DOCSLIB.ORG

Englisch VS 1 10-7Er K.Qxd:PRESTEL VS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Englisch VS 1 10-7Er K.Qxd:PRESTEL VS Maira Kalman, Next Stop, Grand Central , 1999 / © 2009 Maira Kalman PRESTEL HEAD OFFICE PRESTEL UK PRESTEL USA 978-3-7913-9845-7 ISBN-978-3-7913-9845-7 SPRING 2010 Prestel Verlag Prestel Publishing Ltd. Innovative Logistics Verlagsgruppe Random House GmbH 4 Bloomsbury Place 575 Prospect Street ART ARCHITECTURE DESIGN PHOTOGRAPHY Königinstrasse 9 London WC1A 2QA Lakewood, NJ 08701 D-80539 Munich, Germany Tel: +44 (0)20 7323-5004 Tel: (888) 463-6110 Tel: +49 (0)89 242908300 Fax: +44 (0)20 7636-8004 Fax: (877) 372-8892 Fax: +49 (0)89 242908335 e-mail:[email protected] e-mail: [email protected] e-mail: [email protected] EUROPE ASIA, AFRICA GERMANY Verlegerdienst München INDIA, NEPAL, Gutenbergstrasse 1 SRI LANKA, BHUTAN TBI - Publisher & Distributors D-82205 Gilching, Germany 1882 Bhasker Bhawan Tel: +49 (0)8105 388-123 Village Kotla, Mubarkpur Fax: +49 (0)8105 388-259 New Delhi 110003 / India e-mail: [email protected] Tel: 9811791246 / 01146056198 e-mail: [email protected] AUSTRIA Mohr Morawa Buchvertrieb Sulzengasse 2 SOUTHEAST ASIA Peter Couzens A-1230 Wien Sales East Tel: +43 (0)16 68 01 45 43 Soi Pichit Fax: +43 (0)16 68 96 800 Sukhumvit Road 18 e-mail: [email protected] Klong Toei Bangkok 10110 SWITZERLAND Buchzentrum Thailand Industriestr. Ost 10 Tel + Fax: +66 2258 1305 CH-4614 Hägendorf Mobile: +66 85058 6265 Tel: +41 (0)62 209 26 26 e-mail: [email protected] Fax: +41 (0)62 209 26 27 e-mail: [email protected] CHINA, HONG KONG, KOREA, PHILIPPINES, Edward Summerson FRANCE Interart TAIWAN Asia Publishers Services 1, Rue de l’Est Units B&D F-75020 Paris 17th Floor Gee Chang Hong Centre Tel: +33 (0)1 434 93 660 65 Wong Chuk Hang Road Fax: +33 (0)1 434 9 41 22 Aberdeen, Hong Kong e-mail: [email protected] Tel: +852 2553 9289 NETHERLANDS AND Fax: +852 2554 2912 BELGIUM Libridis Group / Nilsson & Lamm e-mail: [email protected] Nusterweg 61 PAKISTAN Anwer Iqbal NL-6136 XA Sittard Book Bird Publishers Representatives Tel: +31 (0)294 49 49 49 Mian Chambers Fax: +31 (0)294 49 44 45 3, Temple Road web: www.libridis.com GPO Box 518 ITALY, GREECE, Lahore, Pakistan PORTUGAL, SPAIN Sandro Salucci Tel.: +92 (0)42 636 7275 Via Guelfa 91 Fax: +92 (0)42 636 1370 I-50129 Firenze e-mail: [email protected] Tel + Fax: +39 (055) 284612 ISRAEL Aviva Karlinski e-mail: [email protected] ART Lonnie Kahn Ltd. EASTERN EUROPE 20, Eliyahu Eitan Street 50 American Artists You Should Know 16 (excluding Russia) Josef Kolar Rishon-Lezion 75703, Israel Tel: +972 (0)3 9 51 84 18 Marina Abramovi´cand the Future of Performance Art 39 Publishers’ Representative Rauthstrasse 65 Fax: +972 (0)3 9 51 84 15/6 Birth of Impressionism: Masterpieces from the Musée D’Orsay 18 A-9544 Feld am See e-mail: [email protected] Chuck Close: Life 2-3 Austria AFRICA Tel: +43 (0) 424 62 90 60 Chuck Close: Work 42 (except South Africa) Tony Moggach Mobile: +43 (0) 664 73 63 63 11 IMA InterMediaAmericana Lovis Corinth: A Feast of Painting 38 e-mail: [email protected] 14 York Rise Otto Dix 27 SCANDINAVIA Elisabeth Harder-Kreimann London NW5 1ST Tel: +44 (0)20 7267 8054 Shilpa Gupta 40 Joachim-Mahl-Strasse 28 D-22459 Hamburg Fax: +44 (0)20 7485 8462 Islamic Art 52-53 Germany e-mail: [email protected] website: www.africanbooktrader.com Frida Kahlo Retrospective 20-21 Tel: +49 (0) 40 55 54 04 46 Fax: ++49 (0) 40 55 54 04 44 Maira Kalman: Various Illuminations (of a Crazy World) 8-9 SOUTH AFRICA Gerald Wratten e-mail: [email protected] Zytek Publishing Lives of the Hudson 43 P.O. Box 75157 László Moholy-Nagy 24 Gardenview 2047 Johannesburg Martín Ramírez 27 South Africa Donald Saff: Art in Collaboration 45 Tel: +27 (0) 11 828 7597 / 7964 AUSTRALIA Fax: +27 (0)11 822 3063 Niki de Saint Phalle 33 E-mail: [email protected] Wilhelm Sasnal 44 Web: www.zytekpublishing.co.za Egon Schiele Landscapes 31 AUSTRALIA AND MIDDLE EAST, Thomas Schütte 26 NEW ZEALAND Peribo NORTH AFRICA AND 58 Beaumont Road EASTERN Richard Ward Kiki Smith Photographs 35 Mount Kuring-gai MEDITERRANEAN Peter Ward Book Exports Van Gogh, Gauguin, Cézanne, and Beyond: Post-Impressionist Masterpieces from the Musée D’Orsay 19 NSW 2080 Australia (excluding Israel) P.O. Box Tel: +61 (0)2 9457 0011 London Leonardo Da Vinci 33 Fax: +61 (0)2 9457 0022 Tel: +44 (0)20 8772 0777 Rachel Whiteread Drawings 22-23 e-mail: [email protected] e-mail: [email protected] Ai Weiwei 41 Hannah Wilke 34 ARCHITECTURE AND DESIGN LATIN AMERICA ALL OTHER TERRITORIES Tadao Ando 1994–2009 58-59 Beijing International Airport 60 Cartier and America 6-7 LATIN AMERICA AND PLEASE CONTACT PRESTEL PUBLISHING UK OFFICE CARIBBEAN David Williams Coop Himmelb(l)au: Central Los Angeles High School #9 for the Visual and Performing Arts 61 IMA InterMediaAmericana Von Gerkan, Marg and Partners: Stadiums 2010–2015 63 PO Box 8734, London SE21 7ZF Taizo Kuroda 56 Tel: +44 (0)20 7274 7113 e-mail: [email protected] Light Fantastic: The Art and Design of Stage Lighting 57 The Sage Gateshead 60 Salt Bridges: Changing Perceptions of Art, Architecture, and Science 62 1 Shilpa Gupta, Untitled, 2008 , Archival digital print on canvas, 38 /4 x 96 inches, Courtesy: Artist and Yvon Lambert Gallery CHILDREN’S BOOKS 13 Modern Artists Children Should Know 49 13 Sculptures Children Should Know 48 Coloring Book Impressionism 50 Coloring Book Islamic Art 51 Trick of the Eye 46-47 CULTURE, FILM, AND ARCHEOLOGY African Film: New Forms of Aesthetics and Politics 55 Mummies of the World 54 Oberammergau: Tradition, Art, and Passion 64-65 Passion Play 2010 Oberammergau 64-65 FASHION 50 Fashion Designers You Should Know 17 Facehunter 14-15 GRAFFITI BOOKS London Burners 12-13 Street Art New York 10-11 PHOTOGRAPHY Beat Memories: The Photographs of Allen Ginsberg 24-25 The Digital Eye: Photographic Art in the Electronic Age 4-5 Street Seen: The Psychological Gesture in American Photography 1940–1959 36-37 BACKLIST Africa, Asia, and Oceania 81 Architecture, Design 85-88 Art 68-80 Children’s Books 66-67 Graffiti, Street Art 82 Photography 83-84 Poster Books 89 APPENDIX Index 90-91 Sales Information 92-93 Prestel is committed to a sustainable future for our business, our customers, and our planet. The catalog in your hands is made from paper Cert no. SGS-COC-004236 certified by the Forest Stewardship Council. 2 PRESTEL Art Chuck Close working on John, 1992. Photograph by Bill Jacobson PRESTEL Art 3 This is the first book to tell the inspiring story of near tragedy and ultimate triumph behind the dazzling work of one of today’s most respected and best-loved artists. “Art saved my life. It saved my life twice.” Chuck Close CHUCK CLOSE: LIFE CHRISTOPHER FINCH Chuck Close is one of the most acclaimed American artists to emerge since Andy Warhol. His larger-than-life portraits look out from the walls of museums and galleries around the globe. His virtuosity and variety of technique, combined with the ambition and accessibility of his chosen subject matter—the portrait re-invented on a heroic scale—has made him a great favorite with the public and has won him the respect of his peers. Chuck Close has achieved fame, yet his full story has never been told until now. Author Christopher Finch has known Close since the late 1960s when the artist was creating his first masterpieces in an unheated SoHo loft. Finch chronicles Close’s childhood battles with illness and dyslexia and his rise to the pinnacle of the art world. At the age of 48 he was struck down by an occluded spinal artery that left him a partial quadriplegic. With extraordinary determination, Close overcame this potentially career-ending disability, not only learning to paint again but producing work of extraordinary richness that equals or surpasses his previous achievements. With style and authority, Finch reveals the human reality behind Close’s visually eloquent but eternally silent portraits. CHRISTOPHER FINCH has written more than two dozen books about art and popular culture, including the bestseller The Art of Walt Disney. His most recent monograph is Chuck Close: Work (Prestel). 352 pages with 75 color illustrations Hardcover 1 1 7/4 x 9/4 in. / 18.5 x 23.5 cm 978-3-7913-3677-0 US$34.95 £19.99 Can.$44.95 Please see p. 42 for more Publication date: May 2010 information about the new edition of Chuck Close Work. 4 PRESTEL Photography Ben Gest, Chuck, Alice, and Dale, 2002. Pigmented inkjet print from digital file, 40 x 41 in. © Ben Gest, courtesy of the artist PRESTEL Photography 5 Photographers who use digital technologies as tools for creative expression are driving the most exciting and transformative developments in today’s photography. THE DIGITAL EYE PHOTOGRAPHIC ART IN THE ELECTRONIC AGE SYLVIA WOLF Digital photographic and imaging technologies are the most recent development in an art and science whose history is one of constant technological innovation. Using sophisticated software and scanners, artists are able to enhance or alter photographs, and create mesmerizing effects. Focusing exclusively on digital photography, Sylvia Wolf explores a medium that challenges our notions of the role of the artist and of an image’s relationship to the real. Taking readers from the earliest experiments in digital photography to the latest innovations, Wolf offers a historical perspective and points to future trends.
Load more

Recommended publications
  • The Greatest Artists of the Twentieth Century
    This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Greatest Artists of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5785 Chapter 2: The Greatest Artists of the Twentieth Century Introduction The masters, truth to tell, are judged as much by their influence as by their works. Emile Zola, 18841 Important artists are innovators: they are important because they change the way their successors work. The more widespread, and the more profound, the changes due to the work of any artist, the greater is the importance of that artist. Recognizing the source of artistic importance points to a method of measuring it. Surveys of art history are narratives of the contributions of individual artists. These narratives describe and explain the changes that have occurred over time in artists’ practices. It follows that the importance of an artist can be measured by the attention devoted to his work in these narratives. The most important artists, whose contributions fundamentally change the course of their discipline, cannot be omitted from any such narrative, and their innovations must be analyzed at length; less important artists can either be included or excluded, depending on the length of the specific narrative treatment and the tastes of the author, and if they are included their contributions can be treated more summarily.
    [Show full text]
  • California State University, Northridge Exploitation
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE EXPLOITATION, WOMEN AND WARHOL A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Kathleen Frances Burke May 1986 The Thesis of Kathleen Frances Burke is approved: Louise Leyis, M.A. Dianne E. Irwin, Ph.D. r<Iary/ Kenan Ph.D. , Chair California State. University, Northridge ii DEDICATION This thesis is dedicated to Dr. Mary Kenon Breazeale, whose tireless efforts have brought it to fruition. She taught me to "see" and interpret art history in a different way, as a feminist, proving that women's perspectives need not always agree with more traditional views. In addition, I've learned that personal politics does not have to be sacrificed, or compartmentalized in my life, but that it can be joined with a professional career and scholarly discipline. My time as a graduate student with Dr. Breazeale has had a profound effect on my personal life and career, and will continue to do so whatever paths my life travels. For this I will always be grateful. ACKNOWLEDGEMENTS In addition, I would like to acknowledge the other members of my committee: Louise Lewis and Dr. Dianne Irwin. They provided extensive editorial comments which helped me to express my ideas more clearly and succinctly. I would like to thank the six branches of the Glendale iii Public Library and their staffs, in particular: Virginia Barbieri, Claire Crandall, Fleur Osmanson, Nora Goldsmith, Cynthia Carr and Joseph Fuchs. They provided me with materials and research assistance for this project. I would also like to thank the members of my family.
    [Show full text]
  • Autobiographical in the Oeuvre Of
    CALIFORNIA STATE UNNERSITY, NORTHRIDGE LONGING FOR MAMAN: AUTOBIOGRAPHICAL IMAGES IN THE OEUVRE OF LOUISE BOURGEOIS A the is . ubmitted jn partial fulfillment of the requirement for the degree of Master of Alts in Art Hi tory by Karen Jo Schifmao December 2003 DEDICATION For Norman and Jonathan lll ACKNOWLEDGEMENTS It has been a privilege to learn and write about the work of Louise Bourgeois. I never would have embarked upon this task without the support of many people. First, I would like to acknowledge my mother, Gloria Derchan, who introduced me to the subject of art history back in 1973 when we both began taking classes at Los Angeles Valley College, and who also has instilled in me an appreciation for aesthetics. I thank my father, Harold Derchan, who always encouraged my educational endeavors and taught me to have perseverance and determination. I thank my brother, Randall Derchan, who so patiently assisted me with the desktop publishing of this document, and my sister, Patti Meiselman, who always supports me. I thank my fellow art history graduate students, colleagues, and professors at the university, who have served as mentors and supporters throughout these past years, most especially, Professor Trudi Abram, Nina Berson, Anna Meliksetian, and Rachel Pinto. I thank my thesis committee members for their help and guidance. Firstly, Professor Jean-Luc Bordeaux, who has taught me to recognize and focus on the formal qualities in art, and to keep my knowledge base in the fi eld as broad as possible. Special thanks go to Professor Kenon Breazeale who has served on my committee since its inception.
    [Show full text]
  • DAVID SALLE Born 1952, Norman, Oklahoma, USA. Currently Lives And
    DAVID SALLE Born 1952, Norman, Oklahoma, USA. Currently lives and works in New York. Education 1975 California Institute of the Arts, MFA. 1973 California Institute of the Arts, BFA. Awards 2016 American Academy of Arts and Letters 2015 National Academy of Art 1986 Guggenheim Fellowship for Theater Design Selected Solo Exhibitions 2018 David Salle: Paintings 1985 -1995, Skarstedt, New York, USA. 2017 David Salle: Ham and Cheese and Other Paintings, Skarstedt, New York, USA. David Salle: New Paintings, Galerie Thaddaeus Ropac, Paris, FR 2016 David Salle, Lehmann Maupin Gallery, Hong Kong, HK. David Salle: Inspired by True-Life Events, CAC Málaga, Málaga, ES. 2015 David Salle, Skarstedt, New York, USA. Debris, Dallas Contemporary, Dallas, USA. 2014 Maureen Paley, London, UK. Collage, Mendes Wood D, São Paulo, BR. 2013 Ghost Paintings, Skarstedt Gallery, New York, USA. David Salle/ Francis Picabia, Galerie Thaddaeus Ropac, Paris, FR. David Salle: Ghost Paintings, The Arts Club, Chicago, USA. Tapestries/ Battles/ Allegories, Lever House Art Collection, New York, USA. Leeahn Gallery, Daegu, KR. Leeahn Gallery, Seoul, KR. 2012 Gerhardsen Gerner, Berlin, DE. Ariel and Other Spirits, The Arnold and Marie Schwartz Gallery Met, Metropolitan Opera House, Lincoln Center, New York, USA. 2011 David Salle Recent Paintings, Mary Boone Gallery, New York, USA. Maureen Paley, London, UK. 2010 Mary Boone Gallery, New York, USA. 2009 Héritage du Pop Art, Kestnergesellschaft, Hannover, DE. 2008 Galleri Faurschou, Copenhagen, DK. Studio d’Arte Raffaelli, Trento, IT. 2007 Galleria Cardi, Milan, IT. David Salle, New Works, Galerie Thaddeaus Ropac, Salzburg, AT. Bearding The Lion In His Den, Deitch Projects, New York, USA.
    [Show full text]
  • Mednicov, Questions of Texas
    ISSN: 2471-6839 Cite this article: Melissa L. Mednicov, “Questions of Texas: Avant Garde and Outlier,” Panorama: Journal of the Association of Historians of American Art 6, no. 1 (Spring 2020), https://doi.org/10.24926/24716839.9899. Questions of Texas: Avant Garde and Outlier Melissa L. Mednicov, Associate Professor of Art History, Sam Houston State University The idea of an art of the American South and how one might locate Texas within this concept is a complicated question for art history. There is the matter of whether Texas is part of the South, the West, or neither. Its geographical largeness and the diversity within the state further contribute to the challenges of its Southernness. Despite the omission of Texas from most contemporary art discourse, many artists who exhibited in the art capitals of the United States have roots in the South. Texas, in between New York City and Los Angeles, the two cities that dominate postwar narratives of American art history, is a space far removed from those art capitals, and its inhabitants are often excluded from those narratives. This essay focuses on two Texas artists, Forrest Bess (1911–1977) and Robert Rauschenberg (1925–2008), who are now considered important and established avant- garde postwar American artists. Bess and Rauschenberg were born in Texas, and each offers an example of what the American South might mean toward framing a postwar American art of the center and its margins. Both artists grew up in Texas, did not complete traditional art undergraduate or graduate training, and served in the military. Bess, born in Bay City, initiated degrees in architecture at two Texas universities,1 enlisted in the military during World War II, and spent most of his adulthood in “near-total isolation” in his hometown.2 Bess was mostly relegated to a place outside of the contemporary canon, despite his connections to scholar and critic Meyer Schapiro and early years spent with the Betty Parsons Gallery in New York City, a pioneering representative of postwar avant-garde artists.
    [Show full text]
  • Bibliography Francesco Clemente
    Bibliography Francesco Clemente BIBLIOGRAPHY—Solo Exhibition Catalogues (chronological) (Gratis 1978) Gratis. Exhibition catalogue and artist’s book. Geneva: Centre d’Art Contemporain, 1978. (P.M.F.C. 1978) Francesco Clemente P.M.F.C. Exhibition catalogue. Cologne: Galerie Paul Maenz, 1978. (Undae Clemente flamina pulsae 1978) Undae Clemente flamina pulsae. Exhibition catalogue and artist’s book. Amsterdam: Art & Project, 1978. (Lisson 1979) Exhibition catalogue. London: Lisson Gallery, 1979. (Non Scopa 1979) Francesco Clemente: Non Scopa. Exhibition catalogue and artist’s book. Turin: Gian Enzo Sperone, 1979. (Milan 1980) Padiglione d’Arte Contemporanea, Milan, “Francesco Clemente,” dates unknown, 1980. Catalogue with text by Germano Celant. (Sperone Westwater Fischer 1980) Exhibition catalogue. New York: Sperone Westwater Fischer, 1980. (Maenz 1980) Francesco Clemente. Exhibition catalogue. Cologne: Galerie Paul Maenz, 1980. (Art & Project 1980–81) New Works. Exhibition catalogue. Amsterdam: Art & Project, 1980–81. (Matrix 1981) Francesco Clemente/Matrix 46. Exhibition brochure. Berkeley: University Art Museum, University of California, 1981. (Pinxit 1981) Francesco Clemente Pinxit. Exhibition catalogue and artist’s book. London: Anthony d’Offay Gallery, 1981. (Bischofberger 1981) Francesco Clemente: New Works. Exhibition catalogue. Zurich: Galerie Bruno Bischofberger, 1981. (Viaggatore Napoletano 1982) Francesco Clemente: Il viaggiatore napoletano. Exhibition catalogue and artist’s book. Cologne: Galerie Paul Maenz, 1982. (Bischofberger 1982–83) Francesco Clemente: Watercolours. Exhibition catalogue and artist’s book. Zurich: Galerie Bruno Bischofberger, 1982–83. (Fourteen Stations 1983) Francesco Clemente: The Fourteen Stations. Exhibition catalogue. London: Whitechapel Art Gallery, 1983. (Sperone Westwater/Boone 1983) Francesco Clemente. Exhibition catalogue. New York: Sperone Westwater; New York: Mary Boone Gallery, 1983. (White Shroud 1984) Allen Ginsberg/Francesco Clemente: White Shroud.
    [Show full text]
  • Sherrie Levine Born 1947 in Hazleton, Pennsylvania
    This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Sherrie Levine Born 1947 in Hazleton, Pennsylvania. Lives and works in New York and Santa Fe, New Mexico. EDUCATION 1970-1973 M.F.A., University of Wisconsin, Madison 1965-1969 B.F.A., University of Wisconsin, Madison SOLO EXHIBITIONS 2019 Sherrie Levine: After Reinhardt, David Zwirner, New York [catalogue] Sherrie Levine, After Egon Schiele: Selected Works, OFFSITE: CHALET MARC JANCOU, Rossinière, Switzerland 2018 Sherrie Levine, Xavier Hufkens, Brussels 2017 Sherrie Levine: Pie Town, David Zwirner, London 2016 Sherrie Levine: 15 White Moonlight Paintings, Jablonka Galerie at Böhm Chapel, Hurn Kalscheuren, Germany Sherrie Levine: After All, Neues Museum, State Museum for Art and Design in Nuremberg [catalogue] Sherrie Levine, David Zwirner, New York Sherrie Levine, Musée d’Art Moderne et Contemporain, Geneva 2015 Sherrie Levine: African Masks, Jablonka Maruani Mercier Gallery, Brussels Sherrie Levine: African Masks After Walker Evans, Jablonka Galerie, Cologne [catalogue published in 2016] Sherrie Levine: African Masks After Walker Evans, Simon Lee Gallery, London Sherrie Levine & Joseph Montgomery: Dolls, Paula Cooper Gallery, New York [two-person exhibition] Sherrie Levine - Man Ray: A Dialogue Through Objects, Images & Ideas, Jablonka Maruani Mercier Gallery, Knokke, Belgium [catalogue] [two-person exhibition] 2014 Sherrie Levine: Red Yellow Blue, Paula Cooper Gallery, New York Robert
    [Show full text]
  • Chicago Fall Books
    chicago fall books 2014 chicago fall books fall 2014 street chicago, illinois 60637 th 27 east 60 14 University of Chicago Press of Chicago University Recently Published Fall 2014 Contents General Interest 1 Special Interest 39 Paperbacks 101 House of Debt On the Run Distributed Books 132 How They (and You) Caused the Fugitive Life in an American City Great Recession, and How We Can Alice Goffman Prevent It from Happening Again ISBN-13: 978-0-226-13671-4 Author Index 356 Atif Mian and Amir Sufi Cloth $25.00/£17.50 ISBN-13: 978-0-226-08194-6 E-book ISBN-13: 978-0-226-13685-1 Cloth $26.00/£18.00 Title Index 358 E-book ISBN-13: 978-0-226-13864-0 Subject Index 360 Ordering Inside Information back cover The Book of Eggs Bedrooms of the Fallen A Life-Size Guide to the Eggs of Six Ashley Gilbertson Hundred of the World’s Bird Species With a Foreword by Philip Gourevitch Mark E. Hauber ISBN-13: 978-0-226-06686-8 Edited by John Bates and Barbara Becker Cloth $35.00/£24.50 E-book ISBN-13: 978-0-226-13511-3 ISBN-13: 978-0-226-05778-1 Cloth $55.00 E-book ISBN-13: 978-0-226-05781-1 CUSA Cover illustration: “Bouquiniste sur le quai des Grands-Augustins.” Oil on canvas c. 1949. Bernard Boutet de Monvel (1883–1949). Paris, France, Musée Walden Warming The Oldest Living Carnavalet. © Musée Carnavalet/Roger-Viollet/The Image Works. From Palace Climate Change Comes to Things in the World of Books by Roger Grenier, translated from the French by Alice Kaplan and Thoreau’s Woods published by the University of Chicago Press.
    [Show full text]
  • Untitled (Galvanized 1 Iron Wall), 1974
    The Contingent Object of Contemporary Art This page intentionally left blank The Contingent Object of Contemporary Art martha buskirk THE MIT PRESS cambridge, massachusetts london, england © 2003 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. This book was set in Minion, Syntax, and Scala Sans by Graphic Composition, Inc., Athens, Georgia, and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Buskirk, Martha. The contingent object of contemporary art / Martha Buskirk. p. cm. Includes bibliographical references and index. ISBN 0-262-02539-6 (hc. : alk. paper) 1. Art—Reproduction. 2. Art—Attribution. 3. Art, Modern—20th century. 4. Aesthetics, Modern— 20th century. I. Title. N8580 .B87 2003 709'.04'5—dc21 2002038061 Contents acknowledgments vii introduction 1 1 authorship and authority 19 2 original copies 59 3 medium and materiality 107 4 context as subject 161 5 contingent objects 211 notes 261 selected bibliography 287 index 297 This page intentionally left blank acknowledgments This book would not have happened without the time afforded by a Bunting Fellowship at the Radcliffe Institute for Advanced Study during 2000–2001. My first thanks therefore go to the people whose advice and assistance were crucial as I was pursuing this fellowship, specifically Carol Armstrong, Laura Hoptman, Rosalind Krauss, Kathy O’Dell, and Laura Tonelli. I also benefited from a sabbatical leave from my teaching duties, which was sup- ported by Kate Bodin, John Raimo, and the many colleagues at Montserrat College of Art who took over my responsibilities while I was away.
    [Show full text]
  • Language in Visual Art
    This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: Language in Visual Art Author: David W. Galenson URL: http://www.nber.org/chapters/c5794 Chapter 11: Language in Visual Art Introduction A distinctive feature of visual art in the twentieth century is its use of language. Words had appeared in paintings and sculptures since classical times, but their use was generally restricted to a few specific functions. From an early date inscriptions served religious purposes, identifying the protagonists in a biblical scene or referring to a relevant biblical text. Artists’ signatures identified the person responsible for a work, and dates were often included to specify when a work was completed. And artists sometimes included the title of a painting within the work’s image.1 In the early twentieth century, however, some artists began using language in their works for very different reasons. Over time this practice spread, as words and even sentences became more conspicuous in a number of artists’ work. Eventually, in some cases language became more important than images, and for some artists words replaced images altogether. The introduction of language into art for new purposes is a symptom of the increasingly conceptual nature of visual art during the twentieth century. The increasing acceptance of the use of language equally became an independent factor fueling the conceptual orientation of art, for the possibility of using language appealed to many young artists with conceptual goals: the example of important visual artists whose work featured language helped make visual art an attractive activity for many conceptually oriented artists, and provided them with points of departure for new conceptual innovations.
    [Show full text]
  • DAVID SALLE Born 1952, Norman, Oklahoma, USA. Currently Lives And
    DAVID SALLE Born 1952, Norman, Oklahoma, USA. Currently lives and works in New York. Education 1975 California Institute of the Arts, MFA. 1973 California Institute of the Arts, BFA. Awards 2016 American Academy of Arts and Letters 2015 National Academy of Art 1986 Guggenheim Fellowship for Theater Design Selected Solo Exhibitions 2016 David Salle, Lehmann Maupin Gallery, Hong Kong, HK. David Salle: Inspired by True-Life Events, CAC Málaga, Málaga, ES. 2015 David Salle, Skarstedt, New York, USA. Debris, Dallas Contemporary, Dallas, USA. 2014 Maureen Paley, London, UK. Collage, Mendes Wood D, São Paulo, Brazil. 2013 Ghost Paintings, Skarstedt Gallery, New York, USA. David Salle/ Francis Picabia, Galerie Thaddaeus Ropac, Paris, France. David Salle: Ghost Paintings, The Arts Club, Chicago, USA. Tapestries/ Battles/ Allegories, Lever House Art Collection, New York. Leeahn Gallery, Daegu, South Korea. Leeahn Gallery, Seoul, South Korea. 2012 Gerhardsen Gerner, Berlin, Germany. Ariel and Other Spirits, The Arnold and Marie Schwartz Gallery Met, Metropolitan Opera House, Lincoln Center, New York, USA. 2011 David Salle Recent Paintings, Mary Boone Gallery, New York, USA. Maureen Paley, London, UK. 2010 Mary Boone Gallery, New York, USA. 2009 Héritage du Pop Art, Kestnergesellschaft, Hannover, Germany. 2008 Galleri Faurschou, Copenhagen, Denmark. Studio d’Arte Raffaelli, Trento, Italy. 2007 Galleria Cardi, Milan, Italy. David Salle, New Works, Galerie Thaddeaus Ropac, Salzburg, Austria. Bearding The Lion In His Den, Deitch Projects, New York, USA. David Salle : 1,2,3,4, Baldwin Gallery, Aspen, USA. 2005 Mary Boone Gallery, New York, USA. 2004 Galerie Thaddaeus Ropac, Paris, France. David Salle: Split Worlds. The Montage Principle, Stella Art Gallery, Moscow, Russia.
    [Show full text]
  • JOSEPH LEO KOERNER 2021 Personal Address
    JOSEPH LEO KOERNER 2021 Personal Address: Department of History of Art and Architecture Harvard University Arthur M. Sackler Museum 485 Broadway Cambridge, MA 02138 Phone: +1.617.496-3997 or +1.617.495-2377 (secretary); fax: +1.617.495-1769 Email: [email protected] Websites: https://scholar.harvard.edu/jkoerner; https://viennaproject.fas.harvard.edu Appointments 2007-present. Victor S. Thomas Professor of History of Art and Architecture, History of Art and Architecture; Senior Fellow, Society of Fellows, Harvard University (since 2008); Affiliate Department of Germanic Languages and Literature (since 2013) 2013. Slade Professorship of Fine Art. Oxford University 2004-7. Professor in the History of Art, Courtauld Institute of Art, University of London 2003. Slade Professorship of Fine Art. Cambridge University 2000-2004. Professor of History of Art, History of Art, University College London 2000-2001. Ordinarius Professor (C-4) of Modern Art History, Institute of Art History, Goethe University Frankfurt 1991-2000. Professor of History of Art and Architecture, History of Art and Architecture, Harvard University 1989-1991. Assistant Professor, History of Art and Architecture, Harvard University 1985. Teaching Associate, History of Art, University of California, Berkeley. 1979-1980. Yale University, English, Research Assistant to Prof. Michael Cooke 1976-1980. Yale University, History, Research Assistant to Prof. Peter Gay Education 1988: Ph.D., University of California, Berkeley, History of Art. Thesis: “Self-Portraiture and the Crisis of Interpretation in German Renaissance Art: Albrecht Dürer, Hans Baldung Grien, Lucas Cranach the Elder.” 1984: M.A., University of California, Berkeley, History of Art. Thesis: “Death as a Hermeneutic in Hans Baldung Grien.” 1982-3: Research Fellow, University of Heidelberg.
    [Show full text]