Author: Michael Archer Publisher: ISBN: 9780500203514 Category : Languages : en Pages :
Book Description
Eksempler på kunstretninger fra 60'erne til 90'erne, f.eks. popkunst, minimal art, performance, konceptkunst, land art, body art og installationskunst
Author: Liz Kotz Publisher: MIT Press ISBN: 0262514036 Category : Art Languages : en Pages : 344
Book Description
A critical study of the use of language and the proliferation of text in 1960s art and experimental music, with close examinations of works by Vito Acconci, Carl Andre, John Cage, Douglas Huebler, Andy Warhol, Lawrence Weiner, La Monte Young, and others. Language has been a primary element in visual art since the 1960s—in the form of printed texts, painted signs, words on the wall, recorded speech, and more. In Words to Be Looked At, Liz Kotz traces this practice to its beginnings, examining works of visual art, poetry, and experimental music created in and around New York City from 1958 to 1968. In many of these works, language has been reduced to an object nearly emptied of meaning. Robert Smithson described a 1967 exhibition at the Dwan Gallery as consisting of “Language to be Looked at and/or Things to be Read.” Kotz considers the paradox of artists living in a time of social upheaval who use words but chose not to make statements with them. Kotz traces the proliferation of text in 1960s art to the use of words in musical notation and short performance scores. She makes two works the “bookends” of her study: the “text score” for John Cage's legendary 1952 work 4'33”—written instructions directing a performer to remain silent during three arbitrarily determined time brackets—and Andy Warhol's notorious a: a novel—twenty-four hours of endless talk, taped and transcribed—published by Grove Press in 1968. Examining works by artists and poets including Vito Acconci, Carl Andre, George Brecht, Douglas Huebler, Joseph Kosuth, Jackson Mac Low, and Lawrence Weiner, Kotz argues that the turn to language in 1960s art was a reaction to the development of new recording and transmission media: words took on a new materiality and urgency in the face of magnetic sound, videotape, and other emerging electronic technologies. Words to Be Looked At is generously illustrated, with images of many important and influential but little-known works.
Author: David Rubin Publisher: Mit Press ISBN: Category : Art Languages : en Pages : 148
Book Description
"This eye-popping book offers a visual history of the psychedelic sensibility. In pop culture, that sensibility is associated with lava lamps, album covers, and "teashades," but it first manifested itself in the extreme colors and kaleidoscopic compositions of 1960s Op Artists. The psychedelic sensibility didn't die at the end of the 1960s; Psychedelic traces it through the day-glo colors of painters Peter Saul, Alex Grey, and Kenny Scharf, the pill and hemp leaf paintings of Fred Tomaselli, the intensified palettes of Douglas Bourgeois and Sharon Ellis, and mixed-media and new media works by younger artists in the new millennium." "Although the term "psychedelic" was coined to describe hallucinatory experiences produced by drugs used psychotherapeutically, the story these images tell is about the influence of psychedelic culture on the art world - not necessarily the influence of drugs. As contemporary art evolved into a diverse and pluralistic discipline, the psychedelic evolved into a language of color and light. In Psychedelic, more than seventy-five vivid color images chart this development, exploring the art chronologically, from early Op Art through recent work using digital technology. The book, which accompanies an exhibition organized by the San Antonio Museum of Art, includes three essays that set the works in historical and cultural context." --Book Jacket.
Author: Amy Bryzgel Publisher: Rethinking Art's Histories ISBN: 9781784994211 Category : Gender identity in art Languages : en Pages : 366
Book Description
This volume presents the first comprehensive academic study of the history and development of performance art in the former communist countries of Central, Eastern and Southeastern Europe since the 1960s. Covering 21 countries and more than 250 artists, this text demonstrates the manner in which performance art in the region developed concurrently with the genre in the West, highlighting the unique contributions of Eastern European artists to the genre. It offers a comparative study of the genre of performance art in countries and cities across the region, examining the manner in which artists addressed issues such as the body, gender, politics and identity, and institutional critique. As the first comprehensive history of the subject, this text is essential for those in the field of performance studies, or those researching contemporary Eastern European art. It will also be of interest to those in Slavic studies, art history and visual culture.
Author: Kelly Grovier Publisher: Thames & Hudson ISBN: 0500772940 Category : Art Languages : en Pages : 393
Book Description
An extensive, accessible guide to the most groundbreaking and influential art from 1989 to the present The years since the collapse of the Berlin Wall in November 1989 have seen the rise of a new freedom to define art—Who makes it? Where can it be found? What is its commercial value?—and, consequently, the reevaluation of art’s place in society. Kelly Grovier surveys the dynamic developments in art practice worldwide since 1989, focusing on artists whose fresh visual vocabulary and innovation reflect these past turbulent decades. The book’s ten chapters examine the key themes in contemporary art—portraiture in the age of face transplants and facial recognition software, political activism, science, and religion, to name a few—by artists including Jeff Koons, Louise Bourgeois, Damien Hirst, George Condo, Marlene Dumas, Sean Scully, Cindy Sherman, Banksy, Ai Weiwei, Antony Gormley, Christo and Jean-Claude, Jenny Holzer, Chuck Close, and Cornelia Parker. A chapter-length timeline at the end of the book traces the evolution of art from 1989 to today by closely examining one key artwork from each year. Illustrated with the work of over 200 key artists, Art Since 1989 is a lucid and engaging look at what may prove to be one of the more tempestuous eras in human history, if not the history of art.
Author: David Hopkins Publisher: Oxford University Press ISBN: 019284234X Category : Art Languages : en Pages : 289
Book Description
Following a clear timeline, the author highlights key movements of modern art, giving careful attention to the artists' political and cultural worlds. Styles include Abstract Expressionism, Pop Art, Minimalism, Conceptualism, Postmodernism, and performance art. 65 color illustrations. 65 halftones.
Author: Anne M. Wagner Publisher: Univ of California Press ISBN: 0520268474 Category : Art Languages : en Pages : 301
Book Description
“In this much-needed and courageous book, Anne Wagner lays down a gauntlet to all those interested in modern and contemporary art: to think anew about these works by canonic artists, and about the relationship of art to recent history and politics. Wagner presents an exhilarating and innovative set of closely worked historical arguments that are remarkably timely, and her lucid prose makes complex ideas and critical debates accessible to a broad audience.”—Briony Fer, Professor of History of Art, UCL “In A House Divided, Anne Wagner takes on the so-called post-war era in American art and asks searching questions about what that term might mean now, amid cultural division and perpetual war. Far more than a sum of its parts, this collection of essays is essential reading on American artists' ‘post-war’ responses to nationalism, state violence, and the 1960s.”—Mignon Nixon, author of Fantastic Reality: Louise Bourgeois and a Story of Modern Art
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.
Author: Reiko Tomii Publisher: National Geographic Books ISBN: 0262535319 Category : Art Languages : en Pages : 0
Book Description
Innovative artists in 1960s Japan who made art in the “wilderness”—away from Tokyo, outside traditional norms, and with little institutional support—with global resonances. 1960s Japan was one of the world's major frontiers of vanguard art. As Japanese artists developed diverse practices parallel to, and sometimes antecedent to, their Western counterparts, they found themselves in a new reality of “international contemporaneity” (kokusaiteki dōjisei). In this book Reiko Tomii examines three key figures in Japanese art of the 1960s who made radical and inventive art in the “wilderness”—away from Tokyo, outside traditional norms, and with little institutional support. These practitioners are the conceptualist Matsuzawa Yutaka, known for the principle of “vanishing of matter” and the practice of “meditative visualization” (kannen); The Play, a collective of “Happeners”; and the local collective GUN (Group Ultra Niigata). The innovative work of these artists included a visionary exhibition in Central Japan of “formless emissions” organized by Matsuzwa; the launching of a huge fiberglass egg—“an image of liberation”—from the southernmost tip of Japan's main island by The Play; and gorgeous color field abstractions painted by GUN on accumulating snow on the riverbeds of the Shinano River. Pioneers in conceptualism, performance art, land art, mail art, and political art, these artists delved into the local and achieved global relevance. Making “connections” and finding “resonances” between these three practitioners and artists elsewhere, Tomii links their local practices to the global narrative and illuminates the fundamentally “similar yet dissimilar” characteristics of their work. In her reading, Japan becomes a paradigmatic site of world art history, on the periphery but asserting its place through hard-won international contemporaneity.
Proudly powered by WordPress |
Theme: Rits Blog by Crimson Themes.
Author: Michael Archer
Author: RoseLee Goldberg
Author: Liz Kotz
Author: David Rubin
Author: Amy Bryzgel
Author: Kelly Grovier
Author: David Hopkins
Author: Anne M. Wagner
Author: Miwon Kwon
Author: Reiko Tomii