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Arte Povera
In 1967 the critic Germano Celant defined as Arte Povera ("poor art") theork of 13 world renowned young Italian artists. This work documents andxplains the sculpture and installation work of these artists in the contextf the critics who shaped it and the broader cultural framework ofontemporaneous philosophers, film-makers and curators.;The innovative worksf the artists were lyrical, open-ended combinations of unlikely fragments -ive horses wandering through a gallery, a slab of marble with a lettuce -iving the most banal materials a metaphysical dimension.;The artists includenselmo, Boetti, Calzolari, Fabro, Kounellis, Mario and Marisa Merz, Paolini,ascali, Penone, Pistolleto, Prini and Zorio, many of whom have emerged asorld class artists who continue to exhibit internationally. Their work andtatements are published alongside contemporaneous texts by critics and otherhinkers of their day.
Thinking Contemporary Curating
"'Thinking contemporary curating' is the first publication to comprehensively explore what is distinctive about contemporary curatorial thought. In five essays, art historian, critic, and theorist Terry Smith surveys the international landscape of current discourse; explores a number of exhibitions that show contemporaneity in present, recent, and post art; describes the enormous growth world-wide of exhibitionary infrastructure and the instability that haunts it; re-examines the phenomenon of artist-curators and curator-artists; and assesses a number of key tendencies in curating - such as the reimagined museum, the expanded exhibition, historicization and recuration, infrastructural activism, and engaged spectatorship - as responses to contemporary conditions." -- book cover.
Reclaiming Artistic Research
This expanded second edition of Reclaiming Artistic Research explores artistic research in dialogue with 24 artists worldwide, reclaiming it from academic associations of the term. Embracing artists' dynamic engagement with other fields, it foregrounds the material, spatial, embodied, organizational, choreographic, and technological ways of knowing and unknowing specific to contemporary artistic inquiry. The second edition features a new text by the author and four new artist dialogues to reflect on the changing stakes of artistic research in the wake of the global pandemic, a widespread reckoning with social justice, the growing role of artificial intelligence, and the urgent reality of climate change. LUCY COTTER (*1973, Ireland) is a writer, curator, and artist. She was Curator of the Dutch Pavilion, 57th Venice Biennale, 2017, and Curator in Residence at Oregon Center for Contemporary Art 2021–22. The inaugural director of the Master Artistic Research, Royal Academy of Art, The Hague, Cotter has lectured internationally, most recently at Portland State University. She holds a project residency at Stelo Arts and Culture Foundation 2023-24.
John Wesley
A major figure in eighteenth-century Christianity, John Wesley sought to combine the essential elements of the Catholic and Evangelical traditions and to restore to the laity a vital role in church life. He began one of the most dynamic movements in the history of modern Protestantism, a movement which eventually produced the Methodist churches. This volume offers a representative selection of theological writings by Wesley and includes historically oriented introductions and footnotes which indicate Wesley's Anglican, patristic, and biblical sources.
DOCUMENTA (13): Das Begleitbuch
Documenta 13's Artistic Director Carolyn Christov-Bakargiev has proposed the 2012 festival as a refusal of conceptual unity, instead "choreographing many different kinds of materials, methodologies and forms of knowledge." Responding to the political and economic uncertainty of our times, Christov-Bakargiev declares that "Documenta must aspire, by contrast, to instead exercise imagination as a space of accuracy in which to practice and challenge our definition of the political." - from publisher.
William Kentridge
William Kentridge's (b.1955) black-and-white, animated films offer an emblematic and unprecedented insight into the South Africa of today, from the hearings of the Truth and Reconciliation Commission to traces of apartheid's violence in the landscape around Johannesburg. This is the first book to document the work of this extraordinary artist, who exploded on the international art scene in 1997 after working for some 20 years little known outside of his native South Africa. The images in Kentridge's films depict political realities, expressed in terms of individual human suffering. They are patiently made up of dozens of drawings, often made from the erasure as well as the addition of lines ...
Franz Kline (1910-1962)
Emotion with direct and raw energy.
On the Destruction of Art-- Or Conflict and Art, Or Trauma and the Art of Healing
Carolyn Christov-Bakargiev reflects on the relationship between destruction and art, and on art's converse capacity for healing. Guiding us through a web of etymological, historical, philosophical, personal and art historical references, she takes the reader from Melanie Klein's ideas on the dyadic relationship between mother and child and Walter Benjamin's reflection on Klee's "Angelus Novus," to Man Ray's metronomes and Objects of Destruction, Lee Miller's photographs from the end of World War II, Gustav Metzger's "Manifesto of Auto-Destruction" and the destroyed Bamiyan Buddhas, which are accompanied by Michael Petzet's report of ICOMOS's response to the monuments. Also included are artworks by Michael Rakowitz, drawings and poems by Anna Boghiguian and a postscript by art historian Dario Gamboni on the concept of "world heritage" and its attendant legislation. For Christov-Bakargiev, "the sphere of art is poised on the edge of the private and of history, and becomes the location where one can experiment the possibilities of being on the edge of the anthropocentric, where the rubble lies."
Materiality
"Materiality has reappeared as a highly contested topic in recent art. Modernist criticism tended to privilege form over matter--considering material as the essentialized basis of medium specificity--and technically based approaches in art history reinforced connoisseurship through the science of artistic materials. But in order to engage critically with the meaning, for example, of hair in David Hammons's installations, milk in the work of Dieter Roth, or latex in the sculptures of Eva Hesse, we need a very different set of methodological tools. This anthology focuses on the moments when materials become willful actors and agents within artistic processes, entangling their audience in a web...
Curationism
"Now that we ‘curate’ even lunch, what happens to the role of the connoisseur in contemporary culture? ‘Curate’ is now a buzzword applied to everything from music festivals to artisanal cheese. Inside the art world, the curator reigns supreme, acting as the face of high-profile group shows and biennials in a way that can eclipse and assimilate the contributions of individual artists. At the same time, curatorial studies programs continue to grow in popularity, and businesses are increasingly adopting curation as a means of adding value to content and courting demographics. Everyone, it seems, is a now a curator. But what is a curator, exactly? And what does the explosive popularity o...
