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As anyone who has wielded a camera knows, photography has a unique relationship to chance. It also represents a struggle to reconcile aesthetic aspiration with a mechanical process. Robin Kelsey reveals how daring innovators expanded the aesthetic limits of photography in order to create art for a modern world.
"Museum of Chance is the first publication of Museum Bhavan, which is a collection of museums made by Dayanita Singh in New Delhi. The museums hoiuse old and new images made by the artist. Each wooden structure can be placed and opened in different ways, and holds around a hundred framed images, some on view, while others wait for their turn in the reserve collection, also kept inside the structures. As Singh keeps adding images to the museums, the museums themselves give birth to other museums. For example, the Museum of Embraces comes out of the Museum of Chance, and the Museum of Vitrines is contained within the Museum of Furniture. This publication is a mass produced artist book for the museum by the same name. Each image in the book is a cover image on one of the books."--Colophon.
To many, chance and art are antagonistic terms. But a number of 20th century artists have turned this notion on its head by attempting to create artworks based on randomness. Among those, three in particular articulated a well-argued and thorough theory of the radical use of chance in art: André Breton (writer), John Cage (composer) and François Morellet (visual artist). The implications of such a move away from established aesthetics are far-reaching, as much in conceptual as in practical terms, as this book hopes to make clear. Of paramount importance in this coincidentia oppositorum is the suggested possibility of a correlation between the artistic use of chance and a system of thought itself organised around chance. Indeed placing randomness at the centre of one’s art may have deeper philosophical consequences than just on the aesthetical level.
Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his 3 Standard Stoppages (1913-1914), a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss or negate the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The 3 Standard Stoppages is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance.
This book is about the collaborative work by four artists associated with the FLUXUS and Nouveau Réalisme movements.
Catalog of an exhibition held at the Mildred Lane Kemper Art Museum, St. Louis, Sept. 18, 2009-Jan. 4, 2010.
The master of contemporary sidewalk chalk shares his latest creations in this collection of impossible-seeming, brilliantly imagined illustrations that leap off the page in all their original joyful exuberance. David Zinn’s amazing street drawings are created using chalk, charcoal and found objects, and each extraordinary drawing is only ever temporary. This book preserves Zinn’s art in all its colorful, hypnotic glory by collecting together never-before-published images of his eye-popping creations. Created over the last two years on streets across the globe, these adorably zany and deceptively three-dimensional characters come to life on manhole covers and streetlamps, village squares and subway platforms. Zinn’s most frequent characters are a bright green googly-eyed monster and a phlegmatic flying pig—but the diversity of his menagerie is limited only by the size of the sidewalk and the spirit of the day. In a brief introduction Zinn describes his creative process, explaining how he seeks out everyday imperfections to situate his art–such as sidewalk cracks and chips, tufts of weeds and sewer grates–and brief captions describe the provenance of each work. While these amazing drawings can no longer stop pedestrians in their tracks on the streets, they live on in book form to mesmerize and inspire readers of all ages.
A personal story of the ways in which persistence, chance, and creativity interact in biomedical research. This first book by the author of Zen and the Brain examines the role of chance in the creative process. James Austin tells a personal story of the ways in which persistence, chance, and creativity interact in biomedical research; the conclusions he reaches shed light on the creative process in any field. Austin shows how, in his own investigations, unpredictable events shaped the outcome of his research and brought about novel results. He then goes beyond this story of serendipity to propose a new classification of the varieties of chance, drawing on his own research and examples from the history of science—including the famous accidents that led Fleming to the discovery of penicillin. Finally, he explores the nature of the creative process, considering not only the environmental and neurophysiological correlates of creativity but also the role of intuition in both scientific discoveries and spiritual quests. This updated MIT Press paperback edition includes a new introduction and recent material on medical research, creativity, and spirituality.
Photography has a unique relationship to chance. Anyone who has wielded a camera has taken a picture ruined by an ill-timed blink or enhanced by an unexpected gesture or expression. Although this proneness to chance may amuse the casual photographer, Robin Kelsey points out that historically it has been a mixed blessing for those seeking to make photographic art. On the one hand, it has weakened the bond between maker and picture, calling into question what a photograph can be said to say. On the other hand, it has given photography an extraordinary capacity to represent the unpredictable dynamism of modern life. By delving into these matters, Photography and the Art of Chance transforms our understanding of photography and the work of some of its most brilliant practitioners. The effort to make photographic art has involved a call and response across generations. From the introduction of photography in 1839 to the end of the analog era, practitioners such as William Henry Fox Talbot, Julia Margaret Cameron, Alfred Stieglitz, Frederick Sommer, and John Baldessari built upon and critiqued one another’s work in their struggle to reconcile aesthetic aspiration and mechanical process. The root problem was the technology’s indifference, its insistence on giving a bucket the same attention as a bishop and capturing whatever wandered before the lens. Could such an automatic mechanism accommodate imagination? Could it make art? Photography and the Art of Chance reveals how daring innovators expanded the aesthetic limits of photography to create art for a modern world.
An award-winning, internationally bestselling Holocaust memoir in the tradition of Elie Wiesel’s Night and Primo Levi’s Survival in Auschwitz In the spring of 1944, gendarmes forcibly removed Tibor “Max” Eisen and his family from their home, brought them to a brickyard and eventually loaded them onto crowded cattle cars bound for Auschwitz-Birkenau. At fifteen years of age, Eisen survived the selection process and was inducted into the camp as a slave laborer. More than seventy years after the Nazi camps were liberated by the Allies, By Chance Alone details Eisen’s story of survival: the backbreaking slave labor in Auschwitz I, the infamous death march in January 1945, the painful aftermath of liberation and Eisen’s journey of physical and psychological healing. Ultimately, the book offers a message of hope as the author finds his way to a new life.