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Dan Graham by Dan Graham,Ian Alteveer,Sheena Wagstaff Pdf
Dan Graham’s commissioned installation for the roof garden of The Metropolitan Museum of Art, as well as his previous related site-specific architectural works, is the focus of this fascinating publication.
The Roof Garden Commission: Dan Graham by Alteveer, Ian,Wagstaff, Sheena Pdf
"The artist Dan Graham (b. 1942) has a wide-ranging practice that encompasses writing, performance art, installation, video, photography, and architecture. Throughout his career, Graham has examined the symbiosis between architectural environments and their inhabitants, particularly in his pavilions made of glass and mirrors. His new installation, created for the roof garden of The Metropolitan Museum of Art, addresses current issues about suburban psychology and political surveillance. Graham's work combines landscaping, hedges, and two-way mirrors to create a provocative, immersive experience for viewers. This creatively designed publication includes an insightful interview between the artist and Sheena Wagstaff and focuses not only on Graham's latest commission but also on his previous landscape-oriented installations, providing a focused, fascinating study of one of today's leading contemporary artists."--Publisher's website.
One day I went to interview Dan Graham about the legendary John Daniels Gallery in New York, which he ran from 1964 to '65. Right after I arrived, Dan started talking to me about Michel Butor and his fascination with the writer's work back in the 1960s. I merely asked: "And did you ever meet him?" Dan answered: "No. Some people wanted to introduce us, but it never happened." I asked: "And would you like to meet him?" And he said, with his very own smile: "Of course I would." --From the editor's preface In the fall of 2013, Dan Graham and Mieko Meguro traveled with Donatien Grau to a town in the French Alps to meet Michel Butor, one of the foremost innovators of postwar literature. This is their conversation. Michel Butor is a writer. He redefined the genre of the novel, notably with Second Thoughts (1957), further developing new forms with Mobile (1962) and other fundamental works. Dan Graham is an artist. A major retrospective of his work was held in 2009 at the Museum of Contemporary Art, Los Angeles; Whitney Museum, New York; and Walker Art Center, Minneapolis.
Imran Qureshi by Ian Alteveer,Navina Najat Haidar,Sheena Wagstaff Pdf
"This catalogue is published in conjunction with "The Roof Garden Commission: Imran Qureshi" on view at The Metropolitan Museum of Art, New York, from May 14 through November 3, 2013."
Author : Ian Alteveer,Meredith Brown,Sheena Wagstaff Publisher : Metropolitan Museum of Art Page : 67 pages File Size : 50,8 Mb Release : 2015-05-11 Category : Art ISBN : 9781588395696
The Roof Garden Commission: Pierre Huyghe by Ian Alteveer,Meredith Brown,Sheena Wagstaff Pdf
Acclaimed French artist Pierre Huyghe has spent the past twenty-five years experimenting in a great variety of media, from drawing and film to uncommon components such as living animals, plants, and other natural elements. His new project, Rite Passage (2015), conceived and created for The Metropolitan Museum of Art, will explore the transformation of cultural and biological systems through the Museum’s collection, architecture, and surroundings. This fascinating and informative book is the third in a series that documents and contextualizes the Met’s annual rooftop commissions. The introductory essay by Ian Alteveer discusses the nineteenth-century scientific and artistic endeavors that have long inspired Huyghe. The dynamic interview between the artist and Sheena Wagstaff explores the conceptual framework for Huyghe’s latest project as well as the wide-ranging sources that inform this remarkable event.
Author : Abraham Thomas,Douglas Kearney Publisher : Metropolitan Museum of Art Page : 68 pages File Size : 43,6 Mb Release : 2023-05-01 Category : Art ISBN : 9781588397492
The Roof Garden Commission: Lauren Halsey by Abraham Thomas,Douglas Kearney Pdf
Lauren Halsey is known for her sculptures, mixed media works, and site-specific installations that remix (or, as Halsey says, “funkify”) history by combining signs, symbols, and architecture from the past, present, and future. In her new installation for The Met’s Roof Garden Commission series, she brings together ancient Egyptian–inspired iconography and sculpture with signage and texts drawn from the artist’s local community in South Central Los Angeles. Accompanied by new photography and unpublished sketches from Halsey’s studio, this compact volume contains an insightful essay by curator Abraham Thomas that examines Halsey’s artistic process and considers this installation in the context of her past work. In a revealing interview with poet Douglas Kearney, the artist discusses her diverse influences—which include ancient Egyptian relief carving, funk music, Afrofuturism, and the architecture of L.A.—and elaborates on the importance of community building and engagement in the spaces she creates.
Author : Truth and Reconciliation Commission of Canada Publisher : James Lorimer & Company Page : 673 pages File Size : 49,6 Mb Release : 2015-07-22 Category : History ISBN : 9781459410695
Final Report of the Truth and Reconciliation Commission of Canada, Volume One: Summary by Truth and Reconciliation Commission of Canada Pdf
This is the Final Report of Canada's Truth and Reconciliation Commission and its six-year investigation of the residential school system for Aboriginal youth and the legacy of these schools. This report, the summary volume, includes the history of residential schools, the legacy of that school system, and the full text of the Commission's 94 recommendations for action to address that legacy. This report lays bare a part of Canada's history that until recently was little-known to most non-Aboriginal Canadians. The Commission discusses the logic of the colonization of Canada's territories, and why and how policy and practice developed to end the existence of distinct societies of Aboriginal peoples. Using brief excerpts from the powerful testimony heard from Survivors, this report documents the residential school system which forced children into institutions where they were forbidden to speak their language, required to discard their clothing in favour of institutional wear, given inadequate food, housed in inferior and fire-prone buildings, required to work when they should have been studying, and subjected to emotional, psychological and often physical abuse. In this setting, cruel punishments were all too common, as was sexual abuse. More than 30,000 Survivors have been compensated financially by the Government of Canada for their experiences in residential schools, but the legacy of this experience is ongoing today. This report explains the links to high rates of Aboriginal children being taken from their families, abuse of drugs and alcohol, and high rates of suicide. The report documents the drastic decline in the presence of Aboriginal languages, even as Survivors and others work to maintain their distinctive cultures, traditions, and governance. The report offers 94 calls to action on the part of governments, churches, public institutions and non-Aboriginal Canadians as a path to meaningful reconciliation of Canada today with Aboriginal citizens. Even though the historical experience of residential schools constituted an act of cultural genocide by Canadian government authorities, the United Nation's declaration of the rights of aboriginal peoples and the specific recommendations of the Commission offer a path to move from apology for these events to true reconciliation that can be embraced by all Canadians.
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
Art, Design and Capital since the 1980s by Bill Roberts Pdf
This book examines artists’ engagements with design and architecture since the 1980s, and asks what they reveal about contemporary capitalist production and social life. Setting recent practices in historical relief, and exploring the work of Dan Graham, Rita McBride, Tobias Rehberger and Liam Gillick, Bill Roberts argues that design is a singularly valuable lens through which artists evoke, trace and critique the forces and relations of production that underpin everyday experience in advanced capitalist economies.
In this first critical account of Matta-Clark's work, Pamela M. Lee considers it in the context of the art of the 1970s—particularly site-specific, conceptual, and minimalist practices—and its confrontation with issues of community, property, the alienation of urban space, the "right to the city," and the ideologies of progress that have defined modern building programs. Although highly regarded during his short life—and honored by artists and architects today—the American artist Gordon Matta-Clark (1943-78) has been largely ignored within the history of art. Matta-Clark is best remembered for site-specific projects known as "building cuts." Sculptural transformations of architecture produced through direct cuts into buildings scheduled for demolition, these works now exist only as sculptural fragments, photographs, and film and video documentations. Matta-Clark is also remembered as a catalytic force in the creation of SoHo in the early 1970s. Through loft activities, site projects at the exhibition space 112 Greene Street, and his work at the restaurant Food, he participated in the production of a new social and artistic space. Have art historians written so little about Matta-Clark's work because of its ephemerality, or, as Pamela M. Lee argues, because of its historiographic, political, and social dimensions? What did the activity of carving up a building-in anticipation of its destruction—suggest about the conditions of art making, architecture, and urbanism in the 1970s? What was one to make of the paradox attendant on its making—that the production of the object was contingent upon its ruination? How do these projects address the very writing of history, a history that imagines itself building toward an ideal work in the service of progress? In this first critical account of Matta-Clark's work, Lee considers it in the context of the art of the 1970s—particularly site-specific, conceptual, and minimalist practices—and its confrontation with issues of community, property, the alienation of urban space, the "right to the city," and the ideologies of progress that have defined modern building programs.
Live Cinema and Its Techniques by Francis Ford Coppola Pdf
From a master of cinema comes this “gold mine of a book . . . a rocket ride to the potential future” of filmmaking (Walter Murch). Celebrated as an “exhilarating account” of a revolutionary new medium (Booklist), Francis Ford Coppola’s indispensable guide to live cinema is a boon for moviegoers, film students, and teachers alike. As digital movie-making, like live sports, can now be performed by one director—or by a collaborative team online— it is only a matter of time before cinema auteurs will create “live” movies to be broadcast instantly in faraway theaters. “Peppered with brilliant personal observations” (Wendy Doniger), Live Cinema and Its Techniques offers a behind-the-scenes look at a consummate career: from Coppola’s formative boyhood obsession with live 1950s television shows and later attempts to imitate the spontaneity of live performance on set, the book usefully includes a guide to presenting state-of-the-art techniques on everything from rehearsals to equipment. A testament to Coppola’s prodigious enthusiasm for reinvigorating the form, Live Cinema is an indispensable guide that “reenergizes . . . the search for a new way of storytelling” (William Friedkin).
The Metropolitan Museum of Art: Publications 2023 by Anonim Pdf
This catalogue, published annually by The Metropolitan Museum of Art, announces the Museum's publications for that year. It also features notable backlist titles and provide a complete list of books available in print at the time of publication.
Author : The Metropolitan Museum of Art Publisher : Metropolitan Museum of Art Page : 36 pages File Size : 50,5 Mb Release : 2021-12-31 Category : Art ISBN : 8210379456XXX
The Metropolitan Museum of Art: Publications 2022 by The Metropolitan Museum of Art Pdf
This catalogue, published annually by The Metropolitan Museum of Art, announces the Museum's publications for that year. It also features notable backlist titles and provide a complete list of books available in print at the time of publication.