Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Not to Play with Dead Things
From its Futurist and Dadaist origins to the body art of the 1970s and more recent developments in the genre, the history of Performance art is oriented around a fairly consistent set of elements: movements, speech, the body, impermanence, audience participation. But artists have also produced installations and performative objects for their performances, whose status becomes ambiguous once the action is over. Not to Play with Dead Things pays overdue attention to these frequently orphaned props of performance art, documenting works from the 1960s to the present by artists as diverse as Richard Jackson, Paul McCarthy, Roman Signer, Mike Kelley, Franz West, Jim Shaw, Guy de Cointet, John Bock, Spartacus Chetwynd, Catherine Sullivan and Erwin Wurm. Not to Play with Dead Things asks: are these objects relics of their own making? And is their hybridity a kind of resistance to the streamlining of art?
Guy de Cointet
The installations, books, films and plays of Guy de Cointet (1934-1983) offer conceptually playful and witty treatments of codes, ciphers and optical tensions between language and image. Born in France and based in Los Angeles from 1965 until his death, de Cointet was also an important mentor as a teacher at the Otis Art Institute for a generation of Californian artists, including Paul McCarthy and Mike Kelley. Long esteemed by artists and critics but little exhibited until recently, his work has been the subject of considerable renewed interest over the past decade or so. This volume, published for a 2012/13 survey show at Fundación/Colección Jumex in Mexico, includes extensive documentation (playscripts, photographs) of his plays Tempo Rubato, IGLU and Tell Me, alongside relevant works on paper, archival photographs and essays by Magalí Arriola, Jay Sanders and Marie de Brugerolle.
Guy de Cointet's Five Sisters
The outcome of an extensive research project conducted by Marie de Brugerolle into the 2011 restaging of Guy de Cointets Five Sisters, which took place as part of the Performance in Residence programme of If I Cant Dance, I Dont Want to be Part of your Revolution, this book reflects the questions that emerged around the meaning, sources and context of the original performance and its reiteration. The play is noteworthy for its presentation of a shift in the artists attention to the emotional quality of objects towards light and colour. With contributions by Snejanka Mihaylova and Elizabeth Orr, plus an annotated interview with the performers.--
John Baldessari
By combining and colliding the unexpected, the US artist John Baldessari (1931-2020), created conceptual works that raise questions regarding what art is, how art is made, and what art can look like. After concluding in the 1960s that a photographic image or a text were more adequate expressions of his artistic intentions than painting, John Baldessari's practice took a new direction. Since then, Baldessari has combined subjects from the imagery of popular culture with linguistic examinations, creating works that challenge artistic norms and boundaries. Besides the two essays the book also includes a wide selection of Baldessari's own writings from 1968-2011.
Made in Los Angeles
In the 1960s, a group of Los Angeles artists fashioned a body of work that has come to be known as the “LA Look” or West Coast Minimalism. Its distinct aesthetic is characterized by clean lines, simple shapes, and pristine reflective or translucent surfaces, and often by the use of bright, seductive colors. While the role of materials and processes in the advent of these truly indigenous Los Angeles art forms has often been commented on, it has never been studied in depth — until now. Made in Los Angeles focuses on four pioneers of West Coast Minimalism — Larry Bell, Robert Irwin, Craig Kauffman, and John McCracken — whose working methods, often borrowed from other industries, feat...
Language in the Visual Arts
This book discusses text and image relationships in the history of art from ancient times to the contemporary period across a diversity of cultures and geographic areas. Focusing on the use of words in art and words as art forms, thematic chapters include "Pictures in Words/Words in Pictures," "Word/Picture Puzzles," "Picture/Word Puzzles," "Words as Images," "The Power of the Word," and "Monumental and Moving Words." Chapter subsections further explore cross-cultural themes. Examining text and image relationships from the obvious to the elusive, the puzzling to the profound, the minor to the major, the book demonstrates the diverse ways in which images and writing have been combined through the ages, and explores the interplay between visual and written communication in a wide range of thought-provoking examples. A color insert is included. Instructors considering this book for use in a course may request an examination copy here.
The Aesthetics of Disengagement
Reveals the artistic subjectivity of the scientific notion of depression.
Photography between Poetry and Politics
Lieven Gevaert Series 7Does photography have a hybrid or chameleonic character because it can be part of entirely different mixed-media works of art? Photography as a medium is faced with the challenge of escaping from its too-frequent use as rather noncommittal and "poetic" visual imagery. How best might photographers proceed to maintain the integrity of their art? A distinguished group of art historians, art theorists, and specialists in contemporary photography address these issues in Photography between Poetry and Politics. They suggest that by raising a critical debate on the internal workings of the artistic system itself or on broader social problems, photographers might be able to transcend both political and aesthetic concerns, and so revitalize their art form and regain its autonomy.
Symbionts
Essays, conversations, selected texts, and a rich collection of thought-provoking artworks celebrate a revolution in bio art. Expertly designed by Omnivore and printed on special papers, including chlorophyll cover and crush citrus and crush cocoa pages. The texts and artworks in Symbionts provoke a necessary conversation about our species and its relation to the planet. Are we merely “mammalian weeds,” as evolutionary biologist Lynn Margulis put it? Or are we partners in producing and maintaining the biosphere, as she also suggested? Symbionts reflects on a recent revolution in bio art that departs from the late-1990s code-oriented experiments to embrace entanglement and symbiosis (“w...
Jimmy Robert Vis-à-vis
This catalogue was published on the occasion of the exhibition Jimmy Robert Vis-a-vis, organized by the Museum of Contemporary Art Chicago, curated by Naomi Beckwith, and presented in the Bergman Family Gallery at the Museum of Contemporary Art Chicago, August 25-November 25, 2012.
