Choose an application

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

La pratique diversifiée de Marianne Berenhaut (1934, Bruxelles) refuse d’être cataloguée. Elle s’étend dans toutes les directions, couvrant parfois tragique, lyrisme romantique, côté féministe critique, humour dada et juxtapositions imaginatives dignes du surréalisme...et cela ne cesse de changer. À travers une curieuse combinaison d’images d’exposition, de documents d’archives inédits et d’essais nouvellement commandés, ce livre offre un aperçu des nombreuses vies des œuvres de Marianne Berenhaut. Elle s’écarte du contexte spécifique de son exposition personnelle 'Mine de rien' au CIAP et C-mine à Genk, au tournant 2021 et 2022, pour arriver à des moments et des lieux différents. Qu’il s’agisse d’une tournée avec une troupe de théâtre, d’une assemblée féministe ou d’un parc public, ses œuvres ont toujours été proches de la vie quotidienne, comme si elles revenaient aux lieux mêmes d’où elles sont originaires.

kunst --- 7.071 BERENHAUT --- Berenhaut Marianne --- België --- installaties --- beeldhouwkunst --- assemblages --- assemblage --- twintigste eeuw --- eenentwintigste eeuw --- 705.9 --- kunstenaars --- 20e eeuw (twintigste eeuw) --- 21e eeuw (eenentwintigste eeuw) --- Beeldende kunst --- kunst; algemeen ; beeldende kunst; algemeen ; 21e eeuw --- Berenhaut, Marianne

Choose an application

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

When Marcel Duchamp shipped Constantin Brancusi's sculpture Bird in Space to Edward Steichen in 1926, New York customs officials refused to accept that it was a work of art, instead levying the standard import tariff for a manufactured object. A legal battle ensued, with the courts eventually declaring Bird in Space an artwork and therefore exempt from the tariff. Seventy-eight years later, visitors to Simon Starling's exhibition at New York's Casey Kaplan Gallery were confronted with Staling's own Bird in Space (2004): a two-ton slab of steel from Romania (Brancusi's country of origin) leaning against the gallery wall and propped up on three inflatable cushions. The United States had recently introduced a new import tax of twenty per cent on foreign metals, which Starling circumvented by labelling this unaltered chunk of European steel a work of art. Its plinth of cushioned air not only introduced a second, more representational valance to the work but also brought to bear the traditional sculptural parameters of weight, gravity and balance. Starling's art frequently traffics in deception. It also traffics in traffic, meaning the circulation of goods, knowledge and people (usually the artist himself). Many of his works circle back on themselves, taking an idea on a journey that ends at its point of origin. Wilhelm Noack oHG (2006), for example, is an elaborate helical steel structure designed to loop a thirty-five-millimetre film of the workshop in which it was fabricated. The circuitous path that the film takes through the towering metal structure is the perfect visual metaphor for the work's own circular logic, a self-regulating system that adds up to much more than the sum of its parts. Starling is a key figure in one of contemporary art's most significant recent developments: the linking of artistic practice and knowledge production. Although this tendency flourished with Conceptual art in the 1960s and 1970s, in recent years it has taken on a new intensity. Unlike the Conceptual artists, however, many of whom strove for a language-based dematerialized art, for Starling the object is always at the work's heart. Economies, ecologies, coincidences and convergences are all simply means to an end - although 'simply' may be the wrong word to describe the transformation of thousands of miles of travel and hundreds of years of history into a single sculpture, film or photograph. Starling's other predecessors are the Land artists, such as Robert Smithson, with whom he shares a fascination with entropy and other natural forces. But he is truly an artist of the current age, setting out to understand and illustrate the complex processes through which the natural and human-made realms interact. The five platinum/palladium prints that constitute One Ton (2005) show a single view of a South African platinum mine. Together the five prints contain the precise amount of platinum salts that can be derived from one ton of ore, succinctly illustrating the enormous amount of energy required in the extraction of precious metals.

Starling, Simon, --- Criticism and interpretation. --- 7.039 --- 7.07 --- Beeldende kunst ; 1990-2012 ; Simon Starling --- Beeldhouwkunst ; installaties ; film ; 21ste eeuw --- Conceptuele experimenten --- Omgevingskunst --- Starling, Simon °1967 (°Epsom, Surrey, Groot-Brittannië) --- 7.071 STARLING --- Groot-Brittannië --- beeldhouwkunst --- concept art --- conceptuele kunst --- eenentwintigste eeuw --- film --- fotografie --- kunst --- land art --- twintigste eeuw --- 705.9 --- Starling, Simon --- Kunstgeschiedenis ; 2000 - 2050 --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- kunst; algemeen ; beeldende kunst; algemeen ; 21e eeuw --- kunstgeschiedenis, 21e eeuw --- Starling, Simon, - 1967 --- -Starling, Simon, --- -705.9 --- -Starling, Simon, - 1967 --- -Starling, Simon, - 1967-

Choose an application

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

Once again, women are on the march. And since its inception in the 19th century, the women's movement has harnessed the power of images to transmit messages of social change and equality to the world. From highlighting the posters of the Suffrage Atelier, through the radical art of Judy Chicago and Carrie Mae Weems, to the cutting-edge work of Sethembile Msezane and Andrea Bowers, this comprehensive international survey traces the way feminists have shaped visual arts and media throughout history. Featuring more than 350 works of art, illustration, photography, performance, and graphic design -- along with essays examining the legacy of the radical canon -- this rich volume showcases the vibrancy of the feminist aesthetic over the last 150 years. Featured artists include Beyoncé, Louise Bourgeois, Andrea Bowers, Judy Chicago, Vanessa German, Jenny Holzer, Frida Kahlo, Barbara Kruger, Ana Medieta, Sethembile Msezane, Zanele Muholi, Shirin Neshat, Pussy Riot and many more ...

Sociology of the family. Sociology of sexuality --- Art --- art [fine art] --- feminism --- vrouw in de kunst --- anno 1800-1999 --- anno 2000-2099 --- Femme artiste --- Femme, thème --- Féminisme --- 7.039 --- 7.038 --- Kunst en feminisme --- Vrouwelijke kunstenaars ; 20ste en 21ste eeuw --- Kunstgeschiedenis ; 2000 - 2050 --- Kunstgeschiedenis ; 1900 - 1950 --- 705.8 --- 705.9 --- kunst --- kunstgeschiedenis --- feminisme --- vrouwen --- vrouwelijkheid --- gender --- 20e eeuw --- 21e eeuw --- kunstgeschiedenis, 20e eeuw --- kunst; algemeen ; beeldende kunst; algemeen ; 21e eeuw --- propaganda --- grafische vormgeving --- affiches --- fotografie --- cultuurgeschiedenis --- #breakthecanon --- art [discipline]

Choose an application

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

"The most comprehensive publication exploring the oeuvre of Canadian artist Ian Wallace, At the Intersection of Painting and Photography accompanies a major survey of Wallace's work at the Vancouver Art Gallery, opening in October 2012. Wallace's work has played an important role in contemporary art over the past 50 years, from his early experiments with minimalism to his production of serial photographic tableaux and his subsequent juxtapositions of photography with monochrome painting. Consistently demonstrating conceptual rigour and aesthetic innovation, Wallace's work can be considered a reflection of his position as social historian, critic and educator, with influences as far reaching as film and literature, the role of the institution, architecture, urban development, gender relations, environmentalism and civil disobedience. Organised in clear, concise sections that mirror the intersecting motifs that are present throughout Wallace's practice: Minimalism, Narrative, Text Works, The Street, The Museum and The Studio, At the Intersection of Painting and Photography features essays that chart Wallace's career over the past five decades by Daina Augaitis, Jeff Derksen, Diedrich Diederichsen, Stan Douglas, Jessica Morgan, Christine Poggi, Kathleen Ritter and William Wood. The book also includes a selection of five essays by the artist himself and an annotated chronology by Grant Arnold, providing the perfect introduction to Wallace's lasting career and marking his influence on contemporary art today."--Publisher's website

Photography, Artistic --- Conceptual art --- Photography --- Exhibitions --- Wallace, Ian, --- 705.9 --- conceptuele kunst --- fotografie --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Art, Modern --- Performance art --- Earthworks (Art) --- Sky art --- kunst; algemeen ; beeldende kunst; algemeen ; 21e eeuw --- kunst --- fotografie en schilderkunst --- twintigste eeuw --- eenentwintigste eeuw --- Canada --- Wallace Ian --- 7.071 WALLACE --- Photography, Artistic - Exhibitions --- Conceptual art - Canada - Exhibitions --- Photography - Canada - Exhibitions --- Wallace, Ian, - 1943- - Exhibitions --- Wallace, Ian, - 1943 --- -Conceptual art --- -Wallace, Ian, - 1943 --- -Photography, Artistic --- -Wallace, Ian, - 1943-

Choose an application

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

"Published for MoMA's retrospective exhibition and in collaboration with the artist, this volume presents new critical essays that expand on Piper's practice in ways that have been previously under- or unaddressed. Focused texts by established and emerging scholars assess themes in Piper's work such as the Kantian framework that draws on her extensive philosophical studies; her unique contribution to first-generation conceptual art; the turning point in her work, in the early 1970s, from conceptual works to performance; the connection of her work with her yoga practice; her ongoing exposure of and challenge to xenophobia and sexism; and the relation between prevailing interpretations of her work and the viewers who engender them". Artbook& website (viewed on May 4, 2018)

conceptual artists --- Piper, Adrian --- philosophy --- performance art --- mixed media works --- identity --- typescripts --- art criticism --- gelatin silver prints --- photography [process] --- Conceptual --- stats [copies] --- video art --- painting [image-making] --- Art --- ethnicity --- Piper, Adrian, --- African American women artists --- Conceptual art --- Performance art --- Interactive art --- kunst --- 7.071 PIPER --- racisme --- gender studies --- performance --- performances --- yoga --- concept art --- conceptuele kunst --- kunsttheorie --- filosofie --- Verenigde Staten --- Arts, Modern --- Happenings (Art) --- Performing arts --- Afro-American women artists --- Women artists, African American --- Women artists --- Participatory art --- Social practice (Art) --- Piper, Adrian M. S., --- Criticism and interpretation. --- 700.6 --- performancekunst --- ostracisme --- sociale uitsluitingsmechanismen --- gender --- 705.9 --- genderexpressie --- Kant, Immanuel --- Kantiaans --- beeldende kunst, filosofie, esthetiek en kritiek der beeldende kunst --- kunstgeschiedenis, 21e eeuw --- #breakthecanon --- 7.07 --- Vrouwelijke kunstenaars --- Filosofie ; Immanuel Kant --- Kunst en racisme --- Conceptuele kunst --- Thema's in de kunst ; ras ; gender ; geslacht --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Piper, Adrian, - 1948 --- -African American women artists --- -Piper, Adrian, - 1948 --- -Art --- -Piper, Adrian, - 1948-