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A Show of Hands
In contrast to the divide between conception and execution advocated by Anglo-American artists in the second half of the 1960s, this book reappraises conceptual art by examining it from the perspective of craft. The emphasis on craft shifts the focus from the Western art system to its margins, where creators were relegated to the status of mere artisans in the colonial context, on the pretext that attaining that of artists was beyond their reach. From this peripheral point of view, the book shows that work carried out with artisanal means can lead to conceptual practice. Moreover, this shift in perspective provides a new understanding of several positions within conceptualism, which ultimately appears as an ongoing reflection on the role of the hands, making, and craft.
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.
The Sculptural in the (Post-)Digital Age
Digital technologies have profoundly impacted the arts and expanded the field of sculpture since the 1950s. Art history, however, continues to pay little attention to sculptural works that are conceived and ‘materialized’ using digital technologies. How can we rethink the artistic medium in relation to our technological present and its historical precursors? A number of theoretical approaches discuss the implications of the so-called ‘Aesthetics of the Digital’, referring, above all, to screen-based phenomena. For the first time, this publication brings together international and trans-historical research perspectives to explore how digital technologies re-configure the understanding of sculpture and the sculptural leading into the (post-)digital age. Up-to-date research on digital technologies’ expansion of the concept of sculpture Linking historical sculptural debates with discourse on the new media and (post-)digital culture
From Head to Hand
In his third book, Strauss delves into the mysterious process whereby an idea is born in the mind and materialized through the hand in the expression of an artwork. How exactly does this happen? It's a question so basic, an act so fundamental to art-making, that it has rarely received attention. It makes an ideal topic for Strauss, a writer with an exceptional ability to animate art's philosophical dimensions in a clear, persuasive manner. During this time when craft and the direct manipulation of materials by the artist appear to be in eclipse, Strauss comes to their defense in a spirited cri de coeur. Featuring over 35 illustrations, the book examines a wide variety of media and individual...
Video
An argument that video is not merely an intermediate stage between analog and digital but a medium in its own right; traces the theoretical genealogy of video and examines the different concepts of video seen in works by Vito Acconci, Ulrike Rosenbach, Steina and Woody Vasulka, and others. Video is an electronic medium, dependent on the transfer of electronic signals. Video signals are in constant movement, circulating between camera and monitor. This process of simultaneous production and reproduction makes video the most reflexive of media, distinct from both photography and film (in which the image or a sequence of images is central). Because it is processual and not bound to recording an...
Time and the Digital
Eschewing the traditional focus on object/viewer spatial relationships, Timothy Scott Barker's Time and the Digital stresses the role of the temporal in digital art and media. The connectivity of contemporary digital interfaces has not only expanded the relationships between once separate spaces but has increased the complexity of the temporal in nearly unimagined ways. Barker puts forward the notion that the new ways we interact with digital media, including ever-expanding digital networks and databases that house vast amounts of data, actually produce a new type of time. Invoking the process philosophy of Whitehead and Deleuze, and taking examples from the history of media art as well as our daily interaction with digital technology, he strives for nothing less than a new philosophy of time in digital encounters, aesthetics, and interactivity. Of interest to scholars in the fields of art and media theory and philosophy of technology, as well as new media artists, this study contributes to an understanding of the new temporal experiences emergent in our interactions with digital technologies.
Landscape and Film
Landscape is everywhere in film, but it has been largely overlooked in theory and criticism. This volume of new work will address fundamental questions: What kind of landscape is cinematic landscape? How is cinematic landscape different from landscape painting? How is landscape deployed in the work of such filmmakers as Greenaway, Rossellini, or Antonioni, to name just three? What are differences between the use of landscape in Western filmmaking and in the work of Middle Eastern and Asian filmmakers? How is cinematic landscape related to the idea of a national cinema and questions of identity. The first collection on the idea of landscape and film, this volume will present an impressive international cast of contributors, among them Jacques Aumont, Tom Conley, David B. Clarke, Marcus A. Doel, Peter Rist, and Antonio Costa.
Abstraction and the Holocaust
Mark Godfrey looks closely at a series of American art and architectural projects that respond to the memory of the Holocaust. He investigates how abstract artists and architects have negotiated Holocaust memory without representing the Holocaust figuratively or symbolically.
Anecdotal Modernity
Modernity is made and unmade by the anecdotal. Conceived as a literary genre, a narrative element of criticism, and, most crucially, a mode of historiography, the anecdote illuminates the convergences as well as the fault lines cutting across modern practices of knowledge production. The volume explores uses of the anecdotal in exemplary case studies from the threshold of the early modern to the present.
Hanne Darboven
"This short monograph combines works by Hanne Darboven and John Cage from the stock of the Bayerische Staatsgalerie moderner Kunst in Munich. It shows the independent oeuvres of two highly individual artists whose works touch upon Minimal Art. Joachim Kaak's substantial essay examines Hanne Darboven's 7 Tafeln, II from 1972/73, a geometric construction on squared millimetre paper based on prime numbers and the square. Corinna Thierolf analyses John Cage's Ryoanji, a loose series of drawings made between 1983 and 1992. The title refers to the rock garden of the Ryoanji monastery in the north-west of Kyoto. With the help of the I Ching, the ancient book of wisdom and truth which Cofucius re-edited. Cage established a number system by which he encircled 15 stones he had picked out himself with 17 different pencils. On the basis of a complex concept based on random operations, this created partly very delicate circular formations, partly a structure composed of a dense tissue of lines. These are reproduced in this book according to a rhythm predetermined by John Cage"--Publisher website.
