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.
Raoul de Keyser
"Often understated, the emotional force of Raoul De Keyser's cryptic and highly lyrical paintings is undeniable. Composed of very basic geometric shapes that hover between abstraction and figuration, many of De Keyser's works seem to hint at forms just out of focus, spaces impossible to inhabit. Their power lies in their ability to suggest through simple gestures, and to compel intense contemplation. Since his death in 2012, De Keyser's stature as a painter has only continued to grow, as has his influence on a younger generation of European painters. Raoul De Keyser: Drift is published on the occasion of the eponymous show at David Zwirner, first presented at the London gallery in November 2...
Al Taylor
None
Raymond Pettibon
An examination of the drawings of this prodigious maverick.
Talking Painting
Each chapter consists of an article about the artist's work, selected by the artist and an interview of the artist by David Ryan.
JEAN-MARC BUSTAMANTE
After working with American photographer and filmmaker William Klein, Bustamante held his first exhibition in 1982 and met the sculptor Bazile. They collaborated for three years, which lead Bustamante to experiment with other media. He advocates a reciprocal relationship between artist and spectator, in which both parties engage in the aesthetic definition of a piece. He rejects notions of documentary and fixed aesthetics, relying instead on the fluid and meditative nature of art. Bustamante is internationally acclaimed; his work has been exhibited at the Tate Gallery, the Jeu de Paume, and the Documenta. In 2003, Bustamante represented France at the 50th Venice Biennial.
Print/out
Catalog of an exhibition held at The Museum of Modern Art, New York, Feb. 19-May 14, 2012.
Stereophonica
Episodes in the transformation of our understanding of sound and space, from binaural listening in the nineteenth century to contemporary sound art. The relationship between sound and space has become central to both creative practices in music and sound art and contemporary scholarship on sound. Entire subfields have emerged in connection to the spatial aspects of sound, from spatial audio and sound installation to acoustic ecology and soundscape studies. But how did our understanding of sound become spatial? In Stereophonica, Gascia Ouzounian examines a series of historical episodes that transformed ideas of sound and space, from the advent of stereo technologies in the nineteenth century ...
Model
None
Virtual Photography
While it has traditionally been seen as a means of documenting an external reality or expressing an internal feeling, photography is now capable of actualizing never-existed pasts and never-lived experiences. Thanks to the latest photographic technologies, we can now take photos in computer games, interpolate them in extended reality platforms, or synthesize them via artificial intelligence. To account for the most recent shifts in conceptualizations of photography, this book proposes the term virtual photography as a binding theoretical framework, defined as a photography that retains the efficiency and function of real photography (made with or without a camera) while manifesting these in an unfamiliar or noncustomary form.
A Class of Their Own
The pioneer group of the Düsseldorf School The ‘Düsseldorf School’ has become a household name in the art world for one of the most successful and influential strains of modern photography. Coined in the late 1980s, the name refers mainly to the pioneer group of students of the late Bernd Becher, who in 1976 became the first professor for creative photography at a German arts academy. His students included Andreas Gursky, Candida Höfer, Axel Hütte, Thomas Ruff, and Thomas Struth, all of them today internationally acclaimed artists in their own right. Whereas ‘Düsseldorf School’ initially was used as a handy term for a group of artists with the same university’s background, it quickly turned into a powerful brand name both in critical and commercial contexts. Despite its welcomed impact on the art scene, the members of the ‘School’ felt rather ambiguous about their perception as a group which turned them into stars but simultaneously risked levelling individual profiles and differences. What exactly connects and distinguishes them aesthetically is for the first time thoroughly explored in Maren Polte’s pioneering study.
