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For nearly two decades Parkett has been the leading international journal on contemporary art. Its in-depth presentations on artists have become the standard for criticism and analysis, and being selected to be in Parkett is considered an honor for contemporary artists worldwide. More than 100 artists have collaborated with Parkett on both the journal's content and the production of special art editions made available to the readers of Parkett. In this new catalogue raisonne, each of the 120 artists' editions are fully documented and reproduced in full color. Along with the editions, this volume also pays tribute to the many authors who have written texts for Parkett by providing a complete index of their contributions, and it reproduces each Parkett cover, now more than 60, in full color. Deborah Wye, a curator at the Museum of Modern Art, writes an essay looking at the various methods of collaboration between Parkett and the artists, including the editions, inserts, spines, covers, and design of the publication. Susan Tallman explores the diversity and richness of the artists' editions through the years. This book coincides with the exhibition Collaborations with Parkettt: 1984 to Now, at the Museum of Modern Art, New York, in the spring of 2001.
Vija Celmins has been engaged with printmaking since the early 1960s. This volume presents a catalogue of Celmins's graphic work up to the year 2002, and also features an interview with the artist and two of her closest collaborators, master printers Leslie Miller and Doris Simmelink.
This ninth volume of the Artefacts series explores how artists have responded to developments in science and technology, past and present. Rather than limiting the discussion to art alone, editors Anne Collins Goodyear and Margaret Weitekamp also asked contributors to consider aesthetics: the scholarly consideration of sensory responses to cultural objects. When considered as aesthetic objects, how do scientific instruments or technological innovations reflect and embody culturally grounded assessments about appearance, feel, and use? And when these objects become museum artifacts, what aesthetic factors affect their exhibition? Contributors found answers in the material objects themselves. This volume reconsiders how science, technology, art, and aesthetics impact one another.
Jurassic technologies revenant: 10th Biennale of Sydney.
During the 1990s a number of artists claimed the exhibition as their medium. Working independently or in various collaborative constellations, they eschewed the individual object in favour of the exhibition environment as a dynamic arena, ever expanding its physical and temporal parameters. Their work engages directly with the vicissitudes of everyday life, offering subtle moments of transformation. This catalogue, which accompanies a major exhibition at the Solomon R. Guggenheim Museum, New York, is the first in the USA to examine the dynamic interchange among a core group of these artists - Angela Bulloch, Maurizio Cattelan, Liam Gillick, Dominique Gonzalez- Foerster, Douglas Gordon, Carsten H�ller, Pierre Huyghe, Jorge Pardo, Philippe Parreno and Rirkrit Tiravanija - a many-sided conversation that helped shape the cultural landcape of the 1990s and beyond. Featuring over thirty texts by scholars and curators, most of whom have shared in the artists' individual and collective histories, the exhibition provides insight and background on the artists and their ongoing social and intellectual exchange.
The book examines individual and collective visions for the material world of children, from utopian dreams for the citizens of the future to the dark realities of political conflict and exploitation. Surveying more than 100 years of toys, clothing, playgrounds, schools, children's hospitals, nurseries, furniture, posters, animation and books, this richly illustrated catalogue illuminates how progressive design has enhanced the physical, intellectual, and emotional development of children and, conversely, how models of children's play have informed experimental aesthetics and imaginative design thinking.