DOCSLIB.ORG

G a G O S I a N Chris Burden Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
G a G O S I a N Chris Burden Bibliography G A G O S I A N Chris Burden Bibliography Selected Books and Catalogues: 2017 Burden, Chris, Christopher Bedford, Russell Ferguson, and George Roberts. Chris Burden: Streetlamps. New York: Gagosian. 2013 Burden, Chris, Lisa Phillips, Massimiliano Gioni, Jenny Moore, Johanna Burton. Chris Burden: Extreme Measures. New York: New Museum. 2012 Van Hoy, Justin. Milk and Honey. Pasadena: Ammo Books. 2010 ----------. Crash. New York: Gagosian Gallery. 2007 ----------. Chris Burden. Newcastle upon Tyne: Locus +, Gagosian Gallery. 2006 Grenier, Catherine. Los Angeles 1955-1985. Paris: Centre Pompidou/Panama Musees. 2005 Kraus, Chris, Jan Tumlir & Jane McFadden. LA Artland: Contemporary Art from Los Angeles. London: Black Dog Publishing. Hoffman, Fred, Paul Schimmel, Kristine Stiles & Robert Storr. Chris Burden. Locus + Publishing Ltd. 2004 Foster, Hal, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh. Art Since 1900: Modernism, Antimodernism, Postmodernism. New York: Thames & Hudson. ----------. Chris Burden: Early Works. New York: Zwirner & Wirth. Heartney, Eleanor. Postmodern Heretics:The Catholic Imagination in Contemporary Art. New York: Midmarch Press. 2003 ----------. Concrete Art. Austria: Graz Sweitausenddrei. 2002 Fréchuret, Maurice. Les années 70: l’art en cause. Paris: capcMusée d’art contemporain de Bordeaux. Koch, Alan & Linda Taalman. Trespassing. Houses x Artists. Ostfildern: Hatje Cantz. 2001 ----------. Chris Burden. Chicago: The Arts Club of Chicago. ----------. Extra Art: A Survey of Artist’s Ephemera 1960-1999. San Francisco: California College of Arts and Crafts. 2000 ----------. Made in California: Image, Art and Identity, 1900-2000. Los Angeles: The Museum of Contemporary Art. 1999 Morris, Frances. Chris Burden: When Robots Rule: The Two-Minute Airplane Factory. London: Tate Gallery Publishing. ----------. The American Century: Art and Culture 1900-2000. New York: Whitney Museum of American Art. ----------. Out of Actions: Between Performance and the Object, 1949-1979. Los Angeles: The Museum of Contemporary Art. ----------. Chris Burden. Stockholm: Magasin 3 Stockholm Konsthall. 1998 O’Dell, Kathy. Acting Out: Contract with the Skin: Masochism, Performance Art and the 1970s. Minneapolis: University of Minneapolis Press. 1997 ----------. 1997 Biennial Exhibition. New York: The Whitney Museum of American Art. Rugoff, Ralph. Scene of the Crime. Los Angeles: UCLA at the Armand Hammer Museum of Art and Cultural Center. ----------. Sunshine and Noir: Art in L.A., 1960-1997. Humelbaek, Denmark: Louisiana Museum of Modern Art. 1996 ----------. Chris Burden France 1994-1995. Le Consortium, Dijon, France. W W W . G A G O S I A N . C O M G A G O S I A N Obrist, Hans Ulrich and Guy Tortosa. Unbuilt Roads: 107 Unrealized Projects. Paris: Musée d’Art Moderne de la Ville de Paris. ----------. Chris Burden: Beyond the Limits. Ostfildern: Cantz Verlag. ----------. Chris Burden: Beyond the Limits. Vienna: MAK, Cantz Verlag. 1995 Albertini, Rosanna. Chris Burden/Bill Viola. Bolzano, Italy: Museo d’Art Moderna. ----------. Chris Burden. Barcelona: Centre d”art Santa Monica. ----------. Playtime: Artists and Toys. New York: The Whitney Museum of American Art. ----------. Chris Burden. (illustrated biography). Paris: Blocnotes Editions. Wilson, Malin, ed. Last Chance for Eden. Los Angeles: Art Issues Press. 1994 Beer, Jessica and Daniela Zyman, eds. Positions in Art. Vienna: MAK; Ostfildern: Cantz Verlag. 1993 ----------. 1993 Biennial Exhibition. New York: Whitney Museum of American Art. 1992 Kurtz, Bruce. Contemporary Art 1965-1990. New York: Prentice Hall. ----------. Chris Burden: LAX. Vienna: Galerie Krinzinger. ----------. Helter Skelter: L.A. Art in the 1990’s. Los Angeles: The Museum of Contemporary Art. 1991 Storr, Robert, ed. Dislocations. New York: The Museum of Modern Art. 1989 ----------. 1989 Biennial Exhibition. New York: The Whitney Museum of American Art. ---------. Image World: Art and Media Culture. New York: The Whitney Museum of American Art. 1988 ----------. Chris Burden: A Twenty Year Survey. Newport Beach: Newport Harbor Museum. 1987 ----------. L.A.: Hot and Cool. Cambridge: MIT Albert and Vera List Visual Arts Center. 1986 Hunter, Sam, ed. An American Renaissance: Painting and Sculpture Since 1940. Fort Lauderdale: Museum of Art; New York, Abbeville Press. ----------. Chris Burden: The Artist and His Models. Miami: Lowe Art Museum. Singerman, Howard, ed. Individuals: A Selected History of Contemporary Art, 1945-1986. Los Angeles: Museum of Contemporary Art; New York: Abbeville Press. ----------. Lumieres, perception-projection. Montreal: Centre International d'Art Contemporain. Broughel, Barbara. Poetic Resemblance. Buffalo: Hallwalls. ----------. Teaching Artists. Los Angeles: Frederick S. Wight Art Gallery, University of California,Los Angeles. ----------. Television's Impact on Contemporary Art. New York: The Queens Museum. 1985 ----------. Between Science and Fiction. São Paolo, Brazil. Weintraub, Linda, ed. Maximal Implications of the Minimal Line. Annandale- on-Hudson: Edith C. Blum Art Institute, Milton and Sally Avery Center for the Arts, Bard College Center. ----------. No! Contemporary American DADA. Seattle: Henry Art Gallery, University of Washington. ----------. 30 ans de recontres, de recherches, de partis pris. Paris: Galerie Stadler. Kriesche, Richard. Artificial Intelligence in the Arts, NR. 1, "Brainwork. Graz. W W W . G A G O S I A N . C O M G A G O S I A N 1984 Battock, Gregory and Robert Nickas, eds. The Art of Performance: A Critical Anthology. New York: E.P. Dutton.- ---------. Artpark 1984. Lewiston: Earl W. Brydges Artpark. ----------. Automobile and Culture. Los Angeles, Museum of Contemporary Art; New York: Abrams. Fox, Howard N.. Content: A Contemporary Focus, 1974-1984. Washington, D.C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution Press. ----------. National Video Festival Olympic Screenings. Los Angeles: American Film Institute. Rae Huffman, Kathy, ed. Video: A Retrospective, Long Beach Museum of Art, 1974-1984. Long Beach: Long Beach Museum of Art. Phyllis Freeman et al., eds. New Art. New York: Abrams. 1983 ----------. Site Strategies: Terry Allen, Chris Burden, Terry Fox. Oakland: The Oakland Museum. Gruber, Bettina and Maria Vedder. Kunst and Video: Internationale Entwicklung and Kunstler. Cologne: DuMont. 1982 Lyons, Lisa. Eight Artists: The Anxious Edge. Minneapolis: Walker Art Center. 1980 Poling, Clark V. Contemporary Art in Southern California. Atlanta: The High Museum of Art. Hughes, Robert. Shock of the New. New York: Alfred A. Knopf. Luciano, Inga-Pin. Performances Actions, Events, Activities, Installations. Italy: Mastrogiacomo. 1979 Deitch, Jeffrey, ed. Born in Boston; Sixteen Prominent Artists. Lincoln: De Cordova and Dana Museum and Park. Goldberg, Roselee. Performance: Live Art, 1909 to the Present. New York: Abrams. Loeffler, Carl. Performance Anthology: A Source Book for a Decade of California Performance Art. San Francisco: Contemporary Arts Press, La Mamelle Inc. Freeman, Phyllis, et al, eds. New Art. New York: Abrams. 1977 ----------. The Artist's Book. La Jolla: Mandeville Art Gallery, University of California, San Diego. ----------. 1977 Biennial Exhibition. New York: The Whitney Museum of American Art. ----------. Painting and Sculpture in California: The Modern Era. San Francisco: San Francisco Museum of Modern Art. ----------. Southland Video Anthology 1976-77. Long Beach: Long Beach Museum of Art. 1976 ----------. Do You Believe in Television? Calgary: Alberta College of Art Gallery. Lippard, Lucy. N.E. Thing Co. Ltd.: Celebration of the Body. Kingston: Agnes Etherington Art Center. Frederick, D. The Book as Art. Washington D.C.: Fendrick Gallery. Introduction. Schneider, Ira and Beryl Korot, eds. Video Art, An Anthology. New York and London: Harcourt Brace Jovanovich. p. 264-65. 1975 Wortz, Melinda. University of California Irvine, 1965-75. La Jolla: La Jolla Museum of Contemporary Art. Licht, Ira. Bodyworks. Chicago: Museum of Contemporary Art. W W W . G A G O S I A N . C O M G A G O S I A N Rose, Barbara. American Art Since 1900. New York: Praeger. Revised edition. 1974 Kurlansky, Mervyn and John Naar. The Faith of Graffiti. Text by Norman Mailer. New York: Praeger. Plagens, Peter. Sunshine Muse, Contemporary Art on the West Coast. New York: Praeger. Habel, Horst, ed. Art as Living Ritual. Graz: Poolerie Gallery. 1972 ----------. The New Art in Orange County. Newport Beach: Newport Harbor Art Museum. Selected Articles and Reviews: 2018 Govan, Michael. “Is art for pleasure or politics.” CNN, Mar 28. Vankin, Deborah. “’Urban Light’ – Everything you didn’t know about LA’s beloved landmark.” Los Angeles Times, Feb 14. 2017 Tylevich, Katya. “Chris Burden – Ode to Santos Dumont.” Domus, Jun 1. Chen, Anelise. “The Man Who Turned His Own Crucifixion into Art.” Vice, May 16. Miranda, Carolina A. “They mapped Chris Burden’s expeditions.” Los Angeles Times, May 14, pp. E1, E8. ----------. A closer look at Chris Burden. The Art Newspaper, Apr 19. 2016 Lord, Benjamin. “Chris Burden (1946-2015).” X-Tra Contemporary Art Quarterly, April. DeFore, John. “’Burden’: Tribeca Review.” The Hollywood Reporter, April 16. 2015 Crow, Kelly. “Shock Artist Chris Burden Is Dead at 69.” The Wall Street Journal, May 10. Knight, Christopher. “Chris Burden dies at 69: artist’s light sculpture at LACMA is symbol of L.A.” Los Angeles Times, May 10. Larner, Liz and Paul Schimmel and Vito Acconci. “Chris Burden 1946-2015.” Artforum, September. 2014
Load more

Recommended publications
  • Remaking Italy? Place Configurations and Italian Electoral Politics Under the ‘Second Republic’
    Modern Italy Vol. 12, No. 1, February 2007, pp. 17–38 Remaking Italy? Place Configurations and Italian Electoral Politics under the ‘Second Republic’ John Agnew The Italian Second Republic was meant to have led to a bipolar polity with alternation in national government between conservative and progressive blocs. Such a system it has been claimed would undermine the geographical structure of electoral politics that contributed to party system immobilism in the past. However, in this article I argue that dynamic place configurations are central to how the ‘new’ Italian politics is being constructed. The dominant emphasis on either television or the emergence of ‘politics without territory’ has obscured the importance of this geographical restructuring. New dynamic place configurations are apparent particularly in the South which has emerged as a zone of competition between the main party coalitions and a nationally more fragmented geographical pattern of electoral outcomes. These patterns in turn reflect differential trends in support for party positions on governmental centralization and devolution, geographical patterns of local economic development, and the re-emergence of the North–South divide as a focus for ideological and policy differences between parties and social groups across Italy. Introduction One of the high hopes of the early 1990s in Italy was that following the cleansing of the corruption associated with the party regime of the Cold War period, Italy could become a ‘normal country’ in which bipolar politics of electoral competition between clearly defined coalitions formed before elections, rather than perpetual domination by the political centre, would lead to potential alternation of progressive and conservative forces in national political office and would check the systematic corruption of partitocrazia based on the jockeying for government offices (and associated powers) after elections (Gundle & Parker 1996).
    [Show full text]
  • All These Post-1965 Movements Under the “Conceptual Art” Umbrella
    All these post-1965 movements under the “conceptual art” umbrella- Postminimalism or process art, Site Specific works, Conceptual art movement proper, Performance art, Body Art and all combinations thereof- move the practice of art away from art-as-autonomous object, and art-as-commodification, and towards art-as-experience, where subject becomes object, hierarchy between subject and object is critiqued and intersubjectivity of artist, viewer and artwork abounds! Bruce Nauman, Live-Taped Video Corridor, 1970, Conceptual Body art, Postmodern beginning “As opposed to being viewers of the work, once again they are viewers in it.” (“Subject as Object,” p. 199) http://www.youtube.com/watch?v=9IrqXiqgQBo A Postmodern beginning: Body art and Performance art as critique of art-as-object recap: -Bruce Nauman -Vito Acconci focus on: -Chris Burden -Richard Serra -Carolee Schneemann - Hannah Wilke Chapter 3, pp. 114-132 (Carolee Schneemann and Hannah Wilke, First Generation Feminism) Bruce Nauman, Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, 1967-1968. 16mm film transferred to video (black and white, sound), 10 min. Body art/Performance art, Postmodern beginning- performed elementary gestures in the privacy of his studio and documented them in a variety of media Vito Acconci, Following Piece, 1969, Body art, Performance art- outside the studio, Postmodern beginning Video documentation of the event Print made from bite mark Vito Acconci, Trademarks, 1970, Body art, Performance art, Postmodern beginning Video and Print documentation
    [Show full text]
  • Manzoni, Gli Untori E I Giudici Compiacenti Migranti, Paura
    Giovedì 12 marzo 2020 · Anno 2° numero 51 · € 2,00 · www.ilriformista.it · Quotidiano · ISSN 2704-6885 Direttore Piero Sansonetti Appello congiunto di Camere Penali e del Riformista. Basta un decreto IL ECCO COME RISOLVERE IL COVID-19 È PANDEMIA Chiudo... non chiudo... Ci aspettiamo un aumento del numero ...Chiudo... non chiudo... IL PROBLEMA dei casi, delle morti e dei paesi coilpiti CARCERI Non siete soli. In Europa siamo IN DUE GIORNI tutti italiani, vi sosterremo Piero Sansonetti Unione Camere Penali e il Riformista hanno preparato un appello al governo, nel qua- le chiedono un decreto che risolva il problema del sovraffollamento delle carceri. È un decreto semplice e che proponiamo in forma molto dettagliata, che non richiede mag- L’ gioranze qualifi cate, che può essere scritto e approvato in poche ore e può diventare ese- cutivo in 48 ore. Le scarcerazioni non riguarderanno pericolosi assassini seriali o capimafi a, ma “il proletariato” del carcere, cioè i detenuti colpevoli di delitti di non grande entità e che hanno ri- cevuto piccole condanne (inferiori ai due anni) e tuttavia non godono della condizionale, o di de- tenuti che hanno ormai scontato quasi interamente la pena, o di ultrasettantenni. In tutto, circa 20mila persone. Ci aspettiamo dalla politica una risposta molto celere a questa proposta. A pagina 4 La petizione Inquadra il QR CODE o vai all’indirizzo http://bit.ly/DRAMMA_CARCERI e fi rma SEGUE A PAGINA 2 subito l’appello al Governo Manzoni, gli untori Migranti, paura contagio e i giudici compiacenti Ma frega a qualcuno? Walter Siti questo non signifi ca non poter giudicare gli er- Giulio Cavalli vano.
    [Show full text]
  • Kristine Stiles
    Concerning Consequences STUDIES IN ART, DESTRUCTION, AND TRAUMA Kristine Stiles The University of Chicago Press Chicago and London KRISTINE STILES is the France Family Professor of Art, Art Flistory, and Visual Studies at Duke University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by Kristine Stiles All rights reserved. Published 2016. Printed in the United States of America 24 23 22 21 20 19 18 17 16 15 12345 ISBN­13: 978­0­226­77451­0 (cloth) ISBN­13: 978­0­226­77453­4 (paper) ISBN­13: 978­0­226­30440­3 (e­book) DOI: 10.7208/chicago/9780226304403.001.0001 Library of Congress Cataloguing­in­Publication Data Stiles, Kristine, author. Concerning consequences : studies in art, destruction, and trauma / Kristine Stiles, pages cm Includes bibliographical references and index. ISBN 978­0­226­77451­0 (cloth : alkaline paper) — ISBN 978­0­226­77453­4 (paperback : alkaline paper) — ISBN 978­0­226­30440­3 (e­book) 1. Art, Modern — 20th century. 2. Psychic trauma in art. 3. Violence in art. I. Title. N6490.S767 2016 709.04'075 —dc23 2015025618 © This paper meets the requirements of ANSI/NISO z39.48­1992 (Permanence of Paper). In conversation with Susan Swenson, Kim Jones explained that the drawing on the cover of this book depicts directional forces in "an X­man, dot­man war game." The rectangles represent tanks and fortresses, and the lines are for tank movement, combat, and containment: "They're symbols. They're erased to show movement. 111 draw a tank, or I'll draw an X, and erase it, then re­draw it in a different posmon...
    [Show full text]
  • VITO ACCONCI Born 1940 Bronx, New York
    GRIEDER CONTEMPORARY VITO ACCONCI born 1940 Bronx, New York. Lives and works in Brooklyn, NY. 1962 Bachelor of Arts, Holy Cross College, Worcester, Massachusetts, US 1964 Master of Fine Arts, University of Iowa, Iowa City, Iowa, US Solo Exhibitions (selected) 2014 Vito Acconci: Now and Then, Grieder Contemporary, Zurich, CH 2012 Vito Acconci: Vito Acconci, Rhona Hoffman Gallery, Chicago, US 2011 Vito Acconi, Galleria Fumagalli, Bergamo, IT 2010 AAA Talk Vito Acconci + Ai Weiwei: Artist in Conversation, Agnès b. Cinema, Wanchai, HK Early Works – Vito Acconci, Basis Frankfurt, Frankfurt/Main, DE Coinvolgimenti – Castello di Rivoli Museo d'Arte Contemporanea, Turin, IT Lobby-For-The-Time-Being, Bronx Museum of the Arts (BxMA), New York City, NY Le Corps Comme Sculpture – Vito Acconci, Musée Auguste Rodin, Paris, FR 2009 Vito Acconci: Language Works – Video, audio and poetry, Argos, Brussels, BE 2008 Vigilancia y control, Centro de Arte La regenta, las Palmas de Gran Canaria, ES Power Fields: Explorations in the Work of Vito Acconci, Slought Foundation, Philadelphia, PA, US 2005 Self/Sound/City, Foundation for Art and Creative Technology (FACT), Liverpool, UK Vito Hannibal Acconci Studio, Museu d’Art Contemporani de Barcelona, ES; Centro Atlantico de Arte Moderno, Las Palmas, Gran Canaria, ES; Stedelijk, Amsterdam, NL 2004 Diary of a Body, Gladstone Gallery, New York, NY Vito Hannibal Acconci Studio, Musee des Beaux Artes, Nantes, FR; MACBA, Barcelona, ES 2003 Rehearsals for Architecture, Kenny Schachter Rove, Perry St., New York, NY, US Acconci Studio – Slipping into the 21st Century, Pratt–Manhattan Gallery, New York, NY, US 2002 Vito Acconci/Acconci Studio: Acts Of Architecture, Milwaukee Museum of Art (Traveled to Aspen Art Museum, Miami Museum of Art 2001,Contemporary Art Museum Houston 2001) 2001 Vito Acconci, 11 Duke Street, London, UK Vito Acconci / Acconci Studio, Architectural Models, The Institute for the Cooperatic Research, New York, US, and Paris, FR Built, Unbuilt, Unbuildable.
    [Show full text]
  • FOR IMMEDIATE RELEASE Barbara T. Smith the 21St Century Odyssey April 13
    805 Traction Avenue Los Angeles CA 90013 213.625.1747 www.theboxla.com FOR IMMEDIATE RELEASE Barbara T. Smith The 21st Century Odyssey April 13 – May 25, 2019 Opening Reception: Saturday April 13, 6PM – 8PM Screenings: Saturday, April 20 & Saturday, May 18 Panel with the artist: Saturday, May 11 For The Box’s fifth solo exhibition of Barbara T. Smith’s work, the focus will be on The 21st Century Odyssey, a two year-long durational performance that took place from September 26, 1991 to September 26, 1993. These dates correlate with the opening and the closing of Biosphere 2, located near Tucson, Arizona, where her partner at the time, Dr. Roy Walford, was the interred physician. Smith took on the role of Homer’s Odysseus and traveled the world while Walford, confined inside the Biosphere 2 facility along with 7 other “Biospherians” for 2 years, was Penelope. For Smith, this work was an endeavor to attain a global consciousness while maintaining the connection between Biosphere 1 (the earth) and Biosphere 2. “I was holding Bio 2 in my heart and connecting, of course, with Roy as a vehicle of that connection.” As part of this work, Smith traveled extensively internationally and domestically and considered every aspect of her life in this two year period, from the exotic to the banal, as part of the performance. In Homer’s The Odyssey, Odysseus struggles for ten years to get home to Ithaca after his battles in the Trojan War. Between 1992 and 1993, Smith traveled to India, Nepal, Thailand, Australia, United Kingdom, Germany, and Norway; within the U.S., she went to Northern California, Hawaii and Seattle.
    [Show full text]
  • Crossing Into Eighties Overview 2012
    Crown Point Press Newsletter June 2012 The waterfall on Ponape, clockwise from front: Dorothy Wiley, Marina Abramovic, Joan Jonas, Daniel Buren, Chris Burden, and Mary Corse, 1980. Tom Marioni had named the conference “Word of Mouth” VISION #4. Twelve artists each gave a twelve-minute talk. Since LP records lasted twenty-four minutes, he had specified twelve-minute talks so we could put two on a side. Later we presented three records in a box. The records are white—“because it felt like we were landing from a flying saucer when we got off the plane in Ponape,” Tom remembers. The plane circled over what looked like a green dot in a blue sea, and we landed abruptly on a short white runway made of crushed coral with a great green rocky cliff at one end and the sea at the other. Against the cliff was a new low building. Shirtless workers in jeans hustled our bags from the plane into a big square hole in the building’s side, visibly pushing them onto a moving carousel. A man in a grass skirt and an inspector’s cap hustled us inside to claim them. The airport building was full of people, many in grass skirts, some (men and women) topless. CrOSSINg INTO THE EIgHTIES They clapped and whistled as we filed past. We learned later Escape Now and Again that word had circulated that we were an American rock group. In front of the airport was a flatbed truck with fourteen An excerpt from a memoir in progress by Kathan Brown white wicker chairs from the hotel dining room strapped On January 15, 1980, thirty-five artists and other art people, on the bed in two facing rows.
    [Show full text]
  • I – Introduction
    QUEERING PERFORMATIVITY: THROUGH THE WORKS OF ANDY WARHOL AND PERFORMANCE ART by Claudia Martins Submitted to Central European University Department of Gender Studies In partial fulfillment for the degree of Master of Arts in Gender Studies CEU eTD Collection Budapest, Hungary 2008 I never fall apart, because I never fall together. Andy Warhol The Philosophy of Andy Warhol: From A to B and Back again CEU eTD Collection CONTENTS ILLUSTRATIONS..........................................................................................................iv ACKNOWLEDGMENTS.................................................................................................v ABSTRACT...................................................................................................................vi CHAPTER 1 - Introduction .............................................................................................7 CHAPTER 2 - Bringing the body into focus...................................................................13 CHAPTER 3 - XXI century: Era of (dis)embodiment......................................................17 Disembodiment in Virtual Spaces ..........................................................18 Embodiment Through Body Modification................................................19 CHAPTER 4 - Subculture: Resisting Ajustment ............................................................22 CHAPTER 5 - Sexually Deviant Bodies........................................................................24 CHAPTER 6 - Performing gender.................................................................................29
    [Show full text]
  • Servizio Della Biblioteca
    ASSEMBLEA REGIONALE SICILIANA SERVIZIO DELLA BIBLIOTECA GIORNALI CORRENTI E CESSATI POSSEDUTI DALLA BIBLIOTECA Elenco in ordine alfabetico di titolo* Aggiornato a luglio 2020 TITOLO CONSISTENZA L’AGRICOLTURA MECCANIZZATA. Mensile 1955-1965 d'informazioni, tecnico, commerciale, sindacale, amministrativo, fiscale, a cura della Cooperativa trebbiatori. L’AMICO DEL POPOLO. Settimanale cattolico. 1957-1959 L’AMICO DEL POPOLO Si pubblica tutti i giorni di 1875-1881 mattina. L'APE IBLEA. Giornale per tutti [poi La Sicilia 1/1/1869-31/12/1870 cattolica]. L’ARTIGIANATO D’ITALIA. Organo della 10/1/1953-30/11/1986 Confederazione generale dell'artigianato d'Italia. L’ARTIGIANATO TRAPANESE. Organo mensile 1/1/1954-31/12/1955; 6/3/1957- dell'Associazione provinciale degli artigiani. 30/10/1958 ASSO DI BASTONI. Settimanale satirico 11/7/1948-17/10/1954 anticanagliesco. ATENEO PALERMITANO. Periodico dell'Università 1952-1956 degli studi di Palermo. AVANTI! 1949-1993 AVVENIRE [già Avvenire d’Italia]. 4/12/1968- L’AVVENIRE D’ITALIA [poi Avvenire]. 23/6/1911; 28/12/1911; 2/1/1965-1968 AVVISATORE. Settimanale commerciale - agricolo - 5/1/1946-31/12/1986 industriale - marittimo. L’AZIONE. 16/1/1915; 24/12/1915 AZIONE SINDACALE. Organo della Confederazione 8/1951-10/1952 italiana sindacati nazionali lavoratori. BANDIERA AZZURRA. Periodico monarchico di 16/7/1948-8/10/1949 opposizione BANDIERA ROSSA. Organo dei gruppi comunisti 15/01/1965-15/12/1966 rivoluzionari. BOLLETTINO DEI LAVORI E DEGLI APPALTI 1956-1974 DELLA CASSA PER IL MEZZOGIORNO. BULLETIN DE L'ÉXECUTIF ÉLARGI DE 12/7/1924 * Titoli ordinati parola per parola; in caso di titoli uguali si ordina secondo il sottotitolo; l’articolo iniziale non viene preso in considerazione.
    [Show full text]
  • Robert Morris, Minimalism, and the 1960S
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • Oh Chris, My Hero !... L'expérimentation Du Corps Par Chris Burden
    Oh Chris, my hero !... L’expérimentation du corps par Chris Burden Jérôme Maigret Chris Burden, You’ll Never See my Face Cécile Perchet in Kansas-City, 1971 « Les religions jadis demandaient le sacrifice du corps humain ; le savoir appelle aujourd’hui à faire des expériences sur nous-mêmes, au sacrifice du sujet de connaissance.»1 1 – Michel Foucault, « Nietzsche, la généalogie, l’histoire », in Hommage à Jean Hyppolyte, Paris, Presses Universitaires partir des années soixante et essentiellement pendant les de France, 1971, p. 170. années soixante-dix, la tendance artistique aux États-Unis À comme en Europe prend des orientations différentes du schéma classique atelier-galerie-musée, en réaction contre le sys- tème du marché de l’art, par une attitude anti-commerciale et anti- institutionnelle. Le body art, art d’expérimentation corporelle, comme l’art conceptuel ou le land art qui apparaissent au même moment, a une activité créatrice de lien social et ne se préoccupe plus de produire un objet abouti et vendable. Pour la première fois dans l’histoire de l’art, l’artiste se risque à la blessure et à la mort. Des prouesses techniques sans précédent (armement nucléaire, industrialisation, conquête de la Lune…) font s’interroger l’homme à la fois sur sa grandeur et sa petitesse et confrontent sa propre iden- tité à une conscience cosmique nouvelle. Ainsi apparaît ce que l’on pourrait définir être une crise liée au sens du corps. Le body art, sous forme de performances ou d’actions ouvertes au public, apporte un renouvellement de l’imagerie du corps.
    [Show full text]
  • The Museum of Modern Art: the Mainstream Assimilating New Art
    AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions.
    [Show full text]