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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.
Surface and Deep Histories
Surface in architecture has had a deeper and a more pervasive presence in the practice and theory of the discipline than is commonly supposed. Orientations to the surface emerge, collapse, and reappear, sustaining it as a legitimate theoretical and artefactual entity, despite the (twentieth-century) disciplinary definition of architecture as space, structure, and function. Even though surface is defended for its pervasiveness (Kurt Forster), its function as a theoretical motif with generative power (Andrew Benjamin), and in constituting the operative principles of modern architecture as a visual phenomenon (Mark Wigley), it occupies the interstice, or the space of the unconscious within arch...
The Brush and the Pen
French symbolist artist Odilon Redon (1840–1916) seemed to thrive at the intersection of literature and art. Known as “the painter-writer,” he drew on the works of Poe, Baudelaire, Flaubert, and Mallarmé for his subject matter. And yet he concluded that visual art has nothing to do with literature. Examining this apparent contradiction, The Brush and the Pen transforms the way we understand Redon’s career and brings to life the interaction between writers and artists in fin-de-siècle Paris. Dario Gamboni tracks Redon’s evolution from collaboration with the writers of symbolism and decadence to a defense of the autonomy of the visual arts. He argues that Redon’s conversion was the symptom of a mounting crisis in the relationship between artists and writers, provoked at the turn of the century by the growing power of art criticism that foreshadowed the modernist separation of the arts into intractable fields. In addition to being a distinguished study of this provocative artist, The Brush and the Pen offers a critical reappraisal of the interaction of art, writing, criticism, and government institutions in late nineteenth-century France.
What is an Image?
"Brings together historians, philosophers, critics, postcolonial theorists, and curators to ask how images, pictures, and paintings are conceptualized. Issues discussed include concepts such as "image" and "picture" in and outside the West; semiotics; whether images are products of discourse; religious meanings; and the ethics of viewing"--Provided by publisher.
A Forest of Symbols
In this groundbreaking book, Andrei Pop presents a lucid reassessment of those writers and artists in the late nineteenth century whose work merits the adjective “symbolist.” For Pop, this term denotes an art that is self-conscious about its modes of making meaning and he argues that these symbolist practices, which sought to provide more direct access to the viewer by constant revision of its material means of meaning-making (brushstrokes on a canvas, words on a page), are crucial to understanding the genesis of modern art. The symbolists saw art not as a social revolution, but a revolution in sense and in how we conceptualize the world. At the same time, the concerns of symbolist paint...
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Ulla von Brandenburg (English Edition)
From a background rich in literature and the history of arts and architecture—as well as psychoanalysis, spiritism and magic—Ulla von Brandenburg explores the shaping of our social constructs with borrowings from theatrical codes and mechanisms, together with esoteric rituals and popular ceremonies. For her exhibition at the Palais de Tokyo she has conceived a total, constantly evolving project inspired by the theatre, its imaginary realm and its conventions. With ritual as her starting point, she invites the public to experience an immersive reinterpretation of the themes, forms and motifs—including movement, the stage, colour, music and textiles—that fuel her oeuvre. Book published on the occasion of Ulla von Brandenburg’s solo exhibition at the Palais de Tokyo, 21.02 – 13.09.2020
Almost nothing
What does an assemblage made out of crumpled newspaper have in common with an empty room in which the lights go on and off every five seconds? This book argues that they are both examples of a 'precarious' art that flourished from the late 1950s to the first decade of the twenty-first century, in light of a growing awareness of the individual's fragile existence in capitalist society. Focusing on comparative case studies drawn from European, North and South American practices, this study maps out a network of similar concerns and practices, while outlining its evolution from the 1960s to the beginning of the twenty-first century. This book will provide students and amateurs of contemporary art and culture with new insights into contemporary art practices and the critical issues that they raise concerning the material status of the art object, the role of the artist in society, and the relation between art and everyday life.
Mahler's Seventh Symphony
Gustav Mahler's Seventh Symphony stands out as one of the most provocative symphonic statements of the early twentieth century. Throughout its performance history, it has often been heard as "existing in the shadow" of the Sixth Symphony or as "too reminiscent" of Richard Wagner's opera Die Meistersinger von Nürnberg. Anna Stoll Knecht's Mahler's Seventh Symphony offers a new interpretation of the Seventh based on a detailed study of Mahler's compositional materials and a close reading of the finished work. With a focus on sketches previously considered as "discarded," Stoll Knecht exposes unexpected connections between the Seventh and both the Sixth and Meistersinger, confirming that Mahle...
Arabesque without End
Featuring multidisciplinary research by an international team of leading scholars, this volume addresses the contested aspects of arabesque while exploring its penchant for crossing artistic and cultural boundaries to create new forms. Enthusiastically imported from its Near Eastern sources by European artists, the freely flowing line known as arabesque is a recognizable motif across the arts of painting, music, dance, and literature. From the German Romantics to the Art Nouveau artists, and from Debussy’s compositions to the serpentine choreographies of Loïe Fuller, the chapters in this volume bring together cross-disciplinary perspectives to understand the arabesque across both art historical and musicological discourses.
