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This book examines the theoretical and methodological research issues that underlie the design and use of interactive technology. The analysis directs attention to three human capacities: cognition, communication and interaction. The examination of these capacities is embedded in understanding concepts of communication and interaction and their application; conceptions of knowledge and cognition; and the role of aesthetics and ethics in design.
Dramatic advances in life expectancy mean that today's retirees must plan on livinginto their eighties, their nineties, and even beyond. Longer life expectancies are the symbol of aprosperous society, but this progress also means that some retirees will need to plan conservativelyand cut back substantially on their living standards or risk living so long that they exhaust theirresources. This book examines the role that life annuities can play in helping people protectthemselves against such outcomes.A life annuity is an insurance product that pays out a periodicamount for as long as the annuitant is alive, in exchange for a premium. The book begins with ahistory of life annuity markets during the twentieth century in the United States and elsewhere. Itthen explores recent trends in annuity pricing and money's worth, as well as the economic valuegenerated for purchasers of these products. The book explains the potential importance ofinflation-protected annuities and stock-market-linked variable annuities in providing more completeretirement security. The concluding chapters examine life annuities in various institutionalsettings and the tax treatment of annuity products.
One of the pioneers of contemporary object and installation art, Richard Artschwager's three dimensional paintings and two-dimensional sculptures wittily evoke associations with commonplace objects such as furniture and household appliance. Accompanying essays consider Artschwager's artistic development, the meaning of surface quality in his work, and his place within the context of relevant art movements.
In Punctuation: Art, Politics, and Play, Jennifer DeVere Brody places punctuation at center stage. She illuminates the performative aspects of dots, ellipses, hyphens, quotation marks, semicolons, colons, and exclamation points by considering them in relation to aesthetics and experimental art. Through her readings of texts and symbols ranging from style guides to digital art, from emoticons to dance pieces, Brody suggests that instead of always clarifying meaning, punctuation can sometimes open up space for interpretation, enabling writers and visual artists to interrogate and reformulate notions of life, death, art, and identity politics. Brody provides a playful, erudite meditation on punctuation’s power to direct discourse and, consequently, to shape human subjectivity. Her analysis ranges from a consideration of typography as a mode for representing black subjectivity in Ralph Ellison’s Invisible Man to a reflection on hyphenation and identity politics in light of Strunk and White’s prediction that the hyphen would disappear from written English. Ultimately, Brody takes punctuation off the “stage of the page” to examine visual and performance artists’ experimentation with non-grammatical punctuation. She looks at different ways that punctuation performs as gesture in dances choreographed by Bill T. Jones, in the hybrid sculpture of Richard Artschwager, in the multimedia works of the Japanese artist Yayoi Kusama, and in Miranda July’s film Me and You and Everyone We Know. Brody concludes with a reflection on the future of punctuation in the digital era.
This book analyzes practices of collecting in European art museums from 1989 to the present, arguing that museums actualize absence both consciously and unconsciously, while misrepresentation is an outcome of the absent perspectives and voices of minority community members which are rarely considered in relation to contemporary art. Difficult knowledge is proposed as a way of dealing with absence productively. Drawing on social art history, museology, postcolonial theory, and memory studies, Margaret Tali analyzes the collections of four modern and contemporary art museums across Europe: the Hamburger Bahnhof in Berlin, the Ludwig Museum of Contemporary Art in Budapest, the Kiasma Museum in Helsinki, and the Kumu Museum in Tallinn.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
A series of essays discussing the Elvehjem Museum of Art's outdoor sculpture, Generations, which opened to the public in 1991. This exhibit was designed as an educational vehicle which would promote an understanding and acceptance of the new sculpture and inspire further interest in public art.
Arranged in alphabetical order, these 5 volumes encompass the history of the cultural development of America with over 2300 entries.
The first anthology to assemble the writings of the groundbreaking art historian, critic, and curator Marcia Tucker. These influential, hard-to-obtain texts —many of which have never before been published—by Marcia Tucker, founding director of New York's New Museum, showcase her lifelong commitment to pushing the boundaries of curatorial practice and writing while rethinking inherited structures of power within and outside the museum. The volume brings together the only comprehensive bibliography of Tucker’s writing and highlights her critical attention to art’s relationship to broader culture and politics. The book is divided into three sections: monographic texts on a selection of the visionary artists whom Tucker championed, among them Bruce Nauman, Joan Mitchell, Richard Tuttle, and Andres Serrano; exhibition essays from some of the formative group shows she organized, such as Anti-Illusion: Procedures/Materials (1969) and Bad Girls (1994), which expanded the canons of curating and art history; and other critical works, including lectures, that interrogated museum practice, inequities of the art world, and institutional responsibility. These texts attest to Tucker’s tireless pursuit of questions related to difference, marginalization, access, and ethics, illuminating her significant impact on contemporary art discourse in her own time and demonstrating her lasting contributions to the field.
This book examines the writings of Lawrence Alloway (1926-1990), one of the most influential and widely-respected art writers of the post-War years. It provides a close and critical reading of his writings, and sets his work in the cultural and political context of the London and New York art worlds of the 1950s to the early 1980s.