DOCSLIB.ORG

Tate Triennial 2006 New Britishart

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tate Triennial 2006 New Britishart TATE TRIENNIAL 2006 NEW BRITISHART 1 March – 14 May 2006 Teacher and Student Notes By Angie MacDonald Supported by Calouste Gulbenkian Foundation Media partner Tate Triennial 2006: New British Art Introduction to the Exhibition About the Teacher and Students Notes This exhibition, the third Tate Triennial show of contemporary art, The aim of this pack is to provide an introduction to the exhibition, presents work by thirty-six artists working in Britain today. The exhibition information about key works on display, and suggestions of themes includes painting, photography, installation, sculpture, video, sound, and issues to consider and discuss. It also suggests ways of looking text, drawing and live works. at contemporary art and links to the wider Tate collection. The key work Artists included in this exhibition: Pablo Bronstein, Angela Bulloch, cards can be used to help focus work in small groups in the exhibition, Gerard Byrne, Marc Camille Chaimowicz, Lali Chetwynd, Cosey Fanni and to prepare or follow up with in the classroom. Tutti, Enrico David, Peter Doig, Kaye Donachie, Ian Hamilton Finlay, Resources Luke Fowler, Michael Fullerton, Ryan Gander, Liam Gillick, Douglas Gordon, Mark Leckey, Linder, Lucy McKenzie, Daria Martin, Simon Within the exhibition the ‘plaza’ serves as an information point Martin, Alan Michael, Jonathan Monk, Scott Myles, Christopher Orr, providing reading material, video interviews and documentation The Otolith Group, Djordje Ozbolt, Oliver Payne and Nick Relph, Olivia of the performances. There is an audio guide available to all visitors Plender, Muzi Quawson, Eva Rothschild, Tino Sehgal, John Stezaker, which features commentary from key artists on display. The catalogue Rebecca Warren, Nicole Wermers and Cerith Wyn Evans. is available at the entrance to the exhibition, price £19.99. The Tate shop has a selection of books, journals, catalogues, postcards The exhibition is in the Upper Galleries, Lightbox space, Rooms 1 and and related materials. 16 in the displays, Duveen Galleries and there is an installation in the exhibition shop. A key aspect of the exhibition is the staging of live Websites works. The architect Celine Condorelli and artist Pablo Bronstein have The Tate Triennial website gives access to five artist interviews and collaborated to make a special theatre structure situated in the North audio clips. Visit www.tate.org.uk/britain/exhibitions/triennial/ Duveen Galleries. Described as a ‘communal plaza’ this structure serves as an information point and a performance area. www.tate.org.uk/learning contains Schools Online for teachers and group leaders. You can download teacher resource notes for most What is the Tate Triennial? major exhibitions including past Triennial and Turner Prize packs. Held every three years, each Triennial exhibition has its own character and curatorial perspective. The Triennial explores the various Further Reading relationships between historic and modern British art. The first Tate Anderson, Laurie, Performance: Live Art Since the 1960s, 2004, Triennial, Intelligence, was held in 2000 and the second, Days Like Thames & Hudson Ltd. These, in 2003. Bishop, Claire, Installation Art: a Critical History, 2005, Tate Publishing This time, Tate invited Beatrix Ruf, Director of Kunsthalle Zürich, to Buck, Louisa, Moving Targets 2, A User’s Guide to British Art Now, bring an international perspective to the show. The selection is based 2000 Tate Publishing on artists who explore the recasting or reusing of cultural materials. Button, Virginia, New Revised Edition, The Turner Prize, 2005, Artists today work with all types of cultural material and often in Tate Publishing multidisciplinary modes. Ruf has invited several generations including Goldberg, Roselee, Performance Art from Futurism to the Present, artists such as Peter Doig, Douglas Gordon and Liam Gillick who have 2001, Thames & Hudson Ltd. participated in previous Triennials. More established artists such as Heathfield, Adrian (editor), Live: Art & Performance, 2004, Ian Hamilton Finlay and John Stezaker are included alongside artists Tate Publishing such as Muzi Quawson and Ryan Gander. Kaye, Nick (editor), Site Specific Art: Performance, Place & This exhibition provides an excellent opportunity for students to Documentation, 2000, Routledge consider the work of contemporary British artists and to explore Kent, Sarah, Shark Infested Waters: The Saatchi Collection of British the role of art in today’s world. Art in the 90s, 1994, London The exhibition also provides an excellent context for the Turner Prize Ruf, Beatrix (editor), Tate Triennial: New British Art, exhibition catalogue (which takes place every year in the autumn at Tate Britain) and will 2006, Tate Publishing help your students to understand the debate and controversy that Stallabrass, Julian, Art Incorporated: The Story of Contemporary Art, always surround this event. Whereas the Turner Prize is limited to 2004, Oxford University Press four nominated artists, this exhibition offers a much wider view of contemporary practice. It includes past nominees (such as Angela Taylor, Brandon, Art Today, 2004, Laurence King Publishing Bulloch, Liam Gillick, Douglas Gordon and Peter Doig) and some Weintraub, Linda, Making Contemporary Art: How Today’s Artists of the younger artists will no doubt be nominated in the future. Think and Work, 2003, Thames & Hudson Ltd. Visiting the Exhibition Admission to the exhibition is free. But all groups must book in advance The exhibition contains some work of a sexually explicit with Education Bookings on 020 7887 3959. If you would like to use nature which you may find inappropriate for your group. the Schools Area to have lunch or use locker spaces please book these It is not recommended for children under 16. when you call (there is limited space available). As all exhibitions at Tate can be busy, you cannot lecture, but you can discuss works in a conversational manner to groups of no more than six students at a time. If possible, brief your students before they enter the exhibition, and if you have a large group, we suggest that you divide into smaller groups and follow the suggestions in this pack. Ways of Looking One way to explore the exhibition would be to have a general look Subject and Meaning and then to focus on a few key works, such as the ones included • Is the artwork about a subject, issue or theme? in this pack. However, to start off, you could ask students the • Is it about real life? following questions: • Could the work have a symbolic, moral or political meaning? • Is there a story or narrative within the work? Ice-breaker Questions • How does the work make you think about time? • What are your first impressions of the exhibition? • Does it make you consider aspects of life or art in a new way? • What do these artists seem to be interested in? (you could make a list) • Does the work have a title? Does this affect the way you see it? • Do they share any common interests and concerns? • What information is available in the gallery (eg wall text or caption)? • What sorts of materials and processes do they work with? Does this information change the way you see it? • These artists draw on a vast range of sources. Can you identify some of them? Art in Context • How do these artists transform or change the gallery spaces? • Who is the artist? Do you think background on the artist can inform us about what it might be about? Personal Responses • Was the artwork made for a particular location or event? • What are your first reactions to the work? • Does the artwork link to other works made by the artist? • What is the first word that came into your head when you saw it? • How does the artwork link to work by other contemporary artists? • What do you notice first? • Does it connect to any art of the past? • Does it remind you of anything? • What does the artwork tell us about the ideas and values of • What do you think the artist wants to communicate? today’s world? • How does it link or comment on contemporary social, cultural Looking at the Artwork and political issues such as consumerism, globalisation and • What materials and processes has the artist used to make the multi-culturalism? artwork? • Does the work make use of modern materials and technology • What is it? (is it a film, photograph, drawing, sculpture, installation, or perhaps it reinvents age-old processes? performance etc?) • Where is it? Describe the space. Does it link with other artworks in the exhibition? • How big is the artwork? What effect does scale have on the artwork and our relationship to it? • Is it time-based? If so, describe what happened and how long it took. Is it repeated? Questions relating to Contemporary Art Contemporary art can raise many questions, below are just a few: Mixed Media Many artists today work in a range of media encompassing painting, Conceptual Art sculpture and photography as well as live work and installation. They For some people, contemporary art is synonymous with Conceptual art. question and challenge the museum as an appropriate space for art, Conceptual artists do not set out to make a painting or a sculpture and choosing to intervene or place their art in unusual places. What then fit their ideas to that existing form. Instead they give the ideas constitutes art today and where does the ‘artwork’ begin and end? priority over the traditional media. Do you think any of the Triennial artists are influenced by Conceptual art? What about Painting? For many years there has been a debate about the place of painting Appropriation in contemporary art. With new media and technologies, collaborative In current art practice there is a distinct tendency to re-use or re-cast practice, installations and the freedom to make work out of any cultural materials. Artists make reference to art history, film, music, materials at all, has painting died? It is interesting to note that at architecture and design as well as to theoretical ideas.
Load more

Recommended publications
  • Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
    Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise.
    [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]
  • 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]
  • Fundraiser Catalogue As a Pdf Click Here
    RE- Auction Catalogue Published by the Contemporary Art Society Tuesday 11 March 2014 Tobacco Dock, 50 Porters Walk Pennington Street E1W 2SF Previewed on 5 March 2014 at the Institute of Contemporary Arts, London The Contemporary Art Society is a national charity that encourages an appreciation and understanding of contemporary art in the UK. With the help of our members and supporters we raise funds to purchase works by new artists Contents which we give to museums and public galleries where they are enjoyed by a national audience; we broker significant and rare works of art by Committee List important artists of the twentieth century for Welcome public collections through our networks of Director’s Introduction patrons and private collectors; we establish relationships to commission artworks and promote contemporary art in public spaces; and we devise programmes of displays, artist Live Auction Lots Silent Auction Lots talks and educational events. Since 1910 we have donated over 8,000 works to museums and public Caroline Achaintre Laure Prouvost – Special Edition galleries – from Bacon, Freud, Hepworth and Alice Channer David Austen Moore in their day through to the influential Roger Hiorns Charles Avery artists of our own times – championing new talent, supporting curators, and encouraging Michael Landy Becky Beasley philanthropy and collecting in the UK. Daniel Silver Marcus Coates Caragh Thuring Claudia Comte All funds raised will benefit the charitable Catherine Yass Angela de la Cruz mission of the Contemporary Art Society to
    [Show full text]
  • Contemporary Art Magazine Issue # Sixteen December | January Twothousandnine Spedizione in A.P
    contemporary art magazine issue # sixteen december | january twothousandnine Spedizione in a.p. -70% _ DCB Milano NOVEMBER TO JANUARY, 2009 KAREN KILIMNIK NOVEMBER TO JANUARY, 2009 WadeGUYTON BLURRY CatherineSULLIVAN in collaboration with Sean Griffin, Dylan Skybrook and Kunle Afolayan Triangle of Need VibekeTANDBERG The hamburger turns in my stomach and I throw up on you. RENOIR Liquid hamburger. Then I hit you. After that we are both out of words. January - February 2009 DEBUSSY URS FISCHER GALERIE EVA PRESENHUBER WWW.PRESENHUBER.COM TEL: +41 (0) 43 444 70 50 / FAX: +41 (0) 43 444 70 60 LIMMATSTRASSE 270, P.O.BOX 1517, CH–8031 ZURICH GALLERY HOURS: TUE-FR 12-6, SA 11-5 DOUG AITKEN, EMMANUELLE ANTILLE, MONIKA BAER, MARTIN BOYCE, ANGELA BULLOCH, VALENTIN CARRON, VERNE DAWSON, TRISHA DONNELLY, MARIA EICHHORN, URS FISCHER, PETER FISCHLI/DAVID WEISS, SYLVIE FLEURY, LIAM GILLICK, DOUGLAS GORDON, MARK HANDFORTH, CANDIDA HÖFER, KAREN KILIMNIK, ANDREW LORD, HUGO MARKL, RICHARD PRINCE, GERWALD ROCKENSCHAUB, TIM ROLLINS AND K.O.S., UGO RONDINONE, DIETER ROTH, EVA ROTHSCHILD, JEAN-FRÉDÉRIC SCHNYDER, STEVEN SHEARER, JOSH SMITH, BEAT STREULI, FRANZ WEST, SUE WILLIAMS DOUBLESTANDARDS.NET 1012_MOUSSE_AD_Dec2008.indd 1 28.11.2008 16:55:12 Uhr Galleria Emi Fontana MICHAEL SMITH Viale Bligny 42 20136 Milano Opening 17 January 2009 T. +39 0258322237 18 January - 28 February F. +39 0258306855 [email protected] www.galleriaemifontana.com Photo General Idea, 1981 David Lamelas, The Violent Tapes of 1975, 1975 - courtesy: Galerie Kienzie & GmpH, Berlin L’allarme è generale. Iper e sovraproduzione, scialo e vacche grasse si sono tra- sformati di colpo in inflazione, deflazione e stagflazione.
    [Show full text]
  • New Works on Video by Young British Artists to Open at the Museum of Modern Art
    The Museum of Modern Art For Immediate Release December 1997 NEW WORKS ON VIDEO BY YOUNG BRITISH ARTISTS TO OPEN AT THE MUSEUM OF MODERN ART New Video from Great Britain December 16,1997-February 1,1998 New Video from Great Britain, a survey of the remarkable new wave of work that has emerged from London and Glasgow in recent years, opens at The Museum of Modern Art on December 16, 1997. The program presents notable work by already established figures, such as Sam Taylor-Wood and Douglas Gordon, as well as emerging artists, some of whom are showing in New York for the first time. The two-hour program will be shown continuously in the Garden Hall Video Gallery on the Museum's third floor through February 1, 1998. The exhibition highlights the continuing penchant for conceptual- and performance-based works among young British video artists. Addressing themes of the body, personal identity, and subjectivity in ways that are provocative and playful, ironic and insightful, these works reveal an easygoing familiarity with popular culture that characterizes much of contemporary British life. "Simply and spontaneously shot (often on little more than a domestic camcorder), these 20 or so pieces have a visual impact, flair and invention that belies their low-tech origins and reverberates long after each tape has played," writes Steven Bode, Director of the Film and Video Umbrella, London, who organized the exhibition in conjunction with Barbara London, Associate Curator, and Sally Berger, Assistant Curator, Department of Film and Video, The Museum of Modern Art. -more- 11 West 53 Street, New York, New York 10019 Tel: 212-708-9400 Fax: 212-708-9889 2 "At first glance the young artists in this show appear to use the video camera to capture ordinary gestures, such as simply putting on clothes.
    [Show full text]
  • John Stezaker's Collages Using Black-And-White Film Photos and Old
    Source: Guardian, The {Review} Edition: Country: UK Date: Saturday 29, January 2011 Page: 16,17 Area: 2166 sq. cm Circulation: ABC 264819 Daily BRAD info: page rate £11,400.00, scc rate £42.00 Phone: 020 3353 2000 Keyword: Whitechapel Gallery Dillon, Brian, John Stezaker: What a carve up, The Guardian, 29 January 2011 John Stezaker’s collages using black-and-white fi lm photos and old postcards are nostalgic but also uncanny and absurd. As a career-spanning exhibition of his work opens at the Whitechapel Gallery, Brian Dillon pays tribute to a sly romantic What a Source: Guardian, The {Review} Edition: Country: UK Date: Saturday 29, January 2011 hPage: 16,17 Area: 2166 sq. cm Circulation: ABC 264819 Daily BRAD info: page rate £11,400.00, scc rate £42.00 Phone: 020 3353 2000 carveKeyword: Whitechapel Gallery up image might be used to make art, he English artist thus obviating the tedium of free- John Stezaker, hand drawing. But when he took the whose uncanny machine to his bedroom, he found collages are all he could squeeze on to a sheet of the subject of a paper was a corner of the picture: career-spanning Big Ben, a few turrets and a stretch exhibition at the of red sky. He tried painting over it in Whitechapel Gal- his best approximation of an “expres- lery, tells a revelatory tale about the sionist-psychedelic” style, but when T he turned off the projector the result origins of his luminous art. Stezaker was born in Worcester in 1949; when was “horrifi c”.
    [Show full text]
  • Tempo : [Brochure] Texts I, II, and V by Roxana Marcoci, III and IV by Miriam Basilio]
    Tempo : [brochure] Texts I, II, and V by Roxana Marcoci, III and IV by Miriam Basilio] Date 2002 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/154 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art TempoJune29-September 9,2002 This exhibition Focuseson distinct perceptions of time—phenomenological, empirical,political, and Fictional—in the work oFcontemporaryartists FromAFrica, the Americas,Asia, and Europe.The show is organizedinto Fiveareas oFmulti mediainstallations that examinecultural diFFerencesin the constructionoFtime. In the First area, Time Collapsed,the systemic interfaces with the randomin a cacophonyoF clocks, watches, and metronomes.Transgressive Bodies, the second area,probes the metabolicprocesses and erotic drives exercisedby the body.The Louise Bourgeois. Untitled. 2002. Ink and pencil on ). physicalworld involvesa senseoF evolution, , butalso imnermanence[jcMiiaMciiLC OIIUand entrnnvCI II I up y , music paper J 1V(x g„ (29g x gg.g cm Collection the artist; courtesy Cheim and Read, New York LiquidTime explores this ever-changingFlow oF time through imagesoF water in a third section.Trans-Histories, the Fourth area, addressesissues oFpostcolonialism, thus engagingthe viewer's critical perceptionoF the present through memory. Althoughseemingly static, the video and sculptural pieces in the Fifth area, Mobility/ Immobility, are in constant motion, destabilizingthe viewers perceptionoFtime; aspects oF circularity, unendingduration, andtime arrested are experiencedin a this last section. time collapsed Thequest for freedomis frequently a alternative, morefluid and entrepreneurial, circuit the imageof standardtime.
    [Show full text]
  • From Point to Pixel: a Genealogy of Digital Aesthetics by Meredith Anne Hoy
    From Point to Pixel: A Genealogy of Digital Aesthetics by Meredith Anne Hoy A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Rhetoric and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Whitney Davis, co-chair Professor Jeffrey Skoller, co-chair Professor Warren Sack Professor Abigail DeKosnik Professor Kristen Whissel Spring 2010 Copyright 2010 by Hoy, Meredith All rights reserved. Abstract From Point to Pixel: A Genealogy of Digital Aesthetics by Meredith Anne Hoy Doctor of Philosophy in Rhetoric University of California, Berkeley Professor Whitney Davis, Co-chair Professor Jeffrey Skoller, Co-chair When we say, in response to a still or moving picture, that it has a digital “look” about it, what exactly do we mean? How can the slick, color-saturated photographs of Jeff Wall and Andreas Gursky signal digitality, while the flattened, pixelated landscapes of video games such as Super Mario Brothers convey ostensibly the same characteristic of “being digital,” but in a completely different manner? In my dissertation, From Point to Pixel: A Genealogy of Digital Aesthetics, I argue for a definition of a "digital method" that can be articulated without reference to the technicalities of contemporary hardware and software. I allow, however, the possibility that this digital method can acquire new characteristics when it is performed by computational technology. I therefore treat the artworks covered in my dissertation as sensuous artifacts that are subject to change based on the constraints and affordances of the tools used in their making.
    [Show full text]
  • This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
    “This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more.
    [Show full text]
  • Film Culture in Transition
    FILM CULTURE IN TRANSITION Exhibiting Cinema in Contemporary Art ERIKA BALSOM Amsterdam University Press Exhibiting Cinema in Contemporary Art Exhibiting Cinema in Contemporary Art Erika Balsom This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative in- itiative 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 research by aggregating peer reviewed Open Access publications from across Europe. Sections of chapter one have previously appeared as a part of “Screening Rooms: The Movie Theatre in/and the Gallery,” in Public: Art/Culture/Ideas (), -. Sections of chapter two have previously appeared as “A Cinema in the Gallery, A Cinema in Ruins,” Screen : (December ), -. Cover illustration (front): Pierre Bismuth, Following the Right Hand of Louise Brooks in Beauty Contest, . Marker pen on Plexiglas with c-print, x inches. Courtesy of the artist and Team Gallery, New York. Cover illustration (back): Simon Starling, Wilhelm Noack oHG, . Installation view at neugerriemschneider, Berlin, . Photo: Jens Ziehe, courtesy of the artist, neugerriemschneider, Berlin, and Casey Kaplan, New York. Cover design: Kok Korpershoek, Amsterdam Lay-out: JAPES, Amsterdam isbn e-isbn (pdf) e-isbn (ePub) nur / © E. Balsom / Amsterdam University Press, Amsterdam All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book.
    [Show full text]
  • David Evans, “Cut and Paste,”
    History of Photography ISSN: 0308-7298 (Print) 2150-7295 (Online) Journal homepage: https://www.tandfonline.com/loi/thph20 Cut and Paste David Evans To cite this article: David Evans (2019) Cut and Paste, History of Photography, 43:2, 156-168 To link to this article: https://doi.org/10.1080/03087298.2019.1695408 Published online: 17 Feb 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=thph20 Cut and Paste † David Evans Published posthumously, this article begins with a discussion of the historiogra- phy – and a related exhibition history – of the terms collage, photo-collage, and photomontage; and of the criteria that have been used to distinguish them as techniques, as visual idioms, and for their political implications and resonances as images of fine or applied art. The article then moves on to the work of two living artists who have been cutting and pasting photographs for more than forty years, Martha Rosler and John Stezaker, and the ambiguities of their being described as collagists, monteurs, or photomonteurs. In rethinking these categories, Evans argues for an expansive history of photomontage and collage that has continuing resonance today. Keywords: Martha Rosler (1943–present), John Stezaker (1949–present), collage, photo-collage, photomontage, John Heartfield (1891–1968), Hannah Höch (1889–1978), El Lissitzky (1890–1941), Alexandr Rodchenko (1891–1956) Since the mid-1990s, the Internet has become – amongst many other things – an † incommensurable photographic archive, providing a rich resource for an unpre- See the entry on David Evans in the sec- cedented number of amateurs and professionals who wish to ‘cut and paste’, tion on Contributors at the end of this often using editing software like Photoshop.
    [Show full text]