alive today who can claim to have radically altered the way we think about works of art. Burnham's use of the term system (borrowed from theoretical biology) in his 1968 essay System Aesthetics announced the relational character of conceptual art and newer research-based projects. Trained as an art historian, Burnham was also a sculptor. His first book, Beyond Modern Sculpture (1968), established him as a leading commentator on art and technology. A postformalist pioneer, an influential figure in new media art history, an early champion of conceptual and ecological art, and the curator of the first exhibition of digital art, Burnham is long overdue for reevaluation. This book offers that opportunity by collecting a substantial and varied selection of his hard-to-find texts, some published here for the first time. Although Burnham left the art world abruptly in the 1990s, his visionary theoretical ideas have only become more relevant in recent years. This collection seeks to restore Burnham to his rightful place in art criticism and theory, reestablishing his voice as crucial to critical conversations of the period. It gathers his early writing on sculpture, his essays on systems art and conceptualism, his views of the New York art world, and his later occult work-including an unorthodox interpretation of Marcel Duchamp's work that draws on the Kabbalah.
https://magrudy-assets.storage.googleapis.com/9780262029278.jpg
41.950000 USD
Hardback
Book cover image
In essays that span three decades, one of contemporary art's most esteemed critics celebrates artists who have persevered in the service of a medium. The job of an art critic is to take perpetual inventory, constantly revising her ideas about the direction of contemporary art and the significance of the ...
Perpetual Inventory
In essays that span three decades, one of contemporary art's most esteemed critics celebrates artists who have persevered in the service of a medium. The job of an art critic is to take perpetual inventory, constantly revising her ideas about the direction of contemporary art and the significance of the work she writes about. In these essays, which span three decades of assessment and reassessment, Rosalind Krauss considers what she has come to call the post-medium condition -the abandonment by contemporary art of the modernist emphasis on the medium as the source of artistic significance. Jean-Francois Lyotard argued that the postmodern condition is characterized by the end of a master narrative, and Krauss sees in the post-medium condition of contemporary art a similar farewell to coherence. The master narrative of contemporary art ended when conceptual art and other contemporary practices jettisoned the specific medium in order to juxtapose image and written text in the same work. For Krauss, this spells the end of serious art, and she devotes much of Perpetual Inventory to wrest[ling] new media to the mat of specificity. Krauss also writes about artists who are reinventing the medium, artists who persevere in the service of a nontraditional medium ( strange new apparatuses often adopted from commercial culture), among them Ed Ruscha, Christian Marclay, William Kentridge, and James Coleman.
https://magrudy-assets.storage.googleapis.com/9780262518727.jpg
41.950000 USD

Perpetual Inventory

by Rosalind E. Krauss
Paperback / softback
Book cover image
Essays spanning three decades by one of the most rigorous art thinkers of our time grapple with formal and historical paradigms in twentieth century art. These influential essays by the noted critic and art historian Benjamin Buchloh have had a significant impact on the theory and practice of art history. ...
Formalism and Historicity: Models and Methods in Twentieth-Century Art
Essays spanning three decades by one of the most rigorous art thinkers of our time grapple with formal and historical paradigms in twentieth century art. These influential essays by the noted critic and art historian Benjamin Buchloh have had a significant impact on the theory and practice of art history. Written over the course of three decades and now collected in one volume, they trace a history of crucial artistic transitions, iterations, and paradigmatic shifts in the twentieth century, considering both the evolution and emergence of artistic forms and the specific historical moment in which they occurred. Buchloh's subject matter ranges through various moments in the history of twentieth-century American and European art, from the moment of the retour a l'ordre of 1915 to developments in the Soviet Union in the 1920s to the beginnings of Conceptual art in the late 1960s to the appropriation artists of the 1980s. He discusses conflicts resulting from historical repetitions (such as the monochrome and collage/montage aesthetics in the 1910s, 1950s, and 1980s), the emergence of crucial neo-avantgarde typologies, and the resuscitation of obsolete genres (including the portrait and landscape, revived by 1980s photography). Although these essays are less monographic than those in Buchloh's earlier collection, Neo-Avantgarde and Culture Industry, two essays in this volume are devoted to Marcel Broodthaers, whose work remains central to Buchloh's theoretical concerns. Engaging with both formal and historical paradigms, Buchloh situates himself productively between the force fields of formal theory and historical narrative, embracing the discrepancies and contradictions between them and within individual artistic trajectories. Contents Formalism and Historicity (1977) * Marcel Broodthaers: Allegories of the Avant-Garde (1980) * Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting (1981) * Allegorical Procedures: Appropriations and Montage in Contemporary Art (1982) * The Museum Fictions of Marcel Broodthaers (1983) * From Faktura to Factography (1984) * Readymade, Objet Trouve, Idee Recue (1985) * The Primary Colors for the Second Time: A Paradigm Repetition of the Neo-Avantgarde (1986) * Cold War Constructivism (1986) * Conceptual Art 1962-1969: From the Aesthetics of Administration to the Critique of Institutions (1989) * Residual Resemblance: Three Notes on the Ends of Portraiture (1994) * Sculpture: Publicity and the Poverty of Experience (1996)
https://magrudy-assets.storage.googleapis.com/9780262028523.jpg
54.550000 USD
Hardback
Page 1 of 1