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Paying tribute to an artistic partnership of more than 30 years, this richly illustrated book explores Peter Fischli and David Weiss's acclaimed and influential body of work, known for its sly humor and profound meditations on the everyday. Throughout the course of their collaboration, Peter Fischli and David Weiss celebrated the sheer triviality of everyday existence, observing the world with bemused detachment. As this book shows, their often humorous work offers a sustained reflection on the intertwined strands of leisure, productivity, and playful absurdity that shape our lives. With its deliberately mundane subject matter and quotidian source material, their work explores the poetics of banality in a wide range of mediums, including photography, videos, slide projections, films, books, sculptures, and multimedia installations. This retrospective volume features an in-depth, illustrated survey of the artists' long history of collaboration, from the early Sausage Series (1979)--staged vignettes created in miniature using deli meats and various household items--to their last work, the large-scale public installation Rock on Top of Another Rock (2009-present), augmented by documentary images, notes on process, and interview excerpts culled from the artists' Zurich-based archives. A series of probing essays on their practice and thematic concerns rounds out this definitive account of Fischli and Weiss's vital contribution to contemporary art.
An artist's book by the renowned Swiss duo dedicated to the questions that everyone asks themselves once in a while: Can something be unbelievable? Should I get drunk? Could I be Japanese? Is the freedom of birds overrated? Am I a farmer in winter? Does unease grow by itself? Should I crawl into my bed and stop producing things all the time?
"A 900 page edifice erected atop and around the life and nigh incredible achievements of the 17th century architect, astronomer and mathematician who served under five monarchs and the Commonwealth. In the beginning -- when Weiss deals with Wren's childhood, as the son and nephew of highly placed clerics, as bewildered schoolmate (at four) of Prince Charles at Windsor, as hard-working student at Westminster -- the author's patient, loving detail promises the reader of commercial historicals a comfortable stretch of winter reading. However, there is no strong emotional focus, except possibly Wren's determination to rebuild St. Paul's (a 33 year obsession) and as Weiss picks his way through the politics, religion, science, arts and notables of Wren's 90 years on earth, there is simply no keystone to hold the whole mess together. Also there are implausible moments -- the monarchs and Cromwell all tip their hands to Wren at one time or another and just about anybody who was anybody files by -- from Pepys to Milton ("Cromwell like(d) the way he writes"), Van Dyke to Newton (who makes his "great ocean of truth" observation in casual conversation to guess who), to Nell Gwynn who compliments Wren on his theater design: "Charles, this theater is a great improvement. Spacious, comfortable, light. The town talks of nothing else." As for the architecture, the little learning here is not enough (was "Gothic" referred to as such in the 17th century?): In referring to St. Paul's, the author has King William remark: "Don't bring it up again Mary. If you've mentioned St. Paul's once, you've mentioned it a dozen times." Sound fellow, William..."--Kirkus
"Carl is a frog in search of a friend, but his outlandishly long tongue (and even larger appetite!) always sabotages his plans. An unsuspecting gnat tries to show young Carl how to use his tongue, but thawoolp! He ends up as Carl's first meal. Then a rambunctious horsefly tries to engage Carl in a game of cards, but thawoolp! He meets the same fate as the gnat. Even sweet Miss Fish tries to give Carl a chance, only to become the latest course in Carl's all-he-can-eat buffet. When a wise old kingfisher picks Carl for his next meal, Carl finally learns to change his ways. The true test comes when a small ant tries to befriend the hungry frog. Carl musters all of his willpower and redefines the phrase "tongue tied" to keep himself from snacking on the ant, and in the process makes the best friend he could ever hope to have. This rollicking romp will keep families giggling while imparting the friendly lesson that it's better to have friends than to eat them"--Publisher description.
The Taste of Art offers a sample of scholarly essays that examine the role of food in Western contemporary art practices. The contributors are scholars from a range of disciplines, including art history, philosophy, film studies, and history. As a whole, the volume illustrates how artists engage with food as matter and process in order to explore alternative aesthetic strategies and indicate countercultural shifts in society. The collection opens by exploring the theoretical intersections of art and food, food art’s historical root in Futurism, and the ways in which food carries gendered meaning in popular film. Subsequent sections analyze the ways in which artists challenge mainstream ideas through food in a variety of scenarios. Beginning from a focus on the body and subjectivity, the authors zoom out to look at the domestic sphere, and finally the public sphere. Here are essays that study a range of artists including, among others, Filippo Tommaso Marinetti, Daniel Spoerri, Dieter Roth, Joseph Beuys, Al Ruppersberg, Alison Knowles, Martha Rosler, Robin Weltsch, Vicki Hodgetts, Paul McCarthy, Luciano Fabro, Carries Mae Weems, Peter Fischli and David Weiss, Janine Antoni, Elżbieta Jabłońska, Liza Lou, Tom Marioni, Rirkrit Tiravanija, Michael Rakowitz, and Natalie Jeremijenko.