A sweeping cross-media survey of Ruscha's six-decade career, from paintings and works on paper to photographs and artist's books, with essays by leading scholars.
Spanning 65 years of Ed Ruscha's remarkable career and mirroring his own cross-disciplinary approach, Ed Ruscha / Now Then features over 250 objects, produced from 1958 to the present, including paintings, drawings, prints, films, photographs, artist's books and installations. Published to accompany the most comprehensive presentation of the artist's work to date, and his first solo exhibition at the Museum of Modern Art, New York, this richly illustrated catalog highlights Ruscha's most acclaimed works alongside lesser-known aspects of his practice.
Essays by an interdisciplinary group of contributors examine Ruscha's work under a new light, beyond the categories of Pop and Conceptual art with which he has traditionally been associated, to present fresh perspectives on one of the most influential figures in postwar American art. Taken together, they underscore Ruscha's singular contributions, including his material exploration of language, experiments with unconventional mediums?such as gunpowder, chocolate or chewing tobacco?and his groundbreaking self-published books. Supplemented by an illustrated chronology and exhibition history, this publication captures the ceaseless reinvention that has defined his prolific, six-decade career.
Gardens have always been places of leisure, pleasure, and production - they reflect identities, dreams, and visions. Deeply rooted in their culture, gardens have immense symbolic potential.
The recent revival of horticulture has focused less on the garden as a romantic refuge than as a place where we imagine the future and develop solutions. Urban farms, vertical gardens, and other innovative projects in art, architecture, and urban planning demonstrate that the present return to the garden is no timid retreat, but a pioneering quest for a world in which social and ecological justice count for something.
Garden Futures examines what gardens and their design reveal about our relationship to nature. In exploring the history of ideas behind the genesis of the modern garden, the book takes a close look at the present, goes in search of origins in the past, and builds bridges into the future. Stunning photographs illustrate ground-breaking gardens by such designers as Derek Jarman and Piet Oudolf while critical articles by well-known authors question conventional garden ideals. Authors and gardeners including Gilles Clement and Jamaica Kincaid present the garden as a place of learning where abstract concepts like ecology, climate change, and food insecurity are translated into things you can smell, touch, and taste. Daisy Ginsberg, Salmon Creek Farm, and EcoLogic Studio create experimental and speculative projects generating new attitudes and approaches.
The fourth edition of the essential introduction to digital art, one of contemporary art's most exciting and dynamic forms of practice.
This new edition of Christiane Paul's acclaimed book investigates key areas of digital art practice that have gained in prominence in recent years, including the emergence and impact of location-based media, interactive public installation, augmentive and mixed reality, social networking and file-sharing and tablet technologies. It explores themes raised by digital artworks, such as viewer interaction, artificial life and intelligence, political and social activism, networks and telepresence, and issues surrounding the collection, presentation and preservation of digital art. It also looks at the impact of digital techniques and media on traditional forms of art such as printing, painting, photography and sculpture, as well as exploring the ways in which entirely new forms such as internet and software art, digital installation and virtual reality have emerged as recognized artistic practices.
Hackers, scholars, artists and activists of all regions, races and sexual orientations consider how humans might reconstruct themselves by way of technology.
When learning about internet history, we are taught to focus on engineering, the military-industrial complex and the grandfathers who created the architecture and protocol, but the internet is not only a network of cables, servers and computers. It is an environment that shapes and is shaped by its inhabitants and their use.
The creation and use of the Cyberfeminism Index is a social and political act. It takes the name cyberfeminism as an umbrella, complicates it and pushes it into plain sight. Edited by designer, professor and researcher Mindy Seu (who began the project during a fellowship at the Harvard Law School's Berkman Klein Center for the Internet & Society, later presenting it at the New Museum), it includes more than 1,000 short entries of radical techno-critical activism in a variety of media, including excerpts from academic articles and scholarly texts; descriptions of hackerspaces, digital rights activist groups, bio-hacktivism; and depictions of feminist net art and new media art.
Contributors include: Skawennati, Charlotte Web, Melanie Hoff, Constanza Pina, Melissa Aguilar, Cornelia Sollfrank, Paola Ricaurte Quijano, Mary Maggic, Neema Githere, Helen Hester, Annie Goh, VNS Matrix, Klau Chinche / Klau Kinky and Irina Aristarkhova.
Tout ce qu'on tait on sait fait état de recherches sur les mécanismes d'invisibilisation des précarités et des savoirs militants. Il enquête sur ce que révèlent nos silences et non-dits. En donnant la parole à plusieurs chercheuses, militantes et collectives, l'objectif de ce volume est de donner à entendre des paroles tues, des histoires oubliées, des luttes invisibles et ainsi de proposer des alternatives par la construction de récits communs.
Premier volume du catalogue raisonné des peintures et sculptures d'Ellsworth Kelly. Largement documenté, cet ouvrage présente les premiers travaux de l'artiste, alors élève aux Beaux Arts de Boston, ainsi que ses premiers travaux abstraits réalisés au retour d'un voyage à Paris.
Documenta fifteen is no ordinary art exhibition. Envisioned under the guiding concept of lumbung, the Indonesian collective ruangrupa is less concerned with individual works than with models of collaborative practice. The Handbook offers insights and orientation to the processes that evolved in the creation of the exhibition. A comprehensive resource both for visitors of documenta in Kassel as well as people interested in collective practices, this Handbook presents all documenta fifteen collectives and artists through profiles by international authors familiar with their different artistic practices and cultural contexts. Using the pivotal question of "what is lumbung?" as a vantage point, the book is an introduction to the mindset and cultural background of documenta fifteen, featuring numerous documents and photographs that trace the collectives' working process. A chapter gathering all of the show's locations and venues in Kassel as well as a large fold-out city map and an introduction to the exhibition's "Public Program" will prove to be especially useful for all visitors.
As part of documenta fifteen, ruangrupa publishes two issues of a magazine, "majalah," in Indonesia exploring the exhibition's pivotal concept-working collectively. lumbung, which directly translates to "rice barn," refers to a collectively governed building where a community's harvest is gathered, stored, and distributed according to jointly determined criteria as a pooled resource for the future, but is also understood in a broader sense as a way of working and living together. The two issues - Harvesting and Sharing - combined here in one volume, explore the implications of sharing resources for the collective wellbeing. Featuring short stories and features by leading journalists, researchers, and writers from Indonesia, Majalah lumbung touches on themes such as cosmology, food, and architecture, providing a contextualized foundation for documenta fifteen.
L'exposition « DEBOUT ! » est une proposition de la Collection Pinault qui se déploie en deux lieux réunis en un seul parcours. Au couvent des Jacobins, les oeuvres témoignent de la perception qu'ont les artistes des violences de l'histoire humaine et de la difficulté du destin individuel.
L'être humain est marqué par cette histoire, ces histoires, et l'art nous permet de ressentir, de percevoir, mais aussi d'élaborer nos réactions et de s'en distancier. Chacune des oeuvres illustre soit un état de guerre, de destruction, de violence, soit des figures qui sont comme traversées par ces histoires. Mais en les contemplant, on comprend qu'il est toujours possible de se dresser et d'agir, de garder le sens de l'humour, d'être debout. D'où le titre de l'exposition qui exprime cette qualité humaine de pouvoir résister à (presque) tout.
Le parcours évoque l'immigration, les conditions de travail, la colonisation. Les oeuvres évoquent les transformations imposées par le xxe siècle. Qu'en avons-nous retenu ? Avons-nous réussi à changer quelque chose ? En contrepoint du parcours présenté au couvent des Jacobins, Tatiana Trouvé propose au musée des Beaux-Arts une installation particulière autour de ses dessins de la série « Les Dessouvenus ». Cette expression bretonne désigne les personnes qui ont perdu la mémoire. L'infirmité individuelle est ici évoquée, et nous entrons dans une forêt aux multiples signes. Pour cette artiste, dessiner s'apparente à un retour sur les lieux de la pensée mais aussi à une projection de la pensée.
Dernier né de la collection de livres/CD Zagzig, aux éditions Dis Voir, CROSSFADING est une expérience sonore inédite réalisée dans le cadre d'une installation de l'artiste Loris Gréaud lors de séances participatives qu'il organise depuis cinq ans dans différents musées à travers le monde.
Conçue pour un système de diffusion sonore binaural - procédé découvert par Heinrich Wilhelm Dove en 1839 - cette installation consiste à envoyer dans chaque oreille, à l'aide d'un casque, des fréquences très proches les unes des autres créant un battement à même de générer des ondes Alpha. Ces ondes caractérisent un état de conscience apaisé, et sont principalement émises lorsque le sujet a les yeux fermés. Elles surviennent lors d'état méditatifs, notamment au moment de l'endormissement de sorte que l'esprit reste éveillé mais le corps endormi comme dans un état de relaxation et de méditation profondes.
CROSSFADING joue donc de ce phénomène perceptif pour conduire progressivement l'auditeur au seuil de l'endormissement et lui permettre d'accéder à des rêves éveillés et à des hallucinations tant auditives que visuelles.
CROSSFADING, est un livre d'artiste qui inclut le CD de l'enregistrement live de la dernière installation de la pièce sonore présentée au Whitney Museum à New York. Il donne aussi à voir l'IRM des hémisphères cérébraux de l'artiste sollicités au cours de l'écoute de cette expérience rare.
CROSSFADING propose ainsi une expérimentation artistique comme vaste entreprise pour « endormir le monde » visant à un état de conscience insoupçonné où chaque auditeur/lecteur est invité à explorer les confins de sa propre psyché.
Détendez-vous et, pour un effet optimum, faites un essai d'écoute binaurale au casque pour une expérience littéralement sensationnelle !Détendez-vous et faites un essai d'écoute binaurale au casque pour un effet optimum !
Il s'agit du cinquième volume de l'impression en fac-similé en 11 volumes du projet Private Book de Lee Lozano par Karma. Onze de ces livres subsistent, contenant des notes sur le travail cette artiste conceptuelle américaine, des échanges détaillés avec des amis artistes et ses réflexions sur les aliénations de la politique de genre, des questions sur le rôle de l'art dans la société et des aspects humoristiques liés à sa vie quotidienne.
Bowling's transition to abstraction, seen against the backdrop of 1960s-'70s debates on abstract art and the Black Arts movement.
"Modernism belonged to me also." So resolved the British Guiana-born artist Frank Bowling in 1966, when he moved from his temporary home base of London to New York City, keen to make his mark on modern painting. This volume surveys for the first time the transformative years that Bowling spent in the US from 1966 through 1975, a chapter of extraordinary productivity and artistic growth that would greatly shape his thinking and practice.
Bowling's relocation to New York brought him into contact with an art scene in flux, with abstract painting on the rise and vigorous debates unfolding around Black cultural identity and artistic practice. Bowling participated in this scene in broad and deep ways, from his unique vantage point as an emigre twice over: exhibiting widely, writing for art magazines, engaging peers in dialogue and, in 1969, organizing 5+1, an exhibition of five leading African American abstract artists plus himself. During these years, his own work explored the tension between representational imagery and fields of color, ultimately moving toward full abstraction.
Frank Bowling's Americas assembles more than 30 paintings--many rarely seen--from this critical period, and places them in the context of both Bowling's own artistic trajectory and the New York art scene at a time of aesthetic and racial reckoning. Offering magnificent reproductions of these vibrant, multifaceted works, accompanied by curatorial essays and statements by contemporary artists, this book invites new understanding of an artist whose work has remained always in motion.
Born in British Guiana in 1934, Frank Bowling arrived in London in 1953, graduating from the Royal College of Art in 1962. By the early 1960s, he was recognized as an original force in London's art scene. After moving to New York in 1966, Bowling shifted away from figurative imagery. He returned to London in 1975 but continued to spend significant periods in New York. Bowling was awarded a knighthood in 2020. He is the subject of a BBC documentary, Frank Bowling's Abstract World.
The meticulously researched projects of British artist Ryan Gander (born 1976), realized in a gamut of media, have included such conceptual gestures as an invented word, a chess set, a television script and a children's book. This substantial volume surveys his diverse oeuvr
Selections from the Pinault Collection that reflect the transcendental power of artistic imagery.
This volume accompanies an exhibition composed of works selected from the Pinault Collection that reflect the power of images in an artistic context. Artists include: Josef Albers, Maurizio Cattelan, Arthur Jafa, Donald Judd, Camille Norment, Lygia Pape and Dayanita Singh.
Bien que guidée conceptuellement par des protocoles expérimentaux qu'elle met en oeuvre avec grande précision, la démarche artistique d :Edith Dekyndt débouche sur l'observation troublante de phénomènes physiques en train de se produire devant nos yeux, voire pour certains, dans nos yeux.
A l'instar de la science-fiction qui produit du surnaturel à partir du rationnel, le" fabuleux ou l'étrange ne provient plus d'un esprit superstitieux, comme à l'époque des contes merveilleux ou fantastiques, mais de la vision lucide d'un monde dont la réalité percée à jour par les sciences dépasse désormais la fiction. Des forces universelles comme la gravité ou le magnétisme et des intensités aussi vitales que la chaleur ou la lumière sont rendues à leurs dimensions extraordinaires d'existences cosmiques, là où l'investigation scientifique poussée à l'extrême devient .soudainement voyage métaphysique C'est que mesurer l'univers revient enfin de compte à se mesurer à lui, ses limites étant d'abord celles de notre perception et de notre conscience.
Malgré les inévitables références à l'ère technologique et les recours fréquents aux appareils enregistreurs photo, vidéo, magnéto), l'oeuvre volontairement low-tech d'Edith Dekyndt demeure ainsi humaniste, au sens où son enjeu est moins l'invention utopiste d'un autre inonde que l'inventaire concret des merveilles d'ici-bas. Confirmant le filait que les matériaux artistiques ne sont pas des idées mais des sensations.
Edith Dekyndt parvient à penser notre environnement de terrien en se détournant du ciel suprasensible de la philosophie ou de l'idéologie, au profit du monde, même infra-sensible ou souterrain, des choses qui sont cachées mais demeurent paradoxalement visibles. C'est qu'il nous arrive encore, malgré notre arsenal technologique, de regarder sans voir; ou à cause de celui-ci, de ressembler à cet idiot du conte chinois qui regarde le doigt en train de lui désigner la lune.
