Power Gallery of Contemporary Art 1986 PDF Download
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Author: Power Gallery of Contemporary Art
Publisher:
ISBN:
Category : Art, Modern
Languages : en
Pages : 176
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Book Description
Author: Power Gallery of Contemporary Art
Publisher:
ISBN:
Category : Art, Modern
Languages : en
Pages : 176
Get Book Here
Book Description
Author: Power Gallery of Contemporary Art
Publisher:
ISBN:
Category : Art, Modern
Languages : en
Pages :
Get Book Here
Book Description
Author: Power Gallery of Contemporary Art
Publisher:
ISBN:
Category : Art, Modern
Languages : en
Pages :
Get Book Here
Book Description
Author: Power Gallery of Contemporary Art
Publisher:
ISBN:
Category : Art, Modern
Languages : en
Pages :
Get Book Here
Book Description
Author: Power Gallery of Contemporary Art
Publisher:
ISBN:
Category : Art, Modern
Languages : en
Pages :
Get Book Here
Book Description
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages :
Get Book Here
Book Description
Author: Boris Groys
Publisher: MIT Press
ISBN: 0262518686
Category : Art
Languages : en
Pages : 197
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Book Description
A new book by Boris Groys acknowledges the problem and potential of art's complex relationship to power. Art has its own power in the world, and is as much a force in the power play of global politics today as it once was in the arena of cold war politics. Art, argues the distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market's fiats of inclusion and exclusion. In Art Power, Groys examines modern and contemporary art according to its ideological function. Art, Groys writes, is produced and brought before the public in two ways—as a commodity and as a tool of political propaganda. In the contemporary art scene, very little attention is paid to the latter function. Arguing for the inclusion of politically motivated art in contemporary art discourse, Groys considers art produced under totalitarianism, Socialism, and post-Communism. He also considers today's mainstream Western art—which he finds behaving more and more according the norms of ideological propaganda: produced and exhibited for the masses at international exhibitions, biennials, and festivals. Contemporary art, Groys argues, demonstrates its power by appropriating the iconoclastic gestures directed against itself—by positioning itself simultaneously as an image and as a critique of the image. In Art Power, Groys examines this fundamental appropriation that produces the paradoxical object of the modern artwork.
Author: Lóránd Hegyi
Publisher: Museum
ISBN:
Category : Art
Languages : en
Pages : 304
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Book Description
Alfabetisk ordnet udstillingskatalog over Egidio Marzonas privatsamling af moderne kunst i Gardenpalais Liechtenstein
Author: Glenn Ligon
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 206
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Book Description
Text by Darby English, Wayne Baerwaldt, Huey Copeland, Mark Nash, Wayne Koestenbaum. Interview by Stephen Andrews.
Author: Richard Haese
Publisher: The Miegunyah Press
ISBN: 052286080X
Category : Art
Languages : en
Pages : 155
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Book Description
In 1961 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian postmodernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region. By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual; a year later he publicly attacked Sydney artists and critics for having failed the test of integrity. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity. Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art.
