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Fonds régional d'art contemporain, Limousin
Pour Yannick Miloux, Directeur du fonds, ce troisième volume des œuvres du FRAC sur sa dernière période d’achat constitue “une véritable carte de visite et d’identité... Il permet de faire connaître ses œuvres auprès d’autres structures d’art contemporain nationales et internationales qui peuvent nous les emprunter et de faire partager au public les choix qui sont les nôtres et la recherche des artistes d’aujourd’hui.” Avec 540 images couleur, le catalogue représente 134 artistes et 597 œuvres issues des collections du FRAC Limousin. Très complet, cet ouvrage présente 70 notices et une partie “album” avec une présentation de chaque auteur.
The Art of the Everyday
A collection of essays on the quotidian in philosophy, cinema, theater, photography, and other visual arts in postwar France, published in conjunction with an exhibition of contemporary French artists at the Grey Art Gallery of New York University in spring 1997. Includes many color photos. No index. Annotation copyrighted by Book News, Inc., Portland, OR
The Recording Machine
A revealing look at the irrevocable change in art during the 1960s and its relationship to the modern culture of fact This refreshing and erudite book offers a new understanding of the transformation of photography and the visual arts around 1968. Author Joshua Shannon reveals an oddly stringent realism in the period, tracing artists’ rejection of essential truths in favor of surface appearances. Dubbing this tendency factualism, Shannon illuminates not only the Cold War’s preoccupation with data but also the rise of a pervasive culture of fact. Focusing on the United States and West Germany, where photodocumentary traditions intersected with 1960s politics, Shannon investigates a broad variety of art, ranging from conceptual photography and earthworks to photorealist painting and abstraction. He looks closely at art by Bernd and Hilla Becher, Robert Bechtle, Vija Celmins, Douglas Huebler, Gerhard Richter, and others. These artists explored fact’s role as a modern paradigm for talking, thinking, and knowing. Their art, Shannon concludes, helps to explain both the ambivalent anti-humanism of today’s avant-garde art and our own culture of fact.
Limousin
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Aernout Mik
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William Wegman
An examination of William Wegman and how he transposes images of daily life to reflect both beauty and absurdity.
Art of the 20th Century
The original edition of this ambitious reference was published in hardcover in 1998, in two oversize volumes (10x13"). This edition combines the two volumes into one; it's paperbound ("flexi-cover"--the paper has a plastic coating), smaller (8x10", and affordable for art book buyers with shallower pockets--none of whom should pass it by. The scope is encyclopedic: half the work (originally the first volume) is devoted to painting; the other half to sculpture, new media, and photography. Chapters are arranged thematically, and each page displays several examples (in color) of work under discussion. The final section, a lexicon of artists, includes a small bandw photo of each artist, as well as biographical information and details of work, writings, and exhibitions. Ruhrberg and the three other authors are veteran art historians, curators, and writers, as is editor Walther. c. Book News Inc.
