Liesbeth Decan – författare
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3 produkter
3 produkter
460 kr
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Supple sculptures This book is a comprehensive tribute to the Polish-Belgian artist Tapta (Maria Wierusz-Kowalska). Her work transcends traditional artistic boundaries, captivating audiences with her innovative exploration of fluid spaces and dynamic interactions. Her work, an important contribution to twentieth century sculpture, is essentially divided into two major sections: the textile works of the 1960s to 1980s and the subsequent neoprene works of the last years of her life. Her practice moved away from traditional weaving through experimental techniques and evolved into three-dimensional works—first made of cords, then of neoprene sheets—that interacted with the space and the viewer.
Conceptual, Surrealist, Pictorial
Photo-Based Art in Belgium (1960s–early 1990s)
Häftad, Engelska, 2016
494 kr
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The role of photography in Belgian visual art. ‘Conceptual, Surrealist, Pictorial’ is the first in-depth study of the use of photography by Belgian artists from the 1960s until the early 1990s. During these three decades, photography generally underwent a major evolution with regard to its status as a gallery-focused fine art practice. Liesbeth Decan explores ten representative case studies, which are contextualized within and compared with contemporary international artistic trends. Successively, she addresses the pioneering use of photography within Conceptual art (represented by Marcel Broodthaers, Jacques Charlier, and Jef Geys), the heyday of Photoconceptualism in Belgium (represented by Jacques Lennep, Jacques Lizène, Philippe Van Snick, and Danny Matthys), and the transition from a conceptual use of photography towards a more pictorial, tableau-like approach of the medium (represented by Jan Vercruysse, Ria Pacquée, and Dirk Braeckman). Ultimately, the selected case studies reveal that photo-based art in Belgium appears to be characterized by a unique uniting of elements particularly from Conceptual art, Surrealism, and the pictorial tradition. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
255 kr
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New perspectives on humor within photographyDespite the ubiquitous presence of photographic humor in art and popular media, the phenomenon has as yet received very little scholarly attention. Focusing on staged humor rather than on comic effects of snapshot photography, this volume brings together leading scholars in the field addressing humor performed in front of the camera, often specifically created for the camera, and the performative joke-work done by the medium itself. A first section explores how photography, due to its “shattering” qualities, turns into a privileged medium for eliciting humorous effects and how humor can be discerned within the photographic event. A second section discusses the toolbox of photographic trickery (photomontage, double exposure and cinematic movement) that allows photography to mock itself. The book closes with a section on photographic wit in conceptual art, both in canonized and more locally distinct practices.With artists’ pages from Paulien Oltheten, Lieven Segers and David HelbichThis publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).Contributors: Kevin Atherton (National College of Art and Design, Dublin), Anna Corrigan and Susana S. Martins (Universidade NOVA de Lisboa), Hilde D’haeyere (KASK School of Arts of University College Ghent), Heather Diack (University of Miami), Louis Kaplan (University of Toronto), Ann Kristin Krahn (Braunschweig University of the Arts), Sandra Križić Roban (Institute of Art History, Zagreb), Esther Leslie (Birkbeck University of London), Johan Pas (Royal Academy of Fine Arts, Antwerp), Katarzyna Ruchel-Stockmans (Vrije Universiteit Brussel)