DOCSLIB.ORG

HA3A5 Globalisation and Contemporary Art | University of Warwick

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
HA3A5 Globalisation and Contemporary Art | University of Warwick 09/25/21 HA3A5 Globalisation and Contemporary Art | University of Warwick HA3A5 Globalisation and Contemporary View Online Art (2015/16) Alberro, A. (1997). The Turn of the Screw: Daniel Buren, Dan Flavin, and the Sixth Guggenheim International Exhibition. October, 80. https://doi.org/10.2307/778808 Alberro, A., & Stimson, B. (2009a). Institutional Critique: an anthology of artists’ writings. MIT Press. Alberro, A., & Stimson, B. (2009b). Institutional Critique: an anthology of artists’ writings. MIT Press. Alberro, A., & Stimson, B. (2009c). Institutional Critique: an anthology of artists’ writings. MIT Press. ALEXANDER ALBERRO and NORA M. ALTER. (2010). Staging the Political: Repetition, Difference, and Daniel Buren’s ‘Cabanes Éclatées’. Grey Room, 40, 6–23. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/40929562?seq=1#page_scan_tab _contents Alex Potts. (2001). Installation and Sculpture. Oxford Art Journal, 24(2), 7–23. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3600405?seq=1#page_scan_tab_ contents Anderson, J., Comité international d’histoire de l'art, & International Congress of the History of Art. (2009). Crossing cultures: conflict, migration and convergence : the proceedings of the 32nd International Congress of the History of Art. Miegunyah Press. Anderson, P. (1998). The origins of postmodernity. Verso. Andrea Fraser. (2001). Little Frank And His Carp. https://www.youtube.com/watch?v=auOKsXnMmkg Andrea Fraser. (2006). Why Does Fred Sandback’s Work Make Me Cry? Grey Room, 22, 30–47. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/20442711?seq=1#page_scan_tab _contents Andre Rottmann. (2013). Complicity and Contestation Andre Rottmann on Andrea Fraser at the Museum Ludwig, Cologne. Texte Zur Kunst, 23(90), 229–223. https://www.textezurkunst.de/90/rottmann-fraser-complicity-and-contestation/ Baumgarten, L., & Coles, A. (2000). Site-specificity: the ethnographic turn: Vols De-, dis-, ex-. Black Dog Press. 1/12 09/25/21 HA3A5 Globalisation and Contemporary Art | University of Warwick Belting, H., & Buddensieg, A. (2009a). The global art world: audiences, markets, and museums. Hatje Cantz. Belting, H., & Buddensieg, A. (2009b). The global art world: audiences, markets, and museums. Hatje Cantz. Benjamin H. D. Buchloh. (2001). Detritus and Decrepitude: The Sculpture of Thomas Hirschhorn. Oxford Art Journal, 24(2), 43–56. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3600407?seq=1#page_scan_tab_ contents Benjamin H. D. Buchloh. (2005). An Interview with Thomas Hirschhorn. October, 113, 77–100. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3397654?seq=1#page_scan_tab_ contents Birnbaun, D. (2003). Running on Empty: The Art of Dominique Gonzalez-Foerster. Artforum International, 42(3), 173–168. http://0-search.proquest.com.pugwash.lib.warwick.ac.uk/docview/214346146?accountid=1 4888 Birnbaun, D. (2007). Enchanting Empiness. Parkett, 80, 74–79. https://arlir.iii.com/nonret~S0&atitle=Enchanting+Empiness&title=Parkett&amp ;aufirst=Daniel&auinit=&aulast=Birnbaun&issn=&eissn=&coden =&volume=80&issue=&spage=74&epage=79&quarter=&s sn=&date=2007&sid=&reqtype3 Bishop, C. (2005). Installation art: a critical history. Tate. Bishop, C. (2012a). Artificial hells: participatory art and the politics of spectatorship (1st [edition]). Verso Books. Bishop, C. (2012b). Digital Divide. Artforum International, 51(1), 435–441. http://0-search.proquest.com.pugwash.lib.warwick.ac.uk/docview/1039645510?accountid= 14888 Bourriaud, N. (2002). Relational aesthetics: Vol. Collection Documents sur l’art. Les Presses du réel. Bourriaud, N., Schneider, C., & Herman, J. (2005). Postproduction: culture as screenplay : how art reprograms the world (2nd ed., reprinted with new preface). Lukas & Sternberg. Buchloh, B. H. D. (n.d.). The Whole Earth Show. Art in America, 77(5), 150–158. Buchloh, B. H. D. (1983). Michael Asher and the Conclusion of Modernist Sculpture. Art Institute of Chicago Museum Studies, 10. https://doi.org/10.2307/4104341 Buchloh, B. H. D., Hirschhorn, T., Gingeras, A. M., & Basualdo, C. (2004). Thomas Hirschhorn: Vol. Contemporary artists. Phaidon. Budgen, S. (n.d.). A new spirit of capitalism (review of Luc Boltanski and Ève Chiapello, Le Nouvel esprit du capitalisme). New Left Review, 1, 149–156. 2/12 09/25/21 HA3A5 Globalisation and Contemporary Art | University of Warwick https://0-newleftreview.org.pugwash.lib.warwick.ac.uk/II/1/sebastian-budgen-a-new-spirit-o f-capitalism Buren, D. (1982). Why Write? Art Journal, 42(2). https://doi.org/10.2307/776534 Burton, J. (2011). On Knot Curating. The Exhibitionist, 42–54. https://arlir.iii.com/nonret~S0&atitle=On+Knot+Curating&title=The+Exhibitioni st&aufirst=Johanna&auinit=&aulast=Burton&issn=&eissn=&amp ;coden=&volume=&issue=&spage=42&epage=54&quarter=&a mp;ssn=&date=2011&sid=&reqtype3 Carey-Thomas, L., & Akomfrah, J. (2012). Migrations: journeys into British art. Tate Pub. Chin - Tao Wu. (2009). Biennials Without Borders? Tate Papers. http://www.tate.org.uk/research/publications/tate-papers/12/biennials-without-borders Claire Bishop. (n.d.-a). But is it installation art? Tate Papers, 3. http://www.tate.org.uk/context-comment/articles/it-installation-art Claire Bishop. (2004). Antagonism and Relational Aesthetics. October, 110, 51–79. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3397557?seq=1#page_scan_tab_ contents Colas, S. (1992). The Third World in Jameson’s Postmodernism or the Cultural Logic of Late Capitalism. Social Text, 31/32. https://doi.org/10.2307/466230 Coles, A. (2007a). Design and art: Vol. Documents of contemporary art. Whitechapel. Coles, A. (2007b). Design and art: Vol. Documents of contemporary art. Whitechapel. Contemporary Art: 1989 to the Present. (18 C.E.a). John Wiley & Sons. https://www.amazon.co.uk/Contemporary-Art-Present-Alexander-Dumbadze/dp/144433866 8/ref=sr_1_sc_1?s=books&ie=UTF8&qid=1463746822&sr=1-1-spell&keywords=contempo rary+art+1989+to+th+pesent Contemporary Art: 1989 to the Present. (18 C.E.b). John Wiley & Sons. https://www.amazon.co.uk/Contemporary-Art-Present-Alexander-Dumbadze/dp/144433866 8/ref=sr_1_sc_1?s=books&ie=UTF8&qid=1463746822&sr=1-1-spell&keywords=contempo rary+art+1989+to+th+pesent Contemporary Art: 1989 to the Present. (18 C.E.c). John Wiley & Sons. https://www.amazon.co.uk/Contemporary-Art-Present-Alexander-Dumbadze/dp/144433866 8/ref=sr_1_1?ie=UTF8&qid=1463994772&sr=8-1&keywords=contemporary+art+1989+to +present Crimp, D. (1981). Richard Serra: Sculpture Exceeded. October, 18. https://doi.org/10.2307/778411 Curating by Numbers. (n.d.). Tate Papers, 12. http://www.tate.org.uk/research/publications/tate-papers/12/curating-by-numbers Davidts, W. (2006). Art Factories: Museums of Contemporary Art and the Promise of 3/12 09/25/21 HA3A5 Globalisation and Contemporary Art | University of Warwick Artistic Production, from Centre Pompidou to Tate Modern. Farications, 16(1), 23–42. https://arlir.iii.com/nonret~S0&atitle=Art+Factories:+Museums+of+Contemporary+A rt+and+the+Promise+of+Artistic+Production,+from+Centre+Pompidou+to+Tate+Moder n&title=farications&aufirst=Wouter&auinit=&aulast=Davidts&iss n=&eissn=&coden=&volume=16&issue=1&spage=23&epa ge=42&quarter=&ssn=&date=2006&sid=&reqtype3 Dean Tacita Kodak 2006. (18 C.E.). https://www.youtube.com/watch?v=2XCWm1ZPKWg Demand, T., Koolhaas, R., & Szeemann, H. (2013). When attitudes become form: Bern 1969, Venice 2013 (G. Celant (Ed.)). Fondazione Prada, Ca’ Corner della Regina. Demos, T. J., & Kwon, M. (2003). Rethinking Site-Specificity. Art Journal, 62(2). https://doi.org/10.2307/3558510 Eagleton, T., & Bouwhuis, J. (2009). Now is the time: art & theory in the 21st century. NAi. Enwezor, O., & Documenta. (2003). Créolité and Creolization: Documenta 11, Platform 3. Hatje Cantz. Esanu, O. (2012). What was Contemporary Art? ARTMargins, 1(1), 5–28. https://doi.org/10.1162/ARTM_a_00003 Esner, R., Kisters, S., & Lehmann, S.-A. (Eds.). (2013). Hiding making - showing creation: the studio from Turner to Tacita Dean. Amsterdam University Press. https://0-www-jstor-org.pugwash.lib.warwick.ac.uk/stable/10.2307/j.ctt6wp7vb Filipovic, E., Van Hal, M., Øvstebø, S., & Bergen kunsthall (Eds.). (2010a). The biennial reader. Bergen Kunsthall. Filipovic, E., Van Hal, M., Øvstebø, S., & Bergen kunsthall (Eds.). (2010b). The biennial reader. Bergen Kunsthall. Foster, H. (n.d.). ‘Serra in the Desert’. Artforum, 320–327. http://0-nouveau.europresse.com.pugwash.lib.warwick.ac.uk/Link/WARWICKT_1/news%c2 %b720140901%c2%b7QAACR%c2%b7072 Foster, H. (2002a). The anti-aesthetic: essays on postmodern culture. New Press. Foster, H. (2002b). The anti-aesthetic: essays on postmodern culture. New Press. Foster, H. (2003). Arty Party. The London Review of Books, 25(23), 21–22. https://0-www.lrb.co.uk.pugwash.lib.warwick.ac.uk/v25/n23/hal-foster/arty-party Foster, H. (2013). The art-architecture complex. Verso. Foster, H., Hughes, G., & Buchloh, B. H. D. (2000). Richard Serra: Vol. October files. MIT Press. http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&sco pe=site&db=nlebk&db=nlabk&AN=138690 4/12 09/25/21 HA3A5 Globalisation and Contemporary Art | University of Warwick Fraser, A. (2003). Official Welcome. In U B U W E B - Film and Video. Hamburger Kunstverein. http://www.ubu.com/film/fraser_welcome.html Fraser, A. (2008). Procedural Matters. Artforum International, 46(10), 374–381. http://0-search.proquest.com.pugwash.lib.warwick.ac.uk/docview/214341492?accountid=1 4888 Gabriel Orozco, Benjamin H. D. Buchloh, Carrie Lambert-Beatty and Megan Sullivan. (2009). To Make an Inner Time: A Conversation with Gabriel Orozco. October, 130, 177–196.
Load more

Recommended publications
  • Hans Ulrich Obrist a Brief History of Curating
    Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist.
    [Show full text]
  • Annual Report 2013-2014
    The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I.
    [Show full text]
  • The Bosnian Case: Art, History and Memory
    The Bosnian Case: Art, History and Memory Elmedin Žunić ORCID ID: 0000-0003-3694-7098 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy The University of Melbourne Faculty of Fine Arts and Music July 2018 Abstract The Bosnian Case: Art, History and Memory concerns the representation of historic and traumatogenic events in art through the specific case of the war in Bosnia 1992-1995. The research investigates an aftermath articulated through the Freudian concept of Nachträglichkeit, rebounding on the nature of representation in the art as always in the space of an "afterness". The ability to represent an originary traumatic scenario has been questioned in the theoretics surrounding this concept. Through The Bosnian Case and its art historical precedents, the research challenges this line of thinking, identifying, including through fieldwork in Bosnia in 2016, the continuation of the war in a war of images. iii Declaration This is to certify that: This dissertation comprises only my original work towards the PhD except where indicated. Due acknowledgement has been made in the text to all other material used. This dissertation is approximately 40,000 words in length, exclusive of figures, references and appendices. Signature: Elmedin Žunić, July 2018 iv Acknowledgements First and foremost, my sincere thanks to my supervisors Dr Bernhard Sachs and Ms Lou Hubbard. I thank them for their guidance and immense patience over the past four years. I also extend my sincere gratitude to Professor Barbara Bolt for her insightful comments and trust. I thank my fellow candidates and staff at VCA for stimulating discussions and support.
    [Show full text]
  • PUBLICATIONS Spring 2012 CORNERHOUSE PUBLICATIONS SPRING 2012 INDEX to FEATURED PUBLISHERS
    PUBLICATIONS Spring 2012 CORNERHOUSE PUBLICATIONS SPRING 2012 INDEX TO FEATURED PUBLISHERS Welcome to our new catalogue featuring 156 titles from many of the most innovative Arnolfini 1 galleries, museums and publishers working in contemporary visual arts. We are Art Editions North 1 particularly pleased to have been appointed distributor for Blain|Southern, Lisson Gallery, Blain|Southern 1 Parasol unit, and Tatton Park Biennial, and new titles from these publishers are featured. Cornerhouse 2 Our list encompasses all the visual arts including architecture, art theory and education, Drawing Room 3 design, digital media, fashion, film and video, painting, photography, performance and DuMont Buchverlag 3 sculpture. We have over 2,700 titles currently available. If you require further details or if Ffotogallery 4 you want to order any of these titles, please contact us or visit our online bookstore. Firstsite 5 GlobalArtAffairs Publishing 5 For further information about our services, please contact Paul Daniels, Publications Haunch of Venison 5 Director. Hayward Publishing 7 Cornerhouse Publications Information as Material 9 JRP|Ringier* 10 70 Oxford Street, Manchester M1 5NH, England Kerber Verlag** 19 Publications Director Paul Daniels Verlag der Buchhandlung Walther König 25 Lisson Gallery 39 Arnolfini Art Editions North Blain|Southern orders / customer services contact Debbie Fielding, James Brady or Suzanne Davies distributed by Cornerhouse world-wide distributed by Cornerhouse world-wide distributed by Cornerhouse world-wide trade orders
    [Show full text]
  • FACING FORWARD Art & Theory from a Future Perspective
    This spirited exploration of the interfaces between art and theory in the 21st century brings together a range F of viewpoints on their future. Drawn from across the A fields of art history, architecture, philosophy, and media C FACING studies, the authors examine contemporary visual culture based on speculative predictions and creative scientific I arguments. Focusing on seven themes — N Future Tech G Future Image Future Museum Future City Future Freedom Future History & Future Future — the book shows how our sense of the future is shaped by a pervasive visual rhetoric of acceleration, progression, excess, and destruction. Contributors include: Hans Belting Manuel Delando Amelia Jones Rem Koolhaas China Miéville Hito Steyerl David Summers F O R W FORWARD A R ART & THEORY D FROM A FUTURE PERSPECTIVE AUP.nl 9789089647993 EDITED BY HENDRIK FOLKERTS / CHRISTOPH LINDNER / MARGRIET SCHAVEMAKER FACING FORWARD Art & Theory from a Future Perspective Edited by Hendrik Folkerts / Christoph Lindner / Margriet Schavemaker AMSTERDAM UNIVERSITY PRESS COLOPHON This book is published in print and online Amsterdam University Press English- through the online OAPEN library (www. language titles are distributed in the US oapen.org). OAPEN (Open Access Publish- and Canada by the University of Chicago ing in European Networks) is a collabora- Press. tive initiative to develop and implement a sustainable Open access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic resAearch by aggre- gating peer reviewed Open Access publica- tions from across Europe. PARTNERS ISBN Stedelijk Museum Amsterdam 978 90 8964 799 3 University of Amsterdam E-ISBN Stedelijk Museum Bureau Amsterdam 978 90 4852 623 9 (SMBA) NUR De Appel arts centre 670 W139 Metropolis M COVER DESIGN AND LAYOUT Studio Felix Salut and Stefano Faoro Creative Commons License CC BY NC (http://creativecommons.org/licenses/ by-nc/3.0) All authors / Amsterdam University Press B.V., Amsterdam, 2015 Some rights reserved.
    [Show full text]
  • Sayıyı Okuyun
    RES ART WORLD / WORLD ART NO:3 MAY 2009 CONTENTS COVER (detail) Vik Muniz, Action Photo, after Hans Namuth INTERVIEW WITH VIK MUNIZ KATHY BATTISTA (Pictures of Chocolate), 1997 Cibachrome print, 60 x 48 in / 152.4 x 121.9 cm INTERVIEW WITH SEMİHA BERKSOY HANS ULRICH OBRIST © Vik Muniz / Licensed by VAGA, New York, NY WHAT IS CONTEMPORARY IN CONTEMPORARY RUSSIAN ART OLESYA TURKINA A REVIEW OF THE TAIPEI BIENNIAL 2008: NO:3 MAY 2009 (WHEN) GLOBAL ATTACKS ON A LOCAL PARADISE ADNAN YILDIZ INTERVIEW WITH RAINER FUCHS AND PETER KOGLER RES INTERVIEW WITH JAMES COHAN DEBORA WARNER NO EXCEPTION FOR CONTEMPORARY ART: WHY AN EXHIBITION OF THE PRISHTINA ART SCENE COULD NOT OPEN IN BELGRADE SEZGİN BOYNİK VIK MUNIZ / THE CONTEMPORARY ARTS LIBRARY IN PRISHTINA/BERLIN JUDITH RAUM, FITORE ISUFI-KOJA, ‹Z ÖZTAT STATES AND TRAITS OF SERBIAN ART SCENE NIKOLA SUICA SEMİHA BERKSOY INTERVIEW WITH FULYA ERDEMCİ / SKOR BORGA KANTÜRK INTERVIEW WITH SOLMAZ SHAHBAZI ASHKAN SEPAHVAND KOONS IN VERSAILLES SABINE BOEHL SPACES BETWEEN SPACES: AYŞE ERKMEN—WEGGEFÄHRTEN ADNAN YILDIZ / PETER KOGLER BJØRN MELHUS AT THE AMERICAN HOSPITAL’S OPERATION ROOM LILIANA RODRIGUES DER NITSCH UND SEINE FREUNDE (NITSCH AND FRIENDS) FREYA MARTIN SOLMAZ SHAHBAZI RES Art World / World Art Publisher: Dirimart Abdi ‹pekçi Caddesi 7/4 Niflantaş› 34367 Istanbul TR T: +90 212 291 3434 F: +90 212 219 6400 [email protected] www.resartworld.com www.dirimart.org Not for sale Review biannual Not to be cited without permission of the author/s and RES Art World / World Art ISBN 978-605-5815-05-9 Editors: M.
    [Show full text]
  • Art in Academia, 1957-1977 A
    UNIVERSITY OF CALIFORNIA, SAN DIEGO The Research and Teaching of Art Despite Its Disappearance: Art in Academia, 1957-1977 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History, Theory, and Criticism with a Concentration in Art Practice by Timothy Michael Ridlen Committee in charge: Professor Grant Kester, Co-Chair Professor Mariana Wardwell, Co-Chair Professor Brian Cross Professor Harvey Goldman Professor John C. Welchman 2018 The Dissertation of Timothy Michael Ridlen is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Co-Chair University of California, San Diego 2018 iii TABLE OF CONTENTS Signature Page ......................................................................................................... iii Table of Contents …………………………………………………………………. iv List of Supplemental Files ………………………………………………………... v Acknowledgements ………………………………………………………………. vi Vita ……………………………………………………………………………...... viii Abstract of the Dissertation …………………………………………………......... ix Introduction…………………………………………………………………....…. 1 Chapter 1 – The New Academic: Research and Art in the University …………… 22 Chapter 2 – Aesthetic Experience: A Project in Multiple Dimensions ….……….. 64 Chapter 3 – Art in Process: Thinking Through Art …………………………....... 108 Chapter 4 – A Critical Program: CalArts ……………………………………...… 157 Conclusion ……………………………………………………………………….. 198 Bibliography ………………………………………………………………........... 213 iv LIST OF SUPPLEMENTAL
    [Show full text]
  • Distributed Art Publishers Art Distributed Artbook Spring 
    artbook Spring SPRING 2014 NEW BOOKS ON ART & CULTURE & distributed art publishers artbook distributed art publishers 155 Sixth Avenue, nd Floor, New York, NY 10013 www.artbook.com Ray Johnson, from Not Nothing: Selected Writings by Ray Johnson 1954–1994, published by Siglio. See page 35. Featured releases 2 Journals 82 sprIng HIgHlIgHts 90 CATALOGUE EDITOR Thomas Evans photography 92 ART DIRECTION art 108 Stacy Wakefield group exhibitions 136 IMAGE PRODUCTION Ranya Asmar Writings 142 DATA PRODUCTION design 150 Alexa Forosty COPY WRITING Film 158 Jarrod Annis, Thomas Evans, Tyler Fields, Annabelle Maroney, Seamus Mullarkey architecture 159 PRINTING limited editions 168 Sonic Media Solutions, Inc. Front Cover Image speCIalty Books 170 5 7 Robert Heinecken, Recto/Verso #2, 1988. Silver dye bleach print, 8 ⁄8 x 7 ⁄8''. The Museum of Modern Art, New York. Mr. and Mrs. Clark Winter Fund. art 172 © 2013 The Robert Heinecken Trust. From Robert Heinecken: Object Matter, photography 196 published by The Museum of Modern Art, New York. See page 36. BaCk Cover Image Backlist Highlights 201 Ray Johnson © Ray Johnson Estate, courtesy Richard L. Feigen & Co. From Not Nothing: Selected Writings by Ray Johnson 1954–1994, published by Siglio. See page 35. Index 207 © Ray Johnson Estate, courtesy Richard L. Feigen & Co & Feigen L. Richard courtesy Estate, Johnson Ray © ​Show​Time:​The​50​Most​ “a fascinating survey of Influential​Exhibitions of​Contemporary​Art​ groundbreaking exhibitions from Edited and with text by Jens Hoffman. Conversation with Hans Ulrich Obrist, Massimiliano Gioni, Maria the 1980s through to now . the Lind, Jessica Morgan, Carolyn Christov-Bakargiev, Adriano Pedrosa, Mary Jane Jacob.
    [Show full text]
  • PUBLICATIONS Autumn 2013
    PUBLICATIONS Autumn 2013 CORNERHOUSE PUBLICATIONS AUTUMN 2013 INDEX TO FEATURED PUBLISHERS Cornerhouse provides a specialist sales and distribution service for many of the most Art Editions North 1 Art Editions North Blain|Southern distributed by Cornerhouse world-wide distributed by Cornerhouse world-wide innovative publishers, galleries and museums working in contemporary visual arts. Our Blain|Southern 1 list encompasses all the visual arts including architecture, art theory and education, The Bluecoat 2 design, digital media, fashion, fi lm and video, painting, performance, photography and sculpture. We have over 2,800 titles currently available. If you require further details or British Council 2 if you want to place an order please contact us or visit our online bookstore. Chinese Arts Centre 3 For further information about our services, please contact Paul Daniels, Publications Cornerhouse 3 Director. Drawing Room 4 Cornerhouse Publications Ffotogallery 4 70 Oxford Street, Manchester M1 5NH, England Focal Point Gallery 4 Publications Director Paul Daniels GlobalArtAffairs Publishing 5 orders / customer services contact Debbie Fielding, James Brady or Suzanne Davies Hayward Publishing 5 trade orders / enquiries +44 (0)161 200 1501 Ikon Gallery 7 mail order / enquiries +44 (0)161 200 1502 Information as Material 8 Catrin Huber WALK ON Bill Viola general enquiries +44 (0)161 200 1503 Fictional Spaces From Richard Long to Janet Frustrated Actions John Hansard Gallery 9 fax +44 (0)161 200 1504 Cardiff: 40 Years of Art Walking and Futile
    [Show full text]
  • PUBLICATIONS Spring 2013
    PUBLICATIONS Spring 2013 CORNERHOUSE PUBLICATIONS SPRING 2013 INDEX TO FEATURED PUBLISHERS Art Editions North Blain|Southern Cornerhouse provides a specialist sales and distribution service for many of the most Art Editions North 1 distributed by Cornerhouse world-wide distributed by Cornerhouse world-wide innovative publishers, galleries and museums working in contemporary visual arts. Our Blain|Southern 1 list encompasses all the visual arts including architecture, art theory and education, British Council 2 design, digital media, fashion, film and video, painting, performance, photography and sculpture. We have over 2,800 titles currently available. If you require further details or Castlefield Gallery Publications 3 if you want to place an order please contact us or visit our online bookstore. Centre for Contemporary Arts (CCA) 3 For further information about our services, please contact Paul Daniels, Publications Coracle 3 Director. Cornerhouse 4 Cornerhouse Publications DuMont Buchverlag 4 70 Oxford Street, Manchester M1 5NH, England Firstsite 5 Publications Director Paul Daniels Focal Point Gallery 5 orders / customer services contact​ Debbie Fielding, James Brady or Suzanne Davies GlobalArtAffairs Publishing 5 trade orders / enquiries​​​ +44 (0)161 200 1501 Haunch of Venison 6 Nightsong Their Colours Francesco Clemente mail order / enquiries​​​ +44 (0)161 200 1502 Hayward Publishing 7 Nick Fox Mandala for Crusoe general enquiries +44 (0)161 200 1503 & Their Forms Artists’ Responses to Wordsworth fax +44 (0)161 200 1504 Ikon Gallery
    [Show full text]
  • Nouvelles Acquisitions Mai 2014
    NOUVELLES ACQUISITIONS MAI 2014 LIVRES : Notice : 1027282 Africus [Texte imprimé] : Johannesburg Biennale, 28 February-30 April 1995 / éditeur scientifique Johannesburg biennale (1 ; 1995 ; éditeur scientifique Greater Johannesburg transitional metropolitan council. - Braamfontein, Johannesburg, [South Africa] : Greater Johannesburg Transitional Metropolitan Council ; Johannesburg : Thorold's Africana Books [distributor], [1995]. - 1 vol. (304 p.) : ill. en coul, couv. ill. en coul. ; 28 cm. ISBN 0-86998-171-4 (br.) * Sujets : Johannesburg biennale. Art, Modern -- 20th century -- Exhibitions Art, Modern -- 20th century -- South Africa -- Exhibitions Art and society -- Exhibitions Art and society -- South Africa -- Exhibitions Art -- 20e siècle -- Catalogues d'exposition Art -- 20e siècle -- Afrique du Sud -- Catalogues d'exposition Art -- Aspect social -- Afrique du Sud -- Catalogues d'exposition ** Exemplaire (s) : Imprimés section Magasin, IN-4 29739 Notice : 1026630 Album n.1 [Texte imprimé] / Ziniar. - Lyon : [s.n.], 1920. - 1 vol. (non paginé [6[ p.12 pl.) : ill., couv. ill. ; 28 cm + 1 carton d'invitation (format A4) pour une exposition à la galerie St-Pierre en mars 1922. "Un album contenant la nomenclature des oeuvres exposées, 12 bois originaux signés, est tir. à 200 ex. : 10 ex. num. de 1 à 10 ; 140 ex. ordinaires, num. de 11 à 150 et 50 ex. HC num. de 151 à 200". Les bois gravés sont de : Bas, Bouquet, Combet-Descombes, Dalbanne, Didier (2), Gimond, Laplace, Leriche, Morillon, Ponchon, Tresch. La couverture, chemise souple rempliée beige, est illustrée en noir par Emile Didier. ** Exemplaire (s) : Imprimés (No 37501002726861) : Bibliothèque Kandinsky, section Réserve, RLQ 8200. Livres. Retour prévu le 16/11/2014 Notice : 1025775 Art always has its consequences [Texte imprimé] : artists' texts from Croatia, Hungary, Poland, Serbia : 1947-2009 / [edited by Dóra Hegyi [et al.]].
    [Show full text]
  • Mário Pedrosa Primary Documents
    Primary Documents Mário Pedrosa Glória Ferreira is an independent curator and scholar and Adjunct Professor at the Escola de Mário Mário Belas Artes, Universidade Federal do Rio de Janeiro. Pedrosa Pedrosa Paulo Herkenhoff is an art critic, curator, and cultural director of the Museu de Arte do Rio Primary (MAR). “Mário Pedrosa was one of the twentieth century’s foremost Primary art critics, philosophers, historians, and museum directors. Documents His writings fashioned many of the principal directions of Brazilian visual cultures throughout the 1940s and beyond— Documents Cover: Mário Pedrosa in Rio de Janeiro. c. 1958. a critical time of change from the modes of modernism and This latest volume in MoMA’s Primary Documents Courtesy Bel Pedrosa and the Pedrosa family. social realism into the era of Constructivism, Conceptualism, series provides an anthology of the writings of Mário Photograph © Luciano Martins and other avant-garde trends. Until now, his work was Pedrosa, Brazil’s preeminent critic of art, culture, and almost exclusively known to readers of his native language, politics and one of Latin America’s most frequently Published by The Museum of Modern Art Portuguese. This book, with its thoughtful English translations, cited public intellectuals. It is the first publication 11 West 53 Street, New York, NY 10019 is a landmark in modern art history and provides a window to provide comprehensive English translations www.moma.org into the highly original perceptions and opinions of an of Pedrosa’s writings, which are indispensable to extraordinary thinker.” understanding Brazilian art of the twentieth cen- tury. Included texts range from art and architectural Printed in Brazil —Edward J.
    [Show full text]