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performance art --- performances (kunst) --- Theatrical science --- Verdonck, Benjamin --- Thomas, Willy --- Theaterwetenschap --- performances [live]
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Film. --- Iconografie. --- Identiteit. --- Kunst. --- Performances [live]. --- Schilderen [kunst]. --- Schilderkunst. --- Videokunst [kunstwerken]. --- Broucke, Koen. --- België.
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Fotografie. --- Installaties [beeldmateriaal]. --- Kunst. --- Performances [live]. --- Tekenen. --- Tekenkunst. --- Teksten [soorten documenten]. --- Morrens, Peter, --- België.
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Sterbak, Jana --- kunst --- twintigste eeuw --- installaties --- beeldhouwkunst --- Sterbak Jana --- Tsjechië --- 7.071 STERBAK --- Exhibitions --- performance art --- clothing --- odors --- ice --- installations [visual works] --- Art --- Kunst --- installaties [kunstwerken] --- performances [live] --- geuren --- kleding --- ijs --- lichaamsdelen --- Sterbak, Yana --- body parts --- ice [water by form]
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Ce qui m'intéresse le plus, c'est l'homme et sa relation au monde, aux objets. Les relations entre les choses. Un objet n'existe pas seul dans le monde. Si l'on prend une tasse, elle existe en relation avec la soucoupe, la table, la cuillère, la bouche, etc... Les choses n'existent qu'en relation avec ce qui se trouve autour. [...] Ce que je cherche, c'est une situation à laquelle je peux faire écho, tisser des liens, délimiter des zones d'échanges et de complicité, une possibilité d'augmentation. ? J.-L. V.
Installation --- Installations (Art) --- Installations (Art). --- Vilmouth, Jean-Luc, --- France. --- Kunst --- installaties [kunstwerken] --- tekenen --- fotografie --- humor --- videokunst [kunstwerken] --- performances [live] --- lichtkunst --- Vilmouth, Jean-Luc --- Art --- installations [visual works] --- drawing [image-making] --- photography [process] --- video art --- performance art --- light art
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"In this important new survey, Catherine Wood proposes performance not as a genre of art separate from object-making but as an attitude that has infiltrated the entire terrain of contemporary art. From the musical-theatricals of Marvin-Gaye Chetwynd to the public encounters created by Tino Seghal and the social activism of Tania Bruguera, a hugely divergent set of practices has emerged in the past twenty to thirty years which embrace the worlds of sculpture and painting, spectacle and protest. Examining in turn individual, social and object-based approaches in the field, Wood first examines the influential performance art of the 1960s to 1980s: the body art of the Viennese actionists; the raw performances of Yoko Ono and Chris Burden; and the experiments of the Japanese Gutai group among others. She then explores how these sources have been revisited, reformed or rejected by contemporary artists in the twenty-first century. This impressive book encompasses international artists who fall outside the traditional European and North American focus, giving the reader the broadest and most up-to-date insight into the subject yet published."--Amazon.com.
Kunst --- performances [live] --- levende sculptuur --- Performance art. --- Performance art --- History. --- Performance artists --- Artists and theater --- Arts, Modern --- kunst --- eenentwintigste eeuw --- twintigste eeuw --- lichamelijkheid --- 7.038/039 --- activisme --- kunst en politiek --- performances --- Artists and the theater --- Theater and artists --- Theater --- Artists --- Happenings (Art) --- Performing arts --- History --- Artists and theater. --- Arts, Modern. --- Performance artists. --- 1900-2099. --- Art --- performance art --- living sculpture
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Le Corbusier designed the Philips Pavilion for the Worlds Fair in Brussels in 1958. It is his only building for a Dutch client. The unconventional pavilion was the setting for the experimental performance Le poème électronique. Using film, light, colour, space and music, and seen by one and a half million visitors, this event is regarded as the first multimedia performance for the general public. After its demolition in 1959, the pavilion became an icon of the twentieth century. The Rijksmuseum has a scale model of the pavilion and the soundtrack of Le poème électronique. EYE Filmmuseum keeps the film footage of the performance. The book is the complete overview of the Philips Pavilion. It also reproduces the total experience produced by Le poème électronique. One visitor to the performance eloquently described the experience as like an ant in a hurricane.
performance art --- Multidisciplinary organizations --- world's fairs --- exhibition buildings --- Corbusier, Le --- anno 1950-1959 --- Brussels --- Architecture --- History --- Histoire --- Le Corbusier, --- Expo (International Exhibitions Bureau) --- Buildings, structures, etc. --- Exposition internationale --- België --- Brussel --- Expo 1958 --- 725.91 --- Le Corbusier --- Tentoonstellingsgebouwen --- Paviljoenen (architectuur) --- World's fairs --- Phillips Pavilion (Expo '58) --- Exposition universelle et internationale --- World's fairs. --- Phillips Pavilion (Expo '58). --- Corbusier, le --- Multidisciplinaire organisaties --- wereldtentoonstellingen --- performances [live] --- tentoonstellingsgebouwen --- Wereldtentoonstelling--Brussel (1958) --- 900.5 --- Jeanneret, Charles-Edouard --- Le Corbusier-Saugnier --- world's fairs [exhibitions] --- architectuur, België
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In the vibrant downtown Manhattan art scene of the late 1970s and early 1980s, the Taiwanese-American artist Tehching Hsieh made a series of extraordinary performance art works. Between September 1978 and July 1986, Hsieh realized five separate one-year-long performance pieces in which he conformed to simple but highly restrictive rules throughout each entire year. Through the course of these lifeworks, Hsieh moved from a year of solitary confinement in a sealed cell to a year in which he punched a worker's time clock in his studio every hour on the hour to a year spent living without shelter in Manhattan to a year in which he was tied by an eight-foot rope to the artist Linda Montano and finally to a year of total abstention from all art activities and influences. These works were unparalleled in terms of their use of physical difficulty over extreme durations and in their absolute conception and enactment of art and life as simultaneous processes.
Hsieh, Tehching --- 7.07 --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Beeldende kunst ; 2de helft 20ste eeuw ; Tehching Hsieh --- Performances ; zeer langdurige ; jarenlange --- Conceptuele kunst --- Tijd ; in de kunst --- Kunst en kunstenaar ; extreme symbiose --- Hsieh, Teching (Sam) °1950 (°Nan-Chou, Pingtung County, Taiwan). Leeft en werkt in New York --- Kunst --- kunst --- performances [live] --- anno 1900-1999 --- anno 2000-2099 --- Taiwan --- Verenigde Staten van Amerika --- Art --- art [fine art] --- performance art --- United States --- art [discipline] --- United States of America
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kunst --- België --- 7.071 PACQUÉE --- installaties --- beeldhouwkunst --- fotografie --- Pacquée Ria --- eenentwintigste eeuw --- twintigste eeuw --- performances --- Exhibitions --- performance art --- video art --- sculpture [visual works] --- photography [process] --- Art --- Pacquée, Ria --- Pacquéé, Ria --- 7.07 --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Performances --- Belgische kunstenaars --- 77.092.07 --- Pacquée, Ria °1954 (°Merksem, België) --- Kunst ; van vrouwen ; 20ste en 21ste eeuw --- Fotografen A - Z --- Kunst --- beeldhouwwerken [beeldmateriaal] --- videokunst [kunstwerken] --- performances [live] --- MAD-faculty 18 --- hedendaagse kunstenaars
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"It has been argued, most notably in psychoanalytic and modernist art discourse, that the production of works of art is fundamentally driven by sexual desire. It has been further argued, particularly since the early 1970s, that sexual drives and desires also condition the distribution, display and reception of art. This anthology traces how and why this identification of art with sexual expression or repression arose and how the terms have shifted in tandem with artistic and theoretical debates, from the era of the rights movements to the present. Among the subjects it discusses are abjection and the "informe," or formless; pornography and the obscene; the performativity of gender and sexuality; and the role of sexuality in forging radical art or curatorial practices in response to such issues as state-sponsored repression and anti-feminism in the broader social realm." -- Publisher's description
politics --- performance art --- philosophy of art --- hedendaagse kunst --- theme --- seksualiteit --- Contemporary [style of art] --- longing --- pornography --- thema's in de kunst --- Art --- sexuality --- Sex and art --- Art, Modern --- Psychology --- Sex and art. --- Psychology. --- 7.041 --- Iconografie ; de mens, portretten --- Thema's in de kunst ; seksualiteit ; erotiek --- Beeldende kunst ; 20ste en 21ste eeuw --- Gender Studies --- Sexualité --- Bourgeois, Louise --- Acconci, Vito --- Alloway, Lawrence, 1926-1989 --- Chicago, Judy --- Crimp, Douglas --- Delvoye, Wim --- Duchamp, Marcel --- Foucault, Michel --- Krauss, Rosalind --- Mccarthy, Paul --- Marcuse, Herbert --- Mekas, Jonas --- Michelson, Annette --- Neshat, Shirin --- Opie, Catherine, --- Sontag, Susan --- Minh-ha, Trinh T. --- Kunst --- politiek --- pornografie --- performances [live] --- thema --- kunstfilosofie --- verlangen --- anno 1900-1999 --- anno 2000-2099 --- kunst --- 130.2 --- 7.039 --- 7.01 --- homoseksualiteit --- performance --- cultuurfilosofie --- twintigste eeuw --- eenentwintigste eeuw --- erotiek --- gender studies --- Foucault, Michel, --- seksualiteit in de kunst --- Art, Modern. --- Sexualität. --- Kunst. --- 1900 - 2099. --- Foucault, Michel, 1926-1984 --- Opie, Catherine, 1961 --- -Sontag, Susan --- lichaam (van de mens) --- Artists --- Pornography --- Sexuality --- Book --- Eroticism
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