The Blind Man était un magazine clé du début du XXe siècle, issu d'un riche réseau de salons et de publications proto-dada, modernistes et d'avant-garde new-yorkais, publié aux États-Unis. Produit par Marcel Duchamp, Béatrice Wood et Henri-Pierre Roché, seuls deux numéros de Blind Man ont paru, mais ils constituent un who's who des avant-gardes new-yorkaise et parisienne: Mina Loy, Walter Conrad Arensberg, Francis Picabia, Gabrielle Buffet, Allen Norton, Clara Tice, Alfred Stieglitz, Charles Demuth, Charles Duncan, Erik Satie, Carl Van Vechten et Louise Norton ont tous figuré dans ses pages.
Powr Mastrs Vol. 3--brainchild of C.F., who emerged from the fabled Providence, Rhode Island, art and noise scene and who also performs under the monikers Kites and Daily Life--is one of the most anticipated graphic novels of the year. This latest installment continues C.F.'s Dune-like science fiction/fantasy epic featuring a misguided scientist and the race of beings he has created, who inhabit a surreal world called New China. The narrative follows the ever-shifting power relations of these mystical warriors who transform their physical and psychological identities each time the tide of power turns. Powr Mastrs Vol. 2 hit over a dozen "top-ten graphic novels of 2008" lists, both volumes 1 and 2 have been described by Vice Magazine as "dark doors into the stunningly fantastic," and The Village Voice has noted that "the homemade arcane dominates in C.F.'s sexy danger world." This third installment is no exception: it overflows with graphic innovation, from the intricately designed costumes each character wears to the exactingly drawn architectural detail, all rendered in C.F.'s distinctive pencil line. In this volume, C.F. firmly takes the reins both as a visual and comics artist, making a book as essential to the practice of drawing as to the graphic novel.
Published by leading outsider art imprint Raw Vision, Singular Spaces is a groundbreaking survey of art environments created by self-taught artists from across Spain. The book introduces and examines 45 artists and their idiosyncratic sculptures, gardens and buildings, most of which have never been published. The sites are developed organically, without formal architectural or engineering plans; they are at once evolving and complete. Often highly fanciful and quixotic, the work is frequently characterized by incongruous juxtapositions, an approach that appears impulsive and spontaneous. Director of the organization SPACES (Saving and Preserving Arts and Cultural Environments), Jo Farb Hernández, combines detailed case studies of the artists and their work with contextualized historical and theoretical references to art history, anthropology, architecture, Spanish area studies and folklore. Breaking down the standard compartmentalization of genres, she reveals how most creators of art environments, who are building within their own personal spaces, fuse their creations with their daily lives.
Depuis 2008, le centre de documentation Morbid Anatomy de Brooklyn, à New York, accueille certains des meilleurs érudits, artistes et écrivains travaillant au croisement de l'histoire de l'anatomie et de la médecine, de la mort et du macabre, de la religion et du spectacle. Ce livre rassemble les extraits emblématiques de ce travail dans 28 essais richement illustrés.
Destroy All Monsters were an influential Detroit group that made music, art, zines and an elaborate junk-based self-mythology. Two of its members have become renowned artists: Mike Kelley and Jim Shaw. But aside from the zines, the actual output by the members has never been examined as independent art objects. This is the first retrospective of the artwork itself, as opposed to the zines and memorabilia produced. Nearly all of this work has never been published. Included are: dozens of candid photographs of the group, offering a snapshot of a proto-punk unit.
De Matthew Buckingham à Diana Thater en passant par Mark Dion et Trevor Paglen, une sélection d'artistes évoquent le riche héritage des films et sculptures de Robert Smithson et notamment de sa célèbre installation de land art, la Spiral Jetty.
Titled after James Lee Byars' famous proclamation, Triple Candie's I Cancel All My Works at Death posits that Byars and his work are better misremembered than reexperienced. Triple Candie is a fugitive institution operated by two art historians that produces exhibitions "about art but devoid of it" that are realized without the involvement of artists. This book includes documentation of the exhibition as well as two recollections (by the artist's teenage sweetheart and a late-life acquaintance), essays on creative reconstruction and Byars' relationship to Detroit, a conversation between Triple Candie and a lawyer on the legal ramifications of artistic cancelation, and an assortment of quotes by Radiohead, Ivor Cutler and others that have nothing and everything to do with Byars and this show. The book is available in two different dust jackets.
The U.S. debut of internationally acclaimed poet and performance artist Shailja Patel, Migritude is a tour-de-force hybrid text that confounds categories and conventions. Part poetic memoir, part political history, Migritude weaves together family history, reportage and monologues to create an achingly beautiful portrait of women's lives and migrant journeys undertaken under the boot print of Empire. Patel, who was born in Kenya and educated in England and the U.S., honed her poetic skills in performances of this work that have received standing ovations throughout Europe, Africa and North America. She has been described by the Gulf Times as "the poetic equivalent of Arundhati Roy" and by CNN as "the face of globalization as a people-centered phenomenon of migration and exchange." Migritude includes interviews with the author, as well as performance notes and essays.
In photographs characterized by subtle geometries and penetrating natural light, Los Angeles-based artist Melanie Schiff (born 1977) achieves dramatic effects with everyday objects, found landscapes and interiors. This is the first survey of Schiff's photographs including work from 2002-2012.
Men visit a city. They watch aeroplanes departing and arriving at an airport. They go on board a ship and across a river. Finally they arrive at the building that is their destination. A man guides them to the """"world map room"""". It seems they have an appointment there, although there is no description about the appointment. They see the books on the shelves and have some desultory conversation. Then they go to the courtyard and carry on the conversation. They reach a pond with a sunken ship. The guide starts to explain the ship's history. The book ends.
Dans le monde du graffiti, c'est le nom qui fait la renommée, mais qu'en est-il des composants figuratifs de cette typographie urbaine? S'inspirant de la télévision du samedi matin, des bandes dessinées imprimées et du paysage urbain dense, les graffeurs ont créé des personnages libérés des contraintes de leurs lettres habituelles. Mascottes & Mugs est le premier livre à examiner les éléments figuratifs de l'art du graffiti : il retrace l'histoire des personnages clés, depuis les exemples les plus anciens de writers tels que Stay High, Cliff 170 et Blade, jusqu'à ceux de maîtres plus récents comme Mode 2, Doze et Tack.
Florence, Venise et Rome sont au coeur du Grand Tour depuis des siècles et sont devenues légendaires pour tous ceux qui souhaitent étudier lart du passé. Les relations qu'avaient les impressionnistes américains avec l'Italie, et notamment avec Florence, devinrent très intenses au cours des décennies allant de la fin du XIXe siècle et à l'aube du XXe siècle. ce livre présente les oeuvres de peintres qui, sans s'inscrire explicitement dans le nouveau style, étaient néanmoins des maîtres essentiels. Parmi eux figuraient Winslow Homer, William Morris Hunt, John La Farge et Thomas Eakins. Ils furent être suivis par de grands noms tels que John Singer Sargent, Mary Cassatt et James Abbott McNeill Whistler.
La collection extraordinaire de dessins vénitiens de la galerie nationale d'art de Washington est présentée pour la première fois dans cet ouvrage: cent quarante-quatre oeuvres des plus grands maîtres vénitiens (de Mantegna à Bellini, de Titien à Véronèse, de Tiepolo à Canaletto) et d'artistes renommés américains et britanniques qui se sont inspirés de la ville au 19e siècle (Sargent et Whistler, entre autres).
THREADS, a series of talks devoted to the art of the book, includes poets, artists, and publishers. It explores and enriches relationships between various strands of book culture that are often approached in isolation: poetry and writing; visual and performing arts; collaboration; design; printing; independent publishing; literary history; critical theory; and material culture.
The premise for the series was very similar to the kind of interdisciplinary approach to the book that has interested us all along. A book is never more successful than the relationship between its parts; the philosophical and material connections between writing, art, design, typography, translation, and distribution is more significant than excellence in any isolated area.
The talks were originally recorded before a small studio audience, then made available to the public on PennSound, and are now collected here in written form for the first time.
THREADS began in March 2009 and concluded in October 2012. There were twelve speakers: Alan Loney; Charles Alexander; Simon Cutts; Buzz Spector; Jerome Rothenberg; Cecilia Vicuña; Jen Bervin; Kathleen Walkup; Johanna Drucker; Keith Smith; Richard Minsky; and Emily McVarish.
Visual artist and theorist Suzanne Anker opened the 2007 international online conference Bioscience and Visual Culture with the following words: "The ubiquitous employment of digital technologies within the practices of research science and medicine, architecture and design, filmmaking and video production, as well as the visual and performing arts, has set ajar a multiplex of communication networks which crisscross traditional boundaries." This volume documents the virtual symposium, which was hosted by the National Academy of Sciences in Washington, D.C. and the Center for Art, Design and Visual Culture at the University of Maryland, Baltimore County. Herein, artists, scientists, historians, ethicists, curators, sociologists and writers discuss the myriad intersections between visual culture and the biosciences. The impressive list of international panelists includes Carl Djerassi of Stanford University, Troy Duster of NYU, Marvin Heiferman of SVA, David Freedberg of Columbia University, artist Catherine Chalmers, Art in America Senior Editor Nancy Princenthal and writer Andrew Solomon.
Where do we come from? What are we? Where are we going? Few expressions in the culture of human thought have the iconic stature, and emotive power, that the word «evolution» entails. Though commonly relegated to modern-day science, the concept of evolution is ingrained in representations of life and nature in the visual arts, and artists and scientists have much to share on the meaning of human origin, human existence and human fate. The present volume documents an online symposium, Visual Culture and Evolution, in which a distinguished panel of artists, curators, scientists, historians, educators, media theorists and critics participated in a lively, informative conversation on the interface of art and science. Opening interviews by bio-artist Eduardo Kac and Pulitzer Prize-winning biologist E.O. Wilson set the stage for an engaging debate on this perennial topic.
Walkers explores the reimagining and recycling of Hollywood iconography in contemporary art and the way that movies live on in our personal and cultural memories. Looking at a diverse range of artists and filmmakers, including Francis Alÿs, Richard Avedon, Fiona Banner, Jean-Luc Godard, Michel Gondry, Douglas Gordon, Alex Israel, Martin Kippenberger, Richard Prince, Ed Ruscha, Leanne Shapton and Weegee, Walkers surveys how art has appropriated and redefined some of the 20th century's most iconic films. Artworks are joined by rare film ephemera ranging from costume designs for Rosemary's Baby to the complete original key book stills from The 39 Steps. With a nod to the «walkers,» or zombies, from the TV series The Walking Dead, the catalogue's title references the lingering power of film on the imagination of the living.
Commemorating the 40th anniversary of the artist's accidental death at age 50, this volume offers the first substantial survey of the entire oeuvre of Wallace Berman (1926-76) from the late 1940s until 1976.
Berman has been long heralded as one of the most significant and influential artists to emerge in Southern California. Spiritually inclined yet steeped in popular culture and the political events of the day, he conducted reconnaissance far beyond the borders of California, mining the American psyche and broadcasting his ideas through mail art, publications, photographs and multilayered art works.
Berman intersected with several intriguing cultural moments, starting with his first Los Angeles solo show in 1957 at Ed Kienholz and Walter Hopps' Ferus Gallery. He also participated in an important 1966 group exhibition in London at the legendary Robert Fraser Gallery, whose other artists included Richard Hamilton, Bruce Conner and Peter Blake--who put Berman's face among the notable crowd in his cover for the Beatles' Sgt Pepper's Lonely Hearts Club Band.
As interest in West Coast art has increased over the past 40 years, scholars have viewed Berman as a quintessentially Californian artist whose entourage of likeminded friends was essential to the formation of his creative vision. This volume takes a broader view, reassessing Berman's significant contributions to the history of 20th-century American art.
Described by Bob Holman as "Li Po in drag, the voice of New America," Koon Woon exploded onto the poetry scene in the late 1990s. Largely self-taught, and struggling with both mental illness and homelessness, Seattle-based Woon wrote about the back alleys and tenement rooms on the margins of immigrant culture. His first collection, The Truth in Rented Rooms (included in this volume), won a PEN poetry prize and earned praise from Lawrence Ferlinghetti and Garrison Keillor. Water Chasing Water is Woon's second collection, and continues his exploration of loneliness and memory with poems and essays that seek out "This light / Without which existence is not detectable."
Paired with a short story by Gary Indiana, the paintings and drawings in this publication, by Copenhagen-based Tal R (born 1967), are characterized by saturated color and slightly off-kilter compositions. His works feature nude female subjects in mostly indoor, object-filled environments.
"A strange and exotic presence in Irish art," "standing alone" and "very un-Irish" were some of the epithets used to describe Patrick Hennessy (1915-80), one of Ireland's most successful realist painters in the postwar period. Hennessy was educated at Dundee College of Art and in 1937 won a scholarship to Paris where he worked for a time under Fernand Léger. He fused the Surrealist subjectivity he learned there with realism to create works unlike anything being made at the time, including portraits, landscapes, equine studies and still-lifes that found a steady market in Ireland, the UK and the USA. But he painted male nudes and portraits of handsome men that puzzled critics who branded him "something of an outsider." At a time when people were persecuted for their sexual orientation, he made works containing narratives of homosexual life that align him with the queer-art movement that emerged in the 1970s. This publication sheds light on this critically neglected artist and reflects on what his work might mean to an audience today.
Ce livre présente les travaux de peinture et de gravure de l'artiste tchèque Petr Nikl (né en 1964) des 30 dernières années, y compris une série sur le thème de l'éclosion, des embryons et de la mythologie des origines. L'écriture de l'artiste accompagne ses oeuvres visuelles.
Pictures That Talk surveys the last twenty-two years of the work of American artist Tad Savinar. Throughout his forty-three-year career, Savinar has included the use of texts and language as a central element within his work. He is a keen observer of contemporary life, and his works reflect an uncanny ability to identify behaviors and events, which, for good or bad, have shaped our lives, our cities and our beliefs. An illustrated essay rather than a traditional exhibition catalogue, the book focuses on fourteen individual works (prints and sculpture), while Linda Tesner's accompanying essay places Savinar's work in the context of some of his contemporary peers. The publication includes a number of pages which fold out to reveal large scale reproductions as well as details.
Ralph Coburn: Random Sequence is published to accompany the first national exhibition for the artist (born 1923), which assembles 36 individual color-block canvases in a room-scale installation.
Trained initially as an architect, Coburn was steeped in the interwar avant-gardes, and plays with concepts of "random sequence" and "movable architecture."