| | TITLE | How to Do Things with Art | IMPRINT | JRP|Ringier | PRICE US | $29.95 CDN $29.95 | ISBN | 9783037641040 TRADE | FORMAT | Pbk, 6 x 8.25 in., 208 pgs, 19 b&w. | CATALOG | FALL 2010 p. 110 | DISTRIBUTOR | D.A.P. | PUB DATE | 11/30/2010 | STATUS | Active | STOCK | In stock |
| "The painter Daniel Buren laid the foundations for his work in 1965 in a radical gesture: a painting both consisting of and depicting stripes…The use of stripes was initially determined by an attitude of negation with regard to the subjective-gestural painting of the Ecole de Paris, which Buren countered by painting without meaning or symbolism, without composition, illusion or expression, a 'painting at point zero,' as Buren put it…This 'painting at point zero' shares certain tendencies in American painting of the early to mid-1960s, primarily in the work of Frank Stella. Both Buren and Stella were interested in painting in such a reduced way that the object-hood of the work of art came to the fore."
Dorothea von Hantelmann, from How to Do Things with Art.
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| | | How to Do Things with ArtThe Meaning of Art's PerformativityBy Dorothea von Hantlemann. Edited by Karen Marta. Foreword by Hans Ulrich Obrist.Art has never been as culturally and economically prominent as it is today. How can artists themselves shape the social relevance and impact of their work? In How to Do Things with Art, German art historian Dorothea von Hantelmann uses four case study artists--Daniel Buren, James Coleman, Jeff Koons and Tino Sehgal--to examine how an artwork acts upon and within social conventions, particularly through the "performing" of exhibitions. The book's title is a play on J.L. Austin's seminal text, How to Do Things with Words, which describes language's reality-producing properties and demonstrates that in "saying" there is always a "doing"--a linguistic counterpart to the dynamics envisioned by Von Hantelmann for art, in which "showing" is a kind of "doing." Von Hantelmann's close analysis of works by Buren, Coleman, Koons and Sehgal explores how each of these artists has taken control of how their work conducts itself in the world. | |
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