ARTBOOK LOGO

ARTBOOK BLOG

RECENT POSTS

DATE 6/5/2016

Nancy Princenthal Talk & Agnes Martin Book Signing at ARTBOOK @ Hauser Wirth & Schimmel

DATE 6/4/2016

Come to Our Los Angeles Sample Sale!

DATE 6/4/2016

Paul McCarthy Book Launch at ARTBOOK @ Hauser Wirth & Schimmel

DATE 6/4/2016

Paul McCarthy Book Launch at ARTBOOK @ Hauser Wirth & Schimmel

DATE 6/4/2016

Meghan Boody Launch Event at Harper's Books, East Hampton

DATE 6/4/2016

Anatomical Venus Symposium & Book Party at Morbid Anatomy Museum

DATE 6/2/2016

Joanna Ebenstein to Launch 'Anatomical Venus' at the Strand

DATE 5/31/2016

Alexander Girard: A Designer's Universe

DATE 5/31/2016

Summer of Love

DATE 5/30/2016

Picturing America's National Parks

DATE 5/29/2016

Picturing America's National Parks

DATE 5/28/2016

Picturing America's National Parks

DATE 5/27/2016

Christian Patterson: Bottom of the Lake

DATE 5/26/2016

Snøhetta: People, Process, Projects

DATE 5/25/2016

Nobuyoshi Araki: The Banquet

DATE 5/24/2016

Arlene Shechet: Meissen Recast

DATE 5/23/2016

Invisible Man: Gordon Parks and Ralph Ellison in Harlem

DATE 5/22/2016

Slash: A History of the Legendary LA Punk Magazine, 1977-1980

DATE 5/21/2016

Kristin Capp Talk and Signing at University Bookstore Seattle

DATE 5/21/2016

Raymond Pettibon: Homo Americanus, Vavoom

DATE 5/20/2016

Raymond Pettibon: Homo Americanus

DATE 5/20/2016

Invisible Man: Gordon Parks and Ralph Ellison in Harlem at Art Institute of Chicago

DATE 5/19/2016

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

DATE 5/19/2016

In Search of the Ecstatic, Sublime & Uncanny

DATE 5/18/2016

Blueprint for Counter Education

DATE 5/18/2016

Blueprint for Counter Education

DATE 5/17/2016

Yayoi Kusama: Give Me Love, My Heart

DATE 5/16/2016

Agnes Martin On a Clear Day

DATE 5/14/2016

Olivia Bee & BØRNS Launch 'Kids in Love' at ARCANA

DATE 5/14/2016

Dashwood Presents Robert Cumming Signing 'The Difficulties of Nonsense'

DATE 5/13/2016

Marcel Duchamp: Boîte-en-valise

DATE 5/13/2016

Goshka Macuga: Before the Beginning and after the End

DATE 5/12/2016

Dave Hickey Talk & Signing at Hauser Wirth & Schimmel

DATE 5/12/2016

Gerhard Richter: Panorama, A Retrospective, Expanded Edition

DATE 5/11/2016

Join ARTBOOK | D.A.P. at Book Expo!

DATE 5/10/2016

Blueprint for Counter Education Launch at Harvard CCVA

DATE 5/10/2016

Chris Killip: In Flagrante Two, Rocker and his toad

DATE 5/10/2016

Chris Killip Booklist

DATE 5/9/2016

Chris Killip: In Flagrante Two

DATE 5/8/2016

Happy Mother's Day!

DATE 5/7/2016

Wolfgang Tillmans: What’s Wrong with Redistribution?

DATE 5/6/2016

Mark Bradford: Tears of a Tree

DATE 5/6/2016

Rosalyn Drexler, Katy Siegel & Jonathan Lethem Launch 'Who Does She Think She Is?' at 192 Books

DATE 5/6/2016

On Curating 2: Paradigm Shifts Launch & PanelOn Curating 2 Launch & Panel with Carolee Thea

DATE 5/5/2016

Isa Genzken: Mach dich hübsch!

DATE 5/4/2016

Marcel Broodthaers: The Conquest of Space

DATE 5/3/2016

Louise Dahl-Wolfe, Harper's Bazaar

DATE 5/2/2016

Walead Beshty Launch & Conversation at Printed Matter

DATE 5/2/2016

Hans Ulrich Obrist In Conversation with Pedro Reyes

DATE 5/2/2016

Louise Dahl-Wolfe, Diana Vreeland

DATE 5/1/2016

Cinco de Mayo!


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