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Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings (California Studies in the History of Art) [Englisch] [Taschenbuch]

Kristine Stiles , Peter H. Selz
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Kurzbeschreibung

18. April 1996 California Studies in the History of Art (Buch 35)
Ambitious and interdisciplinary, this long-awaited collaboration is a landmark presentation of the writings of contemporary artists. These influential essays, interviews, and critical and theoretical comments provide bold and fertile insights into the construction of visual knowledge. Featuring a wide range of leading and emerging artists since 1945, the collection - while comprehensive and authoritative - offers the reader some eclectic surprises as well. Included here are texts that have become pivotal documents in contemporary art, along with writings that cover unfamiliar ground. Some are newly translated, others have never before been published. Together they address visual literacy, cultural studies, and the theoretical debates regarding modernism and postmodernism. The full panoply of visual media is represented, from painting and sculpture to environments, installations, performance, conceptual art, video, photography, and virtual reality. Thematic concerns range from figuration and process to popular culture, art and technology, and politics and the media. Contemporary issues of gender, race, class, and sexuality are also addressed. Kristine Stiles' general introduction is a succinct overview of artists' theories in the evolution of contemporary discourse around art. Introductions to each chapter provide synopses of the cultural contexts in which the texts originated and brief biographies of individual artists. The text is augmented by outstanding photographs, many of artists in their studios, and vivid, contemporary art images. Reflecting the editors' shared belief that artists' own theories provide unparalleled access to visual knowledge, this book, like its distinguished predecessors, Hershel Chipp's "Theories of Modern Art" (with Peter Selz and Joshua Taylor) and Joshua Taylor's "Nineteenth-Century Theories of Art", will be an invaluable resource for anyone interested in contemporary art. 'In New York in 1915 I bought at a hardware store a snow shovel on which I wrote 'in advance of the broken arm'. It was around that time that the word 'readymade' came to mind to designate this form of manifestation' - Marcel Duchamp (1961). 'Women have always collected things and saved and recycled them because leftovers yielded nourishment in new forms. The decorative functional objects women made often spoke in a secret language, bore a covert imagery. When we read these images in needlework, in paintings, in quilts, rugs and scrapbooks, we sometimes find a cry for help, sometimes an allusion to a secret political alignment, sometimes a moving symbol about the relationships between men and women' - Miriam Schapiro and Melissa Meyer (1978). 'I want to create a fusion of art and life, Asia and America, Duchampiana modernism and Levi-Straussian savagism, cool form and hot video, dealing with all of those complex problems, spanning the tribal memory of the Nomadic Asians who crossed over the Bering Strait over 10,000 years ago' - Shigeko Kubota (1976). 'Black for me is a lot more peaceful and gentle than white. White marble may be very beautiful, but you can't read anything on it. I wanted something that would be soft on the eyes, and turn into a mirror if you polished it. The point is to see yourself reflected in the names. Also the mirror image doubles and triples the space' - Maya Lin (1983). 'Artists often depend on the manipulation of symbols to present ideas and associations not always apparent in such symbols. If all such ideas and associations were evident there would be little need for artists to give expression to them. In short, there would be no need to make art' - Andres Serrano (1989).

Hinweise und Aktionen

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Produktinformation

  • Taschenbuch: 1003 Seiten
  • Verlag: Univ of California Pr (18. April 1996)
  • Sprache: Englisch
  • ISBN-10: 0520202538
  • ISBN-13: 978-0520202535
  • Größe und/oder Gewicht: 25,3 x 17,8 x 4,9 cm
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen  Alle Rezensionen anzeigen (3 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 125.712 in Englische Bücher (Siehe Top 100 in Englische Bücher)
  • Komplettes Inhaltsverzeichnis ansehen

Produktbeschreibungen

Synopsis

Ambitious and interdisciplinary, this long-awaited collaboration is a landmark presentation of the writings of contemporary artists. These influential essays, interviews, and critical and theoretical comments provide bold and fertile insights into the construction of visual knowledge. Featuring a wide range of leading and emerging artists since 1945, this collection - while comprehensive and authoritative - offers the reader some eclectic surprises as well. Included here are texts that have become pivotal documents in contemporary art, along with writings that cover unfamiliar ground. Some are newly translated, others have never before been published. Together they address visual literacy, cultural studies, and the theoretical debates regarding modernism and postmodernism. The full panoply of visual media is represented, from painting and sculpture to environments, installations, performance, conceptual art, video, photography, and virtual reality.Thematic concerns range from figuration and process to popular culture, art and technology, and politics and the media. Contemporary issues of gender, race, class, and sexuality are also addressed.

Kristine Stiles' general introduction is a succinct overview of artists' theories in the evolution of contemporary discourse around art. Introductions to each chapter provide synopses of the cultural contexts in which the texts originated and brief biographies of individual artists. The text is augmented by outstanding photographs, many of artists in their studios, and vivid, contemporary art images. Reflecting the editors' shared belief that artists' own theories provide unparalleled access to visual knowledge, this book, like its distinguished predecessors, Hershel Chipp's "Theories of Modern Art" (with Peter Selz and Joshua Taylor) and Joshua Taylor's "Nineteenth-Century Theories of Art", will be an invaluable resource for anyone interested in contemporary art.'In New York in 1915 I bought at a hardware store a snow shovel on which I wrote 'in advance of the broken arm'. It was around that time that the word 'readymade' came to mind to designate this form of manifestation' - Marcel Duchamp (1961). 'Women have always collected things and saved and recycled them because leftovers yielded nourishment in new forms.

The decorative functional objects women made often spoke in a secret language, bore a covert imagery. When we read these images in needlework, in paintings, in quilts, rugs and scrapbooks, we sometimes find a cry for help, sometimes an allusion to a secret political alignment, sometimes a moving symbol about the relationships between men and women' - Miriam Schapiro and Melissa Meyer (1978).'I want to create a fusion of art and life, Asia and America, Duchampiana modernism and Levi-Straussian savagism, cool form and hot video, dealing with all of those complex problems, spanning the tribal memory of the Nomadic Asians who crossed over the Bering Strait over 10,000 years ago' - Shigeko Kubota (1976). 'Black for me is a lot more peaceful and gentle than white. White marble may be very beautiful, but you can't read anything on it. I wanted something that would be soft on the eyes, and turn into a mirror if you polished it. The point is to see yourself reflected in the names. Also the mirror image doubles and triples the space' - Maya Lin (1983). 'Artists often depend on the manipulation of symbols to present ideas and associations not always apparent in such symbols.

If all such ideas and associations were evident there would be little need for artists to give expression to them. In short, there would be no need to make art' - Andres Serrano (1989).

Über den Autor und weitere Mitwirkende

Kristine Stiles is Associate Professor of Art History, Duke University. She has written widely on contemporary art and is a practicing artist. Peter Selz is Professor Emeritus of Art History, University of California, Berkeley. Among his many books are German Expressionist Painting (California, 1957) and Art in Our Times (1981).

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The dominant art mode during and after World War II has been labeled as abstract expressionism, action painting, tachism, lyrical abstraction, art informel, art autre, and a handful of other terms. Lesen Sie die erste Seite
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5.0 von 5 Sternen This is a gold mine 25. Juli 2000
Format:Taschenbuch
I have been searching for a book like this off and on for years, but just recently came accross it. What a great collection of essays and interviews from the artists! I am a teacher/artist myself, not a researcher, and it is so wonderful to have all this information at my finger tips. I hope the editors do more work like this. If you are interested in finding out about what a contemporary artist was thinking, check this book first!
War diese Rezension für Sie hilfreich?
5.0 von 5 Sternen the only art book I can't live without 11. August 1999
Format:Taschenbuch
and not only can I not live without it, but I can feel comfortable recommending it to anyone interested in art (especially contemporary art). it is the kind of book I dream about. I want more like it. there are certain genres left out and some of the groupings are too tight, and some too loose, but the fact that the artists are the ones giving the information means that I can research them more accurately, instead of researching other peoples research. A wonderful compilation of essays and interviews.
War diese Rezension für Sie hilfreich?
Von Ein Kunde
Format:Taschenbuch
I have used this text with grad. students and with advanced-level undergraduate art majors. In an era dominated by some pretty thick-headed critical writing, I value the relatively jargon-free essays by a good variety of contemporary artists. More photos, even B/W ones, would be a help however.
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Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Amazon.com: 4.0 von 5 Sternen  15 Rezensionen
27 von 29 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen This is a gold mine 25. Juli 2000
Von William A. Mead - Veröffentlicht auf Amazon.com
Format:Taschenbuch
I have been searching for a book like this off and on for years, but just recently came accross it. What a great collection of essays and interviews from the artists! I am a teacher/artist myself, not a researcher, and it is so wonderful to have all this information at my finger tips. I hope the editors do more work like this. If you are interested in finding out about what a contemporary artist was thinking, check this book first!
27 von 30 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Excellent text; focuses on artists' (not critics') ideas 4. Dezember 1998
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format:Taschenbuch
I have used this text with grad. students and with advanced-level undergraduate art majors. In an era dominated by some pretty thick-headed critical writing, I value the relatively jargon-free essays by a good variety of contemporary artists. More photos, even B/W ones, would be a help however.
26 von 30 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Misquoting of latin-american artists raise doubts... 17. November 2004
Von Sergio R. Basbaum - Veröffentlicht auf Amazon.com
Format:Taschenbuch
I've purchased this book while beeing in New York in 2003, and my first impression was that I had aquired an excellent and almost encyclopedical resourse for research. However, when looking for references on familiar contemporary artists like Brazilian Lygia Clark (one of the most important and internationally renowed creators, having teached in Sorbonne, among other things) I've found her name misquoted as "Lydia Clark" while she's reffered as "Argentinian" in the index. The fact that I've found such a mistake concerning a familiar name raises doubts on the rigor of this interesting work.

Sérgio Basbaum (teacher at Universidade Cátólica, São Paulo, Brazil)
19 von 22 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen the only art book I can't live without 11. August 1999
Von brynnakate@hotmail.com - Veröffentlicht auf Amazon.com
Format:Taschenbuch
and not only can I not live without it, but I can feel comfortable recommending it to anyone interested in art (especially contemporary art). it is the kind of book I dream about. I want more like it. there are certain genres left out and some of the groupings are too tight, and some too loose, but the fact that the artists are the ones giving the information means that I can research them more accurately, instead of researching other peoples research. A wonderful compilation of essays and interviews.
2 von 2 Kunden fanden die folgende Rezension hilfreich
2.0 von 5 Sternen Not enough coherence 6. November 2008
Von C. MERRITT - Veröffentlicht auf Amazon.com
Format:Taschenbuch
Although the list of artists is impressive, the entries by each are often so short that no coherent thought surfaces. It takes a very skilled interviewer or fantastic didactic vision on the part of the artist to arrive at a genuinely insightful piece of writing, like "On Art" by Rodin [excellent]. Also fairly good are David Sylvester's interviews of Bacon and others.

Many of the entries in this book are meant to actually BE THE ART. Such writings can be interesting, but often fail, falling into a category of minimalist authorship. I found this book did not aid my search for profundity and revelation with regard to the artistic process.
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