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Pontus Hultén was one of the major museum directors, nationally and internationally, in his time. He built up important art institutions, primarily Moderna Museet Stockholm, the Centre Georges Pompidou, Paris and Palazzo Grassi, Venice. Hultén put on a series of pioneering exhibitions, introducing art of importance that was not always already established at Moderna Museet in the 1960s. The artists were among others Robert Rauschenberg, Andy Warhol, Niki de Saint Phalle and Jean Tinguely. As artistic director at Centre Georges Pompidou he curated major exhibitions in the 1980s, among them a series of exhibitions on early modernism in Paris in relation to the modernism of Moscow, New York and Berlin at the time.
Pontus Hult�n worked at Moderna Museet in Stockholm between 1958 and 1973. In 1960 he was appointed director. It was in this role that he built the collection and the Museum's international reputation, with exhibitions such as Movement in Art (1961), American Pop Art. 106 Forms of Love and Despair (1964), She - A Cathedral (1966), and Andy Warhol (1968).In 2005 Pontus Hult�n donated his private art collection, his library, and his archives to Moderna Museet. The Formative Years, is to focus on his practice as an exhibition curator and museum director and to explore the legacy of the legendary 1960s and its implications for the Museum today.In addition to the five articles the book contains archival photographs and documents as well as a previously unpublished text from 1962 by Pontus Hult�n himself, outlining his ideas on how a modern art museum should be run.
Pontus Hultén worked at Moderna Museet in Stockholm between 1958 and 1973. In 1960 he was appointed director. It was in this role that he built the collection and the Museum?s international reputation, with exhibitions such as Movement in Art (1961), American Pop Art. 106 Forms of Love and Despair (1964), She - A Cathedral (1966), and Andy Warhol (1968). In 2005 Pontus Hultén donated his private art collection, his library, and his archives to Moderna Museet. The Formative Years, is to focus on his practice as an exhibition curator and museum director and to explore the legacy of the legendary 1960s and its implications for the Museum today. In addition to the five articles the book contains archival photographs and documents as well as a previously unpublished text from 1962 by Pontus Hultén himself, outlining his ideas on how a modern art museum should be run.
How did art escape the deadlock of the Situationists? anti-art refusal? Did the relational artists, with their repetitions of Situationist slogans and techniques, outline a sustainable, micro-political alternative to Guy Debord?s dream of surpassing art and realizing philosophy? Looking back at some of the Situationists? confrontations with the museum, this book traces a path beyond the tragedy of negativity and the litany of recuperation. At the center is the concept of play; originally adopted as the principle of reconciled life, it returns as the lever of instrumentalization. But in the extraterrestial wasteland of the present, spaces of ludic coexistence and experimentation may remain possible, provided that pessimism can be adequately organized.
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
The first book to explore the world's most significant architectural exhibitions of the 20th century How do you exhibit a building, a locality, a city? Exhibit A reveals how architecture has pushed the boundaries of exhibition as a medium and how, in turn, exhibitions have shaped the discipline of architecture. Focusing on 80 landmark architecture exhibitions mounted in countries around the world between 1948 and 2000, and featuring 300 images, this groundbreaking overview is both a vital reference and a visually compelling study of the way we look at built work.
Keith Haring is synonymous with the downtown New York art scene of the 1980's. His artwork-with its simple, bold lines and dynamic figures in motion-filtered in to the world's consciousness and is still instantly recognizable, twenty years after his death. This Penguin Classics Deluxe Edition features ninety black-and-white images of classic artwork and never-before-published Polaroid images, and is a remarkable glimpse of a man who, in his quest to become an artist, instead became an icon. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Exploring the relationship between museums and biographies, this collection of essays examines examples from the early 19th century to the present day.
"Japanese artist Yayoi Kusama's iconic Infinity Mirror Rooms are filled with a multiplicity of lights that reflect endlessly, projecting the illusion of infinite space. Yayoi Kusama: Infinity Mirrors traces these installations over five decades, revealing the ways in which they developed from a strategy of "self-obliteration" and political liberation during the Vietnam War to a means of social harmony in the present. By examining her early unsettling installations alongside her more recent ethereal atmospheres, this volume aims to historicize her pioneering work amidst today's renewed interest in experiential practices"--