431-449-Cristian Nae Meta 6 Tehno
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
EDUCATOR GUIDE Story Theme: the Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual)
EDUCATOR GUIDE Story Theme: The Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual) SECTION I - OVERVIEW ......................................................................................................................2 EPISODE THEME SUBJECT CURRICULUM CONNECTIONS OBJECTIVE STORY SYNOPSIS INSTRUCTIONAL STRATEGIES INSTRUCTIONAL OBJECTIVES EQUIPMENT NEEDED MATERIALS NEEDED INTELLIGENCES ADDRESSED SECTION II – CONTENT/CONTEXT ..................................................................................................3 CONTENT OVERVIEW THE BIG PICTURE RESOURCES – TEXTS RESOURCES – WEBSITES RESOURCES – VIDEO BAY AREA FIELD TRIPS SELECTED CONCEPTUAL ARTISTS SECTION III – VOCABULARY.............................................................................................................9 SECTION IV – ENGAGING WITH SPARK ...................................................................................... 10 Artist David Ireland beside the entrance to his retrospective exhibition at the Berkeley Art Museum. Still image from SPARK story, 2004. SECTION I - OVERVIEW To learn to “read” Conceptual Artworks and EPISODE THEME understand how they communicate The Grey Eminences To help students think conceptually by looking at, talking about and making conceptual art SUBJECT To introduce students to creative ideation by David Ireland beginning instead of materials GRADE RANGES K-12 & Post-secondary EQUIPMENT NEEDED SPARK story about David Ireland on DVD or VHS CURRICULUM CONNECTIONS and related equipment Visual Art -
Dissertatie Cvanwinkel
UvA-DARE (Digital Academic Repository) During the exhibition the gallery will be closed: contemporary art and the paradoxes of conceptualism van Winkel, C.H. Publication date 2012 Link to publication Citation for published version (APA): van Winkel, C. H. (2012). During the exhibition the gallery will be closed: contemporary art and the paradoxes of conceptualism. Valiz uitgeverij. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:03 Oct 2021 7 Introduction: During the Exhibition the Gallery Will Be Closed • 1. RESEARCH PARAMETERS This thesis aims to be an original contribution to the critical evaluation of conceptual art (1965-75). It addresses the following questions: What -
The Post-Duchamp Deal. Remarks on a Few Specifications of the Word ‘Art’
Filozofski vestnik volume/letnik XXviii • number/Številka 2 • 2007 • 27–38 The Post-Duchamp DeAl. Remarks on A FeW sPeCiFications oF tHe Word ‘art’ thierry de Duve When people began to talk in the ’60s of interdisciplinary trends in art, using terms such as ‘mixed media’, ‘intermedia’ and ‘multimedia art’, the primary focus was on finding a place for the new and quite diverse practices that could not be assigned to the traditional categories of painting and sculp- ture. those new names, as well as the descriptive terms ‘performance art’ or ‘installation art’, which were also new at that time, had a merely journalistic character. However, a more serious theoretical debate was simultaneously taking shape around Pop, Minimal and Conceptual Art, a debate in which the growing influence of Marcel Duchamp on this generation of artists and the impact of the readymade on artistic theories were palpable. By the end of the decade, the debate had reached academia. Philosophers who rarely set foot inside a gallery began to question the very concept of art, exemplified by borderline cases that were either real, such as Duchamp’s readymades and other ‘found objects’, or imaginary, such as the five red monochromes, identical but bearing different titles, which Arthur Danto (who does visit galleries more often than not) wittily proposed at the beginning of his book, The Transfiguration of the Commonplace.1 During the ’80s, my own work on the readymade has led me to study the relationship of painting, in particular, to art, in general, and then to develop an aesthetic theory of art as proper name, the result of a somewhat unexpected meeting of Duchamp with immanuel kant.2 What motivated me at the time was the mixture of excitement and anxiety produced by a situation that was an obvious legacy of the ready- made, namely, the radical openness of art (in the singular) resulting from 1 Arthur Danto, The Transfiguration of the Commonplace (Cambridge, Mass.: Harvard University Press, 1981). -
Michael Scott
BIOGRAPHY & BIBLIOGRAPHY michael scott Born in 1958 in Paoli, Pennsylvania. Lives and works in New York. Solo shows: 2018 Circle Paintings, Xippas, Paris, France Galerie Xippas, Geneva, Switzerland 2017 Recent Painting and sculpture, Sandra Gering Gallery, New York, USA 2015 Michael Scott, Laurent Strouk, Paris, France Courants alternatifs, Triple V Gallery, Paris, France 2014 Michael Scott and John Chamberlain: a conversation, Sandra Gering, New York, USA Michael Scott, Xippas Art Contemporain, Geneva, Switzerland Michael Scott - To Present, Circuit, Centre d’Art contemporain, Lausanne, Switzerland 2013 Black and White Paintings, Triple V, Paris, France 2012 Black & Blue, Galerie Odermatt-Vedovi, Brussels, Belgium Michael Scott: Buffalo Bulb’s Wild West Show, The Art Museum of South Texas, USA Michael Scott: Black and White Line Paintings 1989 - 2011, Gering & López Gallery, New York City, USA 2011 Michael Scott, Gering & López, New York, Witzenhausen Gallery, Amsterdam, Netherlands 2010 Recent Paintings, Triple V, Paris, France The Inner Eye, Witzenhausen gallery, New York, USA (with Roland Schimmel) 2009 And Then He Tried To Swallow The World, Gering & Lopez, New York, USA 2008 New Works, Triple V, Dijon, France 2002 Central Connecticut State University (avec Toby Kilpatrick), New Britain 1999 Sandra Gering Gallery, New York, USA 1998 Art & Public (avec Steven Parrino), Geneva, Switzerland 1997 Atheneum, Université de Dijon, Dijon, France 1996 Sandra Gering Gallery, New York, USA 1995 Art & Public, Geneva, Switzerland 1994 Tony Shafrazi Gallery, New York*, USA 1993 Akira Ikeda Gallery, Nagoya (Japon) Jason Rubell Gallery, Miami, USA 1991 Le Consortium (avec Steve DiBenedetto), Dijon, France 1990 Tony Shafrazi Gallery, New York, USA Brent Sikkema Gallery, New York, USA 1989 Tony Shafrazi Gallery, New York, USA 1987 Mission West, New York, USA J. -
Aesthetic Experience of Postmodern Arts Between Creativity and Appreciation
3-5 February 2014- Istanbul, Turkey 752 Proceedings of INTCESS14- International Conference on Education and Social Sciences Aesthetic Experience of Postmodern Arts Between Creativity and Appreciation Gihan Abou Elkheir Alexandria University, Egypt [email protected] Keywords: Aesthetic Experience, Postmodernity Arts, Art Appreciation Abstract. Modernity is not a departure from historical context. It goes back to the 14Th century. In fact, it was a search of identity. Color assumed sovereignty, meanwhile, Perspective became of minor importance, and pure image was the main issue. Modernity included a wide range of modern art movements, Styles such as were: performance, and conceptual Arts, were prominent. Main aspects of post Modernity were: Functionality, Abstract, and simplification. A tendency towards Consumables and every day's events were its main concerns. There was a close connection between artist and recipient, together with an ironical view towards the world, with a stress upon advertisements in media and everyday events. New thoughts came to existence, and there were radical changes of Criteria. Hence, the research introduces a concept for art appreciation through the new Aesthetic Criteria. The Researcher's assumptions revealed, in analytical approach, the impact of post modernity upon Egyptian Art movement. In her conclusion, the researcher found that the post modern artworks are integrated with the various environments. The recipient roles were always of prime importance. The Western Post modernity culture enhanced the free will, refusing centralized culture, and encompassed all sorts of contradictions, and that beseted unification and fragmentation. The study offered three examples, (three postmodern contemporary Egyptian artists), which confirm that: Artworks are integrated with their egyptian natural environment. -
The Dialogical Imagination: the Conversational Aesthetic of Conceptual Art
THE DIALOGICAL IMAGINATION: THE CONVERSATIONAL AESTHETIC OF CONCEPTUAL ART MICHAEL CORRIS Within the history of avant-garde art there is a recurrent interest in process-based practices. A substantial claim made by proponents of this position argues that process-based practices offer far more scope for the revision of the conventional culture of art than any other type of practice. In the first place, process-based practices dispense with the idea of the production of a material object as the principle aim of art. While there is often a material ‘residue’ associated with process- based art, its status as an autonomous object of art is always questionable. Such objects are more properly understood as props or by-products, and are valued accordingly by the artist (but not, alas, by the critic, curator or collector). Process-based practices themselves raise difficult questions for connoisseurs; there is often no clear notion where to locate the boundary dividing process works from the environment at large. The process-based work of art may not result in an object at all; rather, it could be a performance (scripted or not), an environment or installation, an intervention in a public space, or some sort of social encounter, such as a conversation or an on-going project with a community. The point of all these practices is to radically alter the subject-position of both artist and beholder. By so doing, the very idea of the autonomy of art is placed in question. Once attention and purpose are shifted from the making of what amounts to medium- sized dry goods, so the argument goes, both artist and spectator are liberated. -
Conceptual Art: a Critical Anthology
Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 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 Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R. -
The Art of Performance a Critical Anthology
THE ART OF PERFORMANCE A CRITICAL ANTHOLOGY edited by GREGORY BATTCOCK AND ROBERT NICKAS /ubu editions 2010 The Art of Performance A Critical Anthology 1984 Edited By: Gregory Battcock and Robert Nickas /ubueditions ubu.com/ubu This UbuWeb Edition edited by Lucia della Paolera 2010 2 The original edition was published by E.P. DUTTON, INC. NEW YORK For G. B. Copyright @ 1984 by the Estate of Gregory Battcock and Robert Nickas All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast. Published in the United States by E. P. Dutton, Inc., 2 Park Avenue, New York, N.Y. 10016 Library of Congress Catalog Card Number: 79-53323 ISBN: 0-525-48039-0 Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto 10 9 8 7 6 5 4 3 2 1 First Edition Vito Acconci: "Notebook: On Activity and Performance." Reprinted from Art and Artists 6, no. 2 (May l97l), pp. 68-69, by permission of Art and Artists and the author. Russell Baker: "Observer: Seated One Day At the Cello." Reprinted from The New York Times, May 14, 1967, p. lOE, by permission of The New York Times. Copyright @ 1967 by The New York Times Company. -
Tate Papers Issue 12 2009: Lucy R. Lippard
Tate Papers Issue 12 2009: Lucy R. Lippard http://www.tate.org.uk/research/tateresearch/tatepapers/09autumn/lippa... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL Landmark Exhibitions Issue Curating by Numbers Lucy R. Lippard Cultural amnesia – imposed less by memory loss than by deliberate political strategy – has drawn a curtain over much important curatorial work done in the past four decades. As this amnesia has been particularly prevalent in the fields of feminism and oppositional art, it is heartening to see young scholars addressing the history of exhibitions and hopefully resurrecting some of its more marginalised events. I have never become a proper curator. Most of the fifty or so shows I have curated since 1966 have been small, not terribly ‘professional’, and often held in unconventional venues, ranging from store windows, the streets, union halls, demonstrations, an old jail, libraries, community centres, and schools … plus a few in museums. I have no curating methodology nor any training in museology, except for working at the Library of the Museum of Modern Art, New York, for a couple of years when I was just out of college. But that experience – the only real job I have ever had – probably prepared me well for the archival, informational aspect of conceptual art. I shall concentrate here on the first few exhibitions I organised in the 1960s and early 1970s, especially those with numbers as their titles. To begin with, my modus operandi contradicted, or simply ignored, the connoisseurship that is conventionally understood to be at the heart of curating. I have always preferred the inclusive to the exclusive, and both conceptual art and feminism satisfied an ongoing desire for the open-ended. -
ONCURATING.Org N
ONN CURATING.org Issue 26 / October 2015 Notes on Curating, freely distributed, non-commercial Curating Degree Zero Archive: Curatorial Research With Contributions by Felix Ensslin Sabeth Buchmann Sergio Edelzstein Elke Krasny Avi Feldman Brian Holmes Ellen Blumenstein Dorothee Richter & Barnaby Drabble (eds.) Contents 02 86 Editorial “Something that has to do with life itself” Curating Degree Zero Archive: World of Matter and the Radical Imaginary Curatorial Research Brian Holmes Dorothee Richter and Barnaby Drabble 93 08 The Curator and Her Double. The Cruelty of Curating Degree Zero Archive 2003–2008 the Avatar Ellen Blumenstein 17 The Subject of Curating – Notes on the Path 101 towards a Cultural Clinic of the Present Thinking About Curatorial Education Felix Ensslin Dorothee Richter 32 110 Curating with/in the System Imprint Sabeth Buchmann 40 Are Boycotts the New “Collective Curating?” Sergio Edelsztein 51 Feminist Thought and Curating: On Method Elke Krasny 70 Performing Justice – From Dada’s Trial to Yael Bartana’s JRMiP Congress Avi Feldman Editorial Curating Degree Zero Archive: Curatorial Research Curating Degree Zero Archive. Curatorial Research Dorothee Richter & Barnaby Drabble When we started a discourse on curating in 1998 with the conference “Curating Degree Zero,” we could not have imagined the intensity of interest in this subject in the coming years. In 2003 we wanted to re-examine the field together with Annette Schindler, but when we failed to organise enough funds, we changed the concept and concentrated on the archive, which originally should have just accompanied the symposium. This decision, half by chance and half out of a deeply felt interest in archival practices, proved to be valid, insofar that the archive grew and developed rapidly. -
The Early Works of Maria Nordman by Laura Margaret
In Situ and On Location: The Early Works of Maria Nordman by Laura Margaret Richard A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Associate Professor Julia Bryan-Wilson, Chair Professor Whitney Davis Professor Shannon Jackson Associate Professor Jeffrey Skoller Summer 2015 Abstract In Situ and On Location: The Early Works of Maria Nordman by Laura Margaret Richard Doctor of Philosophy in History of Art and the Designated Emphasis in Film Studies University of California, Berkeley Associate Professor Julia Bryan-Wilson, Chair This dissertation begins with Maria Nordman’s early forays into capturing time and space through photography, film, and performance and it arrives at the dozen important room works she constructed between 1969 and 1979. For these spaces in Southern California, the San Francisco Bay Area, Italy, and Germany, the artist manipulated architecture to train sunshine into specific spatial effects. Hard to describe and even harder to illustrate, Nordman’s works elude definition and definitiveness, yet they remain very specific in their conception and depend on precision for their execution. Many of these rooms were constructed within museums, but just as many took place in her studio and in other storefronts in the working-class neighborhoods of Los Angeles, San Francisco, Milan, Genoa, Kassel, and Düsseldorf. If not truly outside of the art system then at least on its fringes, these works were premised physically and conceptually on their location in the city. -
Part 1: Historical Settings Reverse
15 PART 1: HISTORICAL SETTINGS REVERSE ENGINEERING MODERNISM WITH THE LAST AVANT-GARDE Dieter Daniels The concept of an avantgarde, disavowed by postmodern theory, is actually more relevant today than ever before, but it has nothing to do with aesthetics. Only social situations, not artworks, qualify as avantgarde. We need access to alternative experience, not merely new ideas, for we know more about our being than we have being for what we know. Today only metadesign satisfi es the original criteria for avantgarde practice. Gene Youngblood01 THE LAST AVANT-GARDE? The case studies analyzed, documented, and contextualized in the Net Pioneers research project provide a representative cross-section of the creation of Net-based art between 1992 and 1997.02 An entire typology of these new art forms developed in just fi ve years. This astonishing dynamic emerged from the particularly intense meeting and interaction of art history and media history: a rapidly developing, international art found itself racing a fast-changing techno-sociological context. As the 1990s drew on, a new browser interface known as the World Wide Web transformed the Internet from a non-public, mostly academic and military medium (with a gray area comprised of nerds and hackers) into a 01 Gene Youngblood, “Metadesign: Towards a Postmodernism of Reconstruction,” abstract for a lecture at Ars Electronica, 1986, http://90.146.8.18/en/archives/festival_archive/festival_catalogs/ festival_artikel.asp?iProjectID=9210. All Internet references in this volume last accessed on November