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Author: Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster
Publisher: Walther Konig Verlag
ISBN:
Category : Art
Languages : en
Pages : 564
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Book Description
Been to enough biennials? Skulptur Projekte Münster only happens every 10 years. This, its fourth iteration (following 1977, 1987 and 1997), invites artists from all over the world--many of whom are returning to the city and the event--to create new site-specific works. Thus Michael Asher brings back his trailer and parks in sites he first sussed out in 1977, continuing to explore the conflicts between rigid form and mobile space, and to document the dramatic transformation of the urban environment over four decades. Guy Ben-Ner equips bicycles with screens and places them around the city; by pedaling, participants control the speed and direction of a film of the artist doing the same. Guillaume Bijl mocks up an archaeological site 25 feet square and 18 feet deep, whose steep walls imitate layers of soil. Visitors climb a grassy hill to peer into the pit from a balustrade; in the pit, a 14-foot, shingle-roofed spire topped by a weathercock preens. This extensive book inspired by and documenting the festival opens on 35 sections between 4 and 16 pages long, each designed by the artist and illuminating his or her work in text and images. Its second half comes in the form of a glossary of more than 100 key concepts linked to the subject of art in public spaces; artists, art historians, philosophers, urbanists, architects, sociologists and other writers weighing in with definitions from their respective disciplinary perspectives. Participants include Francis Alÿs, Isa Genzken, Mike Kelley, Rosemarie Trockel, Bruce Nauman, Martha Rosler and Pae White.
Author: Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster
Publisher: Walther Konig Verlag
ISBN:
Category : Art
Languages : en
Pages : 564
Get Book Here
Book Description
Been to enough biennials? Skulptur Projekte Münster only happens every 10 years. This, its fourth iteration (following 1977, 1987 and 1997), invites artists from all over the world--many of whom are returning to the city and the event--to create new site-specific works. Thus Michael Asher brings back his trailer and parks in sites he first sussed out in 1977, continuing to explore the conflicts between rigid form and mobile space, and to document the dramatic transformation of the urban environment over four decades. Guy Ben-Ner equips bicycles with screens and places them around the city; by pedaling, participants control the speed and direction of a film of the artist doing the same. Guillaume Bijl mocks up an archaeological site 25 feet square and 18 feet deep, whose steep walls imitate layers of soil. Visitors climb a grassy hill to peer into the pit from a balustrade; in the pit, a 14-foot, shingle-roofed spire topped by a weathercock preens. This extensive book inspired by and documenting the festival opens on 35 sections between 4 and 16 pages long, each designed by the artist and illuminating his or her work in text and images. Its second half comes in the form of a glossary of more than 100 key concepts linked to the subject of art in public spaces; artists, art historians, philosophers, urbanists, architects, sociologists and other writers weighing in with definitions from their respective disciplinary perspectives. Participants include Francis Alÿs, Isa Genzken, Mike Kelley, Rosemarie Trockel, Bruce Nauman, Martha Rosler and Pae White.
Author: Brigitte Franzen
Publisher:
ISBN: 9783865603005
Category : Münster in Westfalen (Germany)
Languages : en
Pages : 556
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Book Description
"Been to enough biennials? Skulptur Projekte Münster only happens every 10 years. This, its fourth iteration (following 1977, 1987 and 1997), invites artists from all over the world--many of whom are returning to the city and the event--to create new site-specific works. Thus Michael Asher brings back his trailer and parks in sites he first sussed out in 1977, continuing to explore the conflicts between rigid form and mobile space, and to document the dramatic transformation of the urban environment over four decades. Guy Ben-Ner equips bicycles with screens and places them around the city; by pedaling, participants control the speed and direction of a film of the artist doing the same. Guillaume Bijl mocks up an archaeological site 25 feet square and 18 feet deep, whose steep walls imitate layers of soil. Visitors climb a grassy hill to peer into the pit from a balustrade; in the pit, a 14-foot, shingle-roofed spire topped by a weathercock preens. This extensive book inspired by and documenting the festival opens on 35 sections between 4 and 16 pages long, each designed by the artist and illuminating his or her work in text and images. Its second half comes in the form of a glossary of more than 100 key concepts linked to the subject of art in public spaces; artists, art historians, philosophers, urbanists, architects, sociologists and other writers weighing in with definitions from their respective disciplinary perspectives. Participants include Francis Alÿs, Isa Genzken, Mike Kelley, Rosemarie Trockel, Bruce Nauman, Martha Rosler and Pae White."--amazon.com
Author: James Voorhies
Publisher: MIT Press
ISBN: 0262035529
Category : Art
Languages : en
Pages : 287
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Book Description
The rise of the exhibition as critical form and artistic medium, from Robert Smithson's antimodernist non-sites in 1968 to today's institutional gravitation toward the participatory. In 1968, Robert Smithson reacted to Michael Fried's influential essay “Art and Objecthood” with a series of works called non-sites. While Fried described the spectator's connection with a work of art as a momentary visual engagement, Smithson's non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery. In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through the rise of the exhibition as a critical form—and artistic medium. Artists like Smithson, Group Material, and Michael Asher sought to reconfigure and expand the exhibition and the museum into something more active, open, and democratic, by inviting spectators into new and unexpected encounters with works of art and institutions. This practice was sharply critical of the ingrained characteristics long associated with art institutions and conventional exhibition-making; and yet, Voorhies finds, over time the critique has been diluted by efforts of the very institutions that now gravitate to the “participatory.” Beyond Objecthood focuses on innovative figures, artworks, and institutions that pioneered the exhibition as a critical form, tracing its evolution through the activities of curator Harald Szeemann, relational art, and New Institutionalism. Voorhies examines recent artistic and curatorial work by Liam Gillick, Thomas Hirschhorn, Carsten Höller, Maria Lind, Apolonija Šušteršič, and others, at such institutions as Documenta, e-flux, Manifesta, and Office for Contemporary Art Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blur.
Author: John C. Welchman
Publisher: Jrp Ringier
ISBN: 9783037644683
Category : Assemblage (Art)
Languages : en
Pages : 0
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Book Description
Self-taught Belgian artist Guillaume Bijl is mostly known for his alternative take on conceptual art, his desire to directly engage the viewer and his Transformation Installations begun in the late 1970s. In these works he created meticulous imitations of everyday realities in galleries and museums, mainly focusing on trade and exchange locations--whether in commodities, information or skills. Bijl's practice is however much richer and more diverse and largely goes beyond this landmark series. This reference monograph thus reveals the scope of his thinking and art during the last four decades. Built around a comprehensive essay by John C. Welchman entitled Jumps of the Cat: Guillaume Bijl's Simulation Therapy, the book spans the early Treatments (1975-1978) to the ongoing Transformation Installations, Situation Installations, Compositions Trouvées and Sorry bodies of work. Grounded in and marked by a number of economic, social and cultural conditions, Bijl's works are a stimulating reflection and synthesis of our current times. As John C. Welchman writes: Bijl's work made important contributions to many of the issues addressed by the Western neo-avant-garde art world from the 1970s to now--questions about performativity and spectacle; elitism and lowness; simulation and commodity art; life-scaled corporeality and the uncanny; appropriation, archives and the postmodern readymade; negotiations with selfhood and artifice; and the tension between work situated in art institutional and public spaces. Guillaume Bijl (born 1946) studied theater, and has been a scenographer as well as a painter. He is represented by At the Gallery/modern and contemporary art (Antwerp), Galerie Nagel Draxler (Cologne/Berlin), Guy Pieters Gallery (Knokke-Heist, Belgium) and André Simoens Gallery (Knokke, Belgium).
Author:
Publisher:
ISBN:
Category : Arts, Modern
Languages : en
Pages : 224
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Book Description
Author: Donald Judd
Publisher: Judd Foundation/David Zwirner Books
ISBN: 164423016X
Category : Art
Languages : en
Pages : 1025
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Book Description
Donald Judd Interviews presents sixty interviews with the artist over the course of four decades, and is the first compilation of its kind. It is the companion volume to the critically acclaimed and bestselling Donald Judd Writings. This collection of interviews engages a diverse range of topics, from philosophy and politics to Judd’s insightful critiques of his own work and the work of others such as Mark di Suvero, Edward Hopper, Yayoi Kusama, Barnett Newman, and Jackson Pollock. The opening discussion of the volume between Judd, Dan Flavin, and Frank Stella provides the foundation for many of the succeeding conversations, focusing on the nature and material conditions of the new art developing in the 1960s. The publication also gathers a substantial body of unpublished material across a range of mediums including extensive interviews with art historians Lucy R. Lippard and Barbara Rose. Judd’s contributions in interviews, panels, and extemporaneous conversations are marked by his forthright manner and rigorous thinking, whether in dialogue with art critics, art historians, or his contemporaries. In one of the last interviews, he observed, “Generally expensive art is in expensive, chic circumstances; it’s a falsification. The society is basically not interested in art. And most people who are artists do that because they like the work; they like to do that [make art]. Art has an integrity of its own and a purpose of its own, and it’s not to serve the society. That’s been tried now, in the Soviet Union and lots of places, and it doesn’t work. The only role I can think of, in a very general way, for the artist is that they tend to shake up the society a little bit just by their existence, in which case it helps undermine the general political stagnation and, perhaps by providing a little freedom, supports science, which requires freedom. If the artist isn’t free, you won’t have any art.” Donald Judd Interviews is co-published by Judd Foundation and David Zwirner Books. The interviews expand upon the artist’s thinking present in Donald Judd Writings (Judd Foundation/David Zwirner Books, 2016).
Author: Michael Asher
Publisher: MIT Press
ISBN: 0262354039
Category : Art
Languages : en
Pages : 261
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Book Description
Writings by the conceptual artist Michael Asher—including notes, proposals, exhibition statements, and letters to curators and critics—most published here for the first time. The California conceptual artist Michael Asher (1943–2012) was known for rigorous site specificity and pioneering institutional critique. His decades of teaching at CalArts influenced generations of artists. Much of Asher's artistic practice was devoted to creating works that had no lasting material presence and often responded to the material, social, or ideological context of a situation. Because most of Asher's artworks have ceased to exist, his writings about them have special significance. Public Knowledge collects writings by Asher about his work—including preliminary notes and ideas, project proposals, exhibition statements, and letters to curators and critics—most of which have never been previously published. Asher gave few interviews, didn't write art criticism, and rarely published extensive accounts of his own work. Yet writing was central to his artistic practice, serving as a tool for working out ideas, negotiating institutional parameters, and describing thought processes. In these texts, he considers writing and documentation, discusses artistic practice, offers notes for gallery and museum talks, presents artist statements for exhibition-goers, describes individual works and their situational context, and reflects on teaching and art education. Among other things, Asher provides his definition of site specificity, addresses the function of art in public space, and analyzes the intersection of teaching art and institutional models of education. Readers will see an artist at work, formulating ethical and political strategies for making art in a situational world.
Author: Susanne Foellmer
Publisher: Routledge
ISBN: 1351330195
Category : Performing Arts
Languages : en
Pages : 259
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Book Description
Artists especially from dance and performance art as well as opera are involved to an increasing degree in the transfer between different media, not only in their productions but also the events, materials, and documents that surround them. At the same time, the focus on that which remains has become central to any discussion of performance. Performing Arts in Transition explores what takes place in the moments of transition from one medium to another, and from the live performance to that which "survives" it. Case studies from a broad range of interdisciplinary scholars address phenomena such as: The dynamics of transfer between the performing and visual arts. The philosophy and terminologies of transitioning between media. Narratives and counternarratives in historical re-creations. The status of chronology and the document in art scholarship. This is an essential contribution to a vibrant, multidisciplinary and international field of research emerging at the intersections of performance, visual arts, and media studies.
Author: Barbara Casavecchia
Publisher: Mousse Magazine & Publishing
ISBN: 9788867490431
Category : Art
Languages : en
Pages : 0
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Book Description
Author: Louise Hodgson
Publisher: Gill & Macmillan Ltd
ISBN: 0717158527
Category : Education
Languages : en
Pages : 193
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Book Description
Have you had enough of politicians' rhetoric, or of the failure of tired institutions to keep up with our rapidly changing world? Then meet the young, new thinkers of Ireland as they share their vision for the future. Here, twenty-one of our leading creative thinkers and problem-solvers rip up the rule book and start again, presenting a new vision for Ireland. They cover a diverse range of topics that affect all our lives, from Art to Diaspora, Religion to Research and Banking. These are tomorrow's leaders, and the future is bright. Some essays propose radical ideas – imagine democratically run companies, three-day working weeks, a Google bank, and safer roads bereft of signs or markings – while others outline simple reforms that can help Ireland become a global leader. In most instances, contributors have looked to the past to inform their vision of the future. In others, they have drawn on contemporary success stories. This is a book about being Irish, about being resilient and, as surprising as it may sound, about overcoming current hardships to stand as a model for other countries to follow.
