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Die Körperhaftigkeit der Werkzeichnungen (1963-1975) von Franz Erhard Walther und ihre Bedeutung für Walthers Gesamtwerk wurde vielfach unterschätzt. Lucia Schreyer nimmt sich dieser Blätter an, in denen Sprache und Bild ineinandergreifen und die auf Erlebnissen und Vorstellungen im Kontext der Werkstücke des 1. Werksatzes (1963-1969) beruhen. Dabei zeichnet sie ihre spannungsreiche Entwicklungsgeschichte zwischen Zensur und Emanzipation im ideologischen Zeitgeist der Konzeptkunst nach und stellt fest: Ihre Ambivalenz und Resistenz gegenüber tradierten Kunstformen steht für eine autonome künstlerische Sprache, in der die dialektische Verbindung von Gegensätzen gedacht wird.
Art --- History. --- Agency. --- Art History of the 20th Century. --- Art History. --- Art. --- Concept Art. --- Drawing. --- European Art. --- Fine Arts. --- Image. --- Imagination. --- Participation. --- Sculpture.
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"A path along the floor, of proportions 1x21 units, photographed. Photographs printed actual size of objects and prints attached to the floor so that images are perfectly congruent with their objects." With these words of instruction, typed on a humble card in 1967, Victor Burgin conceived one of the most profound and remarkable works of photographic art. Each time it was exhibited, it had to be made anew, unique to its setting. Embracing Minimal and Conceptual art, performance and site-specific installation, there is no other artwork like Photopath. In his characteristically analytical and associative manner, writer and curator David Campany takes the reader through the history and implications of Photopath, and their place in the breadth of Victor Burgin's art and theoretical writings.
Conceptual art --- Photography, Artistic --- Burgin, Victor --- Criticism and interpretation. --- Artistic photography --- Photography --- Photography, Pictorial --- Pictorial photography --- Art --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Art, Modern --- Performance art --- Earthworks (Art) --- Sky art --- Aesthetics
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This monograph is unusual in bringing the voices from a wide range of people - writers, curators, gallerists, collectors, colleagues, art critics - who have given way to and influenced the artist's work throughout the years. The concept and layout do not only mirror Buren's artistic structures and aesthetics but also his playful way of thinking by offering fragments of works from specific times and letting the reader collect the final pieces herself. The written contributions will be accompanied by a generous amount of visual material.
kunst --- Frankrijk --- twintigste eeuw --- eenentwintigste eeuw --- installaties --- conceptuele kunst --- concept art --- kunst en architectuur --- schilderkunst --- 7.071 --- Buren Daniel --- Buren, Daniel --- Art --- color [perceived attribute] --- public art --- light art --- cloth --- site-specific works
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A compendious overview of the revered and subversive queer Canadian collectivePublished on the occasion of the huge retrospective General Idea at the National Gallery of Canada, Ontario, and the Stedelijk Museum, Amsterdam (2022?2023), this volume constitutes the most comprehensive source on the Canadian collective General Idea, founded in Toronto in 1969 by Felix Partz, Jorge Zontal, and AA Bronson, and active until the death of Partz and Zontal in 1994.The volume is arranged in three parts: I. Performances and Actions; II. In the Streets; III. In the Showroom. The first two parts focus on works and methods that extend beyond the traditional museum exhibition, documenting ephemeral, time-based, and even disposable works. The third part includes a plates section offering a near-complete visual survey of General Idea?s practice. Facing-page comparative images show works as they appeared in historical installations and other relevant contexts. These three sections correspond broadly to the collective?s development: from performances, actions, pageants, and other practices (1969?1978), through works engaging with mass media formats such as the magazine, broadcast television, and video (1972?1980s), moving finally to works conceived for galleries and museums (1985?1994).bron : https://jrp-editions.com/art/books/monographs-artists-books/general-idea/
Art --- multimedia works --- performance art --- group identity --- Conceptual --- AIDS [medical syndrome] --- General Idea --- Canada --- Moderne kunst --- Kunstenaar --- Kunst --- Conceptual art --- Arts, Canadian --- kunst --- twintigste eeuw --- AIDS --- concept art --- conceptuele kunst --- kunst en politiek --- Zontal Jorge --- Partz Felix --- Bronson AA --- 7.071 GENERAL IDEA --- kunst en economie --- gender studies --- installaties --- film --- performance --- LGBTQIA+ --- kunst en humor --- Canadian arts --- Automatistes (Group of artists) --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Art, Modern --- Performance art --- Earthworks (Art) --- Sky art --- General Idea (Firm) --- General Idea (Artists' collective)
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Quelques grands fous littéraires s'en mêlant (Brisset, Roussel, Jarry, et… Lacan), ce serait la grande leçon en Duchamp du signe : on ne fait pas d'enfant dans le dos de Duchamp, c'est lui qui vous en fait… après qu'il en eût fait plus d'un dans le dos de l'art, assigné au contemporain d'un champ qui sera du signe du sexe. Avec confusions en tout genre – et de tous les genres. On pourra dire que ce sont des jeux de mots à la con. Sauf qu'ils sont porteurs de ces (non-)œuvres qui, pour une part, doivent rester inacceptables comme art pour manifester un « écart » dont la théorie (antiscientifique, antiphilosophique, antipsychanalytique) se montre et se démontre pleinement intégrée à l'œuvre. Un dispositif opérationnel et spéculatif étourdit la « décision du sens » des mots autant qu'il défie les attraits d'une esthétique pour leur substituer la déterritorialisation la plus crue et la plus sophistiquée de la ritournelle readymade ou readymale de la sexuation. Nous nous sommes donc exposés dans cet essai en « charnière » qui marie une espèce de roman policier (le R. Mutt signant l'urinoir serait le pseudo en miroir de la déesse Mut d'un Freud américain) à une sorte de science-fiction (avec machines volantes et montres molles redressées par Lacan) faisant si bien « trou » dans le dicible du « champ freudien » que nous y avons trouvé matière à mutologie queer.Ce qui est, à tout prendre, conforme au « renvoi miroirique » de tous les signes empruntés à grande allure par Duchamp pour les soumettre aux Litanies du chariot en faisant machine désirante d'une Rrose Sélavy aux excentricités innombrables. C'est aussi que Duchamp pourrait bien être l'Autre de Lacan, même. Ou encore : « a Guest + a Host = a Ghost ».
Duchamp, Marcel (1887-1968) -- Critique et interprétation --- Lacan, Jacques (1901-1981) -- Influence --- Identité sexuelle -- Dans l'art -- 20e siècle --- kunst --- kunstenaars --- twintigste eeuw --- conceptuele kunst --- concept art --- gender studies --- LGBTQIA+ --- kunstfilosofie --- kunsttheorie --- ready-mades --- dadaïsme --- surrealisme --- erotiek --- psychoanalyse --- Duchamp Marcel --- Lacan Jacques
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This reference monograph revisits the conceptual and sensorial developments pursued by the artist since the 1970s. With a layout by graphic designer Zak Kyes under the artistic direction of Marc Camille Chaimowicz and Anna Clifford, the publication, written in close collaboration with Chaimowicz between late 2016 and 2020, includes a key text authored by Marie Canet.
kunst --- twintigste eeuw --- eenentwintigste eeuw --- Groot-Brittannië --- installaties --- tekenkunst --- Chaimowicz Marc Camille --- collages --- 7.071 --- schilderkunst --- kunst en design --- design --- Frankrijk --- behangpapier --- concept art --- conceptuele kunst --- kunst en interieurvormgeving --- Chaimowicz, Marc Camille --- Art --- Stage design. Scenography --- scenography [discipline] --- performance art --- interior views --- performance artists
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Photographer Marcia Resnick (b. 1950) earned recognition as part of the legendary Downtown New York art scene of the 1970s and 1980s. Her portraits of the era's major cultural figures, such as Jean-Michel Basquiat, John Belushi, and Susan Sontag, have contributed to the scene's mythic status. Against this backdrop, Resnick also produced a significant body of work that engaged with the history of art, took a humorous approach to conceptual art and feminism, and proposed new ideas for what photography could be. Spanning the artist's career, this richly illustrated volume explores Resnick's early influences and education at Cooper Union and CalArts; discusses her series and photobooks such as See and Re-visions; and situates the artist's work within the history of contemporary art. An afterword by Laurie Anderson speaks to the very personal vision of Resnick's photography.
kunst --- fotografie --- conceptuele kunst --- concept art --- enscenering --- stillevenfotografie --- feminisme --- Verenigde Staten --- twintigste eeuw --- Resnick Marcia --- woord en beeld --- 77.071 RESNICK --- Resnick, Marcia / Exhibitions --- Resnick, Marcia / Criticism and interpretation --- Photography, Artistic / Exhibitions --- Portrait photography / Exhibitions --- Photographie artistique / Expositions --- Portraits (Photographie) / Expositions --- PHOTOGRAPHY / General --- Resnick, Marcia --- Photography, Artistic --- Portrait photography --- Criticism, interpretation, etc --- Photographie --- Catalogues d'exposition
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