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"In over 1,300 pages, The Commissions Book engages in depth with more than one-hundred works of art. The publication organizes and weaves together sequences of potential narratives and interrogations, along with close examinations of different works of art and an archive of images. The stories embedded in these works, as well as in the foundation's work, and that of TBA21-Academy, an itinerant site of transdisciplinary research and cultural production engaging with the oceans, are stories of making new connections across disciplines, geographies, and different forms of expertise. Committed to the sensibilities of artists-as-researchers, TBA21 has sided with artists in imagining new ways of knowing and intervening in the societies we live in and deploying new ways of encountering the world around us. The foundation's work presents an attempt at reimagining what it means to "work together" as artists, commissioners, and public, and The Commissions Book seeks to rearticulate this praxi. s of intervention and reimagination as it evolved over two decades. The Commissions Book brings together visual and written material from TBA21's commissioning practice and vast history of exhibitions and programs, including artists and architects such as David Adjaye, John Akomfrah, Olafur Eliasson, Amar Kanwar, Walid Raad, Jana Winderen, and--most recently--Joan Jonas. The book also presents new works and commissions by Cecilia Bengolea, Claudia Comte, SUPERFLEX, and Territorial Agency, among many others. It also includes contributions by curator Natasha Ginwala and transdisciplinary feminist thinkers Astrida Neimanis and Eva Hayward, whose essays transcend individual artistic positions and ask questions that lie at the core of TBA21's program, interrogating institutional boundaries and connecting with the complexities and urgencies of the age of the Anthropocene. The book's innovative design was conceived by iconic book designer, Irma Boom. A selection of smell molecules from trees forests, and earth are embedded into print sheets made of robust natural fibers, which are covering and bookending the publication. The smell was recorded, replicated, and recombined by artist Sissel Tolaas as a special commission for the book. Honoring TBA21's commitment to the environment, the book is made from sustainable materials, using 100 percent recycled paper"--Publisher's website.
Thyssen-Bornemisza Art Contemporary (Foundation) --- Art patronage. --- Art, Modern --- Themes, motives
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"Siting Futurity: The "Feel Good" Tactical Radicalism of Contemporary Culture in and around Vienna shows how cultural practitioners in and around Vienna draw on their historical knowledge of locality to create rousing productions designed to get audiences to inform themselves about useful aspects of history, to get them to engage their presents, and to help make possible more socially equitable futures. Analyses of politically engaged works of contemporary theatre, film, and photography set in and around Vienna help to identify a historically oriented mechanism that enables artists to tap into Vienna’s extraordinary, and extraordinarily under-appreciated, tradition of protest culture that dates back to the action that brought about the Wiener Neustadt “Blood Court” in the 16th century, but really came into its own with the city’s most influential occupation of an abandoned slaughterhouse for 100 days in the late summer of 1976. It also shows how work with a connection to Vienna by international stars like David Bowie, Wes Anderson, and Christoph Schlingensief has absorbed the same principles.While the overwhelming scale of technological development and the ensuing problems and crises may not have been deliberately designed to induce resignation, passivity, and despair, those who benefit from the related hyperobjects of financialization and climate change must find it convenient that they do, as demoralization reduces resistance to their profit-making machinations. It is in this context that Red Vienna’s proud tradition of social engagement and long tradition of resistance and radicality deserves to be better known.
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Le livre se présente comme une main tendue vers le lecteur dans le sens d’une évacuation complète de ce qui constitue la peau d’un livre, à savoir la couverture: le texte débute en premier de couverture et livre son point final au quatrième. La préface de Eric de Chassey, l’entretien entre Pierre Hebbelinck et Pascal Leclercq et le colophon sont logés dans les plis du livre, à savoir au verso des couvertures plissées, de telle manière à ne pas rompre le flux de lecture. Ce livre assume au niveau documentaire une attitude très franche, en rupture avec la série de catalogues déjà parus sur l’artiste. Sont présentés des documents iconographiques issus directement du fond de l’artiste, qu’il s’agisse de photographies privées ou de reproductions d’œuvres anciennes. Seule une poignée de documents a fait l’objet d’une numérisation pour l’occasion. Le rythme de lecture est radicalisé en systématisant d’un côté les notices et visuels, de l’autre le déroulé de texte dans une mise en page densifiée à l’extrême. Cette attitude stricte offre une entrée facilitée dans ce texte exigeant tout en offrant au regard les visuels correspondant. Egalement, et c’est la nature même du texte qui impose cela, la mise en relation dont il est question est manifestée par une césure franche dans le flux des pages; au lecteur à s’imprégner des deux versants du livre pour en tirer sa propre réflexion
Art and architecture --- Painting, Abstract --- Art et architecture --- Peinture abstraite --- Wéry, Marthe, --- kunst --- twintigste eeuw --- schilderkunst --- monochromie --- monochrome schilderkunst --- Wéry Marthe --- 75.071 WERY --- Civilisation hellénistique. --- Art, contemporary --- Critique et interprétation. --- Art, contemporary. --- Architecture --- Wéry, Marthe, --- Wéry Marthe
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"Siting Futurity: The "Feel Good" Tactical Radicalism of Contemporary Culture in and around Vienna shows how cultural practitioners in and around Vienna draw on their historical knowledge of locality to create rousing productions designed to get audiences to inform themselves about useful aspects of history, to get them to engage their presents, and to help make possible more socially equitable futures. Analyses of politically engaged works of contemporary theatre, film, and photography set in and around Vienna help to identify a historically oriented mechanism that enables artists to tap into Vienna’s extraordinary, and extraordinarily under-appreciated, tradition of protest culture that dates back to the action that brought about the Wiener Neustadt “Blood Court” in the 16th century, but really came into its own with the city’s most influential occupation of an abandoned slaughterhouse for 100 days in the late summer of 1976. It also shows how work with a connection to Vienna by international stars like David Bowie, Wes Anderson, and Christoph Schlingensief has absorbed the same principles.While the overwhelming scale of technological development and the ensuing problems and crises may not have been deliberately designed to induce resignation, passivity, and despair, those who benefit from the related hyperobjects of financialization and climate change must find it convenient that they do, as demoralization reduces resistance to their profit-making machinations. It is in this context that Red Vienna’s proud tradition of social engagement and long tradition of resistance and radicality deserves to be better known.
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"Siting Futurity: The "Feel Good" Tactical Radicalism of Contemporary Culture in and around Vienna shows how cultural practitioners in and around Vienna draw on their historical knowledge of locality to create rousing productions designed to get audiences to inform themselves about useful aspects of history, to get them to engage their presents, and to help make possible more socially equitable futures. Analyses of politically engaged works of contemporary theatre, film, and photography set in and around Vienna help to identify a historically oriented mechanism that enables artists to tap into Vienna’s extraordinary, and extraordinarily under-appreciated, tradition of protest culture that dates back to the action that brought about the Wiener Neustadt “Blood Court” in the 16th century, but really came into its own with the city’s most influential occupation of an abandoned slaughterhouse for 100 days in the late summer of 1976. It also shows how work with a connection to Vienna by international stars like David Bowie, Wes Anderson, and Christoph Schlingensief has absorbed the same principles.While the overwhelming scale of technological development and the ensuing problems and crises may not have been deliberately designed to induce resignation, passivity, and despair, those who benefit from the related hyperobjects of financialization and climate change must find it convenient that they do, as demoralization reduces resistance to their profit-making machinations. It is in this context that Red Vienna’s proud tradition of social engagement and long tradition of resistance and radicality deserves to be better known.
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Half a century into the digital era, the profound impact of information technology on intellectual and cultural life is universally acknowledged but still poorly understood. The sheer complexity of the technology coupled with the rapid pace of change makes it increasingly difficult to establish common ground and to promote thoughtful discussion. Responding to this challenge, Switching Codes brings together leading American and European scholars, scientists, and artists-including Charles Bernstein, Ian Foster, Bruno Latour, Alan Liu, and Richard Powers-to consider
Communication in learning and scholarship --- Information technology. --- Humanities --- Arts --- Technological innovations. --- philosophy, fine arts, photography, criticism, information technology, intellectual life, charles bernstein, bruno latour, ian foster, alan liu, richard powers, essays, dialogue, short fiction, game design, it specialists, traditional art, contemporary culture, educators, policymakers, essay collection, digital humanities, cross-disciplinary, critical texts, multimodal discourse, methodology, computation, machine learning, electronic linguistics. --- Digital humanities.
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Quantitative Perspektiven spielen in dem seit den 1970er Jahren intensivierten Diskurs um Kunst und Gender eine marginale Rolle. In besonderem Maße trifft dies für Positionen im Spitzensegment des internationalen Felds zu. Katrin Hassler greift diese Leerstelle auf und liefert konkrete Zahlen zur Einnahme professioneller Positionen in diesem oft als feminisiert deklarierten Universum. Verschränkungen von Geschlecht, geografischer Herkunft und Bildungskapital sowie diachrone Entwicklungen stehen im Fokus und werden mittels des Ansatzes einer Gender-Kunstfeld-Theorie feldspezifisch analysiert, ohne dabei gesellschaftliche Machtverhältnisse aus dem Blick zu verlieren. »Nicht nur spannende Empirie, sondern auch [eine] profunde Auseinandersetzung mit feministischer Theorie.« KUPFZeitung, 165 (2018) »Das Buch liefert [...] beachtliche Daten hinsichtlich Fragen wie inwieweit Geschlecht als Ungleichheitsdimension mit anderen Faktoren wie Generationenzugehörigkeit, geografischer Herkunft und ökonomischem Kapital verschränkt ist. Nach dem Lesen hofft man, dass Hasslers Daten aufgegriffen werden, dass der Forschung diesem spannenden Segment zukünftig eine größere Bedeutung zugedacht wird.« Anabel Roque Rodrguez, www.kulturmanagement.net, 20.02.2018 Besprochen in: Vier Viertel Kult, Winter 2017 www.chancengleichheit-in-sachsen.de, 10 (2017) Das Argument, 325 (2018), Jens Kastner
Kunstsoziologie; Zeitgenössische Kunst; Geschlechterforschung; Gender Studies; Quantitative Analyse; Kunst und Gender; Gender-Kunstfeld-Theorie; Kunst; Gender; Kunstgeschichte des 21. Jahrhunderts; Kunstwissenschaft; Soziologie; Sociology of Art; Contemporary Art; Quantitative Analysis; Art and Gender; Art; Art History of the 21st Century; Fine Arts; Sociology --- Art History of the 21st Century. --- Art and Gender. --- Art. --- Contemporary Art. --- Fine Arts. --- Gender Studies. --- Gender. --- Quantitative Analysis. --- Sociology.
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Actuele kunst --- Art contemporain --- Contemporary art --- Hedendaagse kunst --- 7.039 --- 727.7 --- Architectuur ; particuliere kunstverzamelingen van hedendaagse kunst --- Architectuur ; voor galerijen ; kunststichtingen --- Architectuur ; private musea ; 20ste en 21ste eeuw --- kunst --- verzamelingen --- collecties --- architectuur --- tentoonstellingen --- About change, collection --- Fundacion Alorda Derksen --- Art stations collection --- Louise Blouin foundation --- Sammlung Boros --- The broad art foundation --- Museum Frieder Burda --- Fondation Cartier pour l'art contemporain --- de la Cruz collection contemporary art space --- DESTE foundation centre for contemporary art --- Devi art foundation --- The Dikeou collection --- Essl Museum --- musea --- Sammlung Falckenberg --- Fisher Landau center for art --- The FLAG art foundation --- Garage center for contemporary culture --- Girls' club --- Sammlung Goetz --- The Goss-Michael foundation --- Sammlung Haubrok --- Ydessa Hendeles art foundation --- The Herbert collection --- Sammlung Hoffmann --- Inhotim --- Initial access --- Fundacion / Colleccion Jumex --- Lever house art collection --- Magasin 3 Stockholm konsthall --- la maison rouge --- Collezione Maramotti --- The Margulies collection at the warehouse --- Mori art museum --- Pinchuk art centre --- Fondazione Prada --- David Roberts art foundation --- Rubell family collection --- Saatchi gallery --- Fondazione Sandretto Re Rebaudengo --- Schümann Berlin --- Julia Stoschek collection --- The suburban --- Thyssen-Bornemisza art contemporary --- Ullens center for contemporary art --- Ursula Blickle Stiftung --- The Vanhaerents art collection --- Vanmoerkerke collection --- World class boxing --- Zabludowicz collection --- espacio 1414 --- 7.074 --- Kunstgeschiedenis ; 2000 - 2050 --- Gebouwen voor opleiding en wetenschap ; kunstmusea, kunstgalerijen --- Art galleries [Commercial ] --- Directories
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