Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Le Corbusier designed the Philips Pavilion for the World’s Fair in Brussels in 1958. It is his only building for a Dutch client. The unconventional pavilion was the setting for the experimental performance Le poème électronique. Using film, light, colour, space and music, and seen by one and a half million visitors, this event is regarded as the first multimedia performance for the general public. After its demolition in 1959, the pavilion became an icon of the twentieth century. The Rijksmuseum has a scale model of the pavilion and the soundtrack of Le poème électronique. EYE Filmmuseum keeps the film footage of the performance. The book is the complete overview of the Philips Pavilion. It also reproduces the total experience produced by Le poème électronique. One visitor to the performance eloquently described the experience as ‘like an ant in a hurricane’.

performance art --- Multidisciplinary organizations --- world's fairs --- exhibition buildings --- Corbusier, Le --- anno 1950-1959 --- Brussels --- Architecture --- History --- Histoire --- Le Corbusier, --- Expo (International Exhibitions Bureau) --- Buildings, structures, etc. --- Exposition internationale --- België --- Brussel --- Expo 1958 --- 725.91 --- Le Corbusier --- Tentoonstellingsgebouwen --- Paviljoenen (architectuur) --- World's fairs --- Phillips Pavilion (Expo '58) --- Exposition universelle et internationale --- World's fairs. --- Phillips Pavilion (Expo '58). --- Corbusier, le --- Multidisciplinaire organisaties --- wereldtentoonstellingen --- performances [live] --- tentoonstellingsgebouwen --- Wereldtentoonstelling--Brussel (1958) --- 900.5 --- Jeanneret, Charles-Edouard --- Le Corbusier-Saugnier --- world's fairs [exhibitions] --- architectuur, België

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Discussions of the object as a key to understanding central aspects of modern and contemporary art. Artists increasingly refer to “post-object-based” work while theorists engage with material artifacts in culture. A focus on “object-based” learning treats objects as vectors for dialogue across disciplines. Virtual imaging enables the object to be abstracted or circumvented, while immaterial forms of labor challenge materialist theories. This anthology surveys such reappraisals of what constitutes the “objectness” of production, with art as its focus. Among the topics it examines are the relation of the object to subjectivity; distinctions between objects and things; the significance of the object's transition from inert mass to tool or artifact; and the meanings of the everyday in the found object, repetition in the replicated or multiple object, loss in the absent object, and abjection in the formless or degraded object. It also explores artistic positions that are anti-object; theories of the experimental, liminal or mental object; and the role of objects in performance. The object becomes a prism through which to reread contemporary art and better understand its recent past.

art criticism --- performance art --- assemblages [sculpture] --- found objects --- theme --- philosophy of art --- kunstbeschouwing --- sculpture [visual work] --- thema's in de kunst --- Art --- Object (Aesthetics) --- kunst --- twintigste eeuw --- eenentwintigste eeuw --- Wurm Erwin --- Watier Eric --- Tuerlinckx Joëlle --- Szapocznikow Alina --- Strau Josef --- Song Dong --- Snelson Kenneth --- Schneider Gregor --- Samb Issa --- Pisano Falke --- Piper Adrian --- Palmer Katrina --- Orozco Gabriel --- Oiticica Hélio --- Metzger Gustav --- McCollum Allan --- Levine Sherrie --- Latham John --- Kelley Mike --- Hesse Eva --- Gruppe Geflecht --- Genzken Isa --- General idea --- Weiss David --- Fischli Peter --- Durham Jimmie --- Collier Brian D. --- 7.038/039 --- 7.01 --- Closky Claude --- Clark Lygia --- Broodthaers Marcel --- Bourgeois Louise --- Baxter Iain --- Art in ruins --- Absalon --- objecten --- objet trouvé --- kunsttheorie --- Aesthetics, European --- Art, theory --- Kunst ; theorie, filosofie, esthetica --- sculpture [visual works] --- Kunsttheorie ; kunst en object --- Objectkunst --- Objet trouvé --- Appropriaton Art --- Object (Aesthetics). --- Collier Brian D --- Aesthetic object --- Aesthetics --- Iconographie --- Art contemporain --- Processus de création --- Création artistique --- Objet usuel --- Objet d'art --- Objet symbolique --- Performance --- Kunst --- beeldhouwwerken [beeldmateriaal] --- assemblages [beeldhouwwerken] --- performances [live] --- kunstkritiek --- thema --- kunstfilosofie --- Art conceptuel --- Rythme --- Simulation --- Processus de conception --- Modélisation

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Adrian Piper has consistently produced groundbreaking work that has profoundly shaped the form and content of conceptual art since the 1960s. Strongly inflected by her longstanding involvement with philosophy and yoga, her pioneering investigations into the political, social, psychological and spiritual potential of conceptual art have had an incalculable influence on artists working today. Published in conjunction with the most comprehensive exhibition of her work to date, this catalog presents more than 280 artworks that encompass the full range of Piper's mediums: works on paper, video, multimedia installation, performance, painting, sound and photo-texts. Essays by curators and scholars examine her extensive research into altered states of consciousness; the introduction of the Mythic Being - her subversive masculine alter-ego; her media and installation works from after 1980, which reveal and challenge stereotypes of race and gender; and the global conditions that illuminate the significance of her art. Previously unpublished texts by the artist lay out significant events in her personal history and her deeply felt ideas about the relationship between viewer and art object. This publication expands our understanding of the conceptual and post-conceptual art movements and Piper's pivotal position among her peers and for later generations."--

Piper, Adrian --- conceptual artists --- video art --- identity --- Post-Conceptual --- dolls --- philosophy --- mixed media --- photography [process] --- Art --- drugs --- performance art --- race [group of people] --- ethnic groups --- newspapers --- gelatin silver prints --- typescripts --- Conceptual --- drawings [visual works] --- easel paintings [paintings by form] --- ART / General. --- African American women artists --- African American women artists. --- Art and Design. --- Art and philosophy --- Art and philosophy. --- Art, Modern --- Art, Modern. --- Conceptual art --- Conceptual art. --- Ethnicity in art --- Ethnicity in art. --- Identity (Psychology) in art --- Identity (Psychology) in art. --- Other (Philosophy) in art --- Other (Philosophy) in art. --- Race in art --- Race in art. --- Self (Philosophy) in art --- Self (Philosophy) in art. --- Themes, motives. --- Words in art --- Words in art. --- Piper, Adrian, --- Criticism and interpretation. --- 1900-2099. --- New York (State). --- United States. --- Kunst --- kranten --- typoscripten --- tekeningen --- fotografie --- filosofie --- videokunst [kunstwerken] --- Post-Conceptueel --- performances [live] --- gelatinezilverdrukken --- gemengde media --- schilderijen --- etnische groepen --- poppen --- ras [begrip] --- identiteit --- conceptueel --- dolls [figurines] --- #breakthecanon --- Femmes artistes --- Art conceptuel --- Art vidéo --- Installations (art) --- Art de performance --- Art multimédia. --- Exhibitions. --- kunst --- 7.071 PIPER --- racisme --- gender studies --- performance --- performances --- yoga --- concept art --- conceptuele kunst --- kunsttheorie --- Verenigde Staten --- Afro-American women artists --- Women artists, African American --- Women artists --- Philosophy and art --- Philosophy --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Performance art --- Earthworks (Art) --- Sky art --- Piper, Adrian M. S., --- Exhibitions --- 705.9 --- gender --- genderexpressie --- performancekunst --- ostracisme --- sociale uitsluitingsmechanismen --- tentoonstellingscatalogus --- MoMA (Museum of Modern Art) --- kunstgeschiedenis, 21e eeuw --- paintings [visual works]