Häftad, Engelska, 2004
616 kr
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John C. Welchman – författare
Visar alla böcker från författaren John C. Welchman. Handla med fri frakt och snabb leverans.
14 produkter
14 produkter
- Inbunden, Engelska, 1996
1 086 kr
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The condition of borders has been crucial to many recent exhibitions, conferences and publications. But there does not yet exist a convincing critical frame for the discussion of border discourses. Rethinking Borders offers just such an introduction. It develops important contexts in art and architectural theory, contemporary film-making, criticism and cultural politics, for the proliferation of 'border theories' and 'border practices' that have marked a new stage in the debates over postmodernism, cultural studies and postcolonialism. - E-bokEngelska, 2013
743 kr
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Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium.John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich
- E-bokPDF, Engelska, 2013
743 kr
Läs direkt efter köp
Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium.John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich
- Inbunden, Engelska, 2016
2 493 kr
Skickas inom 10-15 vardagar
Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium.John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich - Häftad, Engelska, 2016
918 kr
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Vitrines and glass cabinets are familiar apparatuses that have in large part defined modern modes of display and visibility, both within and beyond the museum. They separate objects from their contexts, group them with other objects, both similar and dissimilar, and often serve to reinforce their intrinsic or aesthetic values. The vitrine has much in common with the picture frame, the plinth and the gallery, but it has not yet received the kind of detailed art historical and theoretical discussion that has been brought to these other modes of formal display. The twelve contributions to this volume examine some of the points of origin of the vitrine and the various relations it brokers with sculpture, first in the Wunderkammer and cabinet of curiosities and then in dialog with the development of glazed architecture beginning with Paxton's Crystal Palace (1851). The collection offers close discussions of the role of the vitrine and shop window in the rise of commodity culture and their apposition with Constructivist design in the work of Frederick Kiesler; as well as original readings of the use of vitrines in Surrealism and Fluxus, and in work by Joseph Beuys, Paul Thek, Claes Oldenburg and his collaborators, Jeff Koons, Mike Kelley, Dan Graham, Vito Acconci, Damien Hirst and Josephine Meckseper, among others. Sculpture and the Vitrine also raises key questions about the nature and implications of vitrinous space, including its fronts onto desire and the spectacle; transparency and legibility; and onto ideas and practices associated with the archive: collecting, preserving and ordering. - E-bokPDF, Engelska, 2016
1 459 kr
Läs direkt efter köp
The condition of borders has been crucial to many recent exhibitions, conferences and publications. But there does not yet exist a convincing critical frame for the discussion of border discourses. Rethinking Borders offers just such an introduction. It develops important contexts in art and architectural theory, contemporary film-making, criticism and cultural politics, for the proliferation of ''border theories'' and ''border practices'' that have marked a new stage in the debates over postmodernism, cultural studies and postcolonialism. - Häftad, Engelska, 1996
1 056 kr
Skickas inom 10-15 vardagar
The condition of borders has been crucial to many recent exhibitions, conferences and publications. But there does not yet exist a convincing critical frame for the discussion of border discourses. Rethinking Borders offers just such an introduction. It develops important contexts in art and architectural theory, contemporary film-making, criticism and cultural politics, for the proliferation of 'border theories' and 'border practices' that have marked a new stage in the debates over postmodernism, cultural studies and postcolonialism. - Inbunden, Engelska, 2013
2 724 kr
Skickas inom 10-15 vardagar
Vitrines and glass cabinets are familiar apparatuses that have in large part defined modern modes of display and visibility, both within and beyond the museum. They separate objects from their contexts, group them with other objects, both similar and dissimilar, and often serve to reinforce their intrinsic or aesthetic values. The vitrine has much in common with the picture frame, the plinth and the gallery, but it has not yet received the kind of detailed art historical and theoretical discussion that has been brought to these other modes of formal display. The twelve contributions to this volume examine some of the points of origin of the vitrine and the various relations it brokers with sculpture, first in the Wunderkammer and cabinet of curiosities and then in dialog with the development of glazed architecture beginning with Paxton's Crystal Palace (1851). The collection offers close discussions of the role of the vitrine and shop window in the rise of commodity culture and their apposition with Constructivist design in the work of Frederick Kiesler; as well as original readings of the use of vitrines in Surrealism and Fluxus, and in work by Joseph Beuys, Paul Thek, Claes Oldenburg and his collaborators, Jeff Koons, Mike Kelley, Dan Graham, Vito Acconci, Damien Hirst and Josephine Meckseper, among others. Sculpture and the Vitrine also raises key questions about the nature and implications of vitrinous space, including its fronts onto desire and the spectacle; transparency and legibility; and onto ideas and practices associated with the archive: collecting, preserving and ordering. - E-bokEngelska, 2015
168 kr
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What do Mike Kelley and his cronies and sometime collaborators Jim Shaw, Paul McCarthy and Tony Oursler talk about when they talk about art? You'll have to crack this book to find out, but expect a heady mix of pop culture, sex, violence, politics and, as always, a strong dose of humor. This volume brings together for the first time Kelley's major interviews with those artists and others over the past 18 years. Kelley is naturally a provocative commentator on his own work and the work of others, but he's also an informed and serious student of his interviewees' oeuvres and asks questions that explore the soul of artistic imagination. Surrealism, the 1960s and institutional cowardice provide fodder for these fascinating conversations. - Inbunden, Engelska, 2020
493 kr
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This extensive appraisal of Richard Jackson's œuvre is a key resource on one of America's major contemporary artists, combining critical analysis of Jackson's work with wit and wisdom from the artist himself.This massive appraisal of Jackson’s art, authored by art historian John C. Welchman and featuring an in-depth illustrated chronology by Dagny Corcoran, layers analysis of Jackson's work with reflections by the artist himself, drawn from extensive interviews and placed alongside new materials from Jackson's archive. Welchman’s text is the primary resource on the career of one of America's major contemporary artists.Corcoran’s chronology―pulling from extensive new research and interviews with figures such as Paul McCarthy, Bruce Nauman and Rosamund Felsen―traces the important events in Jackson’s life. - Häftad, Engelska, 2001
629 kr
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Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium.John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich - Häftad, Engelska, 2025
298 kr
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- Häftad, Engelska, 2003
338 kr
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