Author: Brian Dillon
View: 6592Ruins is one of a series documenting major themes and ideas in contemporary art.
Author: Brian Dillon
View: 6592Ruins is one of a series documenting major themes and ideas in contemporary art.
Author: Antony Hudek
Publisher: MIT Press (MA)
View: 1678This title focuses on the object as a key to understanding central aspects of modern and contemporary art.
Author: Gilda Williams
Publisher: The MIT Press
View: 7341This collection of writings examines the pervasive and influential role of "the Gothic" in contemporary visual culture. The contemporary Gothic in art is informed as much by the stock themes of the eighteenth- and nineteenth-century Gothic novel as it is by more recent permutations of the Gothic in horror film theory, Lacanian psychoanalysis, and Goth subcultures. This reader from London's Whitechapel Gallery brings together artists as different as Matthew Barney, Gregor Schneider, Louise Bourgeois, and Douglas Gordon; its intent is not to use "the Gothic" to group together dissimilar artists but rather to shed light on a particular understanding of their practice. Anthony Vidler looks at ideas of the uncanny to explore Rachel Whiteread's House, and Jeff Wall uses the motif of vampirism to analyze fellow artist Dan Graham's Kammerspell; Hal Foster considers Robert Gober's recent work—laden with Christian symbolism, criticism of America as a nexus of power, and fragmented bodies—as an updated American Gothic, and Kobena Mercer examines the Gothic's depiction of the Other in relation to Michael Jackson's pop video Thriller. Texts by artists including Mike Kelley, Damien Hirst, Tacita Dean, Jonathan Meese, and Catherine Sullivan are complemented by extracts from Walpole's genre-establishing gothic novel The Castle of Otranto, William Gibson, Bret Easton Ellis, and Stephen King, among others, and theoretical writings by such key thinkers as Carol Clover, Beatriz Colomina, Julia Kristeva, Eve Kosofsky Sedgwick, Marina Warner, and Slavoj Zizek. The Gothic provides the first comprehensive overview of the uses of Gothic in contemporary visual culture. Artists surveyed: Matthew Barney, Louise Bourgeois, Tacita Dean, Sue de Beer, Janet Cardiff, Mark Dion, Stan Douglas, Robert Gober, Douglas Gordon, Dan Graham, Damien Hirst, Mike Kelley, Paul McCarthy, Teresa Margolles, Jonathan Meese, Raymond Pettibon, Paul Pfeiffer, Gregor Schneider, Cindy Sherman, Catherine Sullivan, Andy Warhol, and Jane and Louise Wilson. Writers: Jean Baudrillard, Elizabeth Bronfen, Edmund Burke, Carol Clover, Beatriz Colomina, Douglas Crimp, Jacques Derrida, Richard Dyer, Umberto Eco, Bret Easton Ellis, Trevor Fairbrother, Alex Farquharson, Hal Foster, Michel Foucault, Sigmund Freud, William Gibson, Christoph Grunenberg, Bruce Hainley, Judith Halberstam, Amelia Jones, Jonathan Jones, Mike Kelley, Julia Kristeva, Jacques Lacan, Patrick McGrath, Kobena Mercer, James Meyer, Edgar Allan Poe, Andrew Ross, Jerry Saltz, Eve Kosofsky Sedgwick, Mary Shelley, Nancy Spector, Robert Louis Stevenson, Anthony Vidler, Jeff Wall, Horace Walpole, Marina Warner, Anne Williams, and Slavoj Zizek. Copublished with Whitechapel Art Gallery, London
Author: Sven Spieker
Publisher: Whitechapel: Documents of Cont
View: 1703The effects and meanings of destruction are central to the work of many of our most influential artists. Since the early 1960s, artists have employed destruction to creative ends. Here destruction changes from a negative state or passive condition to a highly productive category. The destructive subversion of media imagery aims to release us from its controlling effects. The self-destructing artwork extinguishes art's fixity as arrested form and ushers in the ephemeral and contingent "open work." This anthology explores artworks that convey the threat of destruction an how they have disrupted the perceived integrity of built structures and institutions. Artistic acts of iconoclasm or risk to the self have raised consciousness of authoritarian oppression. More understated works explore the theme of destruction in armed conflict, media violence, and threats to the environment. These text make up the first collection to be focused systematically on destruction in modern and contemporary art. Artists surveyed include Ai Weiwei, John Baldessari, Monica Bonvicini, Alexander Brener, Stuart Brisley, Douglas Gordon, Huang Yong Ping, Enrique Jezik, Milan Knizak, Paul McCarthy, Piero Manzoni, Gordon Matta-Clark, Gustav Metzger, Otto M�hl, Yoko Ono, Raphael Monta�ez Ortiz, Petr Pavlensky, William Pope.L, Walid Raad, Arnulf Rainer, Robert Rauschenberg, Carolee Schneemann, Song Dong, Jean Tinguely, Wolf Vostell Writers include Alain Badiou, Walter Benjamin, Horst Bredekamp, Carolyn Christov-Bakargiev, Medina Cuauth�moc, Dario Gamboni, Richard Galpin, Caleb Kelly, Bruno Latour, Sven L�tticken, Antonio Negri, Sophie O'Brien, Kristine Stiles, Jennifer Walden
Author: Julia Hell,Andreas Schönle
Publisher: Duke University Press
View: 4530Images of ruins may represent the raw realities created by bombs, natural disasters, or factory closings, but the way we see and understand ruins is not raw or unmediated. Rather, looking at ruins, writing about them, and representing them are acts framed by a long tradition. This unique interdisciplinary collection traces discourses about and representations of ruins from a richly contextualized perspective. In the introduction, Julia Hell and Andreas Schönle discuss how European modernity emerged partly through a confrontation with the ruins of the premodern past. Several contributors discuss ideas about ruins developed by philosophers such as Immanuel Kant, Georg Simmel, and Walter Benjamin. One contributor examines how W. G. Sebald’s novel The Rings of Saturn betrays the ruins erased or forgotten in the Hegelian philosophy of history. Another analyzes the repressed specter of being bombed out of existence that underpins post-Second World War modernist architecture, especially Le Corbusier’s plans for Paris. Still another compares the ways that formerly dominant white populations relate to urban-industrial ruins in Detroit and to colonial ruins in Namibia. Other topics include atomic ruins at a Nevada test site, the connection between the cinema and ruins, the various narratives that have accrued around the Inca ruin of Vilcashuamán, Tolstoy’s response in War and Peace to the destruction of Moscow in the fire of 1812, the Nazis’ obsession with imperial ruins, and the emergence in Mumbai of a new “kinetic city” on what some might consider the ruins of a modernist city. By focusing on the concept of ruin, this collection sheds new light on modernity and its vast ramifications and complexities. Contributors. Kerstin Barndt, Jon Beasley-Murray, Russell A. Berman, Jonathan Bolton, Svetlana Boym, Amir Eshel, Julia Hell, Daniel Herwitz, Andreas Huyssen, Rahul Mehrotra, Johannes von Moltke, Vladimir Paperny, Helen Petrovsky, Todd Presner, Helmut Puff, Alexander Regier, Eric Rentschler, Lucia Saks, Andreas Schönle, Tatiana Smoliarova, George Steinmetz, Jonathan Veitch, Gustavo Verdesio, Anthony Vidler
Author: Jeffrey Kastner
Publisher: Mit Press
View: 3594Contains essays on art in relation to nature and how our culture affects both things.
Author: Alex Coles
Publisher: The MIT Press
View: 3308The first anthology to address the rise of the "design-art" phenomenon—the breakdown of boundaries between art and architectural, graphic, or product design begun in the Pop and Minimalist eras.
Author: Terry R. Myers
Publisher: Whitechapel Art Gallery
View: 2018Essential writings thatconsider the diverse meanings of contemporary painting since its postconceptualrevival.
Documents of Contemporary Art Series
Author: Dave Beech
View: 4299Key texts on beauty and its revival in contemporary art.
Images, Texts, Signs
Author: Walter Benjamin
Publisher: Verso Books
Category: Biography & Autobiography
View: 8581An absorbing selection of Walter Benjamin’s personal manuscripts, images, and documents The work of the great literary and cultural critic Walter Benjamin is an audacious plotting of history, art, and thought; a reservoir of texts, commentaries, scraps, and fragments of everyday life, art, and dreams. Throughout his life, Benjamin gathered together all kinds of artifacts, assortments of images, texts, and signs, themselves representing experiences, ideas, and hopes, each of which was enthusiastically logged, systematized, and analyzed by their author. In this way, Benjamin laid the groundwork for the salvaging of his own legacy. Intricate and intimate, Walter Benjamin’s Archive leads readers to the heart of his intellectual world, yielding a rich and detailed portrait of its author. From the Trade Paperback edition.
Contemporary Artists in Conversation
View: 7484A personal encounter with 50 of the world's most significant contemporary artists, pressPLAY draws together the full texts of the complete Phaidon interviews with artists since 1995. From highly established artists such as Louise Bourgeois and Alex Katz to midcareer masters such as Fischli and Weiss and Jenny Holzer to the most exciting artists of the current generation such as Maurizio Cattelan and Pipilotti Rist, the artists in pressPLAY work in every variety of media - from painting to video, sculpture to installation. In discussion with key art critics as well as fellow artists, novelists, musicians and theorists, together the players in pressPLAY explain in full what it means to be an artist today. Highlights include veteran painter Vija Celmins and noted sculptor Robert Gober in an intimate discussion on their differing art practices; longtime friends and fellow travellers for decades, Benjamin Buchloh and Lawrence Weiner recall 35 years of work in the definitive, career-long interview for this key conceptual artist; the late Sir Ernst Gombrich in a discussion with the UK's pre-eminent sculptor Antony Gormley, who confesses that it was Gombrich's Story of Art that first inspired him to become an artist; the taciturn, legendary Raymond Pettibon muses on the evolution of his work with noted novelist Dennis Cooper; musician-artist Christian Marclay discusses performance, music and art with Kim Gordon from the legendary rock band Sonic Youth .
Author: David Evans
Category: Appropriation (Art)
View: 9708"Many influential artists today draw on a legacy of 'stealing' images and forms from other makers. The term appropriation is particularly associated with the 'Pictures' generation, centred [sic] on New York in the 1980s; this anthology provides a far wider context. Historically, it reappraises a diverse lineage of precedents - from the Dadaist readymade to Situationist détournement - while contemporary 'art after appropriation' is considered from multiple perspectives within a global context." --back cover.
Author: Caleb Kelly
Category: Arts, Modern
View: 348This is a definitive guide to the rising status of sound in art, its lineages in experimental arts, music and performance, and its increasingly significant role in addressing the contemporary world.
A Journey Through History, Art, and Literature
Author: Christopher Woodward
Category: Social Science
View: 8842In this enchanting meditation on ruins, Christopher Woodward takes us on a thousand-year journey from the plains of Troy to the monuments of ancient Rome, from the crumbling palaces of Sicily, Cuba, and Zanzibar to the rubble of the London Blitz. With an exquisite sense of romantic melancholy, we encounter the teenage Byron in the moldering Newstead Abbey, Flaubert watching the buzzards on the pyramids, Henry James in the Colosseum, and Freud at Pompeii. We travel the Appian Way with Dickens and behold the Baths of Caracalla with Shelley. An exhilarating tour, at once elegant and stimulating, In Ruins casts an exalting spell as it explores the bewitching power of architectural remains and their persistent hold on the imagination. From the Trade Paperback edition.
Tales of Loss and Rediscovery
Author: Robert Harbison
Publisher: Reaktion Books
View: 2347What is it about ruins that are so alluring, so puzzling, that they can hold some of us in endless wonder over the half-erased story they tell? In this elegant book, Robert Harbison explores the captivating hold these remains and broken pieces—from architecture, art, and literature—have on us. Why are we, he asks, so suspicious of things that are too smooth, too continuous? What makes us feel, when we look upon a fragment, that its very incompletion has a kind of meaning in itself? Is it that our experience on earth is inherently discontinuous, or that we are simply unable to believe in anything whole? Harbison guides us through ruins and fragments, both ancient and modern, visual and textual, showing us how they are crucial to understanding our current mindset and how we arrived here. First looking at ancient fragments, he examines the ways we have recovered, restored, and exhibited them as artworks. Then he moves on to modernist architecture and the ways that it seeks a fragmentary form, examining modern projects that have been designed into existing ruins, such as the Castelvecchio in Verona, Italy and the reconstruction of the Neues Museum in Berlin. From there he explores literature and the works of T. S. Eliot, Montaigne, Coleridge, Joyce, and Sterne, and how they have used fragments as the foundation for creating new work. Likewise he examines the visual arts, from Schwitters’ collages to Ruskin’s drawings, as well as cinematic works from Sergei Eisenstein to Julien Temple, never shying from more deliberate creators of ruin, from Gordon Matta-Clark to countless graffiti artists. From ancient to modern times and across every imaginable form of art, Harbison takes a poetic look at how ruins have offered us a way of understanding history and how they have enabled us to create the new.
Author: Maria Lind
Publisher: Whitechapel Art Gallery
Category: Art, Abstract
View: 4652This anthology reconsiders crucial aspects of abstraction's resurgence in contemporary art, exploring three equally significant strategies explored in current practice: formal abstraction, economic abstraction, and social abstraction. In the 1960s, movements as diverse as Latin American neo-concretism, op art and "eccentric abstraction" disrupted the homogeneity, universality, and rationality associated with abstraction. These modes of abstraction opened up new forms of engagement with the phenomenal world as well as the possibility of diverse readings of the same forms, ranging from formalist and transcendental to socio-economic and conceptual. In the 1980s, the writings of Peter Halley, Fredric Jameson, and others considered an increasingly abstracted world in terms of its economic, social, and political conditions -- all of which were increasingly manifested through abstract codes or sites of style. Such economic abstraction is primarily addressed in art through subject or theme, but Deleuze and Guattari's notion of art as abstract machine opens up possibilities for art's role in the construction of a new kind of social reality. In more recent art, a third strand of abstraction emerges: a form of social abstraction centered on the strategy of withdrawal. Social abstraction implies stepping aside, a movement away from the mainstream, suggesting the possibilities for art to maneuver within self-organized, withdrawn initiatives in the field of cultural production. Artists surveyed include: Lee Bontecou, Louise Bourgeois, Amilcar de Castro, Paul C zanne, Lygia Clark, Kajsa Dahlberg, Stephan Dillemuth, Marcel Duchamp, Gardar Eide Einarsson, G nther F rg, Liam Gillick, Ferreira Gullar, Jean H lion, Eva Hesse, Jakob Jakobsen, Jasper Johns, Donald Judd, Wassily Kandinsky, Sol LeWitt, Piet Mondrian, Bruce Nauman, H lio Oiticica, Blinky Palermo, Lygia Pape, Mai-Thu Perret, Jackson Pollock, Tobias Rehberger, Bridget Riley, Emily Roysden, Lucas Samaras, Julian Stanczak, Frank Stella, Hito Steyerl, Theo van Doesburg Writers include: Alfred H. Barr Jr., Ina Blom, Lynne Cooke, Anthony Davies, Judi Freeman, Peter Halley, Brian Holmes, Joe Houston, Fredric Jameson, Lucy R. Lippard, Sven L tticken, Nina M ntmann, Gabriel Perez-Barreiro, Catherine Qu loz, Gerald Raunig, Irit Rogoff, Meyer Schapiro, Kirk Varnedoe, Stephan Zepke
Presence and Absence in Chinese Art and Visual Culture
Author: Wu Hung
Publisher: Reaktion Books
View: 8583This richly illustrated book examines the changing significance of ruins as vehicles for cultural memory in Chinese art and visual culture from ancient times to the present. The story of ruins in China is different from but connected to ‘ruin culture’ in the West. This book explores indigenous Chinese concepts of ruins and their visual manifestations, as well as the complex historical interactions between China and the West since the eighteenth century. Wu Hung leads us through an array of traditional and contemporary visual materials, including painting, architecture, photography, prints and cinema. A Story of Ruins shows how ruins are integral to traditional Chinese culture in both architecture and pictorial forms. It traces the changes in their representation over time, from indigenous methods of recording damage and decay in ancient China, to realistic images of architectural ruins in the nineteenth and twentieth centuries, to the strong interest in urban ruins in contemporary China, as shown in the many artworks that depict demolished houses and decaying industrial sites. The result is an original interpretation of the development of Chinese art, as well as a unique contribution to global art history.
Author: Rose Macaulay
Publisher: Andesite Press
View: 646This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The Politics of Experimental Documentary
Author: Paolo Magagnoli
Category: Performing Arts
View: 5307This timely volume discusses the experimental documentary projects of some of the most significant artists working in the world today: Hito Steyerl, Joachim Koester, Tacita Dean, Matthew Buckingham, Zoe Leonard, Jean-Luc Moulène, Ilya and Emilia Kabakov, Jon Thomson and Alison Craighead, and Anri Sala. Their films, videos, and photographic series address failed utopian experiments and counter-hegemonic social practices. This study illustrates the political significance of these artistic practices and critically contributes to the debate on the conditions of utopian thinking in late-capitalist society, arguing that contemporary artists' interest in the past is the result of a shift within the temporal organization of the utopian imagination from its futuristic pole toward remembrance. The book therefore provides one of the first critical examinations of the recent turn toward documentary in the field of contemporary art.
Author: Camilo J. Vergara
View: 7789The deterioration of the American inner city stands in stark contrast to the prosperity characteristic of the United States for much of the twentieth century. Skyscrapers that once defined the modern era stand derelict and abandoned. Massive industrial manufactories lie rusting, their cavernous interiors dark. Formerly vibrant theaters shed bricks and terra-cotta ornaments. These desolate fragments of America's cityscapes are the legacy of decades of proud investment in the urban realm followed by decades of devastating neglect. Photographer and sociologist Camilo José Vergara has spent years documenting the decline of the built environment in New York City; Newark and Camden, New Jersey; Philadelphia; Baltimore; Chicago; Gary, Indiana; Detroit; and Los Angeles. His photographic sequences—images of the same sites taken over the course of many years—show once-sturdy structures as ghostly ruins and then as empty lots or flimsy new buildings. Grand civic edifices—the Michigan Central Railroad Station in Detroit, the Essex County Jail in New Jersey, the Camden Free Public Library—have become empty, roofless shells, dusted with snow in the winter and filled with stray plant and animal life in the summer. Monumental commercial and industrial buildings such as RCA Victor's "Nipper" Building in Camden and the Packard Automobile Plant in Detroit bear broken windows and rubble-strewn interiors. At once a scathing critique of national indifference to the plight of the inner city and a meditation on the aesthetic impact of desolate and neglected buildings,American Ruinsstands as a witness to a vanishing era of the American city.