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.
Mechanisms
This catalogue accompanies a major group show at CCA Wattis in San Francisco, curated by Anthony Huberman. It reflects on ways the?machine? determines how we live and what we believe in. A machine is also a mechanism, not just a physical object but also an abstract ideology. The artworks point to the forms and instruments that make up our technological infrastructure, as well as to the values they are designed to enforce. Contesting a world that rewards efficiency, speed, and productivity, the participating artists test existing systems with inefficient machines, impossible tools, wasted time, and elaborate protocols that misalign outputs and inputs.00Exhibition: CCA Wattis, San Francisco, USA (12.10.2017-24.02.2018).
David Hammons Is on Our Mind
Includes the transcription of three public events: a 1994 lecture by David Hammons (previously unpublished) as well as a poem by Tongo Eisen-Martin and a lecture by Fred Moten, both from 2017. The CCA Wattis Institute for Contemporary Arts, an exhibition space and research institute in San Francisco, dedicates year-long seasons of discussions and public events to a single artist. In 2016-17, the American artist David Hammons was "on our mind."This book begins with the transcript of a rare artist talk given by Hammons in 1994 at the San Francisco Museum of Modern Art, on the occasion of his exhibition there. It then introduces a series of photographs the artist sent to the Wattis Institute in 2017, interspersed with texts by the Bay Area poet Tongo Eisen-Martin and the writer and critic Fred Moten. Much like Hammons' work, this publication raises more questions than answers. Rather than functioning as a comprehensive introduction to the artist, David Hammons is on our mind offers visual and textual elements that relate obliquely to the enigmatic artist's oeuvre.
Monuments for the USA
Featuring works created by over 60 international artists who were invited by the CCA Wattis Institute for Contemporary Arts to devise plans for a monument for the United States of America. Freed from contextual, budgetary or practical constraints, the proposals reflect each artist's ideas about the type of monument the people of the United States currently need--or deserve. The submitted drawings, diagrams, maquettes, photo collages, written descriptions, or works in other media are all reproduced, along with texts by the artists, in this fully illustrated catalogue. Among the featured artists are Paul Chan, Sam Durant, Hans Haacke, Thomas Hirschhorn, Ilya & Emilia Kabakov, Barbara Kruger, Aleksandra Mir, Paul Noble, Jennifer Pastor, Santiago Sierra, Gary Simmons, Do-Ho Suh, Olav Westphalen and others.
Laura Owens
"This book documents her monumental Ten Paintings exhibition which was on view at CCA Wattis Institute for Contemporary Art from April 28 through July 23, 2016. The exhibition included 10 paintings that were hidden with the wallpaper that covered the entire gallery space along with sound pieces that were programmed to respond to particular questions. When asked "Where are the paintings?" a scream would sound from all 10. The book includes detail and installation shots of the entire exhibition as well as a list of the sound bites that were included."--https://shop.oogaboogastore.com/products/laura-owens-ten-paintings (01/14/2020).
John Armleder and Olivier Mosset
Introduction by Anthony Huberman. Conversation between John Armleder, Oliver Mosset.
Josephine Pryde
lapses in Thinking By the person i Am presents documentation and texts from Josephine Pyde's eponymous exhibition shown at the CCA Wattis Institute for Contemporary Arts, San Francisco, and Institute of Contemporary Art at the University of Pennsylvania. In this body of work, Pryde combines a series of color photographs of hands touching objects with a scale-model freight train and track, replete with miniaturized graffiti, that took visitors in a short ride through the exhibition. Through photography and sculpture, Pryde pays close attention to the nature of image making and the conditions display, subtly reworking codes and conventions to alter our cultural perception and understanding of each. In this book, “The Individual,” an essay by Pryde originally published in the journal Texte zur Kunst, is followed by an essay from CCA Wattis exhibition curator Jamie Stevens and a conversation between Pryde and ICA curator Anthony Elms. Copublished with CCA Wattis Institute for Contemporary Arts, San Francisco; and Institute of Contemporary Art, University of Pennsylvania
Artwork for Bedrooms
None
Way Beyond Art
Historically, galleries and museums have been fertile arenas for graphic designers to practice, whether via printed promotional materials, exhibition catalogs, signage, interactive media, or exhibition design. Wide White Space focuses on graphic designers who create innovative institutional identities, forge unique collaborations with curators, and launch their own exhibition-based initiatives. The installation and exhibition design for Wide White Space aim to take on the challenges inherent in presenting any show on graphic design: how to make it possible for visitors to directly engage with the materials on display; how to gather and present a breadth of historical and contemporary pieces, which take the form of both original physical objects and restaged exhibition projects; and how to speak to both peers within the design community and a broader audience.
Abbas to Yuki
None
The Studio
The evolution of studio—and “post-studio”—practice over the last half century. With the emergence of conceptual art in the mid-1960s, the traditional notion of the studio became at least partly obsolete. Other sites emerged for the generation of art, leading to the idea of “post-studio practice.” But the studio never went away; it was continually reinvented in response to new realities. This collection, expanding on current critical interest in issues of production and situation, looks at the evolution of studio—and “post-studio”—practice over the last half century. In recent decades many artists have turned their studios into offices from which they organize a multiplici...
