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Edited by Eric Mangion. Text by Lili Reynaud Dewar, Elisabeth Wetterwald, Vincent Pecoil.
The Cranford Collection was founded in 1999 by Muriel and Freddy Salem, with the support and collaboration of curator Andrew Renton. London had become one of the most vibrant cities for contemporary art. One of the Collection's key initial aims was to b
In 1995, Mike Kelley devised the Educational Complex, an amalgam of every school he attended and of the house he grew up in, "with all the parts I couldn't remember left out"--a total environment, "sort of like the model of a Modernist community college." The blind spots in this model represent forgotten ("repressed") zones, and so are reconceived by Kelley as sites of institutional abuse, for which specific traumas were devised (each having their own video and sculptural component). For Kelley, this work marks the beginning of a series of projects in which pseudo-autobiography, repressed-memory syndrome and the reinterpretation of previous pieces become the tools for a poetic deconstruction of such complexes and the way we interact with and narrate them. Educational Complex Onwards, 1995-2008 is the first book to collect these works. Each project within the series is extensively documented by artist's texts and reference material, while essays by Diedrich Diederichsen, Howard Singerman and Anne Pontégnie examine the place of this body of work within Kelley's oeuvre.
"Toxic Beauty: The Art of Frank Moore is the most comprehensive presentation to date of work by this remarkable artist whose life was cut short by AIDS. Curated by independent scholar Susan Harris with Grey Art Gallery director Lynn Gumpert, the exhibition features approximately 35 major paintings and over 50 gouaches, prints, and drawings, as well as numerous sketchbooks, films, maquettes, source materials, and ephemera. The exhibition is accompanied by an amply illustrated catalogue with essays by Susan Harris, renowned critic Klaus Kertess, and artist/activist Gregg Bordowitz. Harris evokes a compelling portrait of the multitalented artist as revealed through his personal papers and notebooks. Kertess examines Moore's recurrent themes and eclectic influences while situating the artist's work within a larger art historical context. Finally, Bordowitz sheds light on Moore's passionate AIDS activism and how his work conveys feelings of loss, fear, and hope as well as gay male identity during the early days of the pandemic. The catalogue will also include a selected bibliography, chronology, and excerpts from Moore's own writings. Both the exhibition and catalogue will highlight previously unpublished archival material--such as sketchbooks and documents--culled from the vast Frank Moore Papers, totaling 44 linear feet, housed at NYU's Fales Library. These archival materials provide fascinating insights into Moore's life and work: the sketchbooks reveal his penchant for journaling and his extraordinary draftsmanship. The drawings include detailed preparatory studies for his large-scale paintings and custom-crafted frames, as well as lighthearted vignettes of a more personal and even humorous nature."--Publisher's website.
The first overview on Erna Rosenstein, surrealist, poet and creator of mesmerizing dreamscapes in painting and assemblage A New York Times critics' pick Best Art Books 2021 This is the first ever English-language monograph on the vast and complex oeuvre of Erna Rosenstein (1913-2003), a prolific artist whose varied output was informed by her experience as a Polish Jew during the Holocaust. Released on the occasion of the eponymous, upcoming exhibition at Hauser & Wirth in New York, and edited and with a text by exhibition curator Alison Gingeras, this book serves as an introduction to Rosenstein and her story. Alongside an extensive plates section, poems by Rosenstein are included in the book, as well as a special insert reproducing a fairy tale authored and illustrated by the artist. Art historian Dorota Jarecka has also contributed an essay, and the book additionally includes Rosenstein's own narrative testimony of the war in Poland.
Borrowing its name from the ancient sewer in Rome, Belgian conceptualist Wim Delvoye's new and improved "Cloaca" is a room-sized shit-making machine whose bowels process two meals a day, serving up a mouthful of complex themes: scatalogy and disgust, high and low culture, man as machine and vice-versa, and the inversion of art semiotics. Many of these same concerns are processed in Delvoye's other work, like the life-sized carved walnut replica of a cement truck, the wood cabinet stocked with 32 circular saw blades painted with scenes in Delft China blue, and a herd of pigs tatooed by Antwerp's finest needle-men. Feces and other anal subjects are parsed in accompanying essays by such luminaries as Milan Kundera, Gerardo Mosquera, Dan Cameron, Georges Bataille and Salvador Dali.
The deep sea covers over 60% of the surface of the earth, yet less than 1% has been scientifically investigated. There is growing pressure on deep-sea resources and on researchers to deliver information on biodiversity and the effects of human impacts on deep-sea ecosystems. Although scientific knowledge has increased rapidly in recent decades, there exist large gaps in global sampling coverage of the deep sea, and major efforts continue to be directed into offshore research. Biological Sampling in the Deep Sea represents the first comprehensive compilation of deep-sea sampling methodologies for a range of habitats. It reviews the real life applications of current, and in some instances developing, deep-sea sampling tools and techniques. In creating this book the authors have been able to draw upon the experiences of those at the coal face of deep-sea sampling, expanding on the existing methodological texts whilst encompassing a level of technical detail often omitted from journal publications. Ultimately the book will promote international consistency in sampling approaches and data collection, advance the integration of information into global databases, and facilitate improved data analyses and consequently uptake of science results for the management and conservation of the deep-sea environment. The book will appeal to a range of readers, including students, early-career through to seasoned researchers, as well as environmental managers and policy makers wishing to understand how the deep-sea is sampled, the challenges associated with deep survey work, and the type of information that can be obtained.
Text by Johanna Burton, Matthew Higgs, Mary Heilmann.