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This collection surveys the choreographic turn in the artistic imagination from the 1950s onwards, and in doing so outlines the philosophies of movement instrumental to the development of experimental dance. By introducing and discussing the concepts of embodiment and corporeality, choreopolitics, and the notion of dance in an expanded field, Dance establishes the aesthetics and politics of dance as a major impetus in contemporary culture. It offers testimonies and writings by influential visual artists whose work has taken inspiration from dance and choreography. Dance--because of its ephemerality, corporeality, precariousness, scoring, and performativity--is arguably the art form that most clearly engages the politics of aesthetics in contemporary culture. Dance's ephemerality suggests the possibility of an escape from the regimes of commodification and fetishization in the arts.
Der russische Künstler Ilya Kabakov ist bekannt für seine ungewöhnlichen Installationen. Eine andere Facette des Künstlers zeigt dieser Ausstellungskatalog: Hier taucht man ab in seine Welt der Theater- und Bühnenentwürfe. Diese selten gesehenen Werke werden von Skizzen, Zeichnungen und Kommentaren Kabakovs erklärend begleitet.
Lebensbeschreibungen der ausgezeichnetsten Maler Bildhauer und Architekten der Renaissance
Author: Giorgio Vasari
Publisher: Tredition Classics
Dieses Werk ist Teil der Buchreihe TREDITION CLASSICS. Der Verlag tredition aus Hamburg veroffentlicht in der Buchreihe TREDITION CLASSICS Werke aus mehr als zwei Jahrtausenden. Diese waren zu einem Grossteil vergriffen oder nur noch antiquarisch erhaltlich. Mit der Buchreihe TREDITION CLASSICS verfolgt tredition das Ziel, tausende Klassiker der Weltliteratur verschiedener Sprachen wieder als gedruckte Bucher zu verlegen - und das weltweit! Die Buchreihe dient zur Bewahrung der Literatur und Forderung der Kultur. Sie tragt so dazu bei, dass viele tausend Werke nicht in Vergessenheit geraten
Kultur der Affen' widmet sich der langjährigen kulturellen wie wissenschaftlichen Auseinandersetzung des Menschen mit seinen nächsten Verwandten. In der westlichen Geschichte der Moderne stehen Darstellungen von Affen traditionell für die Abwesenheit von Kultur. Als Grenzfigur zwischen Mensch und Tier spielt der Affe schon seit der Antike eine zentrale Rolle im Narrativ des zivilisatorischen Fortschritts. Die parallel zur Ausstellung erscheinende Publikation jedoch will mehr als Affendarstellungen nur als Zeichen von Differenz in den Blick zu nehmen. Künstlerische Arbeiten, Dokumente aus Populärkultur und Geschichte der Primatologie geben Einblick in das, was die Wissenschaftshistorikerin Donna Haraway 'Primatenordnung' nennt: ein Spiegelkabinett der wissenschaftlichen und kulturellen Projektionen, in dem der Affe von einem Instrument der menschlichen Selbstdefinition zum Testfall für die Möglichkeit der Neugestaltung menschlicher 'Natur' wurde. 0Exhibition: Haus der Kulturen der Welt, Berlin, Germany (30.04.-06.07.2015).
A professor of art history explores the last four decades of art history, raising important questions about authorship and materials, beginning in the era of "anything is art" and continuing through post-modern expressions of pastiche art that combine materials from many sources. (Fine Arts)
Work's meaning both within art and in its wider economic and social context: the complexities of being an art worker in the new economy. Warhol's Factory of the 1960s, Minimalism's assembly-line aesthetics, conceptual and feminist concern with workers' conditions in the 1970s -- these are among the antecedents of a renewed focus on the work of art: labor as artistic activity, as artistic method and as object of artistic engagement. In 2002, the "Work Ethic" exhibition curated by Helen Molesworth at the Baltimore Museum of Art took its cue from recent art to spotlight this earlier era of artistic practice in which activity became as valid as, and often dispensed with, object-production. Revealed through this prism was "dematerialized" art's close and critical relation to the emergent information age's criteria of management, production and skill. By 2015, the Venice Biennale reflected artists' wider concern with global economic and social crises, centered on exploitative and precarious worlds of employment. Yet while art increasingly engages with human travail, work's significance in itself is seldom addressed by critics. This anthology explicitly investigates work in relation to contemporary art, surveying artistic strategies that grapple with the complexities of being an art worker in the new economy, a postproducer, a collaborator, a fabricator, a striker, an ethical campaigner, or would-be transformer of labor from oppression to liberation. Artists surveyed include Pawel Althamer, Francis Al�s, Marwa Arsanios, Chto Delat, Alice Creischer, Ana de la Cueva, Anne Teresa De Keersmaeker, Jeremy Deller, Maria Eichhorn, Harun Farocki, Claire Fontaine, Andrea Fraser, Liam Gillick, Melanie Gilligan, Gulf Labour Coalition, Tehching Hsieh, Lamia Joreige, Lee Lozano, Goshka Macuga, Teresa Margolles, Adrian Melis, Annette Messager, Gustav Metzger, Jean-Luc Moul�ne, Ahmet �g�t, Philip Rizk, Martha Rosler, Tino Sehgal, Santiago Sierra, Tamas St. Auby, Mladen Stilinovic, W.A.G.E., Artur Zmijewski Writers include Claire Bishop, Luc Boltanski, Julia Bryan-Wilson, Sabeth Buchmann, �ve Chiapello, Kodwo Eshun, Silvia Federici, Isabelle Graw, Maurizio Lazzarato, Achille Mbembe, Antonio Negri, Jacques Ranci�re, Gerald Raunig, Dietmar R�bel, Paolo Virno, Joseph Vogl
A secret history of craft told through lost and overlooked texts that illuminate our understanding of current art practice. "Craft" is a contested concept in art history and a vital category through which to understand contemporary art. Through craft, materials, techniques, and tools are investigated and their histories explored in order to reflect on the politics of labor and on the extraordinary complexity of the made world around us. This anthology offers an ethnography of craft, surveying its shape-shifting identities in the context of progressive art and design through writings by artists and makers as well as poetry, fiction, anthropology, and sociology. It maps a secret history of craft through lost and overlooked texts that consider pedagogy, design, folk art, the factory, and new media in ways that illuminate our understanding of current art practice. Recently, the idea of craft has been employed strategically: to confront issues of gender or global development, to make a stand against artistic academicism, or to engage with making processes--some distinctly archaic--employed to suggest the abject and the everyday. Craft activism, or craftivism, suggests a new political purpose for the handmade. Deep anxieties drive today's technophilia, and artists, designers, and makers turn such anxieties into a variety of dynamic engagements. The contributors' reflections on new technologies and materials, lost and found worlds of handwork, and the politics of work all throw light on craft as process, product, and ideology. Craft will serve as a vital resource for understanding technologies, materials, techniques, and tools through the lens of craft in contemporary art. Artists surveyed include Anni Albers, Magdalena Abakanowicz, El Anatsui, Carl Andre, Phyllida Barlow, Louise Bourgeois, Annie Cattrell, Richard Deacon, Sam Durant, Antje Ehmann, Harun Farocki, Lucio Fontana, Theaster Gates, Sabrina Geschwantner, Harmony Hammond, Brian Jungen, Henry Krokatsis, Jim Lambie, Ana Lupas, Enzo Mari, Ethel Mairet, Agnes Martin, Robert Morris, Simon Periton, Martin Puryear, Jessi Reaves, Hannah Ryggen, Gerhard Richter, Bridget Riley, Lu Shengzhong, Studio Formafantasma, Thomas Thwaites, Troy Town Art Pottery, Francis Uprichard, Peter Voulkos, Edmund de Waal Writers include Glenn Adamson, W. H. Auden, Elissa Auther, Reyner Banham, Jean Baudrillard, John Berger, Walter Benjamin, Juliet Bingham, Michel de Certeau, Iftikhar Dadi, Daniel Defoe, John Dewey, Vilém Flusser, Alfred Gell, Walter Gropius, Martin Heidegger, Joan Key, Primo Levi, Sarat Marahraj, Karl Marx, Lev Manovich, William Morris, Sadie Plant, Rainer Maria Rilke, Jenni Sorkin, Richard Sennett, Julia Bryan-Wilson
History as Art, Art as History pioneers methods for using contemporary works of art in the social studies and art classroom to enhance an understanding of visual culture and history. The fully-illustrated interdisciplinary teaching toolkit provides an invaluable pedagogical resource—complete with theoretical background and practical suggestions for teaching U.S. history topics through close readings of both primary sources and provocative works of contemporary art. History as Art, Art as History is an experientially grounded, practically minded pedagogical investigation meant to push teachers and students to think critically without sacrificing their ability to succeed in a standards-driven educational climate. Amid the educational debate surrounding rigid, unimaginative tests, classroom scripts, and bureaucratic mandates, this innovative book insists on an alternate set of educational priorities that promotes engagement with creative and critical thinking. Features include: A thought-provoking series of framing essays and interviews with contemporary artists address the pivotal questions that arise when one attempts to think about history and contemporary visual art together. An 8-page, full color insert of contemporary art, plus over 50 black and white illustrations throughout. A Teaching Toolkit covering major themes in U.S. history provides an archive of suggested primary documents, plus discussion suggestions and activities for putting theory into practice. Teaching activities keyed to the social studies and art curricula and teaching standards Resources include annotated bibliographies for further study and lists of arts and media organizations. This sophisticated yet accessible textbook is a must-read resource for any teacher looking to draw upon visual and historical texts in their teaching and to develop innovative curriculum and meaningful student engagement.