Howard Singerman – författare

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9 produkter

Mary Jane Jacob, Glenn Adamson, Svetlana Alpers, John Badlessari, Alice Bellony–rewold, Mary Bergstein, Walead Beshty, Andrea Bowers, Daniel Buren, Rochelle Feinstein, David J Getsy, Michelle Grabner, Rodney Graham, Amy Granat, Karl Haendel, Rachel Harrison, Caroline A Jones, Suzanne Lacy, Thomas Lawson, Lynn Lester Hershman, Shana Lutker, Annika Marie, Courtney Martin, Carrie Moyer, Bruce Nauman, Michael Peppiatt, David Reed, Lane Relyea, David Robbins, Judith Rodenbeck, Joe Scanlan, Brenda Schmahmann, Carolee Schneemann, Barry Schwabsky, Katy Siegel, Howard Singerman, Michael Smith, Buzz Spector, Frances Stark, Robert Storr, Charline Von Heyl, Majorie Welish, James Welling, Brian Winkenweder, John Wood, Mary Jane Jacob - Studio Reader – On the Space of Artists, Häftad

Studio Reader – On the Space of Artists

AvMary Jane Jacob,Glenn Adamsonm. fl.

Häftad, Engelska, 2010

331 kr

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The image of a tortured genius working in near isolation has long dominated our conceptions of the artist's studio. Examples are abound: think Jackson Pollock dripping resin on a cicada carcass in his shed in the Hamptons. But times have changed; ever since Andy Warhol declared his art space a 'factory', artists have begun to envision themselves as the leaders of production teams, and their sense of what it means to be in the studio has altered just as dramatically as their practices. "The Studio Reader" pulls back the curtain from the art world to reveal the real activities behind artistic production. What does it mean to be in the studio? What is the space of the studio in the artist's practice? How do studios help artists envision their agency and, beyond that, their own lives? This forward-thinking anthology features an all-star array of contributors, ranging from Svetlana Alpers, Bruce Nauman, and Robert Storr to Daniel Buren, Carolee Schneemann, and Buzz Spector, each of whom locates the studio both spatially and conceptually - at the center of an art world that careens across institutions, markets, and disciplines.A companion for anyone engaged with the spectacular sites of art at its making, "The Studio Reader" reconsiders this crucial space as an actual way of being that illuminates our understanding of both artists and the world they inhabit.

Sherrie Levine

AvHoward Singerman

E-bok

Engelska, 2018

290 kr

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Texts—including essays, reviews, and statements by the artist—on the work of Sherrie Levine.

The artist Sherrie Levine (b. 1947) is best known for her appropriations of work by other artists—most famously for her rephotographs of canonical images by Edward Weston, Eliot Porter, and other masters of modern photography. Since those works of the early 1980s, she has continued to work on and “after” artists whose names have come to define modernism, making sculpture after Brancusi and Duchamp, paintings after Malevich and Blinky Palermo, watercolors after Matisse and Miro, photographs after Monet and Cezanne as well as Alfred Stieglitz. Throughout, Levine''s practice effectively uncompleted, decentered, and extended works of art that were once singular and finished, posing critical rebuttals to some of the basic assumptions of modernist aesthetics. Her work was central to the theorization of postmodernism in the visual arts—most notably as it emerged in the pages of October magazine. It challenged authorial sovereignty and aesthetic autonomy and invited readings that opened onto gender, history, and the economic and discursive processes of the art world. This collection gathers writings on Levine from art magazines, exhibition catalogs, and academic journals, spanning much of her career.

The volume begins with texts by Douglas Crimp, Rosalind Krauss, and Craig Owens that situate Levine in postmodernist discourse and link her early work to October. The essays that follow draw on these first critical forays and complicate them, at once deepening and resisting them, as Levine''s own work has done. All the essays attempt to understand the relationship between Levine and the artists she cites and the objects that she recasts. In these pages, Levine''s oddly doubled works appear as chimeras, taxidermy, fandom, pratfalls, even Poussin''s Blind Orion.

ContributorsMichel Assenmaker, Douglas Crimp, Erich Franz, Catherine Ingraham, David Joselit, Susan Kandel, Rosalind Krauss, Sylvia Lavin, Sherrie Levine, Maria Loh, Stephen Melville, Craig Owens, Howard Singerman

Art Subjects

Making Artists in the American University

AvHoward Singerman

Häftad, Engelska, 1999

387 kr

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Nearly every artist under the age of fifty in the United States today has a Master of Fine Arts degree. Howard Singerman's thoughtful study is the first to place that degree in its proper historical framework and ideological context. Arguing that where artists are trained makes a difference in the forms and meanings they produce, he shows how the university, with its disciplined organization of knowledge and demand for language, played a critical role in the production of modernism in the visual arts. Now it is shaping what we call postmodernism: like postmodernist art, the graduate university stresses theory and research over manual skills and traditional techniques of representation. Singerman, who holds an M.F.A. in sculpture as well as a Ph.D. in Visual and Cultural Studies, is interested in the question of the artist as a 'professional' and what that word means for and about the fashioning of artists.He begins by examining the first campus-based art schools in the 1870s and goes on to consider the structuring role of women art educators and women students; the shift from the 'fine arts' to the 'visual arts'; the fundamental grammar of art laid down in the schoolroom; and the development of professional art training in the American university. Singerman's book reveals the ways we have conceived of art in the past hundred years and have institutionalized that conception as atelier activity, as craft, and finally as theory and performance.

Art History, After Sherrie Levine

AvHoward Singerman

Häftad, Engelska, 2011

305 kr

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This book examines the career of New York-based artist Sherrie Levine, whose 1981 series of photographs "after Walker Evans" - taken not from life but from Evans's famous depression-era documents of rural Alabama - became central examples in theorizing postmodernism in the visual arts in the 1980s. For the first in-depth examination of Levine, Howard Singerman surveys a wide variety of sources, both historical and theoretical, to assess an artist whose work was understood from the outset to challenge both the label "artist" and the idea of oeuvre - and who has over the past three decades crafted a significant oeuvre of her own. Singerman addresses Levine's work after Evans, Brancusi, Malevich, and others as an experimental art historical practice - material reenactments of the way the work of art history is always doubled in and structured by language, and of the ways the art itself resists.

Art Subjects

Making Artists in the American University

AvHoward Singerman

E-bok

Engelska, 2023

468 kr

Läs direkt efter köp

Nearly every artist under the age of fifty in the United States today has a Master of Fine Arts degree. Howard Singerman''s thoughtful study is the first to place that degree in its proper historical framework and ideological context. Arguing that where artists are trained makes a difference in the forms and meanings they produce, he shows how the university, with its disciplined organization of knowledge and demand for language, played a critical role in the production of modernism in the visual arts. Now it is shaping what we call postmodernism: like postmodernist art, the graduate university stresses theory and research over manual skills and traditional techniques of representation.Singerman, who holds an M.F.A. in sculpture as well as a Ph.D. in Visual and Cultural Studies, is interested in the question of the artist as a "professional" and what that word means for and about the fashioning of artists. He begins by examining the first campus-based art schools in the 1870s and goes on to consider the structuring role of women art educators and women students; the shift from the "fine arts" to the "visual arts"; the fundamental grammar of art laid down in the schoolroom; and the development of professional art training in the American university. Singerman''s book reveals the ways we have conceived of art in the past hundred years and have institutionalized that conception as atelier activity, as craft, and finally as theory and performance.Nearly every artist under the age of fifty in the United States today has a Master of Fine Arts degree. Howard Singerman''s thoughtful study is the first to place that degree in its proper historical framework and ideological context. Arguing that where ar

Acts of Art in Greenwich Village

AvHoward Singerman,Re’al Christianm. fl.

Häftad, Engelska, 2025

298 kr

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A first-ever look at a network of Black visual artists in Manhattan in the 1960s and 1970s This comprehensive account of the six-year history of Acts of Art, a gallery founded by and for Black artists in Greenwich Village in 1969, includes a complete exhibition record, biographies of the gallery’s key artists, and entries on important group exhibitions and events.This first in-depth look at Acts of Art, and its role within communities of Black artists in New York City, highlights the artists most closely tied to the gallery and its co-founder Nigel Jackson, from the early shows of Benny Andrews and James Denmark to the surveys of Loïs Mailou Jones and Hale Woodruff. In addition to an introductory essay and complete exhibition history, the volume includes artists’ biographies and entries on important group exhibitions and events. The publication accompanies the exhibition Acts of Art in Greenwich Village, on view at Hunter College’s Bertha and Karl Leubsdorf Galleries between Fall 2024 and Spring 2025.

Frances Stark

AvAli Subotnick,Howard Singerman

Inbunden, Engelska, 2015

364 kr

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Frances Stark deftly deploys text, image and literary sources in her drawings, collages, paintings and video works that reflect on her roles as artist, mother, woman and teacher. Throughout her career she has experimented with alternative modes of expression, as in her critically acclaimed video, My Best Thing; her PowerPoint work Structures that fit my opening (and other parts considered in relation to their whole); and the performance Put a Song in Your Thing. Companion to an exhibition that documents Stark's 25-year long career, this book contains 125 works in which Stark employs words and images to create provocative and self-referential works that speak to the complexities of daily life. This book includes full-page detailed images that provide an insight into the highly tactile and complex nature of Stark's work. Also included are newly commissioned essays and a collection of brief reflections by a variety of prominent artists and writers whom Stark asked to revisit specific topics they've discussed or written about previously.Filled with high-quality reproductions and thoughtful commentary, this book is the definitive resource on Stark's accomplished, varied and affecting body of work. Published in association with Hammer Museum, Los Angeles