Installation art Books

Book Synopsis

Read more less

Book SynopsisDrawing especially on the encounters and relationships that defined her exceptional career, The Sustainable Legacy of Agnès Varda outlines a sustainable legacy for the celebrated director and visual artist. Over nine chapters, it unpacks how creation, connection, and environment form the core of Varda's artistry, which centers foremost on relationships with her family, with other artists, even with passersby she would meet in her travels around the world. Also celebrating her feminist legacy, the chapters cover a wide range, from the classic Cléo from 5 to 7 (1962) to documentaries The Beaches of Agnès (2008) and Faces Places (2017) as well as selected art installations. The book's final section is dedicated to teaching Varda's work; here, ten scholars from around the world consider how Varda's art and feminist pedagogies offer unique ways to bring crucial concepts into the classroom. By seeking a sustainable praxis to discuss and teach Varda's work, and byTrade ReviewThe Sustainable Legacy of Agnès Varda constitutes a magnificent critical tribute to the work of a filmmaker who turned cinema into an art of encountering. Arguing that her legacy extends beyond her filmography, through an ethical and political vision of art worth examining, the contributors of this book remained faithful to the memory of a woman and an artist committed to her time. -- Luc Vancheri, Lumière University Lyon 2, FranceThroughout the volume, the overall question — how to sustain joy in Varda’s legacy — is met with nuanced and perceptive analysis. The collection offers new perspectives, not least through critique, for example in Jennifer Stob’s illuminating essay on Varda’s formalist feminism, in which she argues that Varda both ‘reveals the patriarchal structure that collapses representational space and the feminine’, and ‘confirms and reproduces its formalist myth’… This collection is an indispensable tool for Varda teachers, scholars, and fans, and it delightfully fulfils the task of sustaining and renewing Varda’s legacy. -- Ros Murray * French Studies *Inquisitive moving-image artist par excellence, Agnès Varda receives here an expansive and multifaceted treatment, one that matches the range and generosity of her own work. These essays revise and open out our understanding of a cinema that both depicts and embodies sustenance. -- Girish Shambu, Canisius College, Buffalo, USAIn framing its collection of essays in terms of sustainability, The Sustainable Legacy of Agnès Varda offers a timely intervention in feminist criticism in visual studies. Varda’s work lends itself beautifully to these eco-critical analyses, which collectively sustain meticulous attention to Varda’s elaborations of embodiment, space, and place across her oeuvre. -- Sharon Willis, University of Rochester, USATable of ContentsList of Illustrations List of Contributors Acknowledgments 1. Sustaining Joy in Varda’s Legacy - Colleen Kennedy-Karpat Part 1 Creation 2. Agnès Varda’s Formalist Feminism - Jennifer Stob 3. Gleaning Metaphors from Reality in the Documentary Films of Agnès Varda - Joseph Horsey 4. The Nude Auteur, Denuding Filmmaking - Ayça Çiftçi Part 2 Connections 5. Women Directors on the Edge of Hollywood: Agnès Varda/Shirley Clarke in and beyond Lions Love (1969) - Zizi Li 6. Agnès Varda and Ursula Le Guin in Dialogue: The Narrator’s Carrier Bag - Ruken Dogu Erdede Part 3 Environments 7. Passion, Commitment, Compassion: Les Justes au Panthe´on by Agne`s Varda - Sandy Flitterman-Lewis 8. Urban Environments and Agnès Varda’s Genius loci - Zeynep Demirhan and Colleen Kennedy-Karpat 9. Iran Under Varda’s Eyes: Interview with Dr. Ali Rafie - Negar Taymoorzadeh Part 4 Teaching Varda Section Introduction: Teaching Varda - Colleen Kennedy-Karpat 10. Agnès Varda: The Queen of the Margins - Beth Tsai 11. Teaching Varda Teaching - Sandy Flitterman-Lewis 12. Varda’s Sans toit ni loi/Vagabond (1985): The Center of My Feminist Film Teaching, 1998–2020 - Kate Ince 13. Teaching Vagabond (1985) - Homay King 14. Cléo from Abu Dhabi to Seoul - Seung-hoon Jeong 15. Digital Time, Teaching Temporalities, and Feminist Pedagogies: Teaching Varda’s Gleaners (2000) Twenty Years on - Jenny Chamarette 16. Gleaning with Visible Machines: Teaching Digital Cinema and Embodiment with Agnès Varda - Michael Cramer 17. Teaching Le Bonheur (1964) - Jeremi Szaniawsk 18. Vardian Lessons: From Sea to Screen and Beyond - Nadine Boljkovac 19. Farewell to Idols with Varda - Feride Çiçekogl Filmography: Agnès Varda Additional Filmography Bibliography Index

Read more less

Book SynopsisThere is no soundtrack is a study of how sound and image produce meaning in contemporary experimental media art by artists ranging from Chantal Akerman to Nam June Paik to Tanya Tagaq. It contextualises these works and artists through key ideas in sound studies: voice, noise, listening, the soundscape and more. The book argues that experimental media art produces radical and new audio-visual relationships challenging the visually dominated discourses in art, media and the human sciences. In addition to directly addressing what Jonathan Sterne calls ‘visual hegemony’, it also explores the lack of diversity within sound studies by focusing on practitioners from transnational and diverse backgrounds. As such, it contributes to a growing interdisciplinary scholarship, building new, more complex and reverberating frameworks to collectively sonify the study of culture.Trade Review'Sound, Ming-Yuen S. Ma shows, stretches a ladder between body and imagination. Sound reaches past the visual image to shape other temporalities; it creates resonance with things forgotten and things to come. Ma’s scholarship is authoritative yet open-ended, his attention to artworks precise, making There is no soundtrack an invaluable guide to the sonic capacities of media art.'Laura U. Marks, Dena Wosk University Professor in Art and Culture Studies, Simon Fraser University'Through a series of close readings and quilt-like juxtapositions, Ming-Yuen Ma thinks sound and art through a broader political field. There is no soundtrack brings the discussion of sound more fully into the study of media art and the discussion of media art more fully into the study of sound art.'Jonathan Sterne, Professor and James McGill Chair in Culture and Technology, McGill University'More like a DJ than an author, Ma connects the sonic dots between film, performance, installation and so much more. Sound is material to tell stories in space and time, but are our ears more valuable than our eyes?'Robin Rimbaud (a.k.a. Scanner), composer and artist'Strong, critical and refreshing, There is no soundtrack is a unique book that leads the way towards new approaches to art history, media art studies and film studies.'Caleb Kelly, Associate Professor in Media Art and Art History, UNSW Art & Design -- .Table of ContentsPrologue: film without imagesIntroduction: rethinking the audio-visual contract1 Radical otherness: voiceover, autoethnography, performativity2 History, noise, violence: Christian Marclay’s Guitar Drag3 Media soundscapes: listening to installation and performance4 Sounding a politics of space: acoustic communities, aesthetic colonization, and sound imperialismEpilogue: notes on acoustic timeIndex

Read more less

Book SynopsisThere is no soundtrack is a study of how sound and image produce meaning in contemporary experimental media art by artists ranging from Chantal Akerman to Nam June Paik to Tanya Tagaq. It contextualises these works and artists through key ideas in sound studies: voice, noise, listening, the soundscape and more. The book argues that experimental media art produces radical and new audio-visual relationships challenging the visually dominated discourses in art, media and the human sciences. In addition to directly addressing what Jonathan Sterne calls ‘visual hegemony’, it also explores the lack of diversity within sound studies by focusing on practitioners from transnational and diverse backgrounds. As such, it contributes to a growing interdisciplinary scholarship, building new, more complex and reverberating frameworks to collectively sonify the study of culture.Trade Review'Sound, Ming-Yuen S. Ma shows, stretches a ladder between body and imagination. Sound reaches past the visual image to shape other temporalities; it creates resonance with things forgotten and things to come. Ma’s scholarship is authoritative yet open-ended, his attention to artworks precise, making There is no soundtrack an invaluable guide to the sonic capacities of media art.'Laura U. Marks, Dena Wosk University Professor in Art and Culture Studies, Simon Fraser University'Through a series of close readings and quilt-like juxtapositions, Ming-Yuen Ma thinks sound and art through a broader political field. There is no soundtrack brings the discussion of sound more fully into the study of media art and the discussion of media art more fully into the study of sound art.'Jonathan Sterne, Professor and James McGill Chair in Culture and Technology, McGill University'More like a DJ than an author, Ma connects the sonic dots between film, performance, installation and so much more. Sound is material to tell stories in space and time, but are our ears more valuable than our eyes?'Robin Rimbaud (a.k.a. Scanner), composer and artist'Strong, critical and refreshing, There is no soundtrack is a unique book that leads the way towards new approaches to art history, media art studies and film studies.'Caleb Kelly, Associate Professor in Media Art and Art History, UNSW Art & Design -- .Table of ContentsPrologue: film without imagesIntroduction: rethinking the audio-visual contract1 Radical otherness: voiceover, autoethnography, performativity2 History, noise, violence: Christian Marclay’s Guitar Drag3 Media soundscapes: listening to installation and performance4 Sounding a politics of space: acoustic communities, aesthetic colonization, and sound imperialismEpilogue: notes on acoustic timeIndex

Read more less

Book Synopsis

Read more less

Book SynopsisOn Alexander Calder?s fruitful, creative and enduring relationship with MoMA, from the early wire sculptures to late abstractionsAlexander Calder?s work first appeared in the Museum of Modern Art?s galleries in 1930, in the exhibition Painting and Sculpture by Living Americans. Over the next decades the artist?s connection with the Museum would be deep, productive and mutually beneficial. Calder cultivated friendships and working relationships with notable figures, including Alfred H. Barr Jr., the Museum?s founding director, and James Johnson Sweeney, with whom he collaborated on his expansive retrospective exhibition in 1943. His work is imprinted on MoMA?s early history, not only for its material and conceptual innovation but also for its presence at significant moments, such as a mobile made to hang over the lobby?s grand staircase on the occasion of the new Goodwin and Stone building (Lobster Trap and Fish Tail, which hangs there to this day); an elaborate candelabra to adorn the tables at a celebratory anniversary event; and a sculpture to fly off a flagpole to advertise the landmark exhibition Cubism and Abstract Art.Alexander Calder: Modern from the Start celebrates this extraordinarily fertile relationship between an institution and an artist who was both an important creative partner and, with his magnificent gift of 19 works in 1966, a major donor. Through MoMA, Calder came to be known as a pioneer of modern sculpture, and through Calder, MoMA came to understand itself as an American museum of modern art.After studying engineering, Alexander Calder (1898?1976) moved to Paris in the late 1920s, where he found himself at the center of the city?s artistic avant-garde. There, he developed his Cirque Calder, a performance artwork comprising dozens of miniature handmade objects, and a group of standalone figurative works in wire. Turning toward abstraction in 1930, Calder invented the mobile?an abstract sculpture made of independent parts that incorporate natural or mechanical movement. He would continue to explore the possibilities of this visual language for the rest of his career, eventually shifting to monumental constructions and public works.

Read more less

Book SynopsisA sweeping selection of Donald Judd’s iconic and ambitious works alongside a diverse collection of newly commissioned writings. "One of the most significant American artists of the postwar period, Donald Judd rigorously experimented with color, form, material, and space. The works in this catalogue range from the artist’s expansive installations to self-contained single units, yielding valuable new insights into his process and approach. The survey includes one of the artist’s largest and most intricate installations of sixty-three wall-mounted plywood boxes, conceived in 1986. Other works include variations on some of Judd’s most recognizable forms, executed in materials such as Cor-ten steel, plexiglass, copper, plywood, brushed aluminum, and enameled aluminum. Brilliant and exacting reproductions bring these works to life on the page. Following the artist’s major retrospective at The Museum of Modern Art, New York, in 2020, this book serves as a companion volume. With contributions from a wide range of voices—art historians, critics, writers, and performers— this publication includes rich new writings on Judd’s oeuvre, art criticism, and enduring influence. Artworks: 1970–1994 is published on the occasion of the eponymous 2020 exhibition at David Zwirner, New York."

Read more less

Book SynopsisIn On Stage, Mathilde Roman explores the resonances that fields of theatre – stage, décor, space, gaze and more – have in the practice of video arts. Using these notions of theatre both as points of reference and as a prism through which video installation can be approached, Roman concentrates on questions often overlooked by art historians, theorists and critics. These include questions of exhibition architecture, display, viewer experience, temporality and the importance of the gaze. Each chapter is articulated around analyses of video installations created by artists, from Michael Snow to Maïder Fortuné, and Dan Graham to Laurent Grasso. With a preface by Mieke Bal, On Stage is an important contribution to the fields of art, history and film studies.Trade Review'On Stage: The Theatrical Dimension of Video Image should be on every media artist's reading list.' -- Romy Hosford, AfterimageTable of ContentsPreface Mieke Bal Introduction Chapter 1 A Stage for the Image: Occupying Space, Multiple Screens Chapter 2 Inhabiting the Scene Chapter 3 Theatres of Projection Conclusion

Read more less

Book SynopsisIn this lavishly illustrated volume, Laura Lee introduces the art of Tokyo-based digital art collective teamLab, which has soared to global fame with its electrifying immersive and interactive installations. The first of its kind, Worlds Unbound: The Art of teamLab provides a comprehensive overview of teamLab’s artistic vision and achievements from its beginnings to its twentieth anniversary in 2021, and illuminates the remarkable scope of teamLab’s groundbreaking art and its fundamental contribution to the pivotal field of new media art. This original new book, the first scholarly monograph on this popular group, unpacks the popularity and success of the digital immersive environments created worldwide by the Tokyo-based collective, teamLab, from multiple perspectives and addresses the lack of critical appreciation of their work. The book includes an extensive interview with teamLab. teamLab launched in January 2001 with five members and now comprises more than 600 individuals in a multidisciplinary collaboration of engineers, computer graphics animators, mathematicians, graphic designers, architects, artists and computer programmers. The digital art collective has attained international celebrity for its electrifying installations that transcend boundaries between gallery, public space and popular entertainment and, judging from press coverage, ticket sales and prolific production, it seems clear teamLab’s success is only on the rise. In 2018, the collective opened the MORI Building DIGITAL ART MUSEUM: teamLab Borderless, a massive technological environment in Tokyo that recorded 2.3 million visitors in its first year of operation – the world’s largest annual number of visitors of any single-artist museum. The same year saw numerous other high-profile immersive exhibitions, including teamLab: Massless in Helsinki, Au-delà des limites in Paris, and teamLab Planets TOKYO, a second exhibition in Tokyo. These were quickly followed by two new museums, teamLab Borderless Shanghai in 2019 and, in 2020, teamLab SuperNature in Macao. The vast sea of selfies that have emerged from these venues index the collective’s soaring global popularity. At the same time, teamLab’s works have found art market success and have been exhibited in major museums worldwide, including the National Gallery of Art in Washington DC and Los Angeles County Museum of Art (LACMA), and they are part of the permanent collection of The Art Gallery of New South Wales, the Asian Art Museum of San Francisco, and Amos Rex in Helsinki, among numerous others. This canonization of teamLab’s art belies the fact that the group did not have a traditional gallery start, and in fact teamLab has always engaged in software development and corporate work, in addition to creating artworks. The collective thus boasts an enigmatic status, spanning conventional categories and defying traditional art world pedigree. In so doing it has produced a tremendously rich body of work that speaks to several overlapping issues pertinent to contemporary art while advancing a unique artistic vision. Primary readership will include artists, art historians and visual studies scholars who are particularly interested in the most recent media art and Japanese contemporary art. It will be an essential resource for students and scholars working in Japanese art, global contemporary art, digital art, augmented reality, expanded cinema and installation art and related fields. It will also be of more general interest to those who have visited, or hope to visit, teamLab environments worldwide.Table of ContentsAcknowledgements List of Illustrations Preface Introduction Part I Chapter One Ultrasubjective Space Chapter Two Japan and Nature Part II Chapter Three Techno-Ecology Chapter Four Interactivity and Co-Creation Conclusion Epilogue Interview Notes Bibliography Index

Read more less

Book SynopsisDigital technologies are playing an increasingly instrumental role in guiding the curatorial and institutional strategies of contemporary art museums today. Designed around contextual studies of virtuality and the art of exhibition, this interdisciplinary volume applies practice-based research to a broad range of topics, including digital mediation, spatial practice, the multimedia museum, and curatorial design. Rounding out the volume are case studies with accompanying illustrations.Trade Review'The book is well written and thought out and so is highly recommended ... I am using it this semester in the curating course I am teaching to advanced undergraduates'. -- Dene Grigar, Leonardo'In Virtuality and the Art of Exhibition: Curatorial Design for the Multimedia Museum, Vince Dziekan attempts to foster an understanding of how the curatorial design process has evolved to incorporate digital technology. Dziekan surveys existing field literature and provides detailed descriptions of specific exhibitions that have implemented multimedial design. […] Dziekan draws solid ties between relevant field literature and thoughtfully connects themes throughout the book. Dziekan does not identify a specifically intended audience, but the book would be relevant for curators or other individuals involved in, or looking to learn about, the production of an exhibition involving digital technology. Academic libraries with museum studies programs or museum libraries that are new to incorporating multimedial pieces in their exhibits could benefit from this text'. -- Amy De Simone, Reference Librarian, Rakow Research Library, Corning Museum of GlassTable of ContentsForeword Expositions Section Virtuality The Art of Exhibition Spactial Practice Digital Mediation Digital Mediation and the Multimedial Museum Curatorial Design Exhibitions Section The Synthetic Image: Digital Technologies and the Image Small Worlds: A Romance Remote The Ammonite Order, or Objectiles for an (Un)Natural History Conclusion

Read more less

Book Synopsis

Read more less

Book SynopsisLaid out in front of Blackpool Tower in England's famous seaside resort, the Comedy Carpet is the largest work of public art in Europe. Thousands of jokes and quotations by more than 850 comedians and writers from the early days of variety to the present day are set in 2200 square meters of granite and concrete in a design inspired by theater posters and bill stickers.

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book SynopsisRichly illustrated in full colour, this book surveys Michael Landy''s earliest work, including lesser-known sculptures such as Sovereign shown at Freeze in 1988 to large-scale installations Market, Closing Down Sale and Scrapheap Services.Other works discussed in detail include the infamous Break Down, where Landy destroyed all 7,227 of his possessions in a department store on Oxford Street, London; Semi-detached, where Landy constructed a full-scale model of his family home at Tate Britain, London; and the project H2NY where Landy made 168 drawings based on a Jean Tinguely sculpture.With over 800 colour illustrations and four newly commissioned texts, this volume provides a comprehensive insight into Landy''s work

Read more less

Book SynopsisFirst published in conjunction with a major retrospective, this monograph takes colour as its guiding thread to highlight Mel Bochner’s rich and thought-provoking approach to photography, installation and painting. One of the founding figures of Conceptual art, and one of its most astute critics, Mel Bochner combines colour and language in his work. This monograph focuses on the role of colour, purity of thought and visual pleasure in Bochner’s most recent work – such as a series of paintings in which he used a thesaurus to generate humorous word chains – and relates it back to the artist's renowned works from the 1960s and 1970s. Alongside 140 colour illustrations, Achim Borchardt-Hume discusses the role of colour in Bochner’s recent work; João Fernandes explores language; Ulrich Wilmes looks at new paintings in relation to past work; and Briony Fer considers notions of corruption in Bochner’s art.

Read more less