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An examination of the complex and subtle world on display in Rodney Graham's film of an LSD-inflected bicycle ride. Rodney Graham's Phonokinetoscope (2001) is a five-minute 16mm film loop in which the artist is seen riding his Fischer Original bicycle through Berlin's Tiergarten while taking LSD, to the soundtrack of a fifteen-minute song (written and performed by Graham) recorded on a vinyl LP. The turntable drives the projection of the film; the film starts when the needle is placed on the record and stops when the needle is taken off. Graham's ride evokes the Swiss scientist Albert Hoffman's famous 1943 bicycle ride home after an experimental dose of LSD as well as Paul Newman's backward-facing ride in Butch Cassidy and the Sundance Kid; the accompanying music presents a thicket of riffs and borrowings. As the images and visual details repeat in the film's endless loop, the artist's Phonokinetoscope refers to a surprising number of works of art and literature, displaying a world rich with subtle meaning. In this illustrated study of Phonokinetoscope, Shep Steiner describes the work as marking Graham's transition into a new medium. Steiner positions Graham's practice in relation to postminimalist practice and that of other artists including Dan Graham, but especially, Ian Wallace and Jeff Wall; considers Graham's rhetoric of playfulness; and finally, beyond the web of references, argues for a notion of allegory and memory theater keyed to the durational work yet satisfying the aesthetic standards of static art. Phonokinetoscope, Steiner argues, looks back to Graham's earlier works focusing on the notion of protocinema and forward to his later musical preoccupations.
By the late twentieth century, idyllic depictions of eighteenth-century manorial landscapes had become artistic expressions of dislocation. Western agricultural paradigms had shifted, as had the relationship between art and agriculture. The Cultivated Landscape uses over seventy illustrations to look at the development of Western agriculture from feudal times to the present. Craig Pearson and Judith Nasby discuss the evolution of how we think about agriculture, its use of the land and impact on landscape, and how landscape has been portrayed historically in art. They also offer a wider discussion on the role that science and economics have played in agricultural development and the parallels to changes in art form. The Cultivated Landscape ends with a discussion of the complex issues facing agriculture today, the need for greater connectivity between agriculture and our environment, and options for the future.
Catalogus bij een tentoonstelling over de relatie tussen rockmuziek en avantgardistische kunst sinds de zestiger jaren.
Książka towarzysząca wystawie w Starkmann Library Services, Winchester, Massachusetts, 4 czerwiec - 2 wrzesień 1994 i w Art Gallery of York University, Toronto 21 wrzesień - 30 październik 1994.
Twenty two artists from Australia and across the Commonwealth were presented in an exhibition that was the flagship program of the Commonwealth games.
Art Catalogue Index (A.C.I.) aims to provide a comprehensive list of all the catalogues raisonnés and reviews on artists born between 1780 and the postwar period. This first edition is focused on the so-called 'modern' period. It starts with the birth of Jean Auguste Dominique Ingres, in 1780 in Montauban, who competed for the Prix de Rome in 1800 with his contemporaries; he therefore both witnessed and took part in this turning point in time which opened the gates of the 'modern' period, and which led up to today and contemporary art. Published with BFAS, Geneva, and Thierry Meaudre, Paris. English text.
Published to accompany the exhibition held at Museum of Contemporary Art, Los Angeles, 9 October 2005 - 20 February 2006.
Taking its title and cue from the Wordsworth poem "I Wandered Lonely as a Cloud," The Inward Eye assembles together a visceral and enigmatic array of contemporary paintings, collages, drawings, sculptures and installations that emphasizes perception and reverie, from James Lee Byars' "Slit Moon" and Vija Celmins' engraving of the ocean surface, to Katharina Fritsch's vanitas and Howard Hodgkins' painterly memory of a dinner in Italy.