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Pioneering Participatory Art Practices
Participatory art practices allow members of an audience to actively contribute to the creation of art. Annemarie Kok provides a detailed analysis and explanation of the use of participatory strategies in art in the so-called ›long sixties‹ (starting around 1958 and ending around 1974) in Western Europe. Drawing on extensive archival materials and with the help of the toolbox of the actor-network theory, she maps out the various actors of three case studies of participatory projects by John Dugger and David Medalla, Piotr Kowalski, and telewissen, all of which were part of documenta 5 (Kassel, 1972).
William Forsythe and the Practice of Choreography
William Forsythe’s reinvigoration of classical ballet during his 20-year tenure at the Ballett Frankfurt saw him lauded as one of the greatest choreographers of the postwar era. His current work with The Forsythe Company has gone even further to challenge and investigate fundamental assumptions about choreography itself. William Forsythe and the Practice of Choreography presents a diverse range of critical writings on his work, with illuminating analysis of his practice from an interdisciplinary perspective. The book also contains insightful working testaments from Forsythe’s collaborators, as well as a contribution from the choreographer himself. With essays covering all aspects of Forsythe’s past and current work, readers are provided with an unparalleled view into the creative world of this visionary artist, as well as a comprehensive resource for students, scholars, and practitioners of ballet and contemporary dance today.
The Routledge Companion to the Cultural Industries
The Routledge Companion to the Cultural Industries is collection of contemporary scholarship on the cultural industries and seeks to re-assert the importance of cultural production and consumption against the purely economic imperatives of the ‘creative industries’. Across 43 chapters drawn from a wide range of geographic and disciplinary perspectives, this comprehensive volume offers a critical and empirically-informed examination of the contemporary cultural industries. A range of cultural industries are explored, from videogames to art galleries, all the time focussing on the culture that is being produced and its wider symbolic and socio-cultural meaning. Individual chapters consider...
National Galleries
Are national galleries different from other kinds of art gallery or museum? What value is there for the nation in a collection of international masterpieces? How are national galleries involved in the construction national art? National Galleries is the first book to undertake a panoramic view of a type of national institution – which are sometimes called national museums of fine art – that is now found in almost every nation on earth. Adopting a richly illustrated, globally inclusive, comparative view, Simon Knell argues that national galleries should not be understood as ‘great galleries’ but as peculiar sites where art is made to perform in acts of nation building. A book that fun...
Jim Shaw
Edited by Lionel Bovier and Fabrice Stroun. Essays by Yves Aupetitallot, Doug Harvey and Nadia Schneider.
T.J. Wilcox Films
This fully illustrated catalogue accompanies Lands End, Ruth Claxton's first solo show in the UK. For this exhibition, Claxton has created an ambitious new installation. Metal structures are large-scale and labyrinth-like, at times immersing the viewer in a constructed world, enveloped by its sheer physicality. An environment of open frameworks creates a dramatic fabrication of interlocking and layered forms reminiscent of fantastic natural phenomena. Areas of density and focus are developed by sequences of stacked metal hoops of varying thickness, coloured and mirrored discs, seemingly precariously balanced, toppling over and into each other. The structure is dominant, at times appearing to...
Laura Grisi: the Measuring of Time
On the many lives and mediums of a postwar Italian artist-adventurer Published on the occasion of her long-deserved retrospective at Muzeum Susch, this book testifies to the singular vision of Italian artist Laura Grisi (1939-2017) within contemporary art history. Born in Greece, educated in Paris and living between New York and Rome, where she died, Grisi spent long periods of her life in Africa, South America and Polynesia. This involvement with non-Western cultures indelibly marked her own search for a cosmic thinking. Although her work is often reduced to Pop art, Grisi always worked within the fundamental motif of the "journey"--from remote locations visited and documented, to the multiplicity of mediums used. Grisi embodied a stateless, nomadic female subject defying the politics of identity, the univocity of representation and the unidirectionality of time. Grisi's work spans from her avant-garde Variable Paintingsof the mid-1960s and her 1970s pioneering environmental installations dealing with fog, wind and rain, to her conceptual photo-works of the 1980s.
We are Knights on the Trajectories of a Post-everything Era
How do we know and understand who we really are as human beings? The concept of 'the self' is central to many strands of psychology and philosophy. This book tackles the problem of how to define persons and selves and discusses the ways in which different disciplines, such as biology, sociology and philosophy, have dealt with this topic. Richard S. Hallam examines the notion that the idea of the self as some sort of entity is a human construction and, in effect, a virtual reality. At the same time, this virtual self is intimately related to the reality of ourselves as biological organisms. Aiming to integrate a constructionist understanding of self with the universalizing assumptions that are needed in natural-science approaches, this text is unique in its attempt to create a dialogue across academic disciplines, while retaining a consistent perspective on the problem of relating nature to culture.
Guyton\Walker
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In Girum Imus Nocte Et Consumimur Igni
A precursor to Arte Povera, Fluxus and Punk, the Situationist International has bequeathed a uniquely complex and conflicted legacy to contemporary art-making. Led by Guy Debord and Raoul Vaneigem, it initially favored the production of art objects; by 1962, collective debate on the role of art had caused the expulsion of its fine-artist members, including Asger Jorn, other members of Cobra and the entire Munich-based Gruppe SPUR. The revolution envisaged by the Situationist International demanded creativity in everyday life, the constructing of situations or the "fashioning of a temporary micro-environment and series of events for a single moment in the life of several individuals." The Sit...
