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The Impossible Museum
"Spanning centuries and encompassing a variety of masterpieces - from paintings on canvas and cave walls to structures and jewellesry - this fascinating compendium of 'lost art' takes us on a historic journey and explores how and why art can disappear from our lives. Some works are missing, others were intentionally transformed, destroyed, or stolen. Working with the latest research and documentation, author Celine Delavaux brings each lost piece back to life through illuminating text and brilliant illustrations." -- Book jacket.
The Museum of Illusions
The art of optical illusion has been an integral part of painting since antiquity when it was used as a yardstick by which to judge an artist's level of mastery. This book presents a fascinating overview of the different methods of illusion practiced by artists over hundreds of years. Organised into five chapters - Optical Illusions, Distortions and Hidden Images, De-Figurations, Questioning Perception, and Overstepping Reality - it brings together artists from various time periods and disciplines.--
Design
Le design, c’est l’art dans la vie... Depuis le début du XXe siècle, il s’est glissé partout dans notre quotidien au point que parfois on ne le reconnaît pas. D’abord utile et industriel, le design se préoccupe aussi du beau et revendique aujourd’hui sa place dans les musées et dans les galeries. Les créateurs pensent, dessinent, construisent des objets dont les formes, les matériaux, les usages réinventent nos modes de vie, dans la maison comme à la ville, qu’il s’agisse du mobilier, des transports, des vêtements, des emballages ou de la décoration. Design !, dans une démarche inédite de vulgarisation et de synthèse, étudie ces différents aspects au travers de six chapitres thématiques, accompagnés d’une iconographie riche de près de cent images. Une réflexion passionnante sur un phénomène éminemment moderne et omniprésent, qui met en lumière ces inventions qui nous accompagnent à tout moment.
Magalí Herrera
This monographic publication dedicated to Magalí Herrera (1914-1992) reveals for the first time the large body of work by this Uruguayan-born artist and the many personal archives in the holdings of the "Collection de l'Art Brut". In 1967, Magalí Herrera began corresponding with Jean Dubuffet, who included her drawings in the holdings of the "Compagnie de l'Art Brut" in Paris. For several years, they maintained a letter-writing relationship in which Herrera invested herself intensely. For this reason, she entrusted her husband with the task of donating her drawings and personal archives to the "Collection de l'Art Brut" after her death. Text in English and French.
Africa and Byzantium
Medieval art history has long emphasized the glories of the Byzantine Empire, but less known are the profound artistic contributions of Nubia, Egypt, Ethiopia, and other powerful African kingdoms whose pivotal interactions with Byzantium had an indelible impact on the medieval Mediterranean world. Bringing together more than 170 masterworks in a range of media and techniques—from mosaic, sculpture, pottery, and metalwork to luxury objects, panel paintings, and religious manuscripts—Africa and Byzantium recounts Africa’s centrality in transcontinental networks of trade and cultural exchange. With incisive scholarship and new photography of works rarely or never before seen in public, this long-overdue publication sheds new light on the staggering artistic achievements of late antique Africa. It reconsiders northern and eastern Africa’s contributions to the development of the premodern world and offers a more complete history of the region as a vibrant, multiethnic society of diverse languages and faiths that played a crucial role in the artistic, economic, and cultural life of Byzantium and beyond.
Unpacking My Library
A captivating tour of the bookshelves of ten leading artists, exploring the intricate connections between reading, artistic practice, and identity Taking its inspiration from Walter Benjamin's seminal 1931 essay, the Unpacking My Library series charts a spirited exploration of the reading and book collecting practices of today's leading thinkers. Artists and Their Books showcases the personal libraries of ten important contemporary artists based in the United States (Mark Dion, Theaster Gates, Wangechi Mutu, Ed Ruscha, and Carrie Mae Weems), Canada (Janet Cardiff and George Bures Miller), and the United Kingdom (Billy Childish, Tracey Emin, and Martin Parr). Through engaging interviews, the ...
Hopper
Entrez dans l'univers d'Edward Hopper (1882-1967), l'un des plus grands peintres américains.
Designer File
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Becoming Mary Sully
Dakota Sioux artist Mary Sully was the great-granddaughter of respected nineteenth-century portraitist Thomas Sully, who captured the personalities of America’s first generation of celebrities (including the figure of Andrew Jackson immortalized on the twenty-dollar bill). Born on the Standing Rock reservation in South Dakota in 1896, she was largely self-taught. Steeped in the visual traditions of beadwork, quilling, and hide painting, she also engaged with the experiments in time, space, symbolism, and representation characteristic of early twentieth-century modernist art. And like her great-grandfather Sully was fascinated by celebrity: over two decades, she produced hundreds of colorfu...
L'art brut, un fantasme de peintre
« L’art brut, c’est l’art brut et tout le monde a très bien compris. Pas tout à fait très bien ? », écrivait Jean Dubuffet en 1947. Le peintre ne croyait pas si bien dire : soixante-dix ans plus tard, son concept continue de faire problème. Mais n’est-ce pas la visée même d’un concept, et la preuve de son efficacité pérenne ? C’est l’histoire de ce concept que révèle le présent ouvrage, démontrant que l’art brut ne se réduit pas à un label à apposer sur des productions artistiques dues à des internés asilaires, à des adeptes du spiritisme et autres autodidactes. Si l’art brut a permis de donner le statut d’œuvres d’art à des objets considérés comme marginaux dans le champ de l’art, il condense avant tout la volonté de penser l’art autrement. L’art brut puise son sens au cœur de la foisonnante production écrite de Jean Dubuffet. C’est dans la faille de la parole du fou, de l’exclu, de l’inculte que s’invente le discours sur l’art radicalement subjectif de l’artiste. Et ce que l’art brut révèle, au-delà d’une théorie de l’art aux allures de fiction, c’est Dubuffet l’écrivain.
