Theory of art Books
Gebruder Mann Verlag Von Material Zu Architektur
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£64.60
Schwabe Verlagsgruppe Von Der Fuge in Rot Bis Zur Zwitschermaschine:
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£45.60
Edition Imorde Raume Des Sehens: Giusto De' Menabuoi Und Die
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£70.30
Edition Imorde Vor-Bildliches Sterben: Der Tod Der Kleopatra ALS
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£58.90
Sternberg Press Aesthetics of Installation Art
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£16.50
Sternberg Press Double Lives in Art and Pop Music
Book SynopsisExploring the relationship between art and pop music over the last fifty years.Why did Andy Warhol decide to enter the music business by producing the Velvet Underground, and what did the band expect to gain in return? What made Yoko Ono use the skills she developed in the artistic avant-garde in pop music, and what drew John Lennon, in turn, to visual art? Why, in 1982, did Joseph Beuys record the pop single “Sonne statt Reagan,” and why, around the same time did, West German artists such as Michaela Melián move into pop music?In Double Lives in Art and Pop Music, Jörg Heiser argues that context shifting between art and pop music is an attempt to find solutions for contradictions faced in one field of cultural production. Heiser looks closely at the careers of artists and pop musicians who work in both fields professionally. The seeming acceptance and effortlessness today of current border crossings can be deceptive, since they might be serving vested economic or ideological interests. Exploring a pop and art history of more than fifty years, Heiser shows that those leading double lives in art and pop music may often be best able to detect these vested interests while he points toward radical alternatives.
£21.15
Sternberg Press After the Wagnerian Bouillabaisse – Essays on
Book SynopsisCritical analyses of some of the major European artists and movements in the twentieth century, delivered with verve and insight.The ten essays in After the Wagnerian Bouillabaisse offer original critical discussions of some of the major European artists and movements in the twentieth century, beginning with important reassessments of Italian Futurism and the unique and disruptively consequential compounding of words and images in Dada and Surrealism. Welchman writes with verve and insight about the production, and circumvention, of affect in the work of Henri Matisse and Fernand Léger; the delirious splits and metaphorical ricochets fired up by Salvador Dalí; and the social and philosophical ideas mobilized by René Magritte. The second half of the volume examines mid- and later-twentieth century artists, offering a revisionist assessment of Hans Hartung; a new analysis of major themes and issues in the work of Antoni Tàpies; a meditation on “whiteness” in the practice and thinking of Günter Brus; and an exploration of exchanges between the US and the UK about sculpture between 1945 and the 1970s. The book concludes with an essay on the relations between writing and seeing in the work of Swiss artist Rémy Zaugg. The volume is the second in Welchman's series XX-XXI on European art from this and the last century.
£19.95
Sternberg Press The Internet Does Not Exist
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£14.49
Sternberg Press Solution 257 – Complete Love
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£15.75
Sternberg Press Dispute Plan to Prevent Future Luxury
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£13.88
Sternberg Press EP3: Post-Craft
Book SynopsisAn examination of the notion of craft as it moves from moves from “modern craft” to “post-craft” amid new economies of making.The notion of the handmade has shifted from the margins to center stage. Craft's value is increasingly recognized across creative, economic, social, cultural, and political contexts. Amid dissolving disciplinary boundaries and the widespread appropriation of craft, its meaning is changing. While its claims to values such as authenticity and anti-consumerism are questionable, the role of craft is poised to be optimized within the contemporary climate. Amid new economies of making, as craft moves from “modern craft” to “post-craft,” we need to examine not only the practice of craft but also its mediation and interpretation.
£18.52
Sternberg Press Bad Writing
Book SynopsisEssays that forge a path to a truly radical “bad” modernism in art and literature.What, exactly, constitutes the “bad”? Can one consciously produce in the name of “badness,” or is badness a value judgment that comes after the fact, from an Other? How does one begin to assign aesthetic value to an object? If one is to accept the “bad” as “good,” or to find aesthetic value in badness, then when does the bad succeed and when does it fail? If, pace Beckett, we are to embrace failure as an inevitable goal, then isn't it necessary to invent a new mode of criticism that accommodates this aesthetic reality? Travis Jeppesen's Bad Writing offers a series of interconnected essays, many of which appear in print for the first time, forging a pathway for a truly radical “bad” modernism in art and literature. He explores the terrain of failure, assessing the situation of the twenty-first century literary avant-garde; considers the work of perennial outsiders; and offers “ficto-criticisms,” including his controversial, no-holds-barred takedown of the 2015 Venice Biennale, originally published in Art in America. Erudite, irreverent, witty, and occasionally controversial, Bad Writing reinvigorates the too-often staid medium of art criticism as an iconoclastic and inventive literary art form.
£16.39
Sternberg Press Futurity Report
Book SynopsisTheorists, historians, and artists address the precarious futurity of the notion of the future.Not long ago, a melancholic left and a manic neoliberalism seemed to arrive at an awkward consensus: the foreclosure of futurity. Whereas the former mourned the failure of its utopian project, the latter celebrated the triumph of a global marketplace. The radical hope of realizing a singularly different, more equitable future displaced by a belief that the future had already come to pass, limiting post-historical society to an uneventful life of endless accumulation. Today, amidst an abundance of neofuturisms, posthumanisms, futurologies, speculative philosophies and accelerationist scenarios, there is as well an expanding awareness of a looming planetary catastrophe driven by the extractionist logic of capitalism. Despite this return to the future, the temporal horizon of our present moment is perhaps more aptly characterized by the “shrinking future” of just-in-time production, risk management, high-frequency trading, and the futures market. In Futurity Report, theorists, historians, and artists address the precarious futurity of the notion of the future itself.ContributorsMcKenzie Wark, China Miéville, Kerstin Stakemeier, Diedrich Diederichsen, Natascha Sadr Haghighian, Marina Vishmidt, Johannes Paul Raether, Felicity D. Scott, Silvia Maglioni, Graeme Thomson, Doreen Mende, Pedro Neves Marques, Achille Mbembe, Kodwo Eshun, Haytham El-Wardany, T. J. Demos, Ana Teixeira Pinto
£20.42
Sternberg Press Beyond the Collaboration
Book SynopsisHow do you tell the story of a friendship? How do you trace the roots of one of the most significant cross-disciplinary unions in fashion today? Artist Sterling Ruby and fashion designer Raf Simons did just that when they sat on stage with curator Jessica Morgan at the Harvard University Graduate School of Design. Offering complimentary perspectives on a bond that has matured over the span of a decade, and a body of work that transcends boundaries, Ruby and Simons spoke with mutual respect, trust, and a deep investment in the future. This is a story, and an exchange, that is beyond collaboration.The Incidents is a book series based on uncommon events at the Harvard University Graduate School of Design from 1936 to tomorrow.Edited by Jennifer Sigler and Leah Whitman-SalkinContribution by Jessica MorganCopublished with the Harvard University Graduate School of Design
£10.50
Sternberg Press From a History of Exhibitions Towards a Future of
Book SynopsisRethinking exhibition practices and histories in China and Southeast Asia.This book is the result of various ongoing assembly platforms linked together under the same name, all organized and initiated by Biljana Ciric and hosted by St Paul St Gallery AUT (2013), Rockbund Art Museum (2018) and Guangdong Times Museum (2019). In the texts presented, writers, curators, and art practitioners in the region revisit the importance of exhibitions as a form and medium presented at assemblies.The contributors explore how exhibitions can be read and understood across different social and cultural contexts, highlighting differences within the region and inviting new approaches and methodologies that point to possibilities for comparative forms of research. The book draws further awareness to the specificity and diversity of practices found within Asia—and thereby looks to contribute decisively to a (re)mapping of exhibition practices and histories using the different perspectives and local contexts found in this region.ContributorsZdenka Badovinac, Maggie J Zheng, Seng Yujin, Patrick D. Flores, Biljana Ciric, Erin Glesson, Julia Hartmann, Nikita Yingqian Cai, Yu Wei, Wang Ziyun, Nathalie Johnson, Carlos Quijon Jr., Grace Samboh, Nhung Walsh, Zoe Butt, Alice Sarmiento, Jo Lene Ong, Zhong Yuling, Liu Di
£20.25
Sternberg Press Stop and Go: Nodes of Transformation and
Book SynopsisInvestigations of people in transit across the informal hubs, terminals, and nodes that crisscross Eastern Europe and Vienna.Stop and Go is a research project by architect and artist Michael Hieslmair and cultural historian Michael Zinganel that focuses on the transformation of the informal hubs, terminals, and nodes along Pan-European transport corridors in Eastern Europe and Vienna. Following the fall of the Iron Curtain and the expansion of the EU, the need to improve infrastructure and develop faster connections between places affected the public realm at the margins and even in the center of cities. Stop and Go investigates the people in transit across these transnational networks with descriptive text, images, and maps.
£18.95
Sternberg Press Critique in Practice: Renzo Martens' Episode III
Book SynopsisEssays on the provocative 2008 film by Renzo Martens, Episode III (Enjoy Poverty).Investigating the economic value of one of the Democratic Republic of the Congo's most lucrative exports (namely, poverty), Renzo Martens' provocative film Episode III: Enjoy Poverty (2008) remains a landmark intervention into debates about contemporary art's relationship to exploitative economies. Throughout Critique in Practice, contributors explore the work's legacy and how it relates to the politics of representation, uses of the documentary form, art criticism, the deployment of humanitarian aid, the impact of extractive forms of globalized capital, and the neoliberal politics of decolonization. The unconventional representation of acute immiseration throughout Enjoy Poverty generated far-from-resolved disputes about how deprivation is portrayed within Western mainstream media and throughout global cultural institutions. Using a range of approaches, this volume reconsiders that portrayal and how the film's reception led Martens to found a long-term program, Human Activities.ContributorsAriella Aïsha Azoulay, Eva Barois De Caevel, Pieter Van Bogaert, Jelle Bouwhuis, JJ Charlesworth, T.J. Demos, Angela Dimitrakaki, Anthony Downey, Charles Esche, Dan Fox, Matthias De Groof, Xander Karskens, J. A. Koster, Kyveli Lignou-Tsamantani, Suhail Malik, Renzo Martens, Nina Möntmann, René Ngongo, Paul O'Kane, Laurens Otto, Nikolaus Perneczky, Kolja Reichert, Els Roelandt, Ruben De Roo, ka˛rî'ka˛chä seid'ou, Gregory Sholette, Sanne Sinnige, Ana Teixeira Pinto, Emilia Terracciano, Nato Thompson, Niels Van Tomme, Frank Vande Veire, Eyal Weizman, Vivian Ziherl, and Artur Z˙mijewski.
£20.42
Sternberg Press One Number Is Worth One Word
Book SynopsisA singularly authoritative—yet also anti-authoritative—gathering of a life's work in art, education and activism.For more than half a century, the artist Luis Camnitzer has been concerned with the same things. The essays gathered in this book outline a radically democratic and frequently provocative vision of both art and education. In the first essay, written in 1960, Camnitzer proposes curricular change of the Escuela Nacional de Bellas Artes in Uruguay, part of a collective effort to bring the school up to the ideal level Camnitzer and fellow artists, students, and educators desired. And in the final essay Camnitzer sums up what he would want an art school to be if he applied to one today—suggesting (with typical dry wit) that the first effort to improve art education may not have succeeded. Working across such mediums as printmaking, sculpture, language, and installations, Camnitzer's work investigates how power is exercised and can be challenged in society. An influential teacher, over the six decades covered by this volume, he has interrogated the power structures inherent to the practice of art at the same time as he explores its liberating potential. Many of these texts are published here for the first time. The book offers a singularly authoritative—yet also anti-authoritative—gathering of a life's work in art, education and activism.
£15.44
Sternberg Press Dizziness: A Resource
Book SynopsisDizziness is more than feeling dizzy. In this multidisciplinary reader, artists, philosophers, and researchers from a range of experimental sciences and cultural studies trace dizziness not only as a phenomenon of sensory input impacting our vestibular system, but also as a twofold phenomenon of “sense”—creating meaning and triggering emotions. It is an interdependence of sense and sensing, of cultural constructs and sensuality, of somatic and cognitive knowledge, that can only be conceived of as a complex relation of both formation and dissolution, habituations and transformations, pertaining to our shared reality and our individual experiences. This is further reflected in the programmatic claim that states of dizziness can be seen as a resource.co-published with Academy of Fine Arts ViennaContributorsRuth Anderwald, Mathias Benedek, Oliver A. I. Botar, Katrin Bucher Trantow, Davide Deriu, Karoline Feyertag, Leonhard Grond, François Jullien, Sarah Kolb, Rebekka Ladewig, Jarosław Lubiak, Alice Pechriggl, Oliver Ressler, Maya M. Shmailov, Maria Spindler, Marcus Steinweg
£18.29
Sternberg Press Solution 295-304: Mare Amoris
Book SynopsisA new vision of the ocean.It was the concept of the ocean as a global commons, free for everyone—first formulated by Hugo Grotius in his 1609 treatise, Mare Liberum—that stimulated a free global market. Today, the free market and the free ocean both suffer from rigorous, exploitive use. A new concept of how to relate to the ocean could transform the global economy and global politics. Solution 295-304: Mare Amoris proposes new practical, technological, and metaphysical scenarios of how to fall in love with the sea, and, eventually, have the sea fall in love with us.Solutions series
£12.30
Sternberg Press Objections, Volume 1: Forms of Abstraction
Book SynopsisThe object as obstacle or obstruction, and of the artwork as an aesthetic and political objection.Forms of Abstraction engages with abstraction not as a formal option in art, or as an airy theoretical speculation, but as an operational force that has redesigned our world, and continues to do so. What Alfred Sohn-Rethel has called the “real abstraction” of value-form molds the world, and does so in conjunction with the real abstractions of the law and of technoscience. In this first volume, Objections, Sven Lütticken takes his cue from the Latin root of object, obiectum—which refers to something put before the subject, something thrown in one's way—pursuing this sense of the object as obstacle or obstruction, and of the artwork as an aesthetic and political objection. Lütticken sees artists engaging with materiality and value, with subatomic particles and radiation as well as with the objectification of human and nonhuman organisms. Along the way, we encounter theoretical objects such as the fetish, the plaster cast, the patented bacteria, the buried radioactive container, and the contemporary artwork itself. Lütticken analyzes contemporary art as a set of aesthetic practices revolving around problematic and questionable objects that can act as productive objections.Among the artists discussed are Agency, Kader Attia, Stanley Brouwn, Antje Ehmann and Harun Farocki, Andrea Fraser, Hans Haacke, Carsten Höller and Rosemarie Trockel, Natascha Sadr Haghighian, Sean Snyder, and Jonas Staal.
£22.13
Sternberg Press Tell It to the Stones: Encounters with the Films
Book SynopsisArtists, scholars, filmmakers, and writers revisit the films of Danièle Huillet and Jean-Marie Straub.Jean-Marie Straub (b. 1933) and Danièle Huillet (1936-2006) met in Paris in 1954. Straub wanted to make a film about Johann Sebastian Bach, to which Huillet thought: “He's planning to do far too much; he won't manage it alone.” It was the beginning of a fifty-year collaboration, which brought about one of the most unconventional and controversial bodies of work in modern cinema. Tell it to the Stones presents variations from a prolonged re-encounter with Huillet and Straub's work that was sparked by a three-month exhibition, complete cinema retrospective, workshops, and music performances in Berlin in the fall of 2017. Contributing artists, scholars, filmmakers, and writers have revisited this collective experience in new texts, revised transcripts, conceptual essays, and visual montages. What happens during an encounter happens in-between: between language and image, gestures and words, looks and everything unsaid. “To help us build the in-between,” is how Danièle Huillet once imagined a task for those who come to see their films. The present compendium revives these encounters and reveals the urgencies of how Straub and Huillet's oeuvre matters today, perhaps more than ever.
£21.14
Sternberg Press Oceanography: Marine Monitoring, Microbiology,
Book SynopsisNew approaches to the ocean enabled by the new field of (microbial) oceanography. In recent years, a new field of scientific research has been put forward, the so-called (microbial) oceanography, which offers a new mapping of the ocean from its shiny surfaces to lightless sea floors. Oceanography combines techniques of molecular biology, gene sequencing, bioinformatics, and remote sensing, among others. Oceans are a crucial factor in global climate and necessary condition for human survival on earth, and findings from oceanography can help people better understand life (and survival) in the Anthropocene.Not only are all life forms of marine origin, but the oceans also host extremophiles—that is, microbial life forms living under extreme conditions of heat, cold, lack of light—which are integral to understanding what possible alternative life forms might look like. It may be that such mainly anthropogenic forces as overfishing, pollution, deep-sea mining, and acidification suggest that a new concept of the ocean—Anthropocean—needs to be discussed. New approaches in cultural studies as well as in the history of sciences are shifting our vision of the ocean, considering the previous realm of immeasurable broad and depth as a fundamental contrast to a human history and culture in order to rewrite it.Edited in dialogue with Stefan HelmreichCopublished with the V-A-C FoundationContributorsPenny Chisholm, Robert Danovano, Sabine Höhler, Jessica Lehman, Naomi Oreskes, Helen Rozwadoski, Philip Steinberg, Cindy van Dover
£13.30
Sternberg Press Economic Ekphrasis: Goldin+Senneby and Art for
Book SynopsisWhat happens when social scientists write about artworks: helping people blind to economic ideas see something for the first time.What happens when social scientists write about artworks? How does it affect the academic environment of a business school and how does it change the perception of art? Can it be used as a novel scientific method in business studies? This book investigates these matters by analyzing the Goldin+Senneby's retrospective exhibition “Standard Length of a Miracle” set up in Tensta konsthall and multiple other venues in Stockholm in the spring of 2016.While the use of ekphrases goes back to ancient times in our Western literary canon, it is new and unexplored territory for social scientists at business schools—to describe artworks for people who who are blind to economic concepts and ideas, helping them see what they did not see beforeEconomic Ekphrasis: Goldin+Senneby and Art for Business Education is part of the SSE Art Initiative series Experiments in Art and Capitalism.ContributorsMaria Lind, Marie-Louise Fendin, Örjan Sjöberg, Ismail Ertürk, Anastasia Seregina, Jonas Hassen Khemiri, Pamela Schultz Nybacka, Emma Stenström, Katie Kitamura, Clare Birchall, Brian Kuan Wood
£13.25
Sternberg Press Where Are the Tiny Revolts?
Book SynopsisTexts and artistic contributions that respond to questions of feminism, authorship, sexuality, and empowerment.Where are the tiny revolts? is the first book in a new annual series published by CCA Wattis Institute, a contemporary art center and research institute in San Francisco. Each book in the series is driven by a central question: what are we learning from artists today? Unconnected to an exhibition program, Where are the tiny revolts? is rooted in the Wattis’s artist-driven research institute. It is a place to explore and share some of the texts and visual work that emerge over the course of an entire year of discussions and public programs. Instead of providing documentation of projects with artists, Where are the tiny revolts? offers other ideas, voices, and references generated by conversations with and about artists. The first book in the series, informed by themes related to the work of Dodie Bellamy, revolves around questions related to contemporary forms of feminism and sexualities, the rebirth of the author, and ways in which vulnerability, perversion, vulgarity, and self-exposure can be forms of empowerment. The texts cover a broad array of styles, including memoir, theoretical essay, art historical analysis, poetry, and fiction. The visual elements are equally diverse, ranging from photographs to collage to drawing.
£12.82
Sternberg Press Thyssen-Bornemisza Art Contemporary: The
Book SynopsisA massive anthology of texts, visual material, and research on TBA21's commissions and the foundation's vast collection of over 700 artworks.What survives after the artwork? asks curator and researcher Natasha Ginwala in one of the essays in Thyssen-Bornemisza Art Contemporary: The Commissions Book, a new and comprehensive publication by the art foundation Thyssen-Bornemisza Art Contemporary (TBA21), founded by Francesca Thyssen-Bornemisza in Vienna, Austria, in 2002. The artwork is not just the thing in itself, but also the metaphysical infrastructure and unfinished relationships that produce it, Ginwala writes. In that sense, this anthology of texts, visual material, and research on TBA21's commissions and the foundation's vast collection of over 700 artworks serves as vivid testimony to the processes and relationships that enabled them.In over 1,300 pages The Commissions Book engages with more than 100 works of art, proposing a speculative topography that organizes and weaves together sequences of potential narratives and interrogations along with close examinations of different works of art and a collective archive of images. The stories embedded in these works, as well as in TBA21 and TBA21-Academy's practice--an itinerant site of transdisciplinary research and cultural production engaging with the oceans--is a story of making new connections, or rather creating interconnections. Bringing together visual and written material from TBA21's commissioning practice and vast history of exhibitions and live events, The Commissions Book also goes beyond the foundation's archives to present new works and commissions by Cecilia Bengolea, Claudia Comte, SUPERFLEX, and Territorial Agency, amongst many others. New essays by Natasha Ginwala's and such transdisciplinary feminist thinkers as Astrida Neimanis and Eva Hayward transcend individual artistic positions and ask questions that lie at the core of TBA21's program.
£25.50
Sternberg Press Art & Energy
Book SynopsisThe conviction that an arts school can be a pedagogical nexus dedicated to the transmission of knowledge, experimentation, and research.If you immerse yourself at Lake Zurich, a hedge-fund office, a botanical garden, or a land-art piece built on ruins, is it possible to discern an energy particular to art? Art as a form of energy capable of encompassing the whole of life, more powerful than finance and its algorithms? Art as science or speculative fiction? We dwell in castles with Schrödinger's cat until we give form to the formless: molecules and failed soldiers, art spaces previously owned by the mafia. We share tips about the tricks of the trade--only to intervene, emancipate, culminate, collapse, and (re)emerge. Let us look everywhere for ideas, and let us be gloriously out of touch: may we grow our capacity and courage to love. Catastrophism, miniskirt, particle.This book arises from the activities of the MA Fine Arts program at the Zurich University of the Arts in 2019. It reflects the conviction that an arts school can be a pedagogical nexus dedicated to the transmission of knowledge, experimentation, and research as much as a locus for civic and critical debate and exhibition, involved in its community, locally and globally.
£18.95
Sternberg Press Assuming Asymmetries: Conversations on Curating
Book SynopsisConversations from some of the most complex and yet underresearched European and US–American public art exhibitions of the 1980s and 1990s.Through conversations with curators and participating artists, this book revisits some of the most groundbreaking yet under-researched European and US public art exhibitions of the 1980s and 1990s: “Konstrukcja w Procesie,” an artist-driven collaboration with the Solidarność movement in Łódź, 1981; “Die Endlichkeit der Freiheit,” initiated by artists Rebecca Horn and Jannis Kounellis and playwright Heiner Müller on both sides of the former Berlin Wall in 1990; “Culture in Action,” curated by Mary Jane Jacob in Chicago in 1993; “Sonsbeek 93” in Arnhem, curated by Valerie Smith; “Fem trädgårdar,”curated by Carlos Capelán in Simrishamn and Ystad in 1996; “INSITE,” an ongoing series of exhibitions in San Diego and Tijuana launched in 1992; “U-media,” curated by VAVD Editions in Umeå in 1987; and Ida Biard’s “La Galerie des Locataires,” which, from 1972 until today, has used the window of a Parisian apartment as an exhibition space. Assuming Asymmetries focuses on questions central to all these projects: How can art productively navigate political tensions? How have artists and curators addressed the ethical asymmetries of the border condition, of inside and outside, working across walls and fences—whether physical, political, or social? Why is participation so hard to catalyze and conduct? How have artworks come to constitute a practice of “situated knowledge,” engaging with the contexts in which they are produced or exhibited? And finally, what can we learn from the exhibitions discussed here when developing new, respectful forms of curating today?
£15.58
Sternberg Press Relative Intimacies: Intersubjectivity, Volume 3
Book SynopsisAn examination of the introduction of a non-human actor into the field of intersubjectivity.Our most intimate spaces are increasingly sites of intersubjective relations. The widespread presence of technological networks in particular has made visible the ways in which agency and subjectivity are often distributed, engendering theories of hybrid subjects who might integrate the human with other biological or technological agents. These incursions into traditional notions of subjectivity not only destabilize our sense of autonomy but also explode the human sensorium, reminding us that it is only one of many viable systems for sensing, perceiving, and communicating. Relative Intimacies collects essays, conversations, and artworks to explore how technology now mediates our encounters and, in doing so, forms alternate, networked subjectivities. It asks how intersubjective intimacy might be theorized epistemologically, aesthetically, philosophically, and politically, and considers how such relative intimacy might connect physical matter and cybernetic systems or forge new subjectivities between constellations of actors. Bringing together academic, curatorial, and artistic perspectives, Relative Intimacies initiates points of contact between artificial, biological, and emotional intelligence. ContributorsCecilia Bengolea, Dora Budor, Lou Cantor, Constant Dullaart, Hal Foster, Kevin Gotkin, Camille Henrot, Sun-Ha Hong, Tobias Kaspar, Devin Kenny, Agnieszka Kurant, Lynn Hershman Leeson, John Miller, Frederick Cruz Nowell, X Zhu-Nowell, Samantha Ozer, Aleksandra Przegalinska, Farid Rakun, Tiana Reid, Patrick Urs Riechert, Isabel de Sena, Jenna Sutela, Elena Vogman, Emily Watlington
£15.15
Sternberg Press The Changing Constitution of the Present: Essays
Book SynopsisHow our experience of presence, time, and history is articulated in contemporary artistic practices.Our present is defined by contemporaneity: the interconnection of heterogeneous times, histories, and temporalities. These many and various times do not merely exist in parallel with one another, simultaneously. Rather, they interconnect and are brought to bear on the same present, forming a sort of planetary present, and—at least in principle—a global sharing of time, although one not shared equally. In The Changing Constitution of the Present: Essays on the Work of Art in Times of Contemporaneity, Jacob Lund explores how the conditions for politically engaged art and aesthetic practice, for questioning the present, have changed in recent decades, while considering how our historical present and its temporal quality differ significantly from previous presents.
£17.10
Editorial Gg Artista Y Diseñador
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£28.06
Editorial Gg Arte Y Miedo: Peligros (Y Recompensas) de la
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£17.60
Anagrama No pienses mira
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£19.35
Ediciones Ctedra Mujeres de la Biblia en la pintura del Barroco
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£24.73
Ediciones del Serbal, S.A. Las fuentes de la historia del arte en la época
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£53.72
£21.84
