Index of Titles Filed Under 'Art History'

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, ...
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, ...
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: ...
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 ...
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…
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!
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.
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.
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 ...
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 ...
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 ...
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 ...
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 ...
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.
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 ...
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 ...
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 ...
Publishere-flux2012
Beyond performative resistance and melancholic complicity with the existing order, a crucial strategy emerged in the 1980s from a collective of artists in Yugoslavia who used complicity as its most lethal weapon. Inke Arns and Slavoj Žižek have respectively described the activities of NSK (Neue Slowenische Kunst) and its sub-groupings (the band Laibach and the artist collective IRWIN, and Scipion Našice Sisters Theatre, among others) variously in terms of over-identification or subversive affirmation, as performing the “hidden reverse” of state ideology. From Laibach’s nationalism in drag to the issuing of a passport for an imagined “NSK state,” NSK is perhaps ...
Publishere-flux2016
Art has something to teach Marxism about the reasons for its great historical failure to understand nationalism, because art proceeds with the understanding that the materiality of representation is not the same thing as the materiality of production. If it were, if the value-process were reducible to the labor-process, or vice versa, then both art and inflation would be impossible. .. Editorial Editors A Tank on a Pedestal: Museums in an Age of Planetary Civil War Hito Steyerl A Farewell to Totality Gleb Napreenko From the Anxiety of Participation to the Process of De- Internationalization Carol Yinghua Lu The Eternal Hunt for the Red Man Ilya Budraitskis The Vectoralist Class, Part ...
PublisherMACBA2007
Art Historian Kaja Silverman, a specialist in Film theory, is a key player in the re-vamping of the field. She earned her PhD in Philosophy from Brown University and is currently a professor in UC Berkeley’s Department of Rhetoric and in their Film Studies Program. She has written numerous articles and published works, among which you will find The Subject of Semiotics (Oxford University Press, 1983), The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (Indiana University Press, 1988), Male Subjectivity at the Margins (Routledge Press, 1992), The Threshold of the Visible World (Routledge Press, 1996), Speaking About Godard ...
Provocateurs General Idea (active 1969–1994) invented their history and made it reality: “We wanted to be famous, glamourous and rich. That is to say we wanted to be artists and we knew that if we were famous and glamourous we could say we were artists and we would be.… We did and we are. We are famous, glamourous artists.” The group—comprised of AA Bronson, Felix Partz, and Jorge Zontal—met in Toronto in the late 1960s and went on to live and work together for twenty-five years. General Idea ceased activities in 1994, with the untimely deaths of Partz and Zontal ...
PublisherEven Magazine2018
On episode 12 of Hidden Noise, hosts Abby Sandler and Rebecca Siegel head to the Whitney for “Grant Wood: American Gothic and Other Fables” and “Zoe Leonard: Survey.” The hosts are then joined by Emma Enderby, curator at The Shed, to discuss the forthcoming programming at the eagerly anticipated institution.
PublisherEven Magazine2018
On episode 13 of Hidden Noise, hosts Abby Sandler and Rebecca Siegel visit the Met Breuer for this week’s Go See: “Like Life: Sculpture, Color, and the Body (1300-now).” Then the hosts are joined by Peter Russo, director of Triple Canopy for the Even 8.
PublisherBerkeley Art Museum1980
A scan of the original type-written exhibition pamphlet accompanying Scott Burton’s 1980 performance at the University of California, Berkeley Art Museum of “Individual Behavior Tableaux” with an essay by the curator Michael Auping. Auping describes the performance, part of Burton’s “Behavior Tableaux” series, in which a single lanky naked male performer (Kent Hines) wears platform shoes and moves in slow motion with a chaise longue designed by Burton. The audience had to sit extremely close together 80 feet away from the the slow moving and silent performance, as Burton was as interested in what happened in the performance as he ...
PublisherWomen on Airplanes2018
Lagos: Search, Research Research always makes life complicated. We might end up knowing too much, getting lost in accumulated information, stories, details, in between perspectives that all fall apart. How do we begin such a process and how do we navigate it, how do we move within? How do we set the premises? What do we do next? What to do with a discovery we don’t want to make? Which form, format should it take? All these questions will stay with us and transform through issue 2 of the Women on Aeroplanes Inflight Magazine. And yes, as many an- swers turn ...

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