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Left Behind
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LO: TECH: POP: CULT
This edited collection assembles international perspectives from artists, academics, and curators in the field to bring the insights of screendance theory and practice back into conversations with critical methods, at the intersections of popular culture, low-tech media practices, dance, and movement studies, and the minoritarian perspectives of feminism, queer theory, critical race studies and more. This book represents new vectors in screendance studies, featuring contributions by both artists and theoreticians, some of the most established voices in the field as well as the next generation of emerging scholars, artists, and curators. It builds on the foundational cartographies of screenda...
Choreographing Intersubjectivity in Performance Art
This book offers new ways of thinking about dance-related artworks that have taken place in galleries, museums and biennales over the past two decades as part of the choreographic turn. It focuses on the concept of intersubjectivity and theorises about what happens when subjects meet within a performance artwork. The resulting relations are crucial to instances of performance art in which embodied subjects engage as spectators, participants and performers in orchestrated art events. Choreographing Intersubjectivity in Performance Art deploys a multi-disciplinary approach across dance choreography and evolving manifestations of performance art. An innovative, overarching concept of choreography sustains the idea that intersubjectivity evolves through places, spaces, performance and spectatorship. Drawing upon international examples, the book introduces readers to performance art from the South Pacific and the complexities of de-colonising choreography. Artists Tino Sehgal, Xavier Le Roy, Jordan Wolfson, Alicia Frankovich and Shigeyuki Kihara are discussed.
Masterpieces
Les collections du Musée d'art contemporain de Bordeaux, depuis la fin des années 1960. Constituées des grands mouvements internationaux dont 700 oeuvres réalisées par 140 artistes, elles témoignent des tendances européennes et américaines des années 1960 et 1970, tel que le renouveau critique de la peinture en France, le land art, l'art minimal, l'art conceptuel, l'arte povera.
Left behind
Luxueux coffret de trois livres dédiés à la série de peintures monumentales Left Behind, œuvre ambitieuse, développée depuis une dizaine d'années, avec laquelle Jim Shaw dresse, entre onirisme et satire | derrière l'immense hommage à la peinture et à la culture en général |, une puissante charge critique contre les discours et les idéologies de la société néolibérale, à coup d'images cryptées et saturées d'informations qui jouent avec l'ambivalence du langage et des signes.00Publié suite à l'exposition éponyme au CAPC musée d'art contemporain de Bordeaux, de mai à septembre 2010.00Edition bilingue français-anglais.
Faces in the Crowd
"Taking Edouard Manet as its starting point and moving through the work of major painters and sculptors such as Ensor, Boccioni, Duchamp, Kollwitz, Kirchner, Beckmann, Magritte, Picasso, Hopper, Warhol, Hamilton, Pistoletto, Richter, Acconci, Sherman, Schutte, Ofili and Kentridge, as well as photographers such as Atget, Brassai, Evans, Levitt, Arnold, Weegee, Giacomelli, Goldin and Keita, Faces in the Crowd traces a history of avant-garde figuration from the 1870s to today through the works of one hundred artists." "The great revolutions in twentieth century art tend to be associated with abstraction. Yet there is a parallel history, which is equally radical. Manet's vividly realist scenarios or Jeff Wall's cinematic tableaux offer a compelling pictorial illusion of the modern. By contrast, Edvard Munch or Francis Bacon present a tortured or exhilarated inner life. For Alexander Rodchenko, the figure can be an agent of social change, revolutionary transgressive or symbolic." "This catalogue accompanies the exhibition organised by the Whitechapel Gallery and the Castello di Rivoli Museum of Contemporary Art."--BOOK JACKET.
Contemporary
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Transavanguardia
First exhibited in the late 1970s, the Transavanguardia seemed to oppose radical experimental media in a return to expressive practices in painting and sculpture. The Transavanguardia first achieved notice with an exhibition held at the Kunsthalle, Basel, and participated in the 1982 Documenta 7. These five artists--Sandro Chia, Francesco Clemente, Enzo Cucchi, Nicola De Maria and Mimmo Paladino--were quickly recognized as a distinct movement and have exhibited both individually and as Transavanguardia including at the Guggenheim New York. This catalog of the Fall 2002 exhibition at Castello di Rivoli examines the spontaneous emergence of this group in 80 works with English/Italian essays by Jean-Christophe Ammann, Achille Bonito Oliva, Carolyn Christov-Bakargiev and John Yau.
Richard Jackson
This catalog was published in conjunction with the exhibition Richard Jackson: Ain't Painting a Pain, organized and presented by the Orange County Museum of Art, Newport Beach, California, February 15-May 5, 2013.
