Author: Elayne Varian
Publisher: Dia Art Foundation
ISBN: 9780944521908
Category : Art
Languages : en
Pages : 128
Book Description
Documenting arch-conceptualist Mel Bochner's fusion of architecture and quantification Produced in honor of the 50th anniversary of his first Measurement Room, Mel Bochner: Measurements (1968-1971) revisits this defining period early in the New York-based artist's renowned career. One of the most important conceptual artists of the 1960s and 1970s, Bochner (born 1940) applied various abstract systems in his artistic practice. Here, measurements--a numerical means of ordering the world--highlight the interplay of architecture and the viewer's relationship to it. Subverting a simple yet meticulous procedure by rendering it as aesthetics, the work challenges conventional understandings of dimensions in space and by consequence one's place in the world. Here, preparatory drawings, poetic artist's notes and archival photographs of the first Measurement Rooms reveal Bochner's thinking and process beyond this pivotal series while a contemporaneous interview with Elayne Varian and an essay by Dia curator Alexis Lowry add essential context.
Mel Bochner: Measurements (1968-1971)
Author: Elayne Varian
Publisher: Dia Art Foundation
ISBN: 9780944521908
Category : Art
Languages : en
Pages : 128
Book Description
Documenting arch-conceptualist Mel Bochner's fusion of architecture and quantification Produced in honor of the 50th anniversary of his first Measurement Room, Mel Bochner: Measurements (1968-1971) revisits this defining period early in the New York-based artist's renowned career. One of the most important conceptual artists of the 1960s and 1970s, Bochner (born 1940) applied various abstract systems in his artistic practice. Here, measurements--a numerical means of ordering the world--highlight the interplay of architecture and the viewer's relationship to it. Subverting a simple yet meticulous procedure by rendering it as aesthetics, the work challenges conventional understandings of dimensions in space and by consequence one's place in the world. Here, preparatory drawings, poetic artist's notes and archival photographs of the first Measurement Rooms reveal Bochner's thinking and process beyond this pivotal series while a contemporaneous interview with Elayne Varian and an essay by Dia curator Alexis Lowry add essential context.
Publisher: Dia Art Foundation
ISBN: 9780944521908
Category : Art
Languages : en
Pages : 128
Book Description
Documenting arch-conceptualist Mel Bochner's fusion of architecture and quantification Produced in honor of the 50th anniversary of his first Measurement Room, Mel Bochner: Measurements (1968-1971) revisits this defining period early in the New York-based artist's renowned career. One of the most important conceptual artists of the 1960s and 1970s, Bochner (born 1940) applied various abstract systems in his artistic practice. Here, measurements--a numerical means of ordering the world--highlight the interplay of architecture and the viewer's relationship to it. Subverting a simple yet meticulous procedure by rendering it as aesthetics, the work challenges conventional understandings of dimensions in space and by consequence one's place in the world. Here, preparatory drawings, poetic artist's notes and archival photographs of the first Measurement Rooms reveal Bochner's thinking and process beyond this pivotal series while a contemporaneous interview with Elayne Varian and an essay by Dia curator Alexis Lowry add essential context.
Mel Bochner Drawings
Author: Kevin Salatino
Publisher: Yale University Press
ISBN: 0300260059
Category : Design
Languages : en
Pages : 201
Book Description
A groundbreaking examination of Mel Bochner's inventive drawing practice produced collaboratively with the artist Encompassing both works on paper and oversized wall drawings made from the 1960s to the present, this handsomely designed volume documents the first-ever museum retrospective of drawings by Mel Bochner (b. 1940). Drawing has long been critical to the work of this pioneering conceptual artist, and essayists explore the theoretical framework and playful experimentation of his decades-long practice. The book, conceived and designed in close collaboration with the artist, features his own writings about his philosophy of wall drawings and reflections on significant exhibitions of his work. Bochner was a key figure of the Minimalist and Conceptual Art movements whose first exhibition in 1966 is now recognized as seminal. Today the artist is known for works in a range of media that explore the conventions of language and visual art as well as the relationships between them; his experimental works on paper, canvas, and wall--all of which are celebrated here--are a foundational facet of his practice and a critical influence on contemporary art.
Publisher: Yale University Press
ISBN: 0300260059
Category : Design
Languages : en
Pages : 201
Book Description
A groundbreaking examination of Mel Bochner's inventive drawing practice produced collaboratively with the artist Encompassing both works on paper and oversized wall drawings made from the 1960s to the present, this handsomely designed volume documents the first-ever museum retrospective of drawings by Mel Bochner (b. 1940). Drawing has long been critical to the work of this pioneering conceptual artist, and essayists explore the theoretical framework and playful experimentation of his decades-long practice. The book, conceived and designed in close collaboration with the artist, features his own writings about his philosophy of wall drawings and reflections on significant exhibitions of his work. Bochner was a key figure of the Minimalist and Conceptual Art movements whose first exhibition in 1966 is now recognized as seminal. Today the artist is known for works in a range of media that explore the conventions of language and visual art as well as the relationships between them; his experimental works on paper, canvas, and wall--all of which are celebrated here--are a foundational facet of his practice and a critical influence on contemporary art.
Dia:Beacon
One Place after Another
Author: Miwon Kwon
Publisher: MIT Press
ISBN: 9780262612029
Category : Architecture
Languages : en
Pages : 236
Book Description
A critical history of site-specific art since the late 1960s. Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.
Publisher: MIT Press
ISBN: 9780262612029
Category : Architecture
Languages : en
Pages : 236
Book Description
A critical history of site-specific art since the late 1960s. Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.
Telematic Embrace
Author: Roy Ascott
Publisher: Univ of California Press
ISBN: 9780520218031
Category : Art
Languages : en
Pages : 462
Book Description
Annotation Telematic Embrace combines a provocative collection of writings from 1964 to the present by the preeminent artist and art theoretician Roy Ascott, with a critical essay by Edward Shanken that situates Ascott's work within a history of ideas in art, technology, and philosophy.
Publisher: Univ of California Press
ISBN: 9780520218031
Category : Art
Languages : en
Pages : 462
Book Description
Annotation Telematic Embrace combines a provocative collection of writings from 1964 to the present by the preeminent artist and art theoretician Roy Ascott, with a critical essay by Edward Shanken that situates Ascott's work within a history of ideas in art, technology, and philosophy.
Working drawings and other visible things on paper not necessarily meant to be viewed as art
Author: Mel Bochner
Publisher:
ISBN:
Category : Conceptual art
Languages : en
Pages : 214
Book Description
Publisher:
ISBN:
Category : Conceptual art
Languages : en
Pages : 214
Book Description
A Century of Artists Books
Author: Riva Castleman
Publisher: ABRAMS
ISBN: 9780810961814
Category :
Languages : en
Pages : 0
Book Description
Published to accompany the 1994 exhibition at The Museum of Modern Art, New York, this book constitutes the most extensive survey of modern illustrated books to be offered in many years. Work by artists from Pierre Bonnard to Barbara Kruger and writers from Guillaume Apollinarie to Susan Sontag. An importnt reference for collectors and connoisseurs. Includes notable works by Marc Chagall, Henri Matisse, and Pablo Picasso.
Publisher: ABRAMS
ISBN: 9780810961814
Category :
Languages : en
Pages : 0
Book Description
Published to accompany the 1994 exhibition at The Museum of Modern Art, New York, this book constitutes the most extensive survey of modern illustrated books to be offered in many years. Work by artists from Pierre Bonnard to Barbara Kruger and writers from Guillaume Apollinarie to Susan Sontag. An importnt reference for collectors and connoisseurs. Includes notable works by Marc Chagall, Henri Matisse, and Pablo Picasso.
Essays on Art and Language
Author: Charles Harrison
Publisher: MIT Press
ISBN: 9780262582414
Category : Art
Languages : en
Pages : 350
Book Description
Critical and theoretical essays by a long-time participant in the Art & Language movement. These essays by art historian and critic Charles Harrison are based on the premise that making art and talking about art are related enterprises. They are written from the point of view of Art & Language, the artistic movement based in England—and briefly in the United States—with which Harrison has been associated for thirty years. Harrison uses the work of Art & Language as a central case study to discuss developments in art from the 1950s through the 1980s. According to Harrison, the strongest motivation for writing about art is that it brings us closer to that which is other than ourselves. In seeing how a work is done, we learn about its achieved identity: we see, for example, that a drip on a Pollock is integral to its technical character, whereas a drip on a Mondrian would not be. Throughout the book, Harrison uses specific examples to address a range of questions about the history, theory, and making of modern art—questions about the conditions of its making and the nature of its public, about the problems and priorities of criticism, and about the relations between interpretation and judgment.
Publisher: MIT Press
ISBN: 9780262582414
Category : Art
Languages : en
Pages : 350
Book Description
Critical and theoretical essays by a long-time participant in the Art & Language movement. These essays by art historian and critic Charles Harrison are based on the premise that making art and talking about art are related enterprises. They are written from the point of view of Art & Language, the artistic movement based in England—and briefly in the United States—with which Harrison has been associated for thirty years. Harrison uses the work of Art & Language as a central case study to discuss developments in art from the 1950s through the 1980s. According to Harrison, the strongest motivation for writing about art is that it brings us closer to that which is other than ourselves. In seeing how a work is done, we learn about its achieved identity: we see, for example, that a drip on a Pollock is integral to its technical character, whereas a drip on a Mondrian would not be. Throughout the book, Harrison uses specific examples to address a range of questions about the history, theory, and making of modern art—questions about the conditions of its making and the nature of its public, about the problems and priorities of criticism, and about the relations between interpretation and judgment.
Unconcealed, the International Network of Conceptual Artists 1967-77
Author: Sophie Richard
Publisher:
ISBN:
Category : Antiques & Collectibles
Languages : en
Pages : 524
Book Description
Unconcealed describes the emergence of Conceptual art in Northern Europe through the growth of an international network of artists, dealers, museum curators, collectors and critics. A detailed account of this decade (1967-1977) is accompanied by an extensive set of previously unpublished data that charts the exhibitions and sales of Conceptual works to galleries, public institutions and private collections. The relationships, support structures and strategies of dealer galleries such as Konrad Fischer, Wide White Space and Lisson Gallery to promote artists such as Marcel Broodthaers, Richard Long and Lawrence Weiner are revealed and make fascinating reading. Unconcealed exposes the new dealing, curatorial, collecting and teaching methods formed in this decade that continue to be critical to today's art world.
Publisher:
ISBN:
Category : Antiques & Collectibles
Languages : en
Pages : 524
Book Description
Unconcealed describes the emergence of Conceptual art in Northern Europe through the growth of an international network of artists, dealers, museum curators, collectors and critics. A detailed account of this decade (1967-1977) is accompanied by an extensive set of previously unpublished data that charts the exhibitions and sales of Conceptual works to galleries, public institutions and private collections. The relationships, support structures and strategies of dealer galleries such as Konrad Fischer, Wide White Space and Lisson Gallery to promote artists such as Marcel Broodthaers, Richard Long and Lawrence Weiner are revealed and make fascinating reading. Unconcealed exposes the new dealing, curatorial, collecting and teaching methods formed in this decade that continue to be critical to today's art world.
Systems We Have Loved
Author: Eve Meltzer
Publisher: University of Chicago Press
ISBN: 022600791X
Category : Art
Languages : en
Pages : 250
Book Description
By the early 1960s, theorists like Lévi-Strauss, Lacan, Foucault, and Barthes had created a world ruled by signifying structures and pictured through the grids of language, information, and systems. Artists soon followed, turning to language and its related forms to devise a new, conceptual approach to art making. Examining the ways in which artists shared the structuralist devotion to systems of many sorts, Systems We Have Loved shows that even as structuralism encouraged the advent of conceptual art, it also raised intractable problems that artists were forced to confront. Considering such notable art figures as Mary Kelly, Robert Morris, Robert Smithson, and Rosalind Krauss, Eve Meltzer argues that during this period the visual arts depicted and tested the far-reaching claims about subjectivity espoused by theorists. She offers a new way of framing two of the twentieth century’s most transformative movements—one artistic, one expansively theoretical—and she reveals their shared dream—or nightmare—of the world as a system of signs. By endorsing this view, Meltzer proposes, these artists drew attention to the fictions and limitations of this dream, even as they risked getting caught in the very systems they had adopted. The first book to describe art’s embrace of the world as an information system, Systems We Have Loved breathes new life into the study of conceptual art.
Publisher: University of Chicago Press
ISBN: 022600791X
Category : Art
Languages : en
Pages : 250
Book Description
By the early 1960s, theorists like Lévi-Strauss, Lacan, Foucault, and Barthes had created a world ruled by signifying structures and pictured through the grids of language, information, and systems. Artists soon followed, turning to language and its related forms to devise a new, conceptual approach to art making. Examining the ways in which artists shared the structuralist devotion to systems of many sorts, Systems We Have Loved shows that even as structuralism encouraged the advent of conceptual art, it also raised intractable problems that artists were forced to confront. Considering such notable art figures as Mary Kelly, Robert Morris, Robert Smithson, and Rosalind Krauss, Eve Meltzer argues that during this period the visual arts depicted and tested the far-reaching claims about subjectivity espoused by theorists. She offers a new way of framing two of the twentieth century’s most transformative movements—one artistic, one expansively theoretical—and she reveals their shared dream—or nightmare—of the world as a system of signs. By endorsing this view, Meltzer proposes, these artists drew attention to the fictions and limitations of this dream, even as they risked getting caught in the very systems they had adopted. The first book to describe art’s embrace of the world as an information system, Systems We Have Loved breathes new life into the study of conceptual art.