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Passages In Modern Sculpture

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Passages in Modern Sculpture

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Passages in Modern Sculpture by Rosalind E. Krauss,Rosalind Krauss Book Summary:

Studies major works by important sculptors since Rodin in the light of different approaches to general sculptural issues to reveal the logical progressions from nineteenth-century figurative works to the conceptual work of the present.

Bachelors

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Bachelors by Rosalind E. Krauss Book Summary:

These essays on nine women artists are framed by the question, born of feminism, "What evaluative criteria can be applied to women's art?" Since the 1970s Rosalind Krauss has been exploring the art of painters, sculptors, and photographers, examining the intersection of these artists concerns with the major currents of postwar visual culture: the question of the commodity, the status of the subject, issues of representation and abstraction, and the viability of individual media. These essays on nine women artists are framed by the question, born of feminism, "What evaluative criteria can be applied to women's art?" In the case of surrealism, in particular, some have claimed that surrealist women artists must either redraw the lines of their practice or participate in the movement's misogyny. Krauss resists that claim, for these "bachelors" are artists whose expressive strategies challenge the very ideals of unity and mastery identified with masculinist aesthetics. Some of this work, such as the "part object" (Louise Bourgeois) or the "formless" (Cindy Sherman) could be said to find its power in strategies associated with such concepts as écriture feminine. In the work of Agnes Martin, Eva Hesse, or Sherrie Levine, one can make the case that the power of the work can be revealed only by recourse to another type of logic altogether. Bachelors attempts to do justice to these and other artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) in the terms their works demand.

L'Art au féminin II

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L'Art au féminin II by Marie Bagi Book Summary:

Lors de ses recherches, Marie Bagi a été confrontée, à plusieurs reprises, à la question de l’intime. Cet intime, sous diverses formes et médiums, semble être l’élément clé de la création des femmes. Elles nous le font découvrir de manière profonde. la création est alors une action viscérale. Simone de Beauvoir disait "On ne naît pas femme, on le devient." Pour pour les artistes femmes, c’est certainement le contraire : elles ne deviennent pas artiste, elles naissent ainsi.

The Optical Unconscious

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The Optical Unconscious by Rosalind E. Krauss Book Summary:

The Optical Unconscious is a protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred truths. Rosalind Krauss tells the story of the optical unconscious, an unruly, disruptive force that haunted modernism from the 1920s to the 1950s, and which continues to disrupt it today.

Le Temps scellé

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Le Temps scellé by Andrei arsenievitch Tarkovski Book Summary:

"« Il n’est pas dans mon intention de faire ici la leçon à qui que ce soit, ni d’imposer un point de vue. Ce livre n’a été dicté que par le désir de défricher la jungle des possibilités qui s’offrent à un art encore jeune et magnifique, toujours à explorer, et de m’y retrouver moi-même aussi indépendant et libre que possible. » Andreï Tarkovski, tout au long de son œuvre cinématographique, rédige des notes de travail, des réflexions sur son art, restituant dans le même mouvement son itinéraire d’homme et d’artiste. À partir de son exil en Italie où il réalise Nostalghia en 1983, puis en France durant la dernière année de sa vie, il rassemble ces écrits qui sont d’abord édités en Allemagne puis dans les autres pays d’Europe occidentale où ils deviendront vite une référence incontournable. Il y aborde une large réflexion aussi bien sur la civilisation contemporaine que sur l’art cinématographique : son ontologie et sa place parmi les autres arts, ou des aspects plus concrets comme le scénario, le montage, l’acteur, le son, la musique, la lumière, le cadrage... Puisant dans son expérience de cinéaste, dans sa vaste culture littéraire, se remémorant ses années de formation, les luttes interminables pour terminer ses films à l’époque soviétique, Andreï Tarkovski offre ici le livre-bilan d’un artiste en recherche de sens, d’un homme qui consacra son inépuisable énergie à « fixer le temps »...

William Kentridge

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William Kentridge by Rosalind E. Krauss Book Summary:

Critical texts and interviews that explore the drawings, animations, and theatrical work of the South African artist William Kentridge. Since the 1970s, the South African artist William Kentridge has charted the turbulent terrain of his homeland in both personal and political terms. With erudition, absurdist humor, and an underlying hope in humankind, Kentridge's artwork has examined apartheid, humanitarian atrocities, aging, and the ambiguities of growing up white and Jewish in South Africa. This October Files volume brings together critical essays and interviews that explore Kentridge's work and shed light on the unique working processes behind his drawings, prints, stop-animation films, and theater works. The texts include an interview by the artist Carolyn Christov-Bakargiev, curator of the first major retrospective of Kentridge's work; an essay by Andreas Huyssen on the role of shadow-play in Kentridge's film series 9 Drawing for Projection; and investigations of Kentridge's work for opera and theater by Maria Gough, Joseph Leo Koerner, and Margaret Koster Koerner. An analysis by influential art historian Rosalind Krauss, the editor of this volume, argues that Kentridge's films are the result of a particularly reflexive drawing practice in which the marks on the page—particularly the smudges, smears, and erasures that characterize his stop-animations—define the act of drawing as a temporal medium. Krauss's understanding of Kentridge's work as embodying a fundamental tension between formal and sociological poles has been crucial to subsequent analyses of the artist's work, including the new essay by the anthropologist Rosalind Morris, who has collaborated with Kentridge on several projects. Essays and Interviews Carolyn Christov-Bakargiev, Maria Gough, Andreas Huyssen, William Kentridge, Joseph Leo Koerner, Margaret Koster Koerner, Rosalind Krauss, Rosalind Morris

Under Blue Cup

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Under Blue Cup by Rosalind E. Krauss Book Summary:

Explores the relation of aesthetic mediums to memory and discusses the work of such artists as Ed Ruscha, William Kentridge, Sophie Calle, and James Coleman.

La République

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La République by Platon Book Summary:

« Mais, continuai-je, qu’entends-tu par amis ? Ceux qui nous paraissent gens de bien, ou ceux qui le sont, quand même ils ne nous paraîtraient pas tels ? Je te demande la même chose des ennemis. Il me paraît naturel d’aimer ceux qu’on croit gens de bien et de haïr ceux qu’on croit méchants. » Platon

On Refuge

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On Refuge by Richard Gough Book Summary:

This work explores ideas about home and exile, site, location and migration - in relation to the artists themselves and to the forms at play in perfomance today. Performance has always been a nomadic occupation. Unwillingly or by choice artists find themselves positioned outside institutions as political, cultural and financial exiles; they choose or are forced to migrate, or deliberately situate themselves outside accepted structures and sites. The book looks at how these conditons affect the artist's work and considers how contemporay perfomance constitutes the conditions for its own production - and its own survival.

Pensées pour moi-même

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Pensées pour moi-même by Marc Aurèle,Epictète Book Summary:

Texte intégral révisé suivi des biographies de Marc-Aurèle et d'Épictète. Édition enrichie des deux chefs-d'oeuvre de la philosophie stoïcienne: les "Pensées" de Marc-Aurèle et le "Manuel" d'Epictète. Marc Aurèle, à Carnuntum, écrit ses "Pensées pour moi-même" en douze livres, sans doute pour oublier le tumulte de la journée précédente, passée à se battre. Stoïcisme ? Certes, bien que son œuvre ne soit pas totalement un traité de philosophie stoïcienne - elle ne comprend ni le dogme impitoyable d'Épictète ni le ton professoral et théorique de Sénèque -, elle a quelque chose de tout à fait propre à Marc-Aurèle, c'est-à-dire la manière humaine, intime et émouvante dont il transforme la doctrine en un constant examen de conscience. Le constat de vanité et de caducité des choses le pousse à chercher une raison profonde à l'univers. Toute réalité est l'élément d'un organisme divin, unique, ordonné et harmonieux. L'homme, composé de trois principes: corps, âme, esprit, occupe une position centrale dans le cosmos. L'esprit, élément divin en chaque individu, guide son action. La prise de conscience de sa participation au divin doit ramener l'homme à sa vie intérieure, pour qu'il retrouve la paix. Du célèbre "Manuel" d'Epictète, recueilli par l'historien Flavius Arrien dans ses "Epicteti dissertationes", il ne nous reste que les quatre premiers livres. Considérant la notion de liberté, Épictète nous dit ici qu'elle est en soi le bien suprême. Toutefois, la liberté dont il est question n'est pas celle que nous accordent les circonstances extérieures, mais bien cette liberté qui naît au plus profond de notre personnalité. Elle se conquiert par degrés, par la volonté avec l'aide de la raison et de la sagesse. Pour le stoïcien, le bien est en effet une donnée de la conscience, et le sage, qui sait distinguer entre les deux formes de liberté, donnée ou conquise, est intégralement libre. Rien ni personne ne peut le priver de sa liberté.

Monument et Modernité

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Monument et Modernité by Catherine Lanone Book Summary:

C'est le paradoxe du monument moderne que ce livre se propose d'explorer. À mesure que l'enjeu de l'inscription mémorielle devient idéologiquement plus suspect, le monument se métamorphose, et l'art anglais et américain vient interroger sans relâche, par-delà le rapport à l'Histoire, les enjeux sociaux et environnementaux de la commémoration. Le marbre grec est-il blanc, le toponyme indien laisse-t-il une trace ? Construire ou décrire un monument, est-ce conforter son identité ou subtiliser la mémoire de l'autre ? Peu à peu, l'art et la littérature revisitent, brisent et transfigurent le monumental. Comment définir le monument contemporain, autrement qu'à travers ses échelles variables, du jardin de Finley au labyrinthe d'acier de Richard Serra, installations éphémères et solides à la fois ? D'où cette force proprement poétique du monument, que cette « promenade » permet d'approcher et réévaluer.

Archaism, Modernism, and the Art of Paul Manship

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Archaism, Modernism, and the Art of Paul Manship by Susan Rather Book Summary:

Archaism, an international artistic phenomenon from early in the twentieth century through the 1930s, receives its first sustained analysis in this book. The distinctive formal and technical conventions of archaic art, especially Greek art, particularly affected sculptors—some frankly modernist, others staunchly conservative, and a few who, like American Paul Manship, negotiated the distance between tradition and modernity. Susan Rather considers the theory, practice, and criticism of early twentieth-century sculpture in order to reveal the changing meaning and significance of the archaic in the modern world. To this end—and against the background of Manship’s career—she explores such topics as the archaeological resources for archaism, the classification of the non-Western art of India as archaic, the interest of sculptors in modem dance (Isadora Duncan and Ruth St. Denis), and the changing critical perception of archaism. Rather rejects the prevailing conception of archaism as a sterile and superficial academic style to argue its initial importance as a modernist mode of expression. The early practitioners of archaism—including Aristide Maillol, André Derain, and Constantin Brancusi—renounced the rhetorical excess, overrefined naturalism, and indirect techniques of late nineteenth-century sculpture in favor of nonnarrative, stylized and directly carved works, for which archaic Greek art offered an important example. Their position found implicit support in the contemporaneous theoretical writings of Emmanuel Löwy, Wilhelm Worringer, and Adolf von Hildebrand. The perceived relationship between archaic art and tradition ultimately compromised the modernist authority of archaism and made possible its absorption by academic and reactionary forces during the 1910s. By the 1920s, Paul Manship was identified with archaism, which had become an important element in the aesthetic of public sculpture of both democratic and totalitarian societies. Sculptors often employed archaizing stylizations as ends in themselves and with the intent of evoking the foundations of a classical art diminished in potency by its ubiquity and obsolescence. Such stylistic archaism was not an empty formal exercise but an urgent affirmation of traditional values under siege. Concurrently, archaism entered the mainstream of fashionable modernity as an ingredient in the popular and commercial style known as Art Deco. Both developments fueled the condemnation of archaism—and of Manship, its most visible exemplar—by the avant-garde. Rather’s exploration of the critical debate over archaism, finally, illuminates the uncertain relationship to modernism on the part of many critics and highlights the problematic positions of sculpture in the modernist discourse.

The Sculptural Imagination

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The Sculptural Imagination by Alex Potts Book Summary:

Potts also offers a detailed view of selected iconic works by sculptors ranging from Antonio Canova and Auguste Rodin to Constantin Brancusi, David Smith, Carl Andre, Eva Hesse and Louise Bourgeois - key players in modern thinking about the sculptural. The impact of minimalism features prominently in this discussion, for it disrupted accepted understanding of how a viewer interacts with a work of art, thereby placing the phenomenology of viewing three-dimensional objects for the first time at the center of debate about modern visual art."--Jacket.

A la recherche du temps perdu (l'intégrale)

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A la recherche du temps perdu (l'intégrale) by Marcel Proust Book Summary:

Ce livre numérique présente "A la recherche du temps perdu" (version intégrale) de Marcel Proust avec une table des matières dynamique et détaillée. Marcel Proust (prénoms complets : Valentin Louis Georges Eugène Marcel), né à Auteuil le 10 juillet 1871 et mort à Paris le 18 novembre 1922, est un écrivain français, dont l'oeuvre principale est une suite romanesque intitulée À la recherche du temps perdu, publiée de 1913 à 1927. En 1907, Marcel Proust commence l'écriture de son grand œuvre À la recherche du temps perdu dont les sept tomes seront publiés entre 1913 (Du côté de chez Swann) et 1927, c'est-à-dire en partie après sa mort ; le second volume, À l’ombre des jeunes filles en fleurs, obtiendra le prix Goncourt en 1919. Marcel Proust meurt épuisé, le 18 novembre 1922, d'une bronchite mal soignée : il est inhumé au cimetière du Père-Lachaise à Paris, accompagné par une assistance nombreuse qui salue un écrivain d'importance que les générations suivantes placeront au plus haut en faisant de lui un véritable mythe littéraire. Contenu: Du Côté De Chez Swann A l’Ombre Des Jeunes Filles En Fleurs Le Côté De Guermantes Sodome Et Gomorrhe La Prisonnière Albertine Disparue Le Temps Retrouvé

What Do Pictures Want?

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What Do Pictures Want? by W. J. T. Mitchell Book Summary:

Why do we have such extraordinarily powerful responses toward the images and pictures we see in everyday life? Why do we behave as if pictures were alive, possessing the power to influence us, to demand things from us, to persuade us, seduce us, or even lead us astray? According to W. J. T. Mitchell, we need to reckon with images not just as inert objects that convey meaning but as animated beings with desires, needs, appetites, demands, and drives of their own. What Do Pictures Want? explores this idea and highlights Mitchell's innovative and profoundly influential thinking on picture theory and the lives and loves of images. Ranging across the visual arts, literature, and mass media, Mitchell applies characteristically brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments, ancient idols and modern clones, offensive images and found objects, American photography and aboriginal painting. Opening new vistas in iconology and the emergent field of visual culture, he also considers the importance of Dolly the Sheep—who, as a clone, fulfills the ancient dream of creating a living image—and the destruction of the World Trade Center on 9/11, which, among other things, signifies a new and virulent form of iconoclasm. What Do Pictures Want? offers an immensely rich and suggestive account of the interplay between the visible and the readable. A work by one of our leading theorists of visual representation, it will be a touchstone for art historians, literary critics, anthropologists, and philosophers alike. “A treasury of episodes—generally overlooked by art history and visual studies—that turn on images that ‘walk by themselves’ and exert their own power over the living.”—Norman Bryson, Artforum