Bøger om Konceptualisme

1991 hat die Stadt Pulheim mit dem Kunstprojekt Synagoge Stommeln einen dauerhaften Prozess der Auseinandersetzung mit dem historisch bedeutsamen Ort angestoßen und leistet seither einen Beitrag zu einer Kultur der Erinnerung. Anlässlich des 30-jährigen Bestehens der Synagoge Stommeln entsteht ein umfassender Überblick über die Reihe besonderer Werke.Abseits des laufenden Kulturbetriebs nehmen immer wieder internationale Künstlerinnen und Künstler die Herausforderung an, Arbeiten für das versteckt gelegene, stille Gebäude mit dem prägenden historischen Kontext zu entwickeln. Die Überblickspublikation zeigt auf, wie die fast ausschließlich eigens für den Ort konzipierten Werke mit seiner Architektur und seiner Geschichte eine enge Wechselbeziehung eingehen, wie sie den Raum definieren und gleichermaßen in seinem Spannungsfeld definiert werden.Künstler*Innen:Jannis Kounellis, Richard Serra, Georg Baselitz, Mischa Kuball, Eduardo Chillida, Maria Nordman, Carl Andre, Rebecca Horn, Erich Reusch, Giuseppe Penone, Roman Signer, Lawrence Weiner, Rosemarie Trockel, Richard Long, Sol LeWitt, Santiago Sierra, Max Neuhaus, Maurizio Cattelan, Olaf Metzel, Daniel Buren, Christoph Keller/Bureau Mirko Borsche, Gregor Schneider, Anthony Cragg, Walid Raad/SITU Studio, Franz Erhard Walther, Alfredo Jaar.

A beautifully produced anthology of crypto-artist, writer, and hacker Rhea Myers's pioneering blockchain art, along with a selection of her essays, reviews, and fictions.DAO? BTC? NFT? ETH? ART? WTF? HODL as OG crypto-artist, writer, and hacker Rhea Myers searches for faces in cryptographic hashes, follows a day in the life of a young shibe in the year 2032, and patiently explains why all art should be destructively uploaded to the blockchain. Now an acknowledged pioneer whose work has graced the auction room at Sotheby’s, Myers embarked on her first art projects focusing on blockchain tech in 2011, making her one of the first artists to engage in creative, speculative, and conceptual engagements with "the new internet." Proof of Work brings together annotated presentations of Myers’s blockchain artworks along with her essays, reviews, and fictions—a sustained critical encounter between the cultures and histories of the artworld and crypto-utopianism, technically accomplished but always generously demystifying and often mischievous.  Her deep understanding of the technical history and debates around blockchain technology is complemented by a broader sense of the crypto movement and the artistic and political sensibilities that accompanied its ascendancy. Remodeling the tropes of conceptual art and net.art to explore what blockchain technology reveals about our concepts of value, culture, and currency, Myers’s work has become required viewing for anyone interested in the future of art, consensus, law, and collectivity.

"Lastgaspism: Art and Survival in the Age of Pandemic is a collection of interviews, critical essays, and artwork that consider matters of life and death having to do with breath, both allegorical and literal. Bringing into mutual proximity the ecological, public health, political, and spiritual crises that came to the fore in 2020, this book considers these compounding events and how they impact one another and asks with critical optimism what can happen in this moment of transition"--

What does it mean? Is it really art? Why does it cost so much?" While these questions are perpetually asked about contemporary art, they are not the questions that E. H. Gombrich set out to answer in his seminal book 'The Story of Art'. Contemporary art is very different from what came before. From the 1960s, where Gombrich's account concludes, artists began to abandon traditional forms of art and started to make work that questioned art's very definition. This is where Godfrey picks up the story. Developments in contemporary art have followed no straightforward line of progress or sequence of movements. Recognizing this, Tony Godfrey creates a narrative from a series of often dramatic creative conflicts and arguments around what art is or should be. From object versus sculpture and painting versus conceptual to local versus global, gallery versus wider world, The Story of Contemporary Art traces a history in terms of drastic changes in social and political life over the last sixty years. How do we experience being human in a world that seems to change so quickly? In exploring art's relationship to this question, Godfrey asserts that multiple voices must be heard: critics, theorists, curators and collectors, but also audiences and artists themselves. Key to the book is the story of how a perception that art was made almost exclusively by white men from North America and Western Europe has been radically overturned.

"Bigger, bolder, and louder than ever before, neo-manga artist Yokoyama Yuichi is back in English with PLAZA! Inspired by Carnaval in Brazil, PLAZA offers a maniacal extravaganza of marching, dancing, leaping, firing, cheering, smashing, and exploding over the course of 225 eye-and-eardrum-confounding pages. Originally published in Japan in 2019, this oversize English edition of PLAZA brings to full, hyper-animated life the spectacular graphic art of this genre-defying work of avant-garde comics."--Back cover.

The world of advertising has changed drastically over the last century. Marketers have shifted from selling physical objects to promoting lifestyles, brands and aspirations. Likewise, contemporary photographers have transformed the way they respond to advertising and the way they manipulate its visual language. This collection of important works by an international cadre of innovative artists traces the dialogue between art and advertising from the 1970s to the present. It offers arresting images from leading conceptual artists such as Chris Burden, Victor Burgin, Sherrie Levine and Richard Prince. We see how DIS, Roe Ethridge, Victoria Fu and Kim Schoen take on contemporary consumer culture, branding and lifestyle creation. Finally, this book looks at how, as artists delve deeper into commercial strategies, advertisers have begun to call upon them to apply their signature styles to media campaigns--and further blur the lines between fine art and consumerism. Exhibition: Los Angeles County Museum of Art, USA (04.09.-18.12.2022).

This open access book takes a queer, feminist, and decolonial technoscience approach to the ecologies that emerge from our entanglements with nonhumans (air, rocks, algae, trees, soil and plants) and computational hard/software. In Plants by Numbers, artists and theorists working with computation address the urgent need to think beyond the human paradigm, opening up new fields of debate that question the troubled relationship between ecosystems and human technology.Organised around three key themes--techno-nature entanglements, plants as resistant agents, and becoming-with-plants--the volume provides a vital pathway through complex theoretical ideas that inform the practices of artists working in the fields of computation and ecology.Fusing art theoretical and art practice approaches, the contributors describe how we might design, make and imagine computational processes differently, or otherwise, through the co-production of artworks with plants. Showing how these artworks might act as communicative media between the biological and technological, Plants by Numbers opens up new potential areas of research whilst producing new ethical-political engagements.The eBook editions of this book are available open access under a CC BY 4.0 licence on bloomsburycollections.com. Open access was funded by the University of Michigan.

Winner of the 2022 A.M. Klein Prize for Poetry * 2022 Griffin Poetry Prize Finalist * 2022 Governor General's Literary Award Shortlist * 2022 Gerald Lampert Memorial Award Shortlist * 2022 Grand Prix du Livre de Montréal Jury Selection * 2022 Concordia University First Book Prize Shortlist An expansive, hybrid, debut collection of prose poems, self-erasures, verse, and family photo cut-ups about growing up in a racially trinary, diversely troubled family. Dream of No One but Myself is an interdisciplinary, lyrical unravelling of the trauma-memoir-as-proof-it's-now-handled motif, illuminating what an auto-archival alternative to it might look like in motion. Through a complex juxtaposition of lyric verse and self-erasure, family keepsake and transformed photo, David Bradford engages the gap between the drive toward self-understanding and the excavated, tangled narratives autobiography can't quite reconcile. The translation of early memory into language is a set of decisions, and in Dream of No One but Myself, Bradford decides and then decides again, composing a deliberately unstable, frayed account of family inheritance, intergenerational traumas, and domestic tenderness. More essayistic lyric than lyrical essay, this is a satisfyingly unsettling and off-kilter debut that charts, shapes, fragments, and embraces the unresolvable. These gorgeous, halting poems ultimately take the urge to make linear sense of one's own history and diffract it into innumerable beams of light.

Introduction by Bill Gilbert, Kathleen Shields. Text by Lucy Lippard, William L. Fox.

By RoseLee Goldberg. Photos by Paula Court. Introduction by RoseLee Goldberg. Edited by Jennifer Liese. Text by RoseLee Goldberg, Defne Ayas, Lia Gangitano, Sofia Hernandez Chong Cuy, Anthony Huberman, Lyra Kilston, Andrew Lampert, Christian Rattemeyer.

The original group of seven concept designers from Concept Design 1 has returned AND this time they have invited 17 of their talented friends to join them! In this second volume of Concept Design, guest artists are featured along with the original Los Angeles Entertainment Designers from Concept Design 1 to show us worlds, vehicles, monsters and creations beyond the wildest imagination! Even more astounding and jam-packed than the first volume, Concept Design 2 takes you on a journey into the minds of the talented and successful concept design professionals who create for the sake of creation.With credits on feature films such as Star Wars: Episodes I, II and III, War of the Worlds, Batman Forever, Batman & Robin, Spider-Man, X-Men United, Alien vs. Predator, Minority Report, and Terminator 2 & 3, these talented and prominent entertainment concept designers have joined together to create Concept Design 2. Featured within the pages of this book, you will find personal works from this talented group: Harald Belker, Steve Burg, James Clyne, Mark Goerner, Neville Page, Nick Pugh, Scott Robertson, Ryan Church, Dylan Cole, Kasra Farahani, Sean Hargreaves, Khang Le, Stephan Martiniere, Ed Natividad, Rick O'Brien, Dan Quarnstrom, Christian L. Scheurer, Oliver Scholl, Sparth, Farzad Varahramyan, Warren Wanser, Mike Yamada, Felix Yoon, Feng Zhu.

The fourth and final "Ways" book: a novel as conceptual art.

Fabelhafte Geschichten IslandsFu¿r Birgir Andre¿sson (geb. 1955 in Vestmannaeyjar, Island; gest. 2007) war Island viel mehr als nur seine Heimat. Es wurde zur Muse und zum Thema vieler seiner Arbeiten. In eklektischen Werken, die Gemälde, Skulpturen, Zeichnungen, Texte und Fotografien umfassen, erkundete Andre¿sson die isländische Kultur, Geschichte und Natur und dekonstruierte und definierte die isländische Identität neu, indem er mit lokalen Narrativen und internationalen Klischees spielte. Mal ironisch, mal gänzlich melancholisch ist die Wirkung der Arbeiten, in denen er gefundene Fotografien von Vagabund*innen und Exzentriker*innen aus dem 19. Jahrhundert, vergro¿ßerte und verzerrte Gemälde von Briefmarken aus den 1930er-Jahren oder isländische Naturmotive wie Geysire und Wasserfälle zelebriert. Ein weiteres Thema im Werk des Ku¿nstlers sind Farbe und Schrift. In der Serie Icelandic Colours definiert er verschiedene Farben als einzigartig isländisch, obwohl sie u¿berall existieren ko¿nnten - ein Spiel im Sinne von Magrittes visueller Sprachkritik. Am oberen Bildrand steht in gedämpftem Orange der Schriftzug "pouring rain", während am unteren Bildrand die verwendeten grau-gru¿nen Farben gelistet werden: Isländisch 0560-Y20R und Isländisch 4010-890G. Es sind Kennziffern des Farbsystems NCS Natural Colour System, mit denen er die Farbto¿ne definiert. Sie sind dabei ebenso aufschlussreich wie irrefu¿hrend und stellvertretend fu¿r Andre¿ssons ausgeprägten Sinn fu¿r semiotische Spiele. Bis zu seinem Tod hatte Andre¿sson u¿ber 50 Einzelausstellungen und nahm an u¿ber 80 Gruppenausstellungen teil. 1995 steuerte er den isländischen Beitrag auf der Venedig Biennale bei. In Icelandic Colours ist die erste umfassende Monografie zum u¿ber 30 Jahre umfassenden Schaffen des zu fru¿h verstorbenen Ku¿nstlers. Das Vorwort schrieb Ragnar Kjartansson. Thro¿stur Helgason interviewte Weggefährt*innen von Andre¿sson. Einen Essay u¿ber die Verbindung von Literatur und Semiotik im Werk des Ku¿nstlers schrieb Robert Hobbs. Fabulous Stories from IcelandFor Birgir Andre¿sson (b. Vestmannaeyjar, Iceland, 1955; d. 2007), Iceland was much more than merely his native country. It was the muse and subject of much of his oeuvre. In eclectic works in media ranging from painting, sculpture, and drawing to writing and photography, Andre¿sson explored Iceland's culture, history, and nature and deconstructed and redefined Icelandic identity, playfully manipulating local narratives and international stereotypes alike. A distinctive effect that is now ironic, now altogether melancholy is achieved by works in which he celebrates found photographs of nineteenth-century vagrants and eccentrics, enlarged and distorted paintings from 1930s stamps, or Icelandic natural sights like geysers and waterfalls. Color and writing are another central concern in the artist's oeuvre. In the series Icelandic Colours, he labels various colors uniquely Icelandic even though they could exist anywhere-a jest in the spirit of Magritte's visual critique of language. The letters "pouring rain" appear along the top edge of the picture in a muted orange; the grayish-green hues that appear in the composition are listed further down: Icelandic 0560-Y20R and Icelandic 4010-890G. The codes refer to the NCS Natural Colour System, which he uses to define the tones, and are as illuminating as they are deceptive, exemplifying Andre¿sson's distinctive flair for semiotic games. During his lifetime, Andre¿sson had more than 50 solo exhibitions and participated in more than 80 group shows. In 1995, he created the Icelandic contribution to the Venice Biennale. Icelandic Colours is the first comprehensive and extensive monograph of the oeuvre that this artist, who died too young, built over three decades. With a foreword by Ragnar Kjartansson, interviews with Andre¿sson's friends and colleagues by Thro¿stur Helgason, and an essay on the conjunction of literature and semiotics in the artist's work by Robert Hobbs.

Der Titel dieses Buches ist doppeldeutig. Einerseits klingt die Stille selbst; um mit Cage zu sprechen - "there is no such thing as silence". Andererseits brauchen Klänge ihr Gegenteil, die Stille. Auch wenn es keine absolute Stille gibt, weckt jeder Sound eine Vorstellung von Stille: Es gibt keine Präsenz ohne Absenz, keine Anwesenheit ohne Abwesenheit. Die doppelte Bedeutung des Titels Sounds Like Silence berührt zentrale Fragen: Was hören wir, wenn es nichts zu hören gibt? Wie stark ist unser persönliche Bedürfnis nach Stille? Und wie viel Stille können wir ertragen - angenommen, es gibt überhaupt so etwas wie Stille?John Cages 4'33" (vier Minuten, 33 Sekunden) wurde am 29. August 1952 uraufgeführt. Das Buch enthält neue theoretische Essays und künstlerische Arbeiten, die sich auf diese bahnbrechende Arbeit beziehen, alle Originalversionen der Notationen von 4'33'' sowie alle Variationen, Ableitungen und Fortschreibungen des "stillen Stücks", die der Komponist zwischen 1962 und 1992 verfasst hat.

Harvested – En antologi kurateret af microworkersHARVESTED er baseret på fundet indhold; et arbitrært udvalg af pornofilm. Den er produceret udelukkende ved hjælp af en mængde nøje tilrettelagte procedurer, programmering samt opgavebaseret sværmintelligens. Materialet til denne bog blev indsamlet digitalt af et decentralt netværk af fildelere og filtreret af anonyme arbejdere, der udfører digitale mikrojobs. I naturlig forlængelse af denne tilgang udgives bogen i en samproduktion mellem en række forlag, nemlig:MMMNNNRRRG – PortugalForlæns – DanmarkHÁlice HÁlas – SchweitzLa Cinqui.me Couche – BelgienTopovoros – GrækenlandFortepressa – ItalienEdiciones Valientes – SpanienPachiclon – MexicoBitterkomix – SydafrikaFlere end to tusinde pornofilm blev høstet fra fildelingswebsites og gemt direkte på en server. Ved hjælp af to separate scripts blev hver film automatisk klippet ned til kun de første ti minutter, hvorefter disse videoklip blev brudt op i tusindvis af JPG-filer i lav billedkvalitet. Alle disse billeder blev efterfølgende lagt ud på crowdsourcing-tjenester på nettet, der gør det muligt at koordinere distribueret menneskelig intelligens i udførelsen af opgaver, som computere på nuværende tidspunkt ikke er i stand til at klare. Udvalgte microworkers fik til opgave at filtrere disse tusindvis af billeder ud fra et overlagt vagt kriterium: Om de viste samtidskunst.HARVESTED fremviser femhundrede fundne værker fra private hjem, fotoatelier, filmset og andre heterotopier fra pornoindustrien. Mens denne antologi understreger vigtigheden af en kunsthistorie med denne branche som specifik kontekst, så postulerer den samtidigt behovet for at aktivere det perifere syn, hvad angår voyeuristisk praksis. Selvom IKEA-malerier dominerer på væggene, kan man finde værker af moderne mestre såsom en kopi af et Fernand Leger-maleri, et ukendt Joan Miro og Castle and Sun af Paul Klee men også samtidsværker såsom Quote, 1964, et print af Robert Rauschenberg, en række malerier af Mark Rothko, School of Fontainebleau af Cy Twombly og endda nogle reproduktioner af Frank Stella og Lucio Fontana.