Art History

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Publisheronestar press2014
In Splendide Hotel – 1887 there is one sole room and it is transparent, containing apparitions of all literary, musical, scientific and abstract sorts. From an internal monologue to quantum physics to the gramophone and bioluminescence, within this little book there is a collection of nearly all the references serving to rebuild this hotel within the Cristal Palace to reveal 1887 as the birth year of our universe.
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Publisheronestar press2009
Do you know that canvas you see in every permanent collection in every art museum around the world that has been slashed by an artist called Fontana? There are many of them, each a slightly different size, with a different length slash. When encountering them I peer through the slash to the dark shadow, ‘concetto spaziale,’ adjusting my eyes to the light that reaches the gallery wall. I wonder how many canvasses Fontana slashed, and how they would look displayed from the longest to the shortest? The book aligns and extends these voids from page 1 to page 150. A selection ...
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Catastrophe arrives, traditionally, in the manner of an accident: from the Latin accidens, meaning accident or chance; from accido, to fall out, come to pass, happen, occur. The accident is, in short, that which happens to us: it comes from without, and takes us by surprise.3 “We are passive with respect to the disaster,” writes Blanchot in The Writing of the Disaster, “but the disaster is perhaps passivity.” To experience catastrophe is to enter into the condition of passivity. This passivity is directly linked to the externality of the catastrophe: that it appears to arrive from outside the system. That ...
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Against Art History critically evaluates decolonial art exhibitions and curatorial frameworks. It asks to what extent art history can be decolonial, when its disciplinary and architectural foundation, the museum, is an inherently colonial institution. Shirazi thus examines whether new curatorial frameworks, such as in Exhibitions Without Objects (EwO) which internationalise the modernist canon of non-Western arts, undo or amplify the violence perpetrated by Euro-American historical narratives.
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Agnes Martin: Life & Work explores the life, origins, and art of one of the most internationally celebrated painters to emerge from this country. It reveals how Martin gained renown in the male-dominated art world of the 1950s and 1960s, becoming a pivotal figure between two of the era’s dominant movements: Abstract Expressionism and Minimalism. Delving into Martin’s signature style composed of tranquil grids and stripes, the book investigates the origin of Martin’s method, which she perfected over the better part of four decades, following her belief in the transformative power of art. “I would like [my pictures] to represent beauty, ...
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PublisherHatje Cantz2012
This title will be available soon. “As I see it, creativity includes things like opening a hotel in Kabul,” Boetti said in an interview in the 1970s, adding, “an undertaking that would be crazy even in Italy! But there you realize it’s a true challenge: even presenting yourself as something other than an artist, when you have no anchorage and must completely reinvent yourself, physically and as a character. For instance, over there I always wear a jacket and tie with dark glasses, and I’m very dry and stand-offish with people . . .” The One Hotel opened in Kabul in the ...
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PublisherHatje Cantz2012
This title will be available soon. Charlotte Salomon (1917–1943) is one of the nameless. During her brief lifetime, the only document that affirmed her status as artist was the typed transport list that took her from Drancy on October 7, 1943, to Auschwitz, where she was murdered on October 10 because she was a pregnant Jewish woman. Salomon had been incarcerated in 1940 in the French concentration camp at Gurs, along with a diverse group of women, many of whom managed to escape the camp in the turmoil following the capitulation of France to invading German forces in June 1940. Those ...
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Publisheronestar press2015
The original idea for Almanac was to make a diary or “book of hours” that would reflect on my father’s life, and his passing. I chose a format concentrating on marking time: the 52-week calendar, the equinox and solstice, the punctuation of the beginning, middle, and end, etc. While the graphic and symmetrical imaging of sacrificial altars, movie screens, and deco lighting propose an odd symbolic orientation, the pairing of projected platonic shapes and Dore’s images of Dante’s journey, allow different ways to engage with the world. A mock-up stage is set for a tragic/comedy — a guide through the everyday and ...
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An Anti-Catalog was the work of the Catalog Committee of the group Artists Meeting for Cultural Change (AMCC). A landmark publication of the 1970s, its purpose was to protest the Whitney Museum of American Art’s bicentennial exhibition, which was titled “Three Centuries of American Art.” The Whitney show featured John D. Rockefeller III’s collection of mainly eighteenth and nineteenth-century American art–a collection that featured only one African American and one woman artist. The Catalog Committee, which consisted of fifteen artists and two art historians, spent almost a year producing an eighty-page book containing articles and documents. Originally conceived as a critique ...
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Annie Pootoogook: Life & Work traces the artist’s life from her youth at the West Baffin Eskimo Co-operative’s Kinngait Studios, where she began drawing in 1997, predominantly in ink and crayon, to her death in 2016. The book explores how in addition to depicting scenes of everyday life in the North—including people watching TV, playing cards, shopping, or cooking dinner—Pootoogook depicted such subjects as alcoholism, domestic abuse, food scarcity, and the effects of intergenerational trauma. In 2006 Pootoogook was the recipient of Canada’s Sobey Art Award, an important early career achievement that recognized the artist’s singular vision. The award led to her ...
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Publisheronestar press2009
The process of signification gets through to different levels such as construction, deconstruction, reconstruction. My work presents itself to the audience as fragment and erosion of my cognitive process. In some way I build up ruins, as oblivion of my thought.
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Research is everywhere. Architects incite action, design materials and archive cities. They capitalize upon the excess energy of practice to launch unsolicited experiments into the world, or sidestep clients by joining forces with government think tanks. Discussions from classrooms have found currency at town halls, and findings from construction sites have migrated into basement laboratories. Yet for all of its vitality, research eludes definition. The term describes everything and nothing, leaving its assumptions–the drive towards innovation, certainty, and influence, for example–unexamined. ARPA Journal is a forum for debates on what is applied research in architecture. We scrutinize techniques of inquiry to ...

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