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La exposición refleja la historia del Black Mountain College (BMC), fundado en 1933 en Carolina del Norte y concebido como universidad experimental que situaba al arte en el centro de una educación liberal que pretendía educar mejor a los ciudadanos para participar en la sociedad democrática. La educación era interdisciplinaria y concedía gran importancia al debate, la investigación y la experimentación, dedicando la misma atención a las artes visuales –pintura, escultura, dibujo- que a las llamadas artes aplicadas –tejidos, cerámica, orfebrería, así como a la arquitectura, la poesía, la música y la danza.
From Josef Albers and John Cage to Charles Olson and Robert Rauschenberg, the teachers and students of Black Mountain shaped postwar culture Founded in North Carolina in 1933, Black Mountain College ranks alongside the Bauhaus as one of the most innovative schools of the 20th century. Inspired by the forward-thinking pedagogical ideas of philosopher John Dewey, the experimental, interdisciplinary college combined the ideas of radical European modernism with the philosophy of American pragmatism and teaching methods designed to encourage personal initiative as well as the social competence of the individual. Visual arts, economics, physics, dance, architecture and music were all taught on an equal footing, and teachers and students lived together in a democratically organized community. The second director of the school was Josef Albers, and John Cage, Merce Cunningham, Buckminster Fuller, Walter Gropius, Franz Kline and Charles Olson were among its teachers. As a result, the college played a foundational role in the development of a range of avant-garde practices, and exerted an enormous influence on the development of the arts in the second half of the 20th century. Briefly out of print and quickly becoming a sought-after book, this gloriously designed and illustrated volume was first published for the exhibition An Interdisciplinary Experiment, 1933-1957, held at the Nationalgalerie im Hamburger Bahnhof in Berlin. It remains unrivaled for its sympathetic design and fulsome documentation. A profusion of archival materials--including photographs of classes in progress and college housing with its Albers-designed furniture, and page spreads from college bulletins and issues of Robert Creeley's Black Mountain Review--is presented alongside contemporary essays. Happily back in print, Black Mountain: An Interdisciplinary Experiment 1933-1957traces the key moments in the history of this legendary school.
Leading international artists and art educators consider the challenges of art education in today's dramatically changed art world. The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions about the education of today's artists. Art School (Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms. The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramovic, as well as questionnaire responses from a dozen important artists—among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat—about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls. And throughout the volume, attention is paid to new initiatives and proposals about what an art school can and should be in the twenty-first century—and what it shouldn't be. No other book on the subject covers more of the questions concerning art education today or offers more insight into the pressures, challenges, risks, and opportunities for artists and art educators in the years ahead. Contributors Marina Abramovic, Dennis Adams, John Baldessari, Ute Meta Bauer, Daniel Birnbaum, Saskia Bos, Tania Bruguera, Luis Camnitzer, Michael Craig-Martin, Thierry de Duve, Clémentine Deliss, Charles Esche, Liam Gillick, Boris Groys, Hans Haacke, Ann Lauterbach, Ken Lum, Steven Henry Madoff, Brendan D. Moran, Ernesto Pujol, Raqs Media Collective, Charles Renfro, Jeffrey T. Schnapp, Michael Shanks, Robert Storr, Anton Vidokle
This book examines and interprets a wide range of approaches to the causes of violence and conflict. The causes of violence and conflict are often left untheorized, or they are discussed as an existent problem assumed to be an inevitable part of human interaction. Adopting an accessible approach, this volume presents readers with a clear understanding of the causes of violence and conflict by highlighting their evolutionary roots and illustrating them with in-depth case studies and examples. Tim Jacoby addresses the fragmented nature of the literature on conflict theory by drawing upon a wide range of disciplinary traditions, seeking to reflect the fact that international relations, history, economics, development, politics and sociology all share a long-standing interest in the study of conflict and violence and that common concerns make interdisciplinary stimulating and productive. Understanding Conflict & Violence will be of interest to students and scholars across the disciplines of international relations, history, economics, development, politics and sociology.
Presents a catalog of an exhibition showcasing the products, sketches, and models of industrial designer Dieter Rams.
Cohen traces a history of modernism in migration through the composer Stefan Wolpe, from the Bauhaus to Black Mountain College.
Practically every major artistic figure of the mid-twentieth century spent some time at Black Mountain College: Harry Callahan, Merce Cunningham, Walter Gropius, Willem and Elaine de Kooning, Robert Motherwell, Robert Rauschenberg, Aaron Siskind, Cy Twombly - the list goes on and on. Yet scholars have tended to view these artists' time at the college as little more than prologue, a step on their way to greatness. With The Experimenters, Eva Diaz reveals the influence of Black Mountain College - and especially of three key instructors, Josef Albers, John Cage, and R. Buckminster Fuller - to be much greater than that. Diaz's focus is on experimentation. Albers, Cage, and Fuller, she shows, taught new models of art making that favored testing procedures rather than personal expression. The resulting projects not only reconfigured the relationships among chance, order, and design - they helped redefine what artistic practice was, and could be, for future generations. Offering a bold, compelling new angle on some of the most widely studied creative minds of the twentieth century, The Experimenters does nothing less than rewrite the story of art in the mid-twentieth century.
Description: Puts New Jersey at the center of key art movements during the sixties
An examination of the role of sound in twentieth-century arts. This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it—to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries. Focusing on Europe in the first half of the century and the United States in the postwar years, Douglas Kahn explores aural activities in literature, music, visual arts, theater, and film. Placing aurality at the center of the history of the arts, he revisits key artistic questions, listening to the sounds that drown out the politics and poetics that generated them. Artists discussed include Antonin Artaud, George Brecht, William Burroughs, John Cage, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.
This career-spanning exhibition catalog reveals the enormous artistic achievements--both individual and shared--of two of the greatest pioneers of twentieth-century modernism. Featuring more than two hundred and fifty works, including paintings, photographs, drawings, textiles and furniture, this essential volume traces the creative development of Josef and Anni Albers--both instrumental figures in the development of modernism and abstract art. Illustrated profusely throughout, this book features contributions from leading experts in chapters exploring the couple's relationship and important aspects of their professional partnership, including their meeting at the Bauhaus School and their influential years at Black Mountain College in North Carolina. Wide-ranging essays examine topics such as the influence of Pre-Colombian art; Josef's masterwork Homage to the Square; Anni's jewelry and works on paper; Josef's famed classes at Yale University; and Anni's years as a graphic designer after her husband's death. Both artists are celebrated for their lasting achievements in their respective fields--Josef for his color theory classes at Yale, Anni for her innovative use of unconventional materials. Readers will come away with an appreciation for the Albers' experimentation and innovation; their collaboration and teamwork; their dedication to education and mentorship; and the many ways their work challenged