Search results for ""author rosalind krauss""

Through more than 200 works, the representation and pictorial meaning of the window in the Western Art Since the Renaissance, the window has been both a metaphor and an essential conceptual tool in Western painting. A Window on the World seeks to thoroughly analyze the gradual changes which have occurred in the representation and pictorial meaning of the window, in particular in the course of the twentieth century. It explores the radical change in perspective whereby artists developed and offered us a “global vision”, a formal perception freed from the need to imitate the objective world. The catalogue is structured into four main sections: Historical introduction, Seeing through, Grids, From the Window to the Screen. These sections include specific analysis consecrated to artists who have chosen the window as the privileged means of their artistic research or to recurrent themes such as the fascinating relationship between window and still life.

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"I define the Neutral as that which outplays the paradigm, or rather I call Neutral everything that baffles paradigm." With these words, Roland Barthes describes a concept that profoundly shaped his work and was the subject of a landmark series of lectures delivered in 1978 at the College de France, just two years before his death. Not published in France until 2002, and appearing in English for the first time, these creative and engaging lectures deepen our understanding of Roland Barthes's intellectual itinerary and reveal his distinctive style as thinker and teacher. The Neutral (le neutre), as Barthes describes it, escapes or undoes the paradigmatic binary oppositions that structure and produce meaning in Western thought and discourse. These binaries are found in all aspects of human society ranging from language to sexuality to politics. For Barthes, the attempt to deconstruct or escape from these binaries has profound ethical, philosophical, and linguistic implications. The Neutral is comprised of the prewritten texts from which Barthes lectured and centers around 23 "figures," also referred to as "traits" or "twinklings," that are possible embodiments of the Neutral (sleep, silence, tact, etc.) or of the anti-Neutral (anger, arrogance, conflict, etc.). His lectures draw on a diverse set of authors and intellectual traditions, including Lao-tzu, Tolstoy, German mysticism, classical philosophy, Rousseau, Baudelaire, Walter Benjamin, and John Cage. Barthes's idiosyncratic approach to his subjects gives the lectures a playful, personal, and even joyous quality that enhances his rich insights. In addition to his reflections on a variety of literary and scholarly works, Barthes's personal convictions and the events of his life shaped the course and content of the lectures. Most prominently, as Barthes admits, the recent death of his mother and the idea of mourning shape several of his lectures.

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"I define the Neutral as that which outplays the paradigm, or rather I call Neutral everything that baffles paradigm." With these words, Roland Barthes describes a concept that profoundly shaped his work and was the subject of a landmark series of lectures delivered in 1978 at the College de France, just two years before his death. Not published in France until 2002, and appearing in English for the first time, these creative and engaging lectures deepen our understanding of Roland Barthes's intellectual itinerary and reveal his distinctive style as thinker and teacher. The Neutral (le neutre), as Barthes describes it, escapes or undoes the paradigmatic binary oppositions that structure and produce meaning in Western thought and discourse. These binaries are found in all aspects of human society ranging from language to sexuality to politics. For Barthes, the attempt to deconstruct or escape from these binaries has profound ethical, philosophical, and linguistic implications. The Neutral is comprised of the prewritten texts from which Barthes lectured and centers around 23 "figures," also referred to as "traits" or "twinklings," that are possible embodiments of the Neutral (sleep, silence, tact, etc.) or of the anti-Neutral (anger, arrogance, conflict, etc.). His lectures draw on a diverse set of authors and intellectual traditions, including Lao-tzu, Tolstoy, German mysticism, classical philosophy, Rousseau, Baudelaire, Walter Benjamin, and John Cage. Barthes's idiosyncratic approach to his subjects gives the lectures a playful, personal, and even joyous quality that enhances his rich insights. In addition to his reflections on a variety of literary and scholarly works, Barthes's personal convictions and the events of his life shaped the course and content of the lectures. Most prominently, as Barthes admits, the recent death of his mother and the idea of mourning shape several of his lectures.

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"Meppayil’s is an artisanal practice executed in a contemporary South Asian context, in dialogue with Western modernism from the 1950s and ’60s" –Frieze Indian artist Prabhavathi Meppayil (born 1965) makes wall-mounted panels and sculptural installations containing subtle gestures that heighten the inherent qualities of her materials and tools. The artist's integration of craft-based labor and process-based art positions her work in unique dialogue with a complex history of material and artistic production, invoking artisanal legacies, affinities with Indian culture, and Minimalist and Postminimalist concepts. This book explores the past six years of Meppayil's output and echoes the subtle qualities of her work through its considered typography and design. Semitransparent and colored pages are inserted between sections to define the different exhibitions but also as another layer of materiality and counterpoise to the works. The layout of the inside pages balances the works and texts within a modernist grid, using the proportions of the page to create harmony and breathing room around the works.

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