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Phyllida Barlow deconstructs contemporary sculpture--literally. After her breakout exhibition in 2010, the British artist scrapped her colossal works for parts, recycling their components for new sculptures. This resistance to the perceived permeance of art defines her oeuvre. At once intimidating and childlike, her monumental art, comprised of both industrial and household materials, reflects playfully on our relationship to our natural and human environments. This major retrospective collects both drawings and sculptures from across Barlow's long and influential career, including impressive photographs of new installations as well as never-before-seen archival material of sculptures that have already been destroyed. The book underscores why Barlow is regarded as one of the most prominent artists in Britain today.
This volume advances a comprehensive transdisciplinary approach to the affective lives of institutions – theoretical, conceptual, empirical, and critical. With this approach, the volume foregrounds the role of affect in sustaining as well as transforming institutional arrangements that are deeply problematic. As part of its analysis, this book develops a novel understanding of institutional affect. It explores how institutions produce, frame, and condition affective dynamics and emotional repertoires, in ways that engender conformance or resistance to institutional requirements. This collection of works will be important for scholars and students of interdisciplinary affect and emotion studies from a wide range of disciplines, including social sciences, cultural studies, social and cultural anthropology, organizational and institution studies, media studies, social philosophy, aesthetics, and critical theory.
Curating Transcultural Spaces asks what a museum which enables the presentation of multiple perspectives might look like. Can identity be global and local at the same time? How may one curate dual identity? More broadly, what is the link between the arts and processes of identity construction? This volume, an indispensable source for the process of engaging with colonial history in Germany and beyond, takes its starting point from the 'scandal' of the Humboldt Forum. The transfer of German state collections from the Ethnological Museum and the Museum for Asian Art, located at the margins of Berlin in Dahlem, into the centre of Germany's capital indicates the nation's aspiration of purported ...
Published on the occasion of their exhibition at Munich's Haus der Kunst, this publication presents an insight into the multifaceted worlds crafted by the pioneering Japanese collective Dumb Type. Founded in 1984 by students from Kyoto City University of Arts, Dumb Type's varied installations and performances deployed cyberpunk imagery in order to critique a highly 'informatised' consumer society that was concurrently rendered passive via the unceasing deluge of data and technological development. The publication contains an essay by the curator, Damian Lentini, an interview with founding member Shiro Takatani, and numerous installation pictures from the exhibition at the Haus der Kunst. The texts examine the continuous investigations conducted by Dumb Type along the interface between technological progress and the human body, and they critically scrutinize the manner in which digital media and technology constitute a formative and irreversible part of our current experience.
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This is the first book to focus on Helhesten (The Hell-Horse), an avant-garde artists’ collective active during the Nazi occupation of Denmark and one of the few tangible connections between radical European art groups from the 1920s to the 1960s. The Danes’ deliberately unskilled painterly abstraction, embrace of the tradition of dansk folkelighed (the popular) and its iterations of egalitarianism and consensus reform, called for the political relevance of art and interrogated the ideologies underlying culture itself. The group’s cultural activism presents an alternative trajectory of continuity, which challenges the customary view of World War II as a moment of artistic rupture.
Highlighting intersections of gender, race, and class and their explosive encounters with Pop Art during the Long Sixties, this book offers a new global reading of Pop for the 21st century. 'a brilliant and important corrective to much writing on Pop art' - Jo Applin, The Courtauld Institute of Art, London Featuring an array of rigorous chapters written by both acclaimed experts and emerging scholars, Pop Art and Beyond transcends the borders of individual and national contexts, and suspends hierarchies to create a space for the work of artists like Andy Warhol and the women of the Black Arts Movement to converse. Exploring the work of over 20 artists from 5 continents, it features case-stud...
Curating the Contemporary in the Art Museum investigates the art museum as a space where the contemporary is staged – in exhibitions, collecting practices, communication, and policies. Curating the Contemporary in the Art Museum traces the art museum back to the postwar era. Including contributions by established and emerging art historians, academics and curators, the book proposes that the art museum is engaged in the contemporary in a double sense: it (re)presents contemporary art, while the contemporary condition itself also has a significant impact on art and the museum that houses it. Presenting a diverse range of international cases of exhibitions and curatorial practices, which hai...
This publication gathers together 18 essays about the Kunsthalle Bern as a role model and a place for artistic intervention and production, elaborating the examinations to which numerous international artists have subjected the building itself.
An insightful guide to understanding conflicts over the conservation of biodiversity and groundbreaking strategies to deal with them.