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Dan Graham was a contrarian. His art confronted viewers with a multiplicity of possible perceptions and intersubjective experiences. Some Rockin’ was his last project and—through conversations with friends, artists, architects, curators, and former assistants—articulates his sensitivity to context, media, and people. The interviews address rock music and urbanism, humor and astrology, history and the hybrid form. Mediating historical and social experience was a major concern of his. “The Museum in Evolution,” an essay he finished just before his death, and published here, highlights that nothing is final in becoming. Rather, it allows for: Some Rockin’.

kunst --- kunsttheorie --- twintigste eeuw --- eenentwintigste eeuw --- concept art --- conceptuele kunst --- Verenigde Staten --- kunst en muziek --- muziek --- kunstenaarsgeschriften --- astrologie --- humor --- performance --- installaties --- film --- videokunst --- kunst en architectuur --- Graham Dan --- 7.071 --- 7.01 --- Graham, Dan, --- Graham, Daniel H., --- Gureamu, Dan, --- Interview

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Le premier numéro d’iris.time unlimited paraît le 6 octobre 1962, le dernier numéro en avril 1975. Mi-sérieuse mi-comique, fourmillant de trouvailles graphiques, envoyée dans de belles enveloppes de couleur, cette revue est un support de promotion, voire de combat, destiné à diffuser et illustrer la ligne artistique et les partis pris de la galerie. Elle constitue aujourd’hui un document précieux sur le monde de l’art parisien des années 1960 et 1970. Avec la liberté sans limites que s’autorise celle pour qui surprendre et innover est un sixième sens, Iris Clert offre une grande latitude aux contributrices et contributeurs de tous horizons qui participent à son artventure éditoriale. On trouve dans ses colonnes des chroniques sur la vie artistique parisienne, des revues de presse, des jeux, des publicités, des présentations de critiques, le « Point de vue d’Iris », des billets d’humeur, les « Ragots de la galerie », des petites annonces loufoques et, bien sûr, un horoscope réalisé par la voyante d’Iris Clert. Tout respire la légèreté, l’amitié, l’invention. La jalousie s’exprime avec humour, l’amertume avec panache, la créativité avec poésie, l’amour des artistes avec constance. Pour Iris Clert, l’art est une fête et une expérimentation continue ; iris.time unlimited en est le témoin incontournable.

kunst --- kunst en literatuur --- kunstkritiek --- twintigste eeuw --- Frankrijk --- Clert Iris --- galeries --- grafisch ontwerp --- grafische vormgeving --- grafisch design --- Parijs --- manifesten --- kunst en humor --- humor --- uitgevers --- 7.038 --- 7.01 --- tijdschriften --- Arts --- Avant-garde (Aesthetics) --- French periodicals --- French wit and humor --- Periodicals --- History --- Clert, Iris.

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Oceans cover more than 70% of the Earth’s surface, both dividing and connecting humans, who have saltwater in their blood, sweat and tears. At the same time, they represent a powerful nonhuman force, rising, flooding, heating and raging in unprecedented ways as the climate crisis unfolds. The sea has long enthralled artists, envisioned as a sublime wilderness and a home to countless mythical creatures as well as bizarre real species, and with the upsurge of art and exhibitions dedicated to the sea, the ocean has recently shifted from serving as a theme to informing artistic and curatorial methods, in line with developing watery, oceanic and tidalectic thinking. This anthology collects writing exploring the work of artists such as John Akomfrah, Matthew Barney, Tacita Dean, Ellen Gallagher, Joan Jonas, Wangechi Mutu, Martin Parr, Hiroshi Sugimoto and Paul Thek amongst many others

Art --- art theory --- oceans --- Contemporary [style of art] --- climate change --- Sea in art --- kunst --- 7.01 --- kunsttheorie --- iconologie --- iconografie --- twintigste eeuw --- eenentwintigste eeuw --- zeeën --- oceanen --- ecologie --- kunst en ecologie --- 7.043 --- zeegezichten --- marineschilderkunst --- biologie --- natuur --- kunst en natuur --- Ocean in art --- oceans [marine bodies of water] --- narrative art --- curators --- Art, Modern --- Eau

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When do you know something? And at which point can you be sure that what you know is true?Knowledge of facts is distinct from opinion or speculative assumption. We rely on various sources to determine the validity of information and separate fact from fiction.Fascinated by awareness and ignorance, Anna Püschel (DE/FR) began collecting definitions of words related to knowledge from a broad range of sources, from medieval texts to modern dictionaries. These definitions ? some objectively true, others with questionable veracity ? are brought together in the Encyclopedia of the Uncertain, a work that redefines referencing, and boldly juxtaposes French poetry to conspiracy theories, recipes, and political essays. But regardless of their origin, the definitions show that we have always yearned for the truth.What does this mean for us today? Between post-truth and alternative facts, we observe an absurd phenomenon: we can access knowledge faster and easier than ever before, but the number of alternative versions of the same truth it is accompanied by is also unprecedented. From YouTube algorithms to Telegram channels, from Facebook comments to ChatGPT-generated texts, finding truth is getting harder every day.As individuals in uncertain times, we not only have the right but also the duty to look for truth, and not blindly follow the loudest voices that (un)knowingly propagate falsities. Instead, we must acknowledge what we do not know and listen to nuance, for there is beauty in uncertainty.Bron : https://www.copyrightbookshop.be/shop/anna-puschel-encyclopedia-of-the-uncertain-a-meditation-on-doubt/

creatief en artistiek proces ; werkproces --- Thema's in de kunst en literatuur ; enumeratie ; overzichten --- Encyclopedieën --- Mythologie ; cultuurgeschiedenis ; religie ; encyclopedieën --- Sint-Lucas Beeldende kunst ; Gent ; werk van studenten --- LUCA ; School of Arts ; uitgaven --- Püschel, Anna --- 7.07 --- 7(03) --- 7.01 --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z. --- Kunst ; encyclopedieën. --- Kunst ; theorie, filosofie, esthetica. --- Bewustzijn --- Kunst --- Definitie --- Poëzie --- Complottheorie --- Essay --- Politiek --- Gerecht (voedsel) --- Waarheid --- Grafische vormgeving

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"A dazzlingly original reassessment of women's stories, bodies and art, and how we think about them. For decades, feminist artists have confronted the problem of how to tell the truth about their experiences as bodies. Queer bodies, sick bodies, racialised bodies, female bodies, what is their language, what are the materials we need to transcribe it? Exploring the ways in which feminist artists have taken up this challenge, Art Monsters is a landmark intervention in how we think about art and the body, calling attention to a radical heritage of feminist work that not only reacts against patriarchy but redefines its own aesthetic aims. Writing in the tradition of Susan Sontag, Hel ne Cixous and Maggie Nelson, Lauren Elkin demonstrates her power as a cultural critic, weaving daring links between disparate artists and writers, from Julia Margaret Cameron's photography to Kara Walker's silhouettes, Vanessa Bell's portraits to Eva Hesse's rope sculptures, Carolee Schneemann's body art to Theresa Hak Kyung Cha's trilingual masterpiece DICTEE, and shows that their work offers a potent celebration of beauty and excess, sentiment and touch, the personal and the political"--Publisher's description.

kunst --- feminisme --- vrouwen --- gender studies --- lichamelijkheid --- twintigste eeuw --- eenentwintigste eeuw --- Horn Rebecca --- Sherman Cindy --- Saville Jenny --- Knight Laura --- Simpson Lorna --- Walker Kara --- Biswas Sutapa --- Lassnig Maria --- Schneemann Carolee --- Johnson Claudette --- Wilke Hannah --- Spence Jo --- Hesse Eva --- Mendieta Ana --- Chadwick Helen --- Bell Vanessa --- Woolf Virginia --- 7.01 --- Women artists --- Human figure in art --- Monsters in art --- Female monsters --- Feminist aesthetics --- Female nude in art --- Women in art --- Nude in art --- Aesthetics --- Feminist theory --- Girl monsters --- Monster females --- Women monsters --- Females --- Monsters --- Human body in art --- Art --- Composition (Art) --- Figurative art --- Anatomy, Artistic --- Figure drawing --- Figure painting --- Artists, Women --- Women as artists --- Artists --- Philosophy and psychology of culture --- feminism --- art criticism --- philosophy of art --- lichaam (van de mens) --- Race --- Feminist criticism --- Disability --- Queer --- Body --- Female body --- Book --- Féminisme --- Corps humain