ARTBOOK LOGO

ARTBOOK BLOG

RECENT POSTS

DATE 12/20/2018

Source Photographic Review names 'Evidence' one of the 10 Greatest Photo Books of All Time

DATE 2/24/2017

Valérie Belin Book Launch at Albertine

DATE 1/23/2017

The Moon 1968–1972

DATE 1/22/2017

See Red Women's Workshop

DATE 1/21/2017

See Red Women's Workshop

DATE 1/20/2017

Mark Peterson: Political Theatre

DATE 1/19/2017

Mark Peterson: Political Theatre

DATE 1/18/2017

Lee Lozano: Lozano c. 1962

DATE 1/17/2017

Lee Lozano: Private Book 1

DATE 1/17/2017

Lee Lozano: Lozano c. 1962

DATE 1/16/2017

Martin Luther King, Jr., Washington, D.C., 1963

DATE 1/15/2017

Gordon Parks: I Am You

DATE 1/14/2017

Kerry James Marshall: Look See, Untitled (Rapunzel)

DATE 1/13/2017

Betye Saar: Uneasy Dancer

DATE 1/12/2017

Paris Metro Photo

DATE 1/11/2017

Paris Metro Photo

DATE 1/10/2017

TONIGHT! City Lights Launches 'Shakespeare and Company, Paris'

DATE 1/10/2017

Paris Metro Photo, Kertész

DATE 1/9/2017

Louis Faurer

DATE 1/8/2017

Constant: New Babylon. To Us, Liberty

DATE 1/7/2017

Constant: Space + Colour

DATE 1/6/2017

Henry Wessel: Traffic/Sunset Park/Continental Divide

DATE 1/5/2017

Kandinsky, Marc, and Der Blaue Reiter

DATE 1/4/2017

Gordon Parks: I Am You

DATE 1/3/2017

See Red Women's Workshop: Feminist Posters 1974–1990

DATE 1/2/2017

See Red Women's Workshop

DATE 1/1/2017

Curtis Moffat: Silver Society, Experimental Photography and Design, 1923-1935

DATE 12/31/2016

Nan Goldin: Diving for Pearls, Self-portrait on New Year's Eve

DATE 12/30/2016

Frank Stella: Prints, A Catalogue Raisonné, Marriage of Reason and Squalor

DATE 12/29/2016

William Eggleston: The Democratic Forest

DATE 12/28/2016

Shakespeare and Company, Paris: A History of the Rag & Bone Shop of the Heart

DATE 12/27/2016

Anthony Hernandez, Los Angeles #2

DATE 12/26/2016

Georgia O'Keeffe: Watercolors, Mountain painting No. 22 - Special

DATE 12/25/2016

Ernst Haas: Color Correction, 1952–1986

DATE 12/24/2016

Alexander Girard: A Designer's Universe

DATE 12/23/2016

George Shiras: In the Heart of the Dark Night, three deer escaping

DATE 12/22/2016

Fred Mortagne: Attraper au vol

DATE 12/21/2016

The Little Mermaid by Hans Christian Andersen & Yayoi Kusama

DATE 12/20/2016

Provoke: Between Protest and Performance, Photography in Japan 1960–1975

DATE 12/19/2016

Jean-Michel Basquiat: Words Are All We Have

DATE 12/17/2016

The Wirtz Private Garden

DATE 12/16/2016

Carol Bove: Polka Dots

DATE 12/16/2016

Paul Gauguin: Ramblings of a Wannabe Painter

DATE 12/15/2016

Yves Klein: In/Out Studio

DATE 12/14/2016

Never Built New York, Coney Island Globe

DATE 12/14/2016

Never Built New York at Center for Architecture

DATE 12/13/2016

The Anatomical Venus: Wax, God, Death & the Ecstatic

DATE 12/12/2016

Toilet Paper: Calendar 2017

DATE 12/11/2016

Della Robbia: Sculpting with Color in Renaissance Florence

DATE 12/10/2016

Berenice Abbott: Paris Portraits 1925–1930, Violette Murat

DATE 12/9/2016

Janet Sternburg Talk and Signing at Hauser Wirth & Schimmel


AT FIRST SIGHT

MING LIN | DATE 7/8/2011

Documenta Notebooks: Ian Wallace, The First Documenta, 1955

Ian Wallace is well versed in the power of the image. Often recognized as the father of the Vancouver School of conceptual photography, which includes renowned artists such as Jeff Wall and Rodney Graham, he has pioneered a style that employs and critiques the tropes of mass media, often by way of reference to pop culture and contemporary events. These artists seek to apply the tools of conceptual art to photography in hopes of instigating social change. Jeff Wall's photos, for example, recall cinematic tableaux but are host to less romantic themes such as changing demographics in cities and suburban dystopias. Wallace’s works, which often meld painting and photography, contemplate the dual identity of the artist as both the passive observer and, conversely, authoritative documentarian of society.
Befitting his interest in the social impact of visual culture, Wallace's contribution to 100 Notes is a thorough history of the Documenta Festival itself, as well as a lesson on the socio-historical narratives that underpin aesthetics. The festival, which debuted in 1955 in Kassel, Germany, can be seen as an attempt to redress the wounds of the country’s recent past. Arnold Bode and Werner Haftman, chief curators of the festival, sought to reinsert German artists onto the international stage by delineating the history of modern art from a distinctly German perspective. While socialist realism had been the dominant art form during the Nazi regime, the festival, in an effort to break completely with this dark period, chose to omit this body of work completely. Modernism in Germany took the form of abstraction. Theodor Adorno contended that art could only speak of social truth if it was “autonomously created.” Whereas realism implied conformity and domineering ideologies, Wallace shows how abstraction--free from the figure and the constraints imposed upon it--offered flight into the inner spirit. Redemption would require the “negation of the object.” By disassociating the image from politics, art could claim its autonomy.

The Nazi regime, Wallace argues, had taught the viewer to regard art in ideological terms. In a re-emerging capitalist society, abstraction ultimately found itself absorbed into consumer culture. Its “relaxed, tumbling, exciting colors” were incorporated into product designs, propelling the average German household into the modern era. Wallace notes this as a necessary step in the process of “redemption, reconciliation, and reintegration.” The Documenta festival, as its name suggests, served to document these events.

An interesting development in Germany's attempts to come to peace with its past has been the ascent of the anti-monument. Inconspicuous in size and shape, these silent structures speak volumes about the Nazi era but offer little by way of absolution. There is no opportunity for the viewer to project and forget, instead a constant dialogue is maintained. Wallace is keenly aware of the hand art has in reshaping the social landscape. In Germany, the Documenta festival has and continues to be, in Haftman's own words: “not only a convenient pretense for aesthetic discussion and information, but equally a means of becoming acquainted with inner proceedings and their solution.” Like the anti-monument, Documenta seeks not to conclude these stories, but to continue and make use of their messages.
Documenta Notebooks: Ian Wallace, The First Documenta, 1955
Documenta Notebooks: Ian Wallace, The First Documenta, 1955
Documenta Notebooks: Ian Wallace, The First Documenta, 1955
Documenta Notebooks: Ian Wallace, The First Documenta, 1955
Documenta Notebooks: Ian Wallace, The First Documenta, 1955
Documenta Notebooks: Ian Wallace, The First Documenta, 1955
Documenta Notebooks: Ian Wallace, The First Documenta, 1955

Ian Wallace: The First Documenta, 1955

Ian Wallace: The First Documenta, 1955

HATJE CANTZ
Pbk, 7 x 9.75 in. / 40 pgs / 1 color.

$10.00  free shipping

DATE 8/23/2015

Xanti Schawinsky

Xanti Schawinsky

DATE 7/31/2015

Axel Hoedt

Axel Hoedt

DATE 9/11/2014

New York Is ...

New York Is ...

DATE 5/13/2014

Libuse Niklová

Libuse Niklová


ARTBOOK LOGO
 
 

the art world's source for books on art & culture

  

CUSTOMER SERVICE
orders@artbook.com
212 627 1999
M-F 9-5 EST

TRADE ACCOUNTS

800 338 2665

CONTACT

JOBS + INTERNSHIPS

NEW YORK
Showroom by Appointment Only
155 Sixth Avenue
New York NY 10013
Tel   212 627 1999

LOS ANGELES
Showroom by Appointment Only
818 S. Broadway, Suite 700
Los Angeles, CA 90014
Tel. 323 969 8985

ARTBOOK LLC
D.A.P. | Distributed Art Publishers, Inc.


All site content Copyright C 2000-2013 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.

ARTBOOK AMPERSAT

The D.A.P. Catalog
www.artbook.com