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David Lynch
For the legendary director, photographer and multimedia artist David Lynch (born 1946), the complex relationship between objects and their names has been a point of departure in his work since The Alphabet, his second short film made in 1968 during his student years at the Pennsylvania Academy of Fine Art. Based on a dream his first wife had about her niece reciting the alphabet, Lynch has described this early work as "a little nightmare about the fear connected with learning." Later, between 1987-88, Lynch developed the "Ricky Board" drawing series, in which the same object is repeated across four rows of five columns, with each one given a different name. "You will be amazed at the different personalities that emerge depending on the names you give," Lynch observes. This book traces how Lynch uses "naming" in film, photography, drawings, watercolors, painting and prints from 1968 to the present.
David Lynch
"'The air is on fire' is the first exhibition to comprehensively present David Lynch's work as a visual artist. Created for the Fondation Cartier pour l'art contemporain and shown in Paris from March 3 to May 27, 2007, it includes diverse forms of his artistic expression, culled from his extensive collection of his own artwork that dates back to 1965. Initially trained as a painter, he has continued to prolifically produce artwork - from paintings to photographs to drawings - throughout his career as a filmmaker, and has broadened his practice to include animation, music composition and sound production." - page [15]
Paper Graveyards
A generously illustrated training manual for reading images, discussing work by Félix Nadar, Roland Barthes, Fazal Sheikh, Susan Meiselas, and others. Paper Graveyards is neither a work of traditional art history nor one of literary criticism. It is not strictly a history of ideas either, notwithstanding its very obvious erudition. Rather, in drawing upon all of these methods and approaches—and with extraordinary attention to language and style—Cadava’s writing examines the spectacular explosion of images during the last twenty years as a prompt to discuss not simply specific images but the role and place of these images in our everyday life. Considering work by Félix Nadar, Roland B...
The Saburo Hasegawa Reader
At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. The Hasegawa Reader is an open access companion to the bilingual catalogue copublished with The Noguchi Museum to accompany an international touring exhibition, Changing and Unchanging Things: Noguchi and Hasegawa in Postwar Japan. The exhibition features the work of two artists who were friends and contemporaries: Isamu Noguchi and Saburo Hasegawa. This volume is intended to give scholars and general readers access to a wealth of archival material and writings by and about Saburo Hasegawa. While Nog...
A Companion to Contemporary Drawing
The first university-level textbook on the power, condition, and expanse of contemporary fine art drawing A Companion to Contemporary Drawing explores how 20th and 21st century artists have used drawing to understand and comment on the world. Presenting contributions by both theorists and practitioners, this unique textbook considers the place, space, and history of drawing and explores shifts in attitudes towards its practice over the years. Twenty-seven essays discuss how drawing emerges from the mind of the artist to question and reflect upon what they see, feel, and experience. This book discusses key themes in contemporary drawing practice, addresses the working conditions and context o...
Glass
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The Traces of Jacques Derrida's Cinema
Situated at the intersection of film and media studies, literary theory, and continental philosophy, The Traces of Jacques Derrida's Cinema provides a trenchant account of the role of cinema in the oeuvre of one of the most influential philosophers of the twentieth century, Jacques Derrida (1930-2004). The book is animated by Derrida's self-confessed passion for the movies, his reluctance to write about film despite the range of his corpus, and the generative encounters arising between his legacy and the field of film and media studies as a result. Given the expanse of its references, interdisciplinarity, and consideration of Derrida's approach to the experience of both spectatorship and the...
Roth Time
Sculptor, poet, diarist, graphic designer, pioneer artist's book maker, performer, publisher, musician, and, most of all, provocateur, Dieter Roth has long been beloved as an artist's artist. Known for his mistrust of all art institutions and commercial galleries--he once referred to museums as funeral homes--he was also known for his generosity to friends, his collaborative spirit, and for including his family in his art making. Much to the frustration of any gallery that tried to exhibit his work (supposedly none more than once), Roth thumbed his nose at those who valued high purpose and permanence in art. Constantly trying to undo his art education, he would set up systems that discourage...
Loca Motion
In Loca Motion, Michelle Habell-Pall argues that performances like Diva L.A. play a vital role in shaping and understanding contemporary transnational social dynamics.
Drawing on Architecture
How architectural drawings emerged as aesthetic objects, promoted by a network of galleries, collectors, and institutions, and how this changed the understanding of architecture. Prior to the 1970s, buildings were commonly understood to be the goal of architectural practice; architectural drawings were seen simply as a means to an end. But, just as the boundaries of architecture itself were shifting at the end of the twentieth century, the perception of architectural drawings was also shifting; they began to be seen as autonomous objects outside the process of building. In Drawing on Architecture, Jordan Kauffman offers an account of how architectural drawings—promoted by a network of gall...
