Download Free Felix Gonzalez Torres Photostats Book in PDF and EPUB Free Download. You can read online Felix Gonzalez Torres Photostats and write the review.

Felix Gonzalez-Torres (1957-96) is one of the most significant artists to have emerged in the 1980s. An artist whose beautiful, restrained and often mutable works are abundant in compelling contradictions, Gonzalez-Torres was committed to a democratic form of art informed as much by the aesthetic and conceptual as by politics. His work challenges authority and our obeisance to it, dissolves the delineations between public and private, and creates a rich, open field into which the viewer is invited to complete works with her own inferences, imagination, and actions.00The photostats are a series of fixed works with white text on black fields framed behind glass to create a reflective surface bringing the viewers' reflection into the work. Made at the height of the AIDS crisis, these profoundly suggestive lists of political, cultural, and historical references disrupt hierarchies of information and linear chronology, asking how we receive and prioritize information, how we remember and forget, and how we continuously create new meaning. The photostats also recall the screens (the television, and now the computer) which furiously deliver information from which we must parse substance from surface and choose what to assimilate and what to reject.
This is a documentation of the artist's entire career, placing his work in the context of the 1980s, a decade which saw a rich array of new art-making practices, from the psychoanalytical discourse of feminist art to collaborative public projects with a social agenda. Nancy Spector also explores the major themes running through his art: travel, the body, light, political activism, homosexual desire and a quest for formal perfection.
Felix Gonzalez-Torres (1957-1996) is one of the most influential artists of his generation. This catalogue includes both rarely seen and more known paintings, sculptures, photographic works, and public projects, reflecting the full scope of the artist's short yet prolific career.Specific Objects Without Specific Form offered several exhibition versions (and none the authoritative one), all the better to present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the centre of his artwork.At each venue in which the show was hosted, the exhibition was co-curated with, and re-installed/re-imagined by a different invited artist whose practice has been informed by Gonzalez-Torres' work. Those artists are Danh Vo, Carol Bove, and Tino Sehgal.Specific Objects without Specific Form acknowledges that the way an exhibition begins and ends its 'story', the emphasis it places on one aspect more than another, the way it presents individual artworks, the juxtapositions it constructs, the mood it creates, in addition to the way an exhibition is discursively presented -- all of these potentially shift the way that a body of work might be understood by its public. And all of these participate in the construction of the meaning and reception of an oeuvre, which is to say, nothing less than the construction of history.Published retrospectively after the exhibition at WIELS Contemporary Art Centre, Brussels (January - April 2010); Fondation Beyeler, Basel (May - August 2010); and MMK, Frankfurt am Main (January - April 2011).
This dictionary of over 6000 terms is a comprehensive summary of vocabulary used across the building industry, from architectural design to construction technology. Contains over two thousand new or updated entries.
Organized and written by renowned scholar and ICP Adjunct Curator Okwui Enwezor, Archive Fever presents works by leading contemporary artists who use archival documents to rethink the meaning of identity, history, memory, and loss. Over the past thirty years, successive generations have taken wide-ranging approaches to the photographic and filmic archive. The works presented here take many forms, including physical archives arranged by peculiar cataloguing methods, imagined biographies of fictitious persons, collections of found and anonymous photographs, film versions of photographic albums, and photomontages composed of historical photographs. These images have a wide-ranging subject matter yet are linked by the artists shared meditation on photography and film as the quintessential media of the archive. Artists in the exhibition include Tacita Dean, Stan Douglas, Felix Gonzalez-Torres, Zoe Leonard, Ilán Lieberman, Walid Raad, Thomas Ruff, Anri Sala, Fazal Sheikh, Eyal Sivan, Lorna Simpson, and Vivan Sundaram, among others.
The Happy End / All Welcome is set in a job fair inspired by the Nature Theater of Oklahoma from Kafka's unfinished novel Amerika: the largest theater company in the world is recruiting all kinds of employees. De la Torre builds, fastens, cuts, pastes, performs, and extrudes a variety of poems to suit this most serious situation comedy: poems as job interviews, poems as postings, poems as questionnaires, reports, speeches, lyrical rants... At its heart, this playful bricolage explores the norms of the workplace and its notions of competence, while tackling office design, performativity, and skilled vs. deskilled creative labor.
In this wildly irreverent collage narrative, Los Angeles artist Richard Kraft reassembles a pre-perestroika era comic about a Polish spy infiltrating the Nazis, orchestrating a multiplicity of voices into joyous cacophony. Like an Indian miniature painting, each comic book page is densely layered, collapsing foreground and background, breaking the frame and merging time. An enormous cast of characters emerges as Kraft appropriates images and texts from an extraordinary variety of sources (the Amar Chitra Katha comics of Hindu mythology, Jimmy Swaggart's Old and New Testament stories, the 1960s English football annual Scorcher, underground porn comics like Cherry, images from art history, outdated encyclopedias and more). Kraft constructs a world constantly in flux, rich with dark humor and revelatory nonsense. Writer Danielle Dutton's set of 16 interpolations punctuate the book using similar strategies of appropriation and juxtaposition to create texts that sing in the same arresting register as Kraft's collages. Here Comes Kitty also includes a conversation between poet Ann Lauterbach and artist Richard Kraft.
"Many years ago this artist placed a singles ad in Denver's alternative weekly newspaper. The headline read "Work Hard, Play Hard" and now this book celebrates 25 years of happy marriage thanks to a fun advertising experiment. In a bit of whimsy, image and text play off of each other to create irreverent pairings of singles pick-up lines with intimate portraits of abandoned furniture that can be found cast aside like a bad romance on city streets everywhere. Twenty Polaroid-style photographs are paired with text highlighting the becoming features of the lonely furniture"--Artist's statement
Dick Higgins and his Something Else Press epitomized the riotous art of the '60s There are few art-world figures as influential--and as little known--as Dick Higgins (1938-98), cofounder of Fluxus, "polyartist," poet, scholar, theorist, composer, performer and, not least, the publisher of the legendary Something Else Press. In 1965 he restored the term "intermedia" to the English language, giving it new dimension to recognize the dissolution of boundaries between traditional modes of art-making and the open field for new forms that cannot be compartmentalized. His own contributions to intermedia are many--as a participant and instigator of happenings, as writer and composer straddling traditional and vanguard forms, among others--but it was Something Else Press (1963-74) that redefined how "the book" could inhabit that energized, in-between space. Something Else Press was as much a critical statement and radical experiment as it was a collection of books by some of the most luminary artists and writers of the 20th century: Gertrude Stein, John Cage, Ray Johnson, Dieter Roth, Bern Porter, Ian Hamilton Finlay, Emmett Williams, Robert Filliou, and George Brecht, among many others. Along with his Great Bear Pamphlet series and the Something Else newsletter, Higgins exploited and subverted conventional book production and marketing strategies to get unconventional and avant-garde works into the hands of new and often unsuspecting readers. Edited by Granary Books publisher Steve Clay and Fluxus artist Ken Friedman, this judiciously curated and indispensable compendium of essays, theoretical writings and narrative prose dives deep into the ever-influential ideas that Higgins explored in theory and practice. Clay and Friedman have chosen works that illuminate Higgins' voracious intellectual appetite, encyclopedic body of knowledge and playful yet rigorous experimentation in a selection that includes many writings long out of print or difficult to find.