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Illustrated critical essays on the work of artist James Coleman.James Coleman has emerged in recent years as one of the most important artists of visual postmodernism. His work has transformed critical debates about the status of the image in contemporary culture and influenced an entire generation of younger artists in ways that have not yet been fully acknowledged. Until recently, Coleman has enjoyed relatively little critical attention--in part because of his refusal to comment on his projects or to allow his work to be reconstructed outside of the context of its exhibition.The illustrated essays in this book span the entirety of Coleman's career to date, from his early postminimal and conceptual experiments with memory and perception, through his work in film, video, and narrative in the 1980s, to his current ongoing series of slide projections with voice-over that he calls simply "projected images." Reflecting the interdisciplinary nature of the debates induced by Coleman's work, the essays discuss issues of subjectivity and identity, nationalism, postcolonialism, memory, spectacle culture, digitalization, and new media. The contributors are Raymond Bellour, Benjamin Buchloh, Lynne Cooke, Jean Fisher, Luke Gibbons, Rosalind Krauss, Anne Rorimer, and Kaja Silverman. Written by curators, critics, and scholars and spanning the fields of art history, literary criticism, philosophy, and film theory, the essays attest to the interdisciplinary challenge of Coleman's work.
Conceptual art --- Coleman, James, --- Criticism and interpretation. --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Art, Modern --- Performance art --- Earthworks (Art) --- Sky art --- ARTS/General
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What is conceptual art? Is it really a kind of art in its own right? Is it clever - or too clever?Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges the very basis of what we can know about art, as well as our received ideas of beauty; and why conceptual art requires us to
Conceptual art. --- Aesthetics --- Art --- Conceptual art --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Art, Modern --- Performance art --- Earthworks (Art) --- Sky art --- Beautiful, The --- Beauty --- Art and philosophy --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Criticism --- Literature --- Proportion --- Symmetry --- Analysis, interpretation, appreciation --- Psychology --- Aesthetics of art --- anno 1900-1999 --- Aesthetics. --- Philosophy. --- Radio broadcasting Aesthetics --- Art - Philosophy. --- Art -- Philosophy.
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14 prominent analytic philosophers engage with philosophical puzzles raised by conceptual art: What kind of art is conceptual art? What follows from the fact that conceptual art does not aim to have aesthetic value? What knowledge or understanding can we gain from conceptual art? How ought we to appreciate conceptual art?
Aesthetics. --- Art and philosophy. --- Art --- Conceptual art. --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Art, Modern --- Performance art --- Earthworks (Art) --- Sky art --- Beautiful, The --- Beauty --- Aesthetics --- Art and philosophy --- Philosophy and art --- Philosophy --- Esthetics --- Taste (Aesthetics) --- Criticism --- Literature --- Proportion --- Symmetry --- Philosophy. --- Analysis, interpretation, appreciation --- Psychology --- Radio broadcasting Aesthetics
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Conceptual art --- Installations (Art) --- Multimedia (Art) --- Multi media (Art) --- Arts --- Installation art --- Art, Modern --- Environment (Art) --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Performance art --- Earthworks (Art) --- Sky art --- Almeida, Neville d' --- Oiticica, Helio, --- Oiticica, Hélio, --- D' Almeida, Neville --- De Almeida, Neville --- Criticism and interpretation.
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This book examines the use of image/text juxtapositions in conceptual art as a critical strategy to challenge the ideological and institutional demands placed on art. While conceptual art is generally identified by its use of language, its analysis should make clear how exactly language was used. In particular, this book asks: how has the presence of language in a visual art context changed the ways art is talked about, theorized and produced? Image and Text in Conceptual Art demonstrates how artworks communicate in context and evaluates their critical potential. It considers international case studies and draws interdisciplinary resources from art history and theory, philosophy, discourse analysis, social semiotics, and literary criticism. It presents three analytic frameworks that engage art’s critical and social dimensions: the work’s performative gesture, its logico-semantic relations, and the rhetorical operations in the discursive creation of meaning, and offers a comprehensive method of analysis that can be applied beyond conceptual art.
Writing in art. --- Conceptual art. --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Art, Modern --- Performance art --- Earthworks (Art) --- Sky art --- Communication. --- Fine arts. --- United States-Study and teaching. --- Ethnology-Europe. --- Ethnology-Latin America. --- Media and Communication. --- Fine Arts. --- American Culture. --- British Culture. --- Latin American Culture. --- Communication, Primitive --- Mass communication --- Sociology --- United States—Study and teaching. --- Ethnology—Europe. --- Ethnology—Latin America.
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On July 9, 1975, Dutch-born artist Bas Jan Ader set sail from Chatham, Massachusetts, on a thirteen-foot sailboat. He was bound for Falmouth, England, on the second leg of a three-part piece titled In Search of the Miraculous. The damaged boat was found south of the western tip of Ireland nearly a year later. Ader was never seen again. Since his untimely death, Ader has achieved mythic status in the art world as a figure literally willing to die for his art. Considering the artist's legacy and concise oeuvre beyond the romantic and tragic associations that accompany his peculiar end, Alexander Dumbadze resituates Ader's art and life within the conceptual art world of Los Angeles in the early 1970s and offers a nuanced argument about artistic subjectivity that explains Ader's tremendous relevance to contemporary art. Bas Jan Ader blends biography, theoretical reflection, and archival research to draw a detailed picture of the world in which Ader's work was rooted: a vibrant international art scene populated with peers such as Ger van Elk, William Leavitt, and Allen Ruppersberg. Dumbadze looks closely at Ader's engagement with questions of free will and his ultimate success in creating art untainted by mediation. The first in-depth study of this enigmatic conceptual artist, Bas Jan Ader is a thoughtful reflection on the necessity of the creative act and its inescapable relation to death.
Ader, Bas Jan --- Artists --- 7.071 ADER --- Ader Bas Jan --- concept art --- conceptuele kunst --- fotografie --- installaties --- kunst --- Los Angeles --- Nederland --- performances --- twintigste eeuw --- Verenigde Staten --- Persons --- Ader, Bas Jan, --- art, artwork, artistic, artist, sailboat, sailing, 1970s, new england, missing person, mystery, mysterious, disappearance, myth, folklore, urban legend, end of life, legacy, oeuvre, romantic, tragic, los angeles, subjectivity, contemporary, biography, biographical, theory, criticism, ger van elk, william leavitt, allen ruppersberg, creative, creativity, university, college, academic, scholarly, research, conceptual, historical, famous, well known.
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This title presents a short history of artworks at risk of passing unnoticed because they look like trash, or are little more than commonplace objects and fleeting gestures that disappear into the fabric of everyday life.
Unsicherheit --- Kunst --- Art, Modern. --- Conceptual art. --- Art, Modern --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Performance art --- Earthworks (Art) --- Sky art --- Modern art --- Nieuwe Ploeg (Group of artists) --- Contemporary art --- Modernism (Art) --- Affichistes (Group of artists) --- Fluxus (Group of artists) --- Schule der Neuen Prächtigkeit (Group of artists) --- Zero (Group of artists) --- Bildende Kunst --- Kunstdenkmal --- Künste --- Kunstwerk --- Unvollkommene Information --- Partielle Information --- Ungewissheit --- Künste --- Assemblage. --- Dematerialisation. --- Deskilling. --- Everyday. --- Failure. --- Nothing. --- Precariousness. --- Precarity. --- Slackers. --- Zen Buddhism.
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By the early 1960s, theorists like Lévi-Strauss, Lacan, Foucault, and Barthes had created a world ruled by signifying structures and pictured through the grids of language, information, and systems. Artists soon followed, turning to language and its related forms to devise a new, conceptual approach to art making. Examining the ways in which artists shared the structuralist devotion to systems of many sorts, Systems We Have Loved shows that even as structuralism encouraged the advent of conceptual art, it also raised intractable problems that artists were forced to confront. Considering such notable art figures as Mary Kelly, Robert Morris, Robert Smithson, and Rosalind Krauss, Eve Meltzer argues that during this period the visual arts depicted and tested the far-reaching claims about subjectivity espoused by theorists. She offers a new way of framing two of the twentieth century's most transformative movements-one artistic, one expansively theoretical-and she reveals their shared dream-or nightmare-of the world as a system of signs. By endorsing this view, Meltzer proposes, these artists drew attention to the fictions and limitations of this dream, even as they risked getting caught in the very systems they had adopted. The first book to describe art's embrace of the world as an information system, Systems We Have Loved breathes new life into the study of conceptual art.
Conceptual art. --- Structuralism. --- Structure (Philosophy) --- Philosophy --- Whole and parts (Philosophy) --- Form (Philosophy) --- Poststructuralism --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Art, Modern --- Performance art --- Earthworks (Art) --- Sky art --- art, artistic, artist, affect, humanism, antihumanist, visual studies, culture, cultural, 1960s, theories, theoretical, theorists, levi strauss, lacan, foucault, barthes, language, information, systems, linguistics, linguists, structuralist, interdisciplinary, structuralism, mary kelly, robert morris, smithson, rosalind krauss, signs, conceptual.
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The artistic tradition that emerged as a form of cultural resistance in the 1970s changed during the transition from socialism to capitalism. This study presents the evolution of the Moscow-based conceptual artist group called Collective Actions, as an example of the transformations that took place in Eastern European art after the fall of the Berlin Wall. Eşanu additionally introduces Moscow Conceptualism with a close examination of the group’s ten-volume publication Journeys Outside the City and the Dictionary of Moscow Conceptualism.
20e siècle (fin). --- Art conceptuel --- Art conceptuel. --- Art de performance --- Art de performance. --- Conceptual art --- Conceptual art. --- Performance art --- Performance art. --- Kollektivnye deĭstvii͡a (Groupe artistique). --- Moscou (Russie). --- Russia (Federation) --- URSS. --- Arts, Modern --- Happenings (Art) --- Performing arts --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Art, Modern --- Earthworks (Art) --- Sky art --- Kollektivnye deĭstvii͡a (Group of artists) --- Коллективные действия (Group of artists) --- KD (Group of artists) --- Collective Actions (Group of artists) --- E-books --- Communism, Conceptual art, Late 20th century, Moscow, Russia, Soviet Union, Transition.
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One of the most important movements in twenty-first century literature is the emergence of conceptual writing. By knowingly drawing on the histories of art and literature, conceptual writing upended traditional categorical conventions. Postscript is the first collection of writings on the subject of conceptual writing by a diverse field of scholars in the realms of art, literature, media, as well as the artists themselves. Using new and old technology, and textual and visual modes including appropriation, transcription, translation, redaction, and repetition, the contributors actively challenge the existing scholarship on conceptual art. Rather than segregating the work of visual artists from that of writers we are shown the ways in which conceptual art is, and remains, a mutually supportive interaction between the arts.
Art and literature. --- Literature, Experimental. --- Conceptual art. --- Conceptualism. --- Written communication. --- Written discourse --- Written language --- Communication --- Discourse analysis --- Language and languages --- Visual communication --- Nominalism --- Realism --- Scholasticism --- Universals (Philosophy) --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Art, Modern --- Performance art --- Earthworks (Art) --- Sky art --- Avant-garde literature --- Experimental literature --- Avant-garde (Aesthetics) --- Modernism (Literature) --- Literary style --- Literature and art --- Literature and painting --- Literature and sculpture --- Painting and literature --- Sculpture and literature --- Aesthetics --- Literature --- kunst --- litteratur --- konseptkunst --- eksperimentell skriving --- skrivekunst --- kommunikasjon
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