Index of Titles Filed Under 'Art History'

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Publisheronestar press2013
A children’s book on agriculture in Le Cateau brings together drawings by students from three classes at three different schools in the region to partner with Musée Matisse Le Cateau-Cambrésis, located in rural northern France. At the invitation of Carrie Pilto, director of the museum, artist Harrell Fletcher joined by Nolan Calisch and Molly Sherman proposed instructions for children to illustrate a text on the agricultural history of the region. This book traces the first meeting between these artists and the inhabitants of Le Cateau and its environs, beginning a series of participatory projects initiated by Musée Matisse Le Cateau-Cambrésis. Made on ...
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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. Daniel Eatock
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Publisheronestar press2004
What would it be like if one day everyone you encountered said that they were you. Would you let them assume your identification, knowing that ultimately they can only be themselves. These questions are what Carroll provokes us with in All the men that think they can be me.
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PublisherHatje Cantz2012
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 who escaped had names. They ...
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PublisherPrimary Information2014
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 of art historian E.P. Richardson’s catalog for the Whitney exhibition, ...
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PublisherLink Editions2018
Digital technology has interfered in all the spheres, private, public and professional, of our society and shaped them. Artists have always used the techniques or technologies of their time to express themselves. To each appropriated innovation thus corresponds a range of works. Yet, it takes time for the art world to integrate new practices and new media. Impatient, the most fervent advocates of digital art have structured themselves into international communities by organizing dedicated events. Their practices have now matured and the public is culturally ready to welcome their creations as it already does in festivals. At the same time, ...
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Publishere-flux2015
The museum of contemporary art might be the most advanced recording device ever invented. It is a place for the storage of historical grievances and the memory of forgotten artistic experiments, social projects, or errant futures. But in late nineteenth and early twentieth-century Russia, this recording device was undertaken by artists and thinkers as a site for experimentation. Arseny Zhilyaev’s Avant-Garde Museology presents essays documenting the wildly encompassing progressivism of this period by figures such as Nikolai Fedorov, Aleksandr Rodchenko, Kazimir Malevich, Alexander Bogdanov, and others—many which are translated from the Russian for the first time. Here the urgent question is: ...
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PublisherFundación Cisneros2013
Carlos Cruz-Diez in conversation with/en conversación con Ariel Jiménez distills over three decades of wide-ranging conversations between preeminent Venezuelan artist Carlos Cruz-Diez and then FC/CPPC Chief Curator Ariel Jiménez. A pioneer in color theory and perception, Cruz-Diez and such artists as Alejandro Otero and Jesús Rafael Soto launched the abstract movements that placed Venezuelan art among the international avant-garde during the 1950s. Born in Venezuela in 1923, Cruz-Diez traveled in Western Europe throughout the 1950s, absorbing Bauhaus color theory and trends in geometric abstraction. He returned to Venezuela in 1957 to help initiate a massive wave of experimentation in Abstract, Concrete, ...
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PublisherMetahaven2014
City Rising from metahaven on Vimeo. This short video is about “the internet” and the global spread of affective, precarious labor, captured in the notion of love. It is also an homage to Constant Nieuwenhuys, architect of New Babylon. New Babylon was a utopian city for which Constant developed models, plans, and writings throughout the 1950s, 1960s and early 1970s. New Babylon would give free reign to a life of play, as people would be liberated from the obligation to perform productive and manual labor. Models of New Babylon were filmed as bizarre, beautiful shapes in the foreground of the image. Now ...
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PublisherSALT2018
A curatorial archive is much more than a curator’s archive; it is also an instrument and working place for the curator and/or the institution that hosts the archive. This publication aims to promote the idea that curatorial archives should be considered not only as resources for objective research, but also as systems or operational structures where curatorial visions are set out. In other words, a place where practice is expressed and takes shape; a salon where it is possible to enter into discussion with individual and collective methodologies…
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PublisherLink Editions2017
The first art movement to use collage to collapse together images and ideas, Dada also pioneered concepts, ideas, approaches and modi operandi that were later transfused into contemporary digital tools, becoming commonplace in the digital environment. To celebrate DADA 100, from 5 February 2016 to 5 February 201 7 the online platform and collaborative project Dadaclub.online shared high quality digital copies of original Dada artworks and magazine covers, inviting artists from all over the world to use them in their work. This book documents the project, presenting 148 remixes produced and shared by participants. Dada is nothing, enjoy Dada!
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PublisherMACBA2019
In this text, Maite Garbayo-Maeztu seeks to think some of the first performances taking place in the 1970s in Spain, along with occupations of the street by feminist activism at the time. Artists like Dorothèe Selz, Fina Miralles, Àngels Ribé and Olga L. Pijoan would use veils, occultations and alterations that invited viewers to go beyond visuality.
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Publisheronestar press2016
Here are some drips, splashes and pours, all accidental or intentional and all stolen from one late work by a well known master. Sometimes it takes a new type of looking in order to move forward. What do we see when we take things apart and reorganize? Really, it is open to your own interpretation but I included a photo I took to let you know how I feel.
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The e-publication Decolonising Archives aims to show how archives bear testimony to what was, even more so than collections. Archives present documents that allow one to understand what happened and in which order. Today Internet technology, combined with rapid moves made on the geopolitical chessboard, make archives a contested site of affirmation, recognition and denial. As such, it is of great importance to be aware of processes of colonialisation and decolonisation taking place as new technology can both be used to affirm existing hegemonic colonial relationships or break them open.
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PublisherThe Club2019
“Defacement” introduces twelve contemporary artists, and presents them in context alongside the “Situationist International,” an intellectual, social and artistic organization active from 1957-1972 which included Asger Jorn and Guy Debord. The Situationists aimed to critique the evolving mass-consumerist society resulting from the globalizing force of capitalism. At the core of the exhibition is a re-reading of the strategy détournement, specifically interpreting the concept of defacement. The exhibition includes painter Jacqueline de Jong, who was one of the original members of “Situationist International,” Andy Warhol, whose use of repetition negated the concept of preciousness and posed a question to our conception ...
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PublisherMACBA2018
Between the 1950s and seventies, Oscar Masotta (Buenos Aires, 1930 – Barcelona, 1979) was a key figure in the transformation of Argentina’s cultural scene. However, to date his work as a disseminator of Lacanian psychoanalytic theory and his active links with the counterculture during the four years he lived in Spain have been less obvious. His multiple and polymorphic interests included art, literature, comics, politics and psychoanalysis. From ideas such as the avant-garde, dematerialisation, discontinuity and the environment, Masotta constructed the tools for thinking about the categorical turn taking place in contemporary art. Perhaps the most relevant appropriation is the term ...
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PublisherSeth Price2002-
“One of the ways in which the Conceptual project in art has been most successful is in claiming new territory for practice. It’s a tendency that’s been almost too successful: today it seems that most of the work in the international art system positions itself as Conceptual to some degree, yielding the “Conceptual painter,” the “DJ and Conceptual artist,” or the “Conceptual web artist.” Let’s put aside the question of what makes a work Conceptual, recognizing, with some resignation, that the term can only gesture toward a thirty year-old historical moment. But it can’t be rejected entirely, as it has ...
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PublisherDroste Effect2017
On Monday, November 16th 2015, I take the subway to Hoboken from the 14th street PATH station. There, I buy a copy of the New York Times and a ham sandwich with a bottle of water. I also carry with me a printed-out-from-the-internet copy of a text written by Robert Smithson in 1967. Next, I go to the automatic ticket machine and buy a one-way Bus 85 ticket to Passaic (including a change for Bus 190) and a one-way train ticket to come back. I am early, so I sit down and open the Times. After futilely trying to glance at the art ...
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PublisherDroste Effect2018
James R. Southard has been working with small community groups in the hopes of building collaborative digital photo and video projects. Each series has been catered to the issues and concerns of each region through documenting local habits, patterns, rituals, language, history, and so on. This most recent year, James has started to turn the lens around towards himself. He has started to alter this regional material gathering technique into a biographical survey of his late father’s experiences in the 1970s. The resulting work has been a digital collage of still and moving images along with life action shots, building ...
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PublisherDroste Effect2019
Published on occasion of Débora Delmar’s exhibition Stressed, Blessed and Coffee Obsessed at Gallleriapiù, Bologna. Starting from Débora Delmar’s portfolio, Daniel Garza Usabiaga narrates the pivotal events and turning points in the artist’s career. Narrative Portfolio is one of three formats in Droste Effect’s publication Bulletin. Narrative Portfolios are aimed at investigating the practice and personal taste of international established artists.
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Publishere-flux2019
There is a certain plasticity of meaning inherent in any use of language. If that weren’t the case, poetry and literature would not exist. There would only be contracts, scientific formulas, shopping lists, and so forth. Journalism would be properly factual—there would be no fake news or disinformation. All utterances would document isolated events, never evoking larger patterns or tapping into hidden desires. But then the question arises: Even if language could be cleansed of all ambiguity and spin, what role would images play? If language is the problem, images can only be worse. Against a backdrop where postmodern slippages in ...
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Publishere-flux2019
On November 7, 1929, the Museum of Modern Art “opened in a five-room rented space with an ‘historical’ exhibition of (European) Post-Impressionist art, titled ‘The First Loan Exhibition: Cezanne, Gauguin, Seurat, Van Gogh.’” MoMA’s founding director, Alfred Barr, had the idea that modern works that passed a test called “Torpedo in Time” would, after some fifty years, be considered historical and transfer to the permanent collection of the Metropolitan Museum of Art. At the time, Gertrude Stein also famously quipped that the very idea of a museum of the modern was an oxymoron. In short, MoMA was more of a kunsthalle ...
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Publishere-flux2020
Following the collapse of the Soviet Union, a “global” art world began to form. Sure, there were already a number of world’s fairs and established international biennials, but this would be different. From the 1990s onward, national boundaries would dissolve, centers and peripheries would level out, and the internet would host worldwide cultural exchange. In many ways this really did happen, but some other things also happened. As people and ideas began to move across borders, money did too. Faced with an unmanageable planetary scale, capital became a more efficient regulator of flows than laws or nations. Suddenly, capital rose ...
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Publishere-flux2020
As the novel coronavirus pandemic spreads, we—the people of planet earth—are faced with a dizzying variety of responses: quarantine, containment, vigilant self-quarantine, paranoid self-isolation, and in some cases escape from the above. Suddenly, it is as if circulation itself has turned against us, making healthy freedom of movement in the world a dealer of death. So your flight is cancelled. Your trip is over. We are staying in place for the foreseeable future. Exhibitions, symposia, gatherings of all kinds are postponed. But not sporting events. Those will go on, but without any supporters in the stands. The players will play ...
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Publishere-flux2020
It’s yet uncertain what the lasting legacy of 2020 will be. “The tradition of the oppressed teaches us,” Walter Benjamin wrote in 1940, “that the ‘state of emergency’ in which we live is not the exception but the rule.” We already know that in the US, the summer of 2020 will be remembered for its sustained state of emergency, when we emerged from stratified isolation and convened, in the millions, in the streets to affirm that black lives matter, that black breath is stolen at an overwhelmingly higher scale by the pandemic and by the largely extralegal military organization known ...

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