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The human body is perhaps the most integral and integrated part of Yael Davids' work. In it, the body and everyday objects can become so intertwined that the body becomes part of the chair and the chair becomes part of the body; you sew with your fingers and your fingers are sewn. Using her own body and its materials, such as hair and skin, makes the sculptures more alive. Short essays by philosopher Snejanka Mihaylova accompany this first monograph on Davids' performance, installation, and video work.
This publication compiles material of performances and installations produced during a five year period, featuring scripts, and documentation of the works Ending with Glass, Learning to Imitate in Absentia, Obliterating an Image, The Distance between V and W, Objects in Diaspora, and A Reading That Loves - a Physical Act, of which the last was shown at Documenta 14. Yael Davids positions the reception of her performances and installations as a constitute force in her practice. Each performance repeats what has preceded, yet also expands, modifies, and nuances the previous version. Through this practice of perpetually attuning the central components of the work - voice, body and object - a series of augmented repetitions turns into a single composition, a single artwork.
Catalog of the exhibition held May 14-June 27, 1999.
Documents artist Allan Keprow's life and work through an extensive chronology that visually portrays his evolution from painter to environmental artist to inventor of the Happening and the Activity.
Nothing about Dutch graphic design duo Mevis & van Deursen conforms to type. Praised for their innovative but clear presentation, they have designed everything from artist's books for Gabriel Orozco and Rineke Dijkstra to an official government stamp commemorating the marriage of Dutch Crown Prince Willem-Alexander, based on the number two, since the wedding date was 02-02-02. This book represents a range of work from the past 15 years, mostly books but also posters and smaller pieces. However, the artists have chosen not simply to present the work again but to make it new through collage and reinterpretative interplay, thus "recycling" their innovative design.
Examines the changing meanings Americans invested in their country's intensifying relationship with Israel from the 1950s to the 1980s.
The work of the American artist Ian Cheng (b. 1984, Los Angeles, lives in New York) explores the nature of mutation and people?s capacity to relate to change. Drawing on principles of video game design, improvisation, and Darwinian brutality, Cheng has developed so-called 'live simulations, ' virtual living ecosystems that begin with basic programmed properties, but that are left to evolve without authorial control or aim. His simulations model the dynamics of often imaginary organisms and ecologies, but do so with the unforgiving causality found in nature itself. Cheng, who studied cognitive science at the University of California, Berkeley, describes his simulations as akin to a 'neurological gym': a format for viewers to deliberately exercise the feelings of confusion, anxiety, and cognitive dissonance that accompany the experience of unrelenting change.
Nought to sixty was a six month programme of exhibitions and events to celebrate ICA's sixtieth anniversary. It presented sixty projects by emerging artists in Great Britain and Ireland under the age of thirty five.