The Outlands, a series of photographs taken by Eggleston between 1969 and 1974, establishes the groundbreaking visual themes and lexicon that the artist would continue to develop for decades to come. The work offers a journey through the mythic and evolving American South, seen through the artist's lens: vibrant colors and a profound sense of nostalgia echo throughout Eggleston's breathtaking oeuvre. His motifs of signage, cars, and roadside scenes create an iconography of American vistas that inspired a generation of photographers. With its in-depth selection of unforgettable images - a wood-paneled station wagon, doors flung open, parked in an expansive rural setting; the artist's grandmother in the moody interior of their family's Sumner, Mississippi home - The Outlands is emblematic of Eggleston's dynamic, experimental practice. The breadth of work reenergizes his iconic landscapes and forms a new perspective of the American South in transition.
Accompanying the ninety brilliant Kodachrome images and details, a literary, fictional text by the critically acclaimed author Rachel Kushner imagines a story of hitchhikers trekking through the Deep South. New scholarship by Robert Slifkin reframes the art-historical significance of Eggleston's oeuvre, proposing affinities with work by Marcel Duchamp, Dan Graham, Jasper Johns, and Robert Smithson. A foreword by William Eggleston III offers important insights into the process of selecting and sequencing this series of images.
En 1967, les architectes renommés Ricardo Legorreta et Luis Barragán ont chargé Anni Albers de créer une oeuvre pour le nouvel hôtel Camino Real de Mexico. Achevée en 1968, sa superbe tenture murale Camino Real est fortement influencée par l'art et la culture d'Amérique latine. Ce livre se concentre sur une étude approfondie de cette tenture murale monumentale, redécouverte après de nombreuses années. Il présente l'approche d'Anni Albers pour travailler avec les textiles en tant que pratique aux multiples facettes, et est accompagné d'oeuvres réalisées par l'artiste après son déménagement aux États-Unis en 1933, y compris des oeuvres sur papier.
Known for her evocative portraits, Diane Arbus is a pivotal figure in American postwar photography. Undeniably striking, Arbus''s black-and-white photographs capture a unique gaze. Criticized as well as lauded for her photographs of people deemed ''outsiders,'' Arbus continues to attract a diversity of opinions surrounding her subjects and practice. Critics and writers have described her work as ''sinister'' and ''appalling'' as well as ''revelatory,'' ''sincere,'' and ''compassionate.'' In the absence of Arbus''s own voice, art criticism and cultural shifts have shaped the language attributed to her work. Organized in eleven sections that focus on major exhibitions and significant events in Arbus''s life, as well as on her practice and her subjects, the seventy facsimiles of articles and essays--an archive by all accounts--trace the discourse on Diane Arbus, contextualizing her hugely successful oeuvre. Also with an annotated bibliography of more than six hundred entries and a comprehensive exhibition history, Documents serves as an important resource for photographers, researchers, art historians, and art critics, in addition to students of art criticism and the interested reader alike.
Réalisé dans le tournant des années 1940-50, The Sweet Flypaper of Life est un poème qui mêle différents éléments de la vie quotidienne à Harlem - les adolescents autour du jukebox, ceux qui prennent le métro tout seul la nuit, l'atmosphère des ateliers d'artistes - telle que la vit et la ressent l'auteur, à travers les yeux d'une grand-mère imaginée, Sister Mary Bradley. Cette collaboration célébrée entre l'artiste Roy DeCarava et l'écrivain Langston Hughes a fait de cet ouvrage, publié pour la première fois en 1955, un classique de la littérature photographique.
Publié à l'occasion d'une exposition à la galerie David Zwirner à Hong Kong en 2018, cet ouvrage montre le travail récent de l'artiste Wolfgang Tillmans. Des photographies intimes et amicales sont juxtaposées à des vues panoramiques du monde, à l'image d'un portrait en noir et blanc faisant face au désert du Sahara. Vus ensemble, ces clichés impliquent le lecteur comme une figure active de la relation qui se joue entre les éléments présents.
Dans ce court essai le théoricien de la photographie David Lévi Strauss remet en question le principe du "voir pour croire" dans le contexte de la photographie. Il s'intéresse notamment à l'influence qu'ont les images photographiques sur nos opinions et nos désirs dans une époque ou notre confiance aveugle en l'image technique est largement remise en cause par la propagation de fake news.
Publié à la suite de l'exposition qui a eu lieu en 2015 à la galerie David Zwirner, ce catalogue présente une sélection de dessins et d'esquisses de Gordon Matta-Clark parmi lesquels une grande partie n'a jamais été présentée au public. Les Cut Drawings, sûrement ses travaux dessinés les plus connus, sont reproduits ici et documentent en petit format ses interventions architecturales.
Cet album emmène les enfants de 3 à 7 ans dans les coulisses des grandes expositions : comment les artistes concoivent-ils leurs oeuvres, avec quels outils ? Qu'arrive-t-il à l'oeuvre d'art ensuite, de l'atelier au parcous d'exposition ? Dans cette découverte, les personnages clés de la conception d'expositions sont présentés : commissaires, photographes, transporteurs, visiteurs et plus. Le tout illustré par Rose Blake, à qui l'on doit notamment les illustrations d'Une Histoire des Images pour les enfants par David Hockney.
The most comprehensive portrait of art criticism ever assembled, as told by the leading writers of our time.
In the last fifty years, art criticism has flourished as never before. Moving from niche to mainstream, it is now widely taught at universities, practiced in newspapers, magazines, and online, and has become the subject of debate by readers, writers, and artists worldwide.
Jarrett Earnest's wide-ranging conversations with critics, historians, journalists, novelists, poets, and theorists-each of whom approach the subject from unique positions-illustrate different ways of writing,
Avec ses peintures, ses installations et ses oeuvres vidéos poétiques, Oscar Murillo est devenu l'un des artistes les plus importants de sa génération. Publiée à l'occasion d'une exposition au Haus der Kunst de Munich, cette monographie présente la carrière de l'artiste sous tous les angles.
Published on the fiftieth anniversary of Marcel Duchamp''s death, Duchamp''s Last Day offers a radical reading of the artist''s final hours . Just moments after Duchamp died, his closest friend Man Ray took a photograph of him. His face is wan; his eyes are closed; he appears calm. Taking this image as a point of departure, Donald Shambroom begins to examine the surrounding context-the dinner with Man Ray and another friend, Robert Lebel, the night Duchamp died, the conversations about his own death at that dinner and elsewhere, and the larger question of whether this radical artist''s death can be read as an extension of his work. Shambroom''s in-depth research into this final night, and his analysis of the photograph, feeds into larger questions about the very nature of artworks and authorship which Duchamp raised in his lifetime. In the case of this mysterious and once long-lost photograph, who is the author? Man Ray or Duchamp? Is it an artwork or merely a record? Has the artist himself turned into one of his own readymades? A fascinating essay that is both intimate and steeped in art history, Duchamp''s Last Day is filled with intricate details from decades of research into this peculiar encounter between art, life, and death. Shambroom''s book is a wonderful study of one of the greatest artists of the twentieth century.
In an increasingly polarized world, with shifting and extreme politics, Social Forms illustrates artists at the forefront of political and social resistance. Highlighting different moments of crisis and how these are reflected and preserved through crucial artworks, it also asks how to make art in the age of Brexit, Trump, and the refugee and climate crises. In Social Forms: A Short History of Political Art , renowned critic, curator, and writer Christian Viveros-Faune has picked fifty representative artworks- from Francisco de Goya''s The Disasters of War (1810-1820) to David Hammons''s In the Hood (1993)-that give voice to some of modern art''s strongest calls to political action. In accessible and witty entries on each piece, Viveros-Faune paints a picture of the context in which each work was created, the artist''s background, and the historical impact of each contribution. At times artists create projects that subvert existing power structures; at other moments they make artwork so powerful it challenges the very fabric of society. Whether it is Picasso''s Guernica and its place at the 1937 Worlds Fair, or Jenny Holzer''s Truisms (1977-1979), which still stop us in our tracks, this book tells the story behind some of the most important and unexpected encounters between artworks and the real worlds they engage with. Never professing to be a definitive history of political art, Social Forms delivers a unique and compelling portrait of how artists during the last 150 years have dealt with changing political systems, the violence of modern warfare, the rise of consumer culture worldwide, the prevalence of inequality and racism, and the challenges of technology.
"For Blue there are no boundaries or solutions." -Derek Jarman.
Originally released as a feature film in 1993, the year before the acclaimed artist and filmmaker Derek Jarman's death due to an AIDS-related illness, Blue is a daring and powerful work of art. The film - and this highly-anticipated book's text - serve as iconoclastic responses to the lack of political engagement with the AIDS crisis.
Written poetically and surrealistically, Jarman's text moves through myriad scenes, some banal, others fantastical. Stories of quotidian life--getting coffee, reading the newspaper, and walking down the sidewalk--escalate to visions of Marco Polo, the Taj Mahal, or blue fighting yellow. Facing death and a cascade of pills, Jarman presents his illness in delirium and metaphors. He contemplates the physicality of emotions in lyrical prose as he grounds this story in the constant return to Blue - a color, a feeling, a funk. Michael Charlesworth's compelling introduction brings Blue into conversation with Jarman's visual paintings as never before.
