DOCSLIB.ORG

Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bibliography BIBLIOGRAPHY GENERAL BIBLIOGRAPHY Adesokan, Akinwumi. Postcolonial Artists and Global Aesthetics. Bloomington: Indiana University Press, 2011. Agamben, Giorgio. “What Is the Contemporary.” In Nudities, trans. David Kishik and Stefan Pedatella,10–19. Stanford: Stanford University Press, 2010. Altbach, Philip G., and Salah M. Hassan. The Muse of Modernity: Essays on Culture as Development in Africa. Trenton, N.J.: Africa World Press, 1997. Appiah, Kwame Anthony, and Henry Louis Gates, Jr., eds. The Dictionary of Global Culture. New York: Alfred A. Knopf, 1997. Art and Philosophy. Milan: Giancarlo Politi, 1991. Art Since 1900. Texts by Frances Richard, Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh. New York: Thames and Hudson, 2004. Baas, Jacquelynn, and Mary Jane Jacob, eds. Buddha Mind in Contemporary Art. Berkeley: University of California Press, 2004. Badiou, Alain. The Century. Trans. Alberto Toscano. Cambridge: Polity, 2007. Baldessari, John, Megan Cranston, and Thomas McEvilley. 100 Artists See God. New York: Independent Curators International, 2004. Bann, Stephen. The True Vine: On Visual Representation and the Western Tradition. Oxford: Cambridge University Press, 1989. ———. Ways Around Modernism. New York: Routledge, 2007. Barthes, Roland. Image Music Text. Trans. Stephen Heath. London: Fontana, 1977. ———. Mythologies. Trans. Annette Lavers. New York: Hill and Wang, 1972. Baudrillard, Jean. For a Critique of the Political Economy of the Sign. St. Louis: Telos, 1981. Bell, Julian. Mirror of the World: A New History of Art. New York: Thames and Hudson, 2007. Benjamin, Walter. Illuminations. Ed. Hanna Arendt, trans. Harry Zohn. New York: Schocken, 1969. Bickers, Patricia, and Andrew Wilson. Talking Art: Interviews with Artists Since 1976. London: Ridinghouse, 2007. Bishop, Clare. Artificial Hells: Participatory Art and the Politics of Spectatorship. New York: Verso, 2012. ———. Installation Art. London: Tate Publishing, 2011. ———. Participation. Cambridge, Mass.: MIT Press, 2006. Bolton, Richard, ed. The Contest of Meaning: Critical Histories of Photography. Cambridge, Mass.: MIT Press, 1992. BIBLIOGRAPHY for Stiles and Selz, Theories and Documents of Contemporary Art, 2nd edition (UC Press, 2012) 1 ———. Culture Wars: Documents from the Recent Controversies in the Arts. New York: New Press, 1992. Bourriard, Nicolas. Altermodern. London: Tate Publishing, 2009. ———. Postproduction. Berlin: Lukas & Sternberg, 2007. ———. The Radicant. Berlin: Lukas & Sternberg, 2009. ———. Relational Aesthetics. Dijon: Les Presses du Réel, 1998. Breakthroughs: Avant-Garde Artists in Europe and America, 1950–1990. Columbus: Wexner Center for the Arts, 1991. Bryan-Wilson, Julia. Art Workers: Radical Practice in the Vietnam War Era. Berkeley: University of California Press, 2011. Bryson, Norman, Michael Ann Holly, and Keith Moxey, eds. Visual Culture: Images and Interpretations. Hanover, N.H.: Press of the University of New England, 1994. Buchloh, Benjamin H. D., Serge Guilbaut, and D. Solkin, eds. Modernism and Modernity: The Vancouver Conference Papers. Halifax: Press of the Nova Scotia College of Art and Design, 1983. Buergel, Roger M., and Ruth Noack. Bilderbuch: Documenta Kassel 16/06–23/09. Cologne: Taschen, 2007. Burger, Peter. Theory of the Avant-Garde. Trans. Michael Shaw, foreword by Jochen Schulte-Sasse. Minneapolis: University of Minnesota Press, 1984. Butler, Cornelia, ed. Wack! Art and the Feminist Revolution. Los Angeles: Museum of Contemporary Art; Cambridge, Mass.: MIT Press, 2007. Calinescu, Matei. Faces of Modernity: Avant-garde, Decadence, Kitsch. Bloomington: Indiana University Press, 1977. Carrier, David. Artwriting. Amherst: University of Massachusetts Press, 1987. Cederholm, Theresa Dickason. Afro-American Artists: A Bibliographical Dictionary. Boston: Boston Public Library, 1973. Celant, Germano. The European Iceberg: Creativity in Germany and Italy Today. Toronto: Art Gallery of Ontario, 1985. ———. Identité Italienne: L’art en Italie depuis 1959. Paris: Centre Georges Pompidou, Musée National d’Art Moderne and Centro Di, 1981. Chadwick, Whitney. Women, Art, and Society. London: Thames and Hudson, 1990. Chávez, Patricio, Madeleine Grynsztejn, and Kathryn Kanjo. La Frontera/The Border: Art about the Mexico–United States Border Experience. San Diego: Museum of Contemporary Art, 1993. Cheah, Pheng, and Bruce Robbins, eds. Cosmopolitics: Thinking and Feeling beyond the Nation. Minneapolis: University of Minnesota Press, 1998. Chiu, Melissa, and Benjamin Genocchio, eds. Contemporary Art in Asia: A Critical Reader. Cambridge, Mass.: MIT Press, 2011. Christov-Bakargiev, Carolyn. Documenta 13: Catalogue II/3, The Logbook. Ostfildern-Ruit, Germany: Hatje Cantz, 2012. Christov-Bakargiev, Carolyn, Guillermo Faivovich, and Nicolás Goldberg. Documenta 13: Catalogue III/3, The Guidebook. Ostfildern-Ruit, Germany: Hatje Cantz, 2012. Christov-Bakargiev, Carolyn, Chus Martínez, and Franco Berardi. Documenta 13: Catalog I/3, The Book of Books. Ostfildern-Ruit, Germany: Hatje Cantz, 2012. Ciecko, Anne Tereska. Contemporary Asian Cinema: Popular Culture in a Global Frame. New York: Berg, 2006. BIBLIOGRAPHY for Stiles and Selz, Theories and Documents of Contemporary Art, 2nd edition (UC Press, 2012) 2 Cjaidjiro, Shohini. Contemporary World Cinema: Europe, the Middle East, East Asia, and South Asia. Edinburgh: Edinburgh University Press, 2006. Crane, Diana. The Transformation of the Avant-Garde: The New York Art World: 1940–1985. Chicago: University of Chicago Press, 1987. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, Mass.: MIT Press, 1990. Dainotto, Roberto. Europe (in Theory). Durham: Duke University Press, 2007. Dalmia, Yashodhara. Contemporary Indian Art: Other Realities. Gaithersburg, Md.: Marg Foundation, 2002. Danto, Arthur C. After the End of Art: Contemporary Art and the Pale of History. Princeton, N.J.: Princeton University Press, 1997. ———. The Madonna of the Future: Essays in a Pluralistic Art World. 2000; Berkeley: University of California Press, 2001. ––––––. Philosophizing Art. Berkeley: University of California Press, 1999. ———. Unnatural Wonders: Essays from the Gap Between Art and Life. 2005; New York: Columbia University Press, 2007. David, Catherine. Documenta 10. Das Buch. Politics/Poetics. Ostfildern-Ruit, Germany: Hatje Cantz, 1997. Derrida, Jacques. The Truth in Painting. Trans. Geoff Bennington and Ian McLeod. Chicago: University of Chicago Press, 1987. Doherty, Claire. Situation. Cambridge, Mass.: MIT Press, 2009. Donnell, Radka. Double Vision: Perspectives on Gender and the Visual Arts. Rutherford, N.J.: Fairleigh Dickinson University Press, 1995. Driskell, David C. Two Centuries of Black American Art. Los Angeles: Los Angeles County Museum of Art; New York: Alfred Knopf, 1976. Durovicová, Natasa, and Kathleen E. Newman, eds. World Cinemas, Transnational Perspectives. New York: Routledge, 2009. Eagleton, Terry. Literary Theory: An Introduction. Minneapolis: University of Minnesota Press, 1983. ———. The Ideology of the Aesthetic. Cambridge: Basil Blackwell, 1990. Eco, Umberto. The Theory of Semiotics. Bloomington: Indiana University Press, 1979. Eigner, Saeb. Art of the Middle East: Modern and Contemporary Art of the Arab World and Iran. New York: Merrill, 2010. Elkins, James, ed. Is Art History Global? New York: Routledge, 2007. Endgame: Reference and Simulation in Recent Painting and Sculpture. Texts by Thomas Crow, Yve-Alain Blois, Elisabeth Sussman, David Joselit, Hal Foster, and Bob Riley. Boston: Institute of Contemporary Art, 1986. Enwezor, Okwui. Documenta11_Plattform5: The Catalog. Ostfildern-Ruit, Germany: Hatje Cantz, 2002. ———. Snap Judgments: New Positions in Contemporary African Photography. New York: International Center of Photography; Göttingen, Germany: Steidl, 2006. Farrell, Laurie Ann, ed. Art of the Contemporary African Diaspora. New York: Museum for African Art; Ghent: Snoeck Publishers, 2003. Ferguson, Russell, William Olander, Marcia Tucker, and Karen Fiss, eds. Discourses: Conversations in Postmodern Art and Culture. Photographic sketchbook by John Baldessari. New York: New Museum; Cambridge, Mass.: MIT Press, 1990. BIBLIOGRAPHY for Stiles and Selz, Theories and Documents of Contemporary Art, 2nd edition (UC Press, 2012) 3 Filipovic, Elena, Marieke van Hal, and Solveig Osvestebo, eds. The Biennial Reader. Ostfildern- Ruit: Hatje Cantz, 2010. Fine, Elsa Honig. The Afro-American Artist. New York: Holt, Rinehart and Winston, 1973. Fitzgerald, Shannon, and Tumelo Mosaka, eds. A Fiction of Authenticity: Contemporary Africa Abroad. St. Louis: Contemporary Art Museum St. Louis, 2003. Fitzpatrick, Karen, ed. World Art: The Essential Illustrated History. London: Flame Tree Publishing, 2006. Foster, Hal. Recodings: Art, Spectacle, Cultural Politics. Port Townsend, Wash.: Bay Press, 1985. ———, ed. The Anti-Aesthetic: Essays on Postmodern Culture. Port Townsend, Wash.: Bay Press, 1983. ———. DIA Art Foundation, Discussions in Contemporary Culture, Number One. Seattle: Bay Press, 1987. ———. Vision and Visuality: DIA Art Foundation, Discussions in Contemporary Culture. Seattle: Bay Press, 1988. Foucault, Michel. This Is Not a Pipe. Ed. and trans. James Harknes. Berkeley: University of California Press, 1983. Frank, Patricia. Readings in Latin American Modern Art. New Haven: Yale University Press, 2004. Frascina, Francis, ed. Pollock and After: The Critical Debate. New York: Harper and Row, 1985. Frascina, Francis, and Charles
Load more

Recommended publications
  • Diminishing Connections Mary Jane King Clemson University, M.J [email protected]
    Clemson University TigerPrints All Theses Theses 5-2016 Diminishing Connections Mary Jane King Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation King, Mary Jane, "Diminishing Connections" (2016). All Theses. 2369. https://tigerprints.clemson.edu/all_theses/2369 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. DIMINISHING CONNECTIONS ___________________________________________________ A Thesis Presented to the Graduate School Of Clemson University ___________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts Visual Art ___________________________________________________ by Mary Jane King May 2016 ___________________________________________________ Accepted by: Professor Todd McDonald, Committee Chair Professor Kathleen Thum Professor Todd Anderson Dr. Andrea Feeser ABSTRACT I explore our skin’s durability as it protects our inner being, but its fragility in our death. Paint allows me to understand the physical quality of skin and the structure underneath it’s surface. We experience the world and one another through this outermost layer of our selves, providing the ability to feel touch and to establish corporeal bounds and connections. Skin provides a means of communication and interaction, of touch and intimacy. It contains, protects, and stretches with the growth of the body, adapting to the interior bodily demands. It is through this growth that there is also a regression or a slow decay of the body. In addition to exterior exploration, I also investigate the vitality of our viscera even when disease destroys it and claims our lives.
    [Show full text]
  • PRESS RELEASE Face Time: an Exhibition in Aid of the Art Room
    PRESS RELEASE Face Time: An exhibition in aid of The Art Room Threadneedle Space, Mall Galleries, London SW1 Monday 16 – Saturday 21 June 2014 10 am – 5 pm, Free Admission Over 60 works of art by international leading artists will be offered for sale in aid of The Art Room in Face Time, a week-long exhibition at the Threadneedle Space, Mall Galleries, London, SW1. Working in partnership with the Threadneedle Foundation, The Art Room, a national charity offering art as a therapeutic intervention to children and young people, have invited artists to contribute a clock or original piece of work for this important fundraising exhibition. Painters, sculptors, illustrators, architects and photographers have all contributed to Face Time and many have chosen to produce a clock face which reflects a key element of The Art Room’s methodology and practice. Face Time artists include: Emma Alcock ▪ Nicola Bayley ▪ Paul Benney ▪ Alison Berrett ▪ Tess Blenkinsop ▪ Anthony Browne ▪ Sarah Campbell ▪ Jake & Dinos Chapman ▪ Lauren Child ▪ Robert James Clarke ▪ Lara Cramsie ▪ Martin Creed ▪ Miranda Creswell ▪ Emma Faull ▪ Eleanor Fein ▪ Jennie Foley ▪ Antony Gormley ▪ Nicola Gresswell ▪ David Anthony Hall ▪ Maggi Hambling ▪ Kevin Harman ▪ The Art Room (Oxford) Oxford Spires Academy, Glanville Road, Oxford OX4 2AU (Registered Address) T 01865 779779 E [email protected] W www.theartroom.org.uk Founder Director Juli Beattie Chair Jonathan Lloyd Jones Patrons Micaela Boas, Anthony Browne, His Honour Judge Nicholas Browne QC, Dr Mina Fazel, MRCPsych
    [Show full text]
  • General Interest
    GENERAL INTEREST GeneralInterest 4 FALL HIGHLIGHTS Art 60 ArtHistory 66 Art 72 Photography 88 Writings&GroupExhibitions 104 Architecture&Design 116 Journals&Annuals 124 MORE NEW BOOKS ON ART & CULTURE Art 130 Writings&GroupExhibitions 153 Photography 160 Architecture&Design 168 Catalogue Editor Thomas Evans Art Direction Stacy Wakefield Forte Image Production BacklistHighlights 170 Nicole Lee Index 175 Data Production Alexa Forosty Copy Writing Cameron Shaw Printing R.R. Donnelley Front cover image: Marcel Broodthaers,“Picture Alphabet,” used as material for the projection “ABC-ABC Image” (1974). Photo: Philippe De Gobert. From Marcel Broodthaers: Works and Collected Writings, published by Poligrafa. See page 62. Back cover image: Allan McCollum,“Visible Markers,” 1997–2002. Photo © Andrea Hopf. From Allan McCollum, published by JRP|Ringier. See page 84. Maurizio Cattelan and Pierpaolo Ferrari, “TP 35.” See Toilet Paper issue 2, page 127. GENERAL INTEREST THE MUSEUM OF MODERN ART,NEW YORK De Kooning: A Retrospective Edited and with text by John Elderfield. Text by Jim Coddington, Jennifer Field, Delphine Huisinga, Susan Lake. Published in conjunction with the first large-scale, multi-medium, posthumous retrospective of Willem de Kooning’s career, this publication offers an unparalleled opportunity to appreciate the development of the artist’s work as it unfolded over nearly seven decades, beginning with his early academic works, made in Holland before he moved to the United States in 1926, and concluding with his final, sparely abstract paintings of the late 1980s. The volume presents approximately 200 paintings, sculptures, drawings and prints, covering the full diversity of de Kooning’s art and placing his many masterpieces in the context of a complex and fascinating pictorial practice.
    [Show full text]
  • Mews Dealers
    Bernard Villersbq. Didier hb%ieu. For sukrscrlption (2 issues a >.ear) for French-English edition in November and May, 120 FF for Europe and 160 FF outside the MEWS European Union. Send to the above address in Saint- Urieix-la-Perche, France. Eric Gilt Conference $i Exhibitions, to be heEd in Sokember 2000, at the Gni\ersits of Notre Dame ~ith The Cotnambia College Chicago Ceates for Bwk & ,a conference on Eric Gill and the Guild of St. Pager Arts has moved to 1104 So. Wabash, Znd flr., Dominic. There uall also be: esltaibi~onsat the Sniae Chicago, EL 60605. Phone: (3 12)3446630, fax: L",.~seua?.,of Art and the Sfesbazrgh Libra3 Specid (3 i2(343-8082, e-snail: Coilections. Call for Papers due in Msch 2000, and BookdPir~er2~u~mail.coltlm.edu and website: ihe fo11ouing web site: Iktt~:/h~~w,coham.edu/cenPemh~ii I:t!p:i ?t\~$%i.,nd ed-LLJ-jsinem~anlgiiiJ Ann 3foore has been named director of the Center for Library and Archi~talExhibitierras are now on the Web Book Am in New Uork City. She formerly was at the at &ttg:lIwwu.siP.si.cduiSliLP~tbEicaQiunsi~n1inc- Alien Memorial Apt Museum Ga31ery of OberIin EsAibitions/onlia~c-exhibitions-titIeehtis the site %iiai"i Coiiege in Oberlin, Ohio. 3SO-c links, DEALERS Reparation da: Poesie Artist Book #I 1. Send 100 Paul-Uon Bisson-Millet has a new list, available Ifom originzl pages or multiple. a ~sualart. rnaiiB art. \ isud Saarserassc 62, D-=69 I5 f. Ncckargemund, Germany. poetq, postcards, computer art, cop) apt.
    [Show full text]
  • Waldemar Cordeiro: Da Arte Concreta Ao “Popcreto”
    UNIVERSIDADE ESTADUAL DE CAMPINAS DEPARTAMENTO DE HISTÓRIA INSTITUTO DE FILOSOFIA E CIÊNCIAS HUMANAS MESTRADO EM HISTÓRIA DA ARTE E DA CULTU RA Waldemar Cordeiro: da arte concreta ao “popcreto” Fabricio Vaz Nunes CAMPINAS (SP) Maio, 2004 FABRICIO VAZ NUNES WALDEMAR CORDEIRO: DA ARTE CONCRETA AO “POPCRETO” Dissertação de Mestrado apresentada ao Departamento de História do Instituto de Filosofia e Ciências Humanas da Universidade Estadual de Campinas, sob a orientação do Prof. Dr. Nelson Alfredo Aguilar. CAMPINAS (SP) Maio, 2004 Este exemplar corresponde à redação final da Dissertação defendida e aprovada pela Comissão Julgadora em ______ / ______ / 2004. BANCA Prof. Dr. Nelson Alfredo Aguilar (Orientador) Profa. Dra. Annateresa Fabris (Membro) Prof. Dr. Agnaldo Aricê Caldas Farias(Membro) Prof. Dr. Luiz Renato Martins (Suplente) iii FICHA CATALOGRÁFICA ELABORADA PELA BIBLIOTECA DO IFCH - UNICAMP Nunes, Fabricio Vaz N 922 w Waldemar Cordeiro: da arte concreta ao “popconcreto” / Fabricio Vaz Nunes. - - Campinas, SP : [s.n.], 2004. Orientador: Nelson Alfredo Aguilar. Dissertação (mestrado ) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas. 1. Cordeiro, Waldemar, 1925-1973. 2. Arte brasileira. 3. Arte concreta. I. Aguilar, Nelson Alfredo. II. Universidade Estadual de Campinas. Instituto de Filosofia e Ciências Humanas. III.Título. iv A meus pais, José Onofre e Lidia v Agradecimentos Nelson Aguilar, Neiva Bohns, Luciano Migliaccio, Luiz Marques, Jorge Coli, Annateresa Fabris, Agnaldo Farias, Luiz Renato Martins, Maria José Justino, Keila Kern; Bibliotecas da FAU-USP, MAC-USP, IFCH-Unicamp, UFPR; CAPES; Luci Doim e família, André Akamine Ribas, Rodrigo Krul, Pagu Leal, Fernanda Polucha, Clayton Camargo Jr., Ana Cândida de Avelar, James Bar, todos os colegas do IFCH, Décio Pignatari, Augusto de Campos, Analívia Cordeiro.
    [Show full text]
  • Douglas Gordon
    G A G O S I A N G A L L E R Y Douglas Gordon: portrait of the evolving artist With his sublime new film installation, k.364, Douglas Gordon breaks down the boundaries between video art and portraiture Memorable journey ... Douglas Gordon's k.364, at the Gagosian Gallery, follows two musicians travelling to Warsaw. Photograph: Mike Bruce By Jonathan Jones, 7 March 2011 Douglas Gordon is as profound, serious, imaginative and stylistically bold as anyone could wish an artist to be. He has matured in richer, more surprising ways than any of his contemporaries. He is the best British artist of my generation and I am glad his sublime exhibition now on at London's Gagosian Gallery gives me an opportunity to say so. The powerful qualities of Gordon's art grip you right at the start of this exhibition in a photograph of an arm holding a candle. The candle is lit and has been burning for some time, dripping great grotesque dollops of wax. With a shock, you observe how the hot wax has flowed in rivulets that 6 – 2 4 B R I T A N N I A S T R E E T L O N D O N W C 1 X 9 J D T . 0 2 0 . 7 2 9 2 . 8 2 2 2 F . 0 2 0 . 7 2 9 2 . 8 2 2 0 L O N D O N @ G A G O S I A N . C O M W W W . G A G O S I A N .
    [Show full text]
  • Annual Report 2018/2019
    Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership.
    [Show full text]
  • Michael Landy Born in London, 1963 Lives and Works in London, UK
    Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian
    [Show full text]
  • Mark Raidpere
    Mark Raidpere Born in 1975 in Tallinn, Estonia. Lives and works in Tallinn. EDUCATION 2000 / 2003 Tallinn Pedagogical University, film studies 1993 / 1994 Tallinn School of Communications PUBLIC COLLECTIONS Museu d'Art Contemporani de Barcelona (MACBA), Spain La Gaia, Italy Fonds National d'Art Contemporain, Paris, France Domaine départemental de Chamarande, Essonne, France Musée d'Art Moderne de la Ville de Paris (MAMVP), France Art Museum, Tartu, Estonia Art Museum of Estonia, Tallinn, Estonia Städtischen Galerie im Lenbachhaus und Kunstbau, München, Germany Fondation Neuflize Vie, France SOLO SHOWS 2016 A WAY (cur. Eugenio Viola), Galerie Michel Rein Paris, France 2015 Short-Term, Vaba Lava, Tallinn, Estonia Fashion 100. Firm Frames, Architecture and Design Gallery, Tallinn, Estonia (together with professors of EAA Fashion Department) 2013 Damage (cur. Anders Härm & Eugenio Viola), EKKM, Tallinn, Estonia* I'll come back later (cur. Eugenio Viola), Galerie Michel Rein, Paris, France 2012 Napoli.OK (cur. Eugenio Viola), Fondazione Morra Greco, Naples, Italy 42 rue de Turenne F-75003 Paris 51A Washington street B-1050 Brussels P. +33 (0)1 42 72 68 13 P. +32 (0)2 640 26 40 michelrein.com 2009 Dedication. Art Agents Gallery, Hamburg, Germany Mark Raidpere, Espace Croisé, Roubaix, France* 2008 Sven Johne / Mark Raidpere, Fondazione Morra Greco, Naples, Italy International, Galerie Michel Rein, Paris, France Andrey / Andris, Galeria Potocka, Krakow, Poland Alles, City Gallery Art Hall, Parnu, Estonia 2006 Videos, Galerie Michel Rein, Paris, France Videos, Tramway, Glasgow, Scotland Videos, Platform Garanti, Istanbul, Turkey Hansabank Art Award, Gallery Noass, Riga, Latvia; Contemporary Art Center, Vilnius, Lithuania; Kumu Museum, Tallinn, Estonia 2005 Videos, City Gallery, Tallinn, Estonia Ene-Liis Semper / Mark Raidpere.
    [Show full text]
  • Title Page of Her First Collection of Poems, the Close Chaplet (1926), Following Their Divorce in 1925
    ! 1! “Hospitality to Words”: Laura Riding’s American Inheritance and Inheritors Philip John Lansdell Rowland Royal Holloway, University of London Submitted for the Degree of PhD ! 3! Abstract This thesis situates the work of Laura Riding in an American tradition of “hospitality to words” extending from Emerson and Emily Dickinson through Gertrude Stein to John Ashbery and contemporary language-oriented writing. The theme is introduced in terms of her linguistic and spiritual ideal of home as a place of truthful speaking, related in turn to her identity as an American writer who renounced the craft of poetry in mid-career. First, Riding’s poetry is “hospitable” in ways akin to Dickinson’s, broadly characterized by Riding’s term, “linguistic intimateness.” There are similarities in their word-conjunctions and styles of poetic argument, as well as their ideas of poetry as “house of possibility” and spiritual home. Riding’s work is then compared with that of her older friend of the late 1920s, Gertrude Stein. The chapter details the shift in Riding’s critical view of Stein; then focuses on the similarly “homely” characteristics of their prose writing and poetics, with particular reference made to Riding’s “Steinian” poems. The central chapters clarify Riding’s conception of truth and related questions of authority, history and responsibility. Chapter 4 explains her poetic vision of “the end of the world” as the introduction to a new world and potentially a new home, and chapter 5 extends the account to include her post-poetic work, The Telling compared to her earlier, collaborative The World and Ourselves.
    [Show full text]
  • PRESS RELEASE Art Into Life!
    Contact: Anne Niermann / Sonja Hempel Press and Public Relations Heinrich-Böll-Platz 50667 Cologne Tel + 49 221 221 23491 [email protected] [email protected] PRESS RELEASE Art into Life! Collector Wolfgang Hahn and the 60s June 24 – September 24, 2017 Press conference: Thursday, June 22, 11 a.m., preview starts at 10 a.m. Opening: Friday, June 23, 7 p.m. In the 1960s, the Rhineland was already an important center for a revolutionary occurrence in art: a new generation of artists with international networks rebelled against traditional art. They used everyday life as their source of inspiration and everyday objects as their material. They went out into their urban surroundings, challenging the limits of the art disciplines and collaborating with musicians, writers, filmmakers, and dancers. In touch with the latest trends of this exciting period, the Cologne painting restorer Wolfgang Hahn (1924–1987) began acquiring this new art and created a multifaceted collection of works of Nouveau Réalisme, Fluxus, Happening, Pop Art, and Conceptual Art. Wolfgang Hahn was head of the conservation department at the Wallraf Richartz Museum and the Museum Ludwig. This perspective influenced his view of contemporary art. He realized that the new art from around 1960 was quintessentially processual and performative, and from the very beginning he visited the events of new music, Fluxus events, and Happenings. He initiated works such as Daniel Spoerri’s Hahns Abendmahl (Hahn’s Supper) of 1964, implemented Lawrence Weiner’s concept A SQUARE REMOVAL FROM A RUG IN USE of 1969 in his living room, and not only purchased concepts and scores from artists, but also video works and 16mm films.
    [Show full text]
  • WINTER 2018 Rainer Maria Rilke Poems from the Book of Hours
    Alexander Kluge Temple of the Scapegoat: Opera Stories • Translated from the German by Isabel Cole and Donna Stonecipher • With photographs Revolving around the opera, these tales are an “archaeological excavation of the slag-heaps of our collective existence” (W. G. Sebald) Combining fact and fiction, each of the one hundred and two tales of Al- exander Kluge’s Temple of the Scapegoat (dotted with photos of famous PBK NDP 1395 operas and their stars) compresses a lifetime of feeling and thought: Kluge is deeply engaged with the opera and an inventive wellspring of narrative FICTION JANUARY notions. The titles of his stories suggest his many turns of mind: “Total Com- mitment,” “Freedom,” “Reality Outrivals Theater,” “The Correct Slowing-Down 5 X 8" 288pp at the Transitional Point Between Terror and an Inkling of Freedom,” “A Crucial Character (Among Persons None of Whom Are Who They Think They Are),” ISBN 978-0-8112-2748-3 and “Deadly Vocal Power vs. Generosity in Opera.” An opera, Kluge says, is a blast furnace of the soul, telling of the great singer Leonard Warren who died EBK 978-0-8112-2749-0 onstage, having literally sung his heart out. Kluge introduces a Tibetan scholar who realizes that opera “is about comprehension and passion. The two never 36 CQ TERRITORY W go together. Passion overwhelms comprehension. Comprehension kills pas- sion. This appears to be the essence of all operas, says Huang Tse-we: she US $18.95 CAN $24.95 also comes to understand that female roles face the harshest fates. Compared to the mass of soprano victims (out of 86,000 operas, 64,000 end with the death of the soprano), the sacrifice of tenors is small (out of 86,000 operas ALSO BY ALEXANDER KLUGE: 1,143 tenors are a write-off).” CINEMA STORIES “Alexander Kluge, that most enlightened of writers.” –W.
    [Show full text]