Edited by Jens Hoffmann. Foreword by Milovan Farronato. Text by Peter Eleey, Elena Filipovic, Juan A. Gaitįn, Sofķa Hernįndez Chong Cuy, Maria Lind, Chus Martķnez, Jessica Morgan, Adriano Pedrosa, Joćo Ribas, Dieter Roelstraete.
Pbk, 6 x 9.5 in. / 144 pgs. | 10/31/2013 | In stock ISBN 9788867490530 | $27.50
Published by Mousse Publishing. Edited by Jens Hoffmann. Foreword by Milovan Farronato. Text by Peter Eleey, Elena Filipovic, Juan A. Gaitįn, Sofķa Hernįndez Chong Cuy, Maria Lind, Chus Martķnez, Jessica Morgan, Adriano Pedrosa, Joćo Ribas, Dieter Roelstraete.
It has become almost obligatory to introduce a book on curating by noting the plethora of recent publications on the subject. How, in just a few short years, did we reach this point of saturation? What questions, exactly, do all these books address? Many attempt to offer an overview of the curatorial field as it exists today, or attempt to map its historical trajectory. Others propose a series of case studies under a common curatorial theme. All are hoping to contribute to this relatively new discipline and its accompanying canon. Edited by Jens Hoffmann, Ten Fundamental Questions of Curating offers a real critique of existing publications and modes of thinking by explicitly asking the questions that others have missed, ignored or deemed already answered: What is a curator? What is the public? What is art? What about collecting? What is an exhibition? Why mediate art? What to do with the contemporary? What about responsibility? What is the process? How about pleasure? Here, Peter Eleey, Elena Filipovic, Juan A. Gaitįn, Sofķa Hernįndez Chong Cuy, Maria Lind, Chus Martķnez, Jessica Morgan, Adriano Pedrosa, Joćo Ribas and Dieter Roelstraete each propose and then address one question. Ten Fundamental Questions of Curating takes a back-to-basics approach--a return to a kind of zero-degree state--at a time when a recalibration of what a curator is and does seems both necessary and urgent.
BOOK FORMAT Paperback, 6 x 9.5 in. / 144 pgs.
PUBLISHING STATUS PUB DATE 10/31/2013 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2014 p. 146
PRODUCT DETAILS ISBN 9788867490530TRADE LIST PRICE: $27.50 CDN $32.50
AVAILABILITY In stock
in stock $27.50
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by MIT List Visual Arts Center. Text by Otto Piene, Michelle Y. Kuo. Interview by Joćo Ribas.
A leading figure in multimedia and technology-based art, Otto Piene (born 1928) was a founder of the influential Düsseldorfbased Group Zero in the late 1950s. This publication highlights the artists ongoing exploration of light as an artistic and communicative medium, from his original Lichtballett (light ballet) performances through their development into mechanized kinetic sculptural environments.
Published by Walther König, Köln. Introduction by Paul C. Ha. Text by Simon Baier, Yve-Alain Bois, Ann Lauterbach. Interview by Joao Ribas.
Cheyney Thompson has made the technology, production and distribution of painting the subject of his work. His Chronochromes (20092011) are composed using the color system devised by Albert H. Munsell in the early 1900s. Thompson grafts this system onto a calendar: each day is assigned a complementary hue pair, with every hour changing the value, and every month changing the saturation, of each brushstroke.
Published by Contemporary Arts Museum Houston/MIT List Visual Arts Center. Text by Bill Arning, Jane Farver, Mark Bartlett, Jacob Proctor, Joćo Ribas, Gloria Sutton, Michael Zyrd.
American independent filmmaker Stan VanDerBeek (1927-1984) was one of the first to extend film projection into multimedia spectacle and to embrace video and computer technology: a supreme instance of what critic Gene Youngblood dubbed "Expanded Cinema."
Published by MIT List Visual Arts Center. Edited by Joćo Ribas. Foreword by Jane Farver.
Artist and writer Frances Stark (born 1967) addresses the doubts and anxieties of creative labor, in self-portraits that she elaborates into cross-disciplinary explorations of language as both subject matter and material. The digressive style that typifies her writing is echoed in the experience of her installations, in which themes emerge across citations from pop music and literature. Her works, often hand drawn, are executed with a vulnerability and fluency of composition that affirms the volume's title. This anthology offers a selection of the artist's writings from 1997 to 2006.
Published by The Drawing Center/ Independent Curators International. Text by Joćo Ribas.
Though the technology for transmitting information long-distance dates from the nineteenth century, it was the fax machine, made commercially available in the 1970s, that turned facsimiles into a primary form of communication. Artists readily exploited the fax machine for its graphic and interactive possibilities, positing the medium as a precursor to the then-nascent field of new media art and within the legacy of mail art. Fax presents works by a multigenerational group of nearly 100 artists, architects, designers, scientists and filmmakers--Mel Bochner, Liam Gillick, Wade Guyton, Glenn Ligon, Jan De Cock, Cerith Wyn Evans, Morgan Fisher and Aurélien Froment, among others--that use the fax machine as a tool for thinking and drawing. Published to accompany an exhibition at New York's Drawing Center, FAX includes the drawings, texts, examples of early telecommunications art (with inevitable transmission errors), junk faxes and fax lore that were all transmitted via the gallery's fax line.
Published by PictureBox. Text by Geoffrey Young, Joao Ribas.
This two-volume set features the psychedelic, expressionistic figuration of Eddie Martinez in one volume and the Thomas Nozkowski-esque abstractions of Chuck Webster in the other. Both Brooklyn-based artists, represented in New York by Zieher-Smith, are enamored with paint--both, in fact, embrace painting's historical baggage, its romantic and spiritual undertones. Martinez combines fearlessly expressive paint handling with a feel for cartoon imagery and personal symbology. Webster, on the other hand, makes Minimal talismanic works that are formally rigorous and impeccably polished. Together they present a friendly argument for the myriad possibilities of contemporary painting. An interview with the artists, who are old friends, and a selection of their collaborative drawings form a bridge between the books. First monographs for both artists, these volumes also include essays by Joao Ribas and Geoffrey Young.