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Tiré du site de l'éditeur: "On December 17, 1972 a photograph was made of Bernd Becher at the instant almost exactly after he had been asked to "look like" a pirest, a criminal, a lover, an old man, a pliceman, an artist, "Bernd Becher", a philosopher, a spa and a "nice guy", in that order. To make it almost impossible for Becher to remember his own "faces" more than two months were allowed to pass before prints of the photographs were sent to him ; the photographs were numbered differently from the original sequence and Becher was asked to make the "correct" associations with the given verbal terms."
A major reassessment of photography’s pivotal role in 1960s conceptual art Why do we continue to look to photographs for evidence despite our awareness of photography’s potential for duplicity? Documents of Doubt critically reassesses the truth claims surrounding photographs by looking at how conceptual artists creatively undermined them. Studying the unique relationship between photography and conceptual art practices in the United States during the social and political instability of the late 1960s, Heather Diack offers vital new perspectives on our “post-truth” world and the importance of suspending easy conclusions in contemporary art. Considering the work of four leading conceptual artists of the 1960s and ’70s, Diack looks at photographs as documents of doubt, pushing the form beyond commonly assumed limits. Through in-depth and thorough reevaluations of early work by noted artists Mel Bochner, Bruce Nauman, Douglas Huebler, and John Baldessari, Diack advances the powerful thesis that photography provided a means of moving away from the object and toward performative effects, playing a crucial role in the development of conceptual art as a medium of doubt and contingency. Discussing how unexpected and contradictory meanings can exist in the guise of ordinary pictures, Documents of Doubt offers evocative and original ideas on truth’s connection to photography in the United States during the late 1960s and how conceptual art from that period anticipated our current era of “alternative facts” in contemporary politics and culture.
Photography and Collaboration offers a fresh perspective on existing debates in art photography and on the act of photography in general. Unlike conventional accounts that celebrate individual photographers and their personal visions, this book investigates the idea that authorship in photography is often more complex and multiple than we imagine – involving not only various forms of partnership between photographers, but also an astonishing array of relationships with photographed subjects and viewers. Thematic chapters explore the increasing prevalence of collaborative approaches to photography among a broad range of international artists – from conceptual practices in the 1960s to the most recent digital manifestations. Positioning contemporary work in a broader historical and theoretical context, the book reveals that collaboration is an overlooked but essential dimension of the medium’s development and potential.
A firearms reference that includes ballistics charts, hundreds of photographs, prices, and specifications for thousands of guns and pieces of equipment.
The Art of Mechanical Reproduction presents a striking new approach to how traditional art mediums—painting, sculpture, and drawing—changed in the twentieth century in response to photography, film, and other technologies. Countering the modernist view that the medium provides advanced art with “resistance” against technological pressures, Tamara Trodd argues that we should view art and its practices as imaginatively responding to the potential that artists glimpsed in mechanical reproduction, putting art into dialogue with the commercial cultures of its time. The Art of Mechanical Reproduction weaves a rich history of the experimental networks in which artists as diverse as Paul Klee, Hans Bellmer, Ellsworth Kelly, Robert Smithson, Gerhard Richter, Chris Marker, and Tacita Dean have worked, and it shows for the first time how extensively technological innovations of the moment have affected their work. Original and broad-ranging, The Art of Mechanical Reproduction challenges some of the most respected and entrenched criticism of the past several decades—and allows us to think about these artists anew.
Special edition of the Federal Register, containing a codification of documents of general applicability and future effect ... with ancillaries.
The Code of Federal Regulations is the codification of the general and permanent rules published in the Federal Register by the executive departments and agencies of the Federal Government.
This document provides the comprehensive list of Chinese National Standards - Category: GB; GB/T, GBT.
A deep analysis of an enigmatic artist whose oeuvre opens new spaces for understanding feminism, the body, and identity Popular and pioneering as a conceptual artist, Rosemarie Trockel has never before been examined at length in a dedicated book. This volume fills that gap while articulating a new interpretation of feminist theory and bodily identity based around the idea of schizogenesis central to Trockel’s work. Schizogenesis is a fission-like form of asexual reproduction in which new organisms are created but no original is left behind. Author Katherine Guinness applies it in surprising and insightful ways to the career of an artist who has continually reimagined herself and her artistic vision. Drawing on the philosophies of feminists such as Simone de Beauvoir, Shulamith Firestone, and Monique Wittig, Guinness argues that Trockel’s varied output of painting, fabric, sculpture, film, and performance is best seen as opening a space that is peculiarly feminist yet not contained by dominant articulations of feminism. Utilizing a wide range of historical and popular knowledge—from Baader Meinhof to Pinocchio, poodles, NASA, and Brecht—Katherine Guinness gives us the associative and ever-branching readings that Trockel’s art requires. With a spirit for pursuing the surprising and the obscure, Guinness delves deep into a creator who is largely seen as an enigma, revealing Trockel as a thinker who challenges and transforms the possibilities of bodily representation and identity.