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Art & Architecture
This is a book that students of architecture will want to keep in the studio and in their backpacks. It is also a book they may want to keep out of view of their professors, for it expresses in clear and simple language things that tend to be murky and abstruse in the classroom. These 101 concise lessons in design, drawing, the creative process, and presentation--from the basics of How to Draw a Line to the complexities of color theory--provide a much-needed primer in architectural literacy, making concrete what too often is left nebulous or open-ended in the architecture curriculum. Each lesson utilizes a two-page format, with a brief explanation and an illustration that can range from diagrammatic to whimsical. The lesson on How to Draw a Line is illustrated by examples of good and bad lines; a lesson on the dangers of awkward floor level changes shows the television actor Dick Van Dyke in the midst of a pratfall; a discussion of the proportional differences between traditional and modern buildings features a drawing of a building split neatly in half between the two. Written by an architect and instructor who remembers well the fog of his own student days, 101 Things I Learned in Architecture School provides valuable guideposts for navigating the design studio and other classes in the architecture curriculum. Architecture graduates--from young designers to experienced practitioners--will turn to the book as well, for inspiration and a guide back to basics when solving a complex design problem.
What is the first thing to learn in art school? "Art can be anything." The second thing? "Learn to draw." With 101 Things to Learn in Art School, artist and teacher Kit White delivers and develops such lessons, striking an instructive balance between technical advice and sage concepts. These 101 maxims, meditations, and demonstrations offer both a toolkit of ideas for the art student and a set of guiding principles for the artist. Complementing each of the 101 succinct texts is an equally expressive drawing by the artist, often based on a historical or contemporary work of art, offering a visual correlative to the written thought. "Art can be anything" is illustrated by a drawing of Duchamp's famous urinal; a description of chiaroscuro art is illuminated by an image "after Caravaggio"; a lesson on time and media is accompanied by a view of a Jenny Holzer projection; advice about surviving a critique gains resonance from Piero della Francesca's arrow-pierced Saint Sebastian.
101 Things to Learn in Art School offers advice about the issues artists confront across all artistic media, but this is no simple handbook to making art. It is a guide to understanding art as a description of the world we live in, and it is a guide to using art as a medium for thought. And so this book belongs on the reading list of art students, art teachers, and artists, but it also belongs in the library of everyone who cares about art as a way of understanding life.
Over the course of a career that spanned fifty years, Agnes Martin's austere, serene work anticipated and helped to define Minimalism, even as she battled psychological crises and carved out a solitary existence in the American Southwest. Martin identified with the Abstract Expressionists but her commitment to linear geometry caused her to be associated in turn with Minimalist, feminist, and even outsider artists. She moved through some of the liveliest art communities of her time while maintaining a legendary reserve. "I paint with my back to the world," she says both at the beginning and at the conclusion of a documentary filmed when she was in her late eighties. When she died at ninety-two, in Taos, New Mexico, it is said she had not read a newspaper in half a century.
Agnes Martin, the recipient of two career retrospectives as well as the National Medal of the Arts, was championed by critics as diverse in their approaches as Lucy Lippard, Lawrence Alloway, and Rosalind Krauss. The whole engrossing story, now available in paperback, Agnes Martin is essential reading for anyone interested in abstract art or the history of women artists in America.
This extraordinary catalogue accompanies a major traveling exhibition of 128 works of bronze, jade, and clay dating from the thirteenth century B.C. to the second century A.D. The majority of these stunningly sophisticated works of art--among the most unusual and spectacular produced anywhere in the ancient world--all come from a startling archaeological discovery made just fourteen years ago at the previously unknown site of Sanxingdui in Sichuan province. The discovery of this Bronze Age civilization fundamentally changes our understanding of Chinese history.
Representing fifteen hundred years of cultural production, these striking objects are extraordinarily varied, ranging from a monumental standing figure and an almost life-size bronze horse to ritual vessels, masks, and bronze heads of fantastic-looking supernatural beings, finely honed jade knives and ritual blades, and marvelous clay statuettes. Most have never before been seen in the United States. The exhibition and catalogue represent a unique international effort to continue the study of ancient Sichuan.
Under the leadership of Robert Bagley, an international team of scholars contributes eight essays on the archaeological discoveries at Sanxingdui, the art historical importance of these objects, and the new history of ancient China they tell. Contributors are Michèle Pirazzoli-t'Serstevens, Jessica Rawson, Lothar von Falkenhausen, Alain Thote, Jenny F. So, Michael Nylan, and the Seattle Art Museum's Curator of Chinese Art, Jay Xu. In addition to the essays, there are individual entries for each object, nearly all of which have been newly photographed for this publication.
Ancient Sichuan contributes to a revolutionary change in perceptions of ancient Chinese civilization, providing an unprecedented opportunity to explore the art, material culture, and spiritual life of ancient China.
EXHIBITION SCHEDULE:
Seattle Art Museum, Seattle
May-August 2001
Kimbell Museum of Art, Fort Worth
September 2001-January 2002
Metropolitan Museum of Art, New York
March-June 2002
Royal Ontario Museum, Toronto
August-November 2002
And the Pursuit of Happiness is beloved artist and author Maira Kalman's yearlong investigation of democracy and how it works. Energized and inspired by the 2008 elections, on inauguration day Kalman traveled to Washington, D.C., launching a national tour that would take her from a town hall meeting in Newfane, Vermont, to the inner chambers of the Supreme Court.
As we follow Kalman's wholly idiosyncratic journey, we fall in love with Lincoln alongside her as she imagines making a home for herself in the center of his magisterial memorial; ponder Alexis de Tocqueville's America; witness the inner workings of a Bronx middle-school student council; take a high-speed lesson in great American women in the National Portrait Gallery; and consider the cost of war to the brave American service families of Fort Campbell, Kentucky. The observations she makes as she travels charm and inform, and-as we have come to expect with Kalman-the route is always one of fascinating indirection.
Kalman finds evidence of democracy at work all around us. And the cast of characters we meet along the way is rousing good company, featuring visits from Benjamin Franklin, Eleanor Roosevelt, and many others. And the Pursuit of Happiness is a remarkable tribute to our history and a powerful reminder of the potential our future holds, from a true national treasure.
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Considered a great classic by all who seek for a meeting ground between science and the humanities, Art and Illusion examines the history and psychology of pictorial representation in light of present-day theories of visual perception information and learning. Searching for a rational explanation of the changing styles of art, Gombrich reexamines many ideas on the imitation of nature and the function of tradition. In testing his arguments he ranges over the history of art, noticing particularly the accomplishments of the ancient Greeks, and the visual discoveries of such masters as Leonardo da Vinci and Rembrandt, as well as the impressionists and the cubists. Gombrich's triumph in Art and Illusion arises from the fact that his main concern is less with the artists than with ourselves, the beholders.
Art and Value focuses on the questions of history, methods, and nature of art theories, and on the value and evaluation of art. It serves as a valuable primer to aesthetics, as well as a summary and extension of Dickie's contribution to the field.
In Art Can Help, the internationally acclaimed American photographer Robert Adams offers over two dozen meditations on the purpose of art and the responsibility of the artist. In particular, Adams advocates art that evokes beauty without irony or sentimentality, art that "encourages us to gratitude and engagement, and is of both personal and civic consequence." Following an introduction, the book begins with two short essays on the works of the American painter Edward Hopper, an artist venerated by Adams. The rest of this compilation contains texts--more than half of which have never before been published--that contemplate one or two works by an individual artist. The pictures discussed are by noted photographers such as Julia Margaret Cameron, Emmet Gowin, Dorothea Lange, Abelardo Morell, Edward Ranney, Judith Joy Ross, John Szarkowski, and Garry Winogrand. Several essays summon the words of literary figures, including Virginia Woolf and Czeslaw Milosz. Adams's voice is at once intimate and accessible, and is imbued with the accumulated wisdom of a long career devoted to making and viewing art. This eloquent and moving book champions art that fights against disillusionment and despair.
The author provides both practical instruction in Chinese calligraphy and an absorbing historical background from the pictographic beginnings of Chinese writing, more than 4,000 years ago, down to Kai, Hsing, and Tsao styles (each over 1,000 years old) that have endured to the present day. The basic construction of individual characters is explained, as are the many ways in which calligraphy is used by Chinese artists. Separate chapters are devoted to Chinese calligraphy as an art form, language as a way of understanding Chinese thought, Chinese porcelain and ceramics, calligraphic seals, and inscriptions on paintings.
The book's final chapters comprise a detailed, step-by-step guide to using Chinese painting equipment and to mastering the techniques needed to create stunning examples of brushwork calligraphy. This book will delight artists and calligraphers as well as all readers interested in Chinese art and culture or in the development of writing."
Written in the engaging and lucid style that is Sullivan's hallmark, The Arts of China is readily accessible to general readers as well as serious students of art history. Sullivan's approach remains true to the way the Chinese themselves view art, providing readers with a sense of the sweep of history through China's dynasties. This organizational strategy makes it easy for readers to understand the distinct characteristics of each period of art and to gain a clearer view of how Chinese art has changed in relation to its historical context. With many improvements that bring it fully up to date, The Arts of China will remain the most comprehensive and widely read introduction to the history of Chinese art.
Written in the engaging and lucid style that is Sullivan's hallmark, The Arts of China is readily accessible to general readers as well as to serious students of art history. Sullivan's approach remains true to the way the Chinese themselves view art, providing readers with a sense of the sweep of history through China's dynasties. This organizational strategy makes it easy for readers to understand the distinct characteristics of each period of art and to gain a clearer view of how Chinese art has changed in relation to its historical context. With many improvements that bring it fully up to date, The Arts of China will remain the most comprehensive and widely read introduction to the history of Chinese art.
Dancing lords and praying goddesses, swirling dragons and Buddhas atop lotus blossoms. We see these images in Asian art, but how can we learn to appreciate them? This guide introduces the history, artistry, and religious and literary symbolism of Asian art. Beautifully designed, the portfolio comes with twenty-four full-color reproductions of frameable quality and an accompanying booklet that covers three millennia of Asian art. The lush reproductions from the Asia Society's Mr. and Mrs. John D. Rockefeller 3rd Collection highlight masterpieces from India to Japan, Indonesia to China, Korea to Thailand.
Walter De Maria's "Lightning Field" is 400 stainless steel poles, positioned 220 feet apart, in the desert of central New Mexico. Over the course of several visits, it becomes, for Raicovich, a site for confounding and revealing perceptions of time, space, duration, and light; how changeable they are, while staying the same.
From At the Lightning Field Chaos and coincidences of history
Edward Lorenz was a meteorologist at MIT in the early 1960s. Looking for a devil in the detail of meteorological data, he was trying to forecast global weather patterns (creating forecasting models that would later be applied toeconomics and financial analysis). Complicated sets of equations, sometimes arbitrary webs of information, measurements of "initial conditions" churned through a primitive computer. The machine was named the Royal McBee.
Laura Raicovich works as President and Executive Director of The Queens Museum. She is the author of A Diary of Mysterious Difficulties, a book based on Viagra and Cialis spam (Publication Studio) and is an editor of Assuming Boycott: Resistance, Agency, and Cultural Production (O/R Books).
During the early 1900s, the great German poet lived and worked in Paris with Auguste Rodin. In a work as revealing of its author as it is of his famous subject, Rainer Maria Rilke examines Rodin's life and work, and explains the often elusive connection between the creative forces that drive timeless literature and great art.
Rilke served for several years as Rodin's secretary -- living in the sculptor's workshops, watching the shaping of his creations, and discussing his views and ideas. Written in 1903 and 1907, these essays about the master's work and development as an artist mark Rilke's entry into the world of letters. Rodin himself paid the poet the ultimate tribute, declaring these meditations the supreme interpretation of his work. This excellent translation, complemented by 33 illustrations, will fascinate students of literature, philosophy, and art history.
A collection of essential quotations and other writings from artist and icon Jean-Michel Basquiat
One of the most important artists of the late twentieth century, Jean-Michel Basquiat explored the interplay of words and images throughout his career as a celebrated painter with an instantly recognizable style. In his paintings, notebooks, and interviews, he showed himself to be a powerful and creative writer and speaker as well as image-maker. Basquiat-isms is a collection of essential quotations from this godfather of urban culture. In these brief, compelling, and memorable selections, taken from his interviews as well as his visual and written works, Basquiat writes and speaks about culture, his artistic persona, the art world, artistic influence, race, urban life, and many other subjects. Concise, direct, forceful, poetic, and enigmatic, Basquiat's words, like his art, continue to resonate.
Select quotations from the book:
For most of us, the word neon conjures images of lights, colors, nightlife, and streets. It evokes the poetry of city nights. For Luis de Miranda, neon is a subject of philosophical curiosity. Being and Neonness is a cultural and philosophical history of neon, from early twentieth-century Paris to the electric, perpetually switched-on present day Manhattan. It is an inspired journey through a century of night, deciphering the halos of the past and the reflections of the present to shed light on the future.
Invented in Paris in 1912, neon first appeared on a modest but arresting sign outside a small barbershop; the sign lit up number 14, Boulevard Montmartre, attracting so many passersby that the barber's revenues soon doubled. A century later, neon is no longer just a sign; it is a mythic object--a metonymy of contemporary identity and a metaphor for the present, signifying the ubiquity of commerce and the tautology of hypermodernity. But perhaps the noble gas of neon whispers something more, something deeper? In ten short, poetic yet precise chapters, de Miranda explores the neon lights of the twentieth century. He considers, among other historical curiosities, the neon compulsions of the Italian Futurists; the Soviet program of "neonization"; the Nazi's deployment of neon for propaganda purposes; Baudelaire's "halo" and Benjamin's "aura"; neon as a gas and crystallized chaos; neon and power; neon and capitalism--all of this backlit by an original reading of Sartre's Being and Nothingness. This English edition has been thoroughly revised and adapted from the French edition, L'être et le neon.
Slings and baby carriers can hardly be called new baby gadgets since they have been used in many cultures around the world for thousands of years. However, in today's world, they are sometimes perceived as new--or very old--and in any case not good for your baby's health. For decades now, we have been taught to believe that holding babies too much spoils them, even though in much of the rest of the world babies are and always have been carried or worn in a sling all day until they could walk. Recent research confirms that carrying infants develops their intelligence and their capacity for trust, affection, intimacy, love, and happiness. Intriguingly, research shows that the countries that are the least violent are the countries where babies are constantly carried or worn on the body of the mother or caregiver.
Beloved Burden shows that historically, and in a worldwide perspective, not carrying our babies is the exception. This abundantly illustrated book gives examples from around the world.
The lively accompanying text tells the story of how ornithological art grew out of the naturalistic tradition of European painting to become a genre on its own, where the artist's focus on aesthetic appeal was married to the scientist's need for precision and detail.
Many of the works reproduced in this volume have never before been published. The detailed text interweaves science, art history, biography, exploration, and travel to paint a vast and wondrous picture of the bygone world of artist-scientists, exotic birds, and faraway lands. It makes a perfect gift for anyone who loves fine prints and drawings or has an interest in nature or birding.
A beautifully illustrated visual and cultural history of the color blue throughout the ages
Blue has had a long and topsy-turvy history in the Western world. The ancient Greeks scorned it as ugly and barbaric, but most Americans and Europeans now cite it as their favorite color. In this fascinating history, the renowned medievalist Michel Pastoureau traces the changing meanings of blue from its rare appearance in prehistoric art to its international ubiquity today.
Any history of color is, above all, a social history. Pastoureau investigates how the ever-changing role of blue in society has been reflected in manuscripts, stained glass, heraldry, clothing, paintings, and popular culture. Beginning with the almost total absence of blue from ancient Western art and language, the story moves to medieval Europe. As people began to associate blue with the Virgin Mary, the color became a powerful element in church decoration and symbolism. Blue gained new favor as a royal color in the twelfth century and became a formidable political and military force during the French Revolution. As blue triumphed in the modern era, new shades were created and blue became the color of romance and the blues. Finally, Pastoureau follows blue into contemporary times, when military clothing gave way to the everyday uniform of blue jeans and blue became the universal and unifying color of the Earth as seen from space.
Beautifully illustrated, Blue tells the intriguing story of our favorite color and the cultures that have hated it, loved it, and made it essential to some of our greatest works of art.
Although the pictogram-only narrative in Xu Bing's Book from the Ground can be read by anyone, there is much more to the story of Xu Bing's wordless book than can be gleaned from icons alone. This companion volume to Book from the Ground chronicles the entire project, mapping the history of Xu Bing's novel creation from inspiration to exhibition to publication.
In the 1980s, Xu Bing created Book from the Sky. Using garbled and nonsensical faux-Chinese characters, this installation expressed Xu's doubts about written language and provoked questions about the Chinese language. Thirty years later, with Book from the Ground, the artist expresses his hope for a single, universally understood language. Inspired by airport signs that communicate instantaneously through images--directing a temporary community of modern nomads where to eat, shop, sit, and find a bathroom--Xu began to collect images, icons, and logos from which he could construct a story. This book describes Xu's research, showing notebook pages and bulletin boards full of clipped-out images; offers commentary by the artist and discussions of reading, alphabets and languages; documents, with text and photographs, exhibitions and installations connected to the work (including a Book from the Ground pop-up concept store); provides a list of works; describes Xu's "icon lab"; and "translates" Xu's pictographic narrative into English.
--New Scientist "[Rael's] imagination is audacious, and he smartly frames his "grand tour" of the border as a procession of vignettes that shift easily between history, architectural what-ifs and what you might call postcards from the front."-- San Francisco Chronicle "...in raising questions that not many others are asking about the relationship between two countries that share 2,000 miles of border, his book serves an important purpose."--The Daily Beast Borderwall as Architecture is an artistic and intellectual hand grenade of a book, and a timely re-examination of what the physical barrier that divides the United States of America from the United Mexican States is and could be. It is both a protest against the wall and a projection about its future. Through a series of propositions suggesting that the nearly seven hundred miles of wall is an opportunity for economic and social development along the border that encourages its conceptual and physical dismantling, the book takes readers on a journey along a wall that cuts through a "third nation"--the Divided States of America. On the way the transformative effects of the wall on people, animals, and the natural and built landscape are exposed and interrogated through the story of people who, on both sides of the border, transform the wall, challenging its existence in remarkably creative ways. Coupled with these real-life accounts are counterproposals for the wall, created by Rael's studio, that reimagine, hyperbolize, or question the wall and its construction, cost, performance, and meaning. Rael proposes that despite the intended use of the wall, which is to keep people out and away, the wall is instead an attractor, engaging both sides in a common dialogue. Included is a collection of reflections on the wall and its consequences by leading experts Michael Dear, Norma Iglesias-Prieto, Marcello Di Cintio, and Teddy Cruz.
Brion Gysin is a legend. As an artist, author, filmmaker, and the long-term collaborator of William S. Burroughs, Gysin helped to develop the so-called Beat aesthetic from the beginning, influencing one of the most important American art movements of the last century and helping to shape decades of literature and art across the world.
In "Here to Go," Terry Wilson introduces us to this singular talent through Gysin s own words. Best known for his discovery of the cut-up technique and the invention of the Dreamachine, it was to painting and drawing that Gysin devoted his greatest efforts. Gysin was a man of diverse interests and strident opinion; the interviews collected here cover topics as diverse as magick and psychic warfare, and as intermingled as literature and drugs.
With excerpts from Gysin s own written work and a rare extract from Gysin's original screenplay adaptation for Burrough s "Naked Lunch," this is the most complete assembly of Gysin s written work. And, with additional texts by Burroughs himself, this is the best introduction to the life, work, and philosophy of one of the 20th century s most neglected, yet visionary, polymaths."
Over 180 color photographs from temples, museums, historical sites, and private collections enhance this attractive survey of the Buddhist art of India, Central Asia, China, Korea, Japan, Nepal, Tibet, Sri Lanka, Burma (Myanmar), Indonesia, Cambodia, Thailand, and Vietnam. It presents the life story and teachings of Sakyamuni Buddha, founder of Buddhism, as shown in paintings, sculptures, and other works of art, and explores the major schools of Buddhism--Theravada, Mahayana, Vajrayana, Zen--and the styles and characteristics of the Buddhas, bodhisattvas, deities, and other images seen in their art.
Everyone interested in Buddhist art and its enduring significance will find this volume a useful reference for the study and appreciation of the various gestures, poses, and artistic elements seen in Buddhist art through the ages.
- Learn about foundations, post-and-beam wall framing, roof construction and insulation, interior thermal mass walls for improved efficiency, rain-water cisterns, electrical wiring, and photovoltaic systems.
- Learn earth-plastering techniques that create beautiful wall finishes.
- Understand how window placement and other structural elements can help to heat and cool your home and lower your energy bills.
- See how the structure works as a whole and how both energy efficiency and superb aesthetics can come from the same materials.
A vision of architecture that transcends concerns of form and function and finds the connections between the architect's wish to design a beautiful world and architecture's imperative to provide a better place for society.
The forced polarity between form and function in considerations of architecture--opposing art to social interests, ethics to poetic expression--obscures the deep connections between ethical and poetical values in architectural tradition. Architecture has been, and must continue to be, writes Alberto Pérez-Gómez, built upon love. Modernity has rightly rejected past architectural excesses, but, Pérez-Gómez argues, the materialistic and technological alternatives it proposes do not answer satisfactorily the complex desire that defines humanity. True architecture is concerned with far more than fashionable form, affordable homes, and sustainable development; it responds to a desire for an eloquent place to dwell--one that lovingly provides a sense of order resonant with our dreams. In Built upon Love Pérez-Gómez uncovers the relationship between love and architecture in order to find the points of contact between poetics and ethics--between the architect's wish to design a beautiful world and architecture's imperative to provide a better place for society.
Eros, as first imagined by the early lyric poets of classical Greece, is the invisible force at the root of our capacity to create and comprehend the poetic image. Pérez-Gómez examines the nature of architectural form in the light of eros, seduction, and the tradition of the poetic image in Western architecture. He charts the ethical dimension of architecture, tracing the connections between philia--the love of friends that entails mutual responsibility among equals--and architectural program. He explores the position of architecture at the limits of language and discusses the analogical language of philia in modernist architectural theory. Finally, he uncovers connections between ethics and poetics, describing a contemporary practice of architecture under the sign of love, incorporating both eros and philia.
Discover the healing and relaxing power inherent in calligraphic handwriting and the Medieval art of copying with this beautifully designed activity book that includes interactive sections filled with inspirational words and sentences to carefully mimic, each created by calligraphy master Màlleus.
Navigating a nonstop interconnected digital world leaves most of us frazzled and exhausted. One of the most enjoyable ways of learning to slow down is calligraphy and the art of copying. Many studies show that writing nicely and carefully can be therapeutic like meditation--repeating certain graphic signs and reciting a mantra have a similar effect. In fact, the art of copying is a kind of meditation: it improves concentration, provides a sense of order, and channels impatience and restlessness--helping to alleviate stress and quiet anxiety. The tactile nature of writing--putting fingers to pen to paper--makes our thoughts tangible and concrete. Tapping into our inner nature, writing focuses our attention so we can discover what we want most, organize our thoughts, and work towards making our dreams come true.
Calm Calligraphy is a beautiful spiritual guide and activity book that introduces you to the world of copying. Calligraphy master Màlleus offers a brief philosophical overview and introduction to his art and then provides relaxing words, phrases, and sentences on lined pages to help you unwind as you improve your skill and ultimately master the art of copying. The selections have been carefully created by the author and are inspired by the books collected in Màlleus' acclaimed scriptorium.
For older people, the exercises in Calm Calligraphy offer a way to stretch hand and finger muscles and warm up aching joints, while younger people can learn to create beautiful fine script, once a common practice taught in schools, that is quickly becoming a lost art.
With Calm Calligraphy, you can write away your stress, learn to focus better, and tune in to your inner desires.
"Each photograph is like a diary entry of my life." --Patti Smith
This captivating selection of 70 intimate black and white photographs conveys Patti Smith's singular experience as a photographer as it relates to many facets of her fascinating life and career. Exquisitely designed and produced, Patti Smith: Camera Solo accompanies the first museum exhibition of the artist's photography in the United States.Using either a vintage Land 100 or a Land 250 Polaroid camera, Smith photographs subjects inspired by her connections to poetry and literature as well as pictures that honor the personal effects of those she admires or loves. In the catalogue's interview, conducted by Susan Lubowsky Talbott, the artist talks about her "respect for the inanimate object" as well as the talismanic qualities of things in her life. We see, for instance, a picture of Mapplethorpe's slippers or a porcelain cup that belonged to her father, and are drawn into their intimacy and quiet power. Moreover, these images reveal how the camera has proven to be a means for Smith to retreat--undisturbed--to "a room of my own."
From her explorations as a visual artist in the 1960s and 70s and her profound influence on the nascent punk rock scene in the late 1970s and 80s, to Just Kids, her National Book Award-winning memoir of life with her beloved friend Robert Mapplethorpe, Smith continues to make an indelible mark on the American cultural landscape.
Why chance remains a key strategy in artists' investigations into the contemporary world.
The chance situation or random event--whether as a strategy or as a subject of investigation--has been central to many artists' practices across a multiplicity of forms, including expressionism, automatism, the readymade, collage, surrealist and conceptual photography, fluxus event scores, film, audio and video, performance, and participatory artworks. But why--a century after Dada and Surrealism's first systematic enquiries--does chance remain a key strategy in artists' investigations into the contemporary world? The writings in this anthology examine the gap between intention and outcome, showing it to be crucial to the meaning of chance in art. The book provides a new critical context for chance procedures in art since 1900 and aims to answer such questions as why artists deliberately set up such a gap in their practice; what new possibilities this suggests; and why the viewer finds the art so engaging.
Artists surveyed include Vito Acconci, Bas Jan Ader, Francis Alÿs, William Anastasi, John Baldessari, Walead Beshty, Mark Boyle, George Brecht, Marcel Broodthaers, John Cage, Sophie Calle, Tacita Dean, Stan Douglas, Marcel Duchamp, Brian Eno, Fischli & Weiss, Ceal Floyer, Huang Yong Ping, Douglas Huebler, Allan Kaprow, Alison Knowles, Jiri Kovanda, Jorge Macchi, Christian Marclay, Cildo Meireles, Robert Morris, Bruce Nauman, Yoko Ono, Gabriel Orozco, Cornelia Parker, Robert Rauschenberg, Gerhard Richter, Daniel Spoerri, Wolfgang Tillmans, Keith Tyson, Jennifer West, Ceryth Wyn Evans, La Monte Young Writers include Paul Auster, Jacquelynn Baas, Georges Bataille, Daniel Birnbaum, Claire Bishop, Guy Brett, Benjamin H. D. Buchloh, Stanley Cavell, Lynne Cooke, Fei Dawei, Gilles Deleuze, Anna Dezeuze, Russell Ferguson, Branden W. Joseph, Siegfried Kracauer, Jacques Lacan, Susan Laxton, Sarat Maharaj, Midori Matsui, John Miller, Alexandra Munroe, Gabriel Pérez Barreiro, Jasia Reichardt, Julia Robinson, Eric L. Santner, Sarah Valdez, Katharina Vossenkuhl
Photographs and text document disappearing cultural landscapes and lifestyles in rural China, capturing poignant scenes far from Beijing or Shanghai.
Just a few kilometers from the glittering skylines of Shanghai and Beijing, we encounter a vast countryside, an often forgotten and seemingly limitless landscape stretching far beyond the outskirts of the cities. Following traces of old trade routes, once-flourishing marketplaces, abandoned country estates, decrepit model villages, and the sites of mystic rituals, the authors of this book spent seven years exploring, photographing, and observing the vast interior of China, where the majority of Chinese people live in ways virtually unchanged for centuries.
China's Vanishing Worlds is an impressive documentation in images and text of modernization's effect on traditional ways of life, and a sympathetic portrait of lives burdened by hardship but blessed by simplicity and tranquility. The scars of China's recent history and the decay of centuries-old traditions are made visible in this volume, but so is the lure and promise of technology and another life for young people. In the next twenty years, an estimated 280 million Chinese villagers will become city dwellers, leaving their ancestral homes in search of urban jobs and opportunities.
In striking and evocative color photographs, we see picturesque villages set against a background of rolling hills, planned centuries ago according to the principles of feng shui; a restaurant with bright pink resin chairs and a wide-screen television; traditional buildings preserved by the accident of poverty and isolation; ramshackle rooms decorated with portraits of Chairman Mao; backpack-wearing children walking to school; festivals with elaborately costumed performers; old men playing cards; buyers and sellers at open-air markets.
China's Vanishing Worlds offers readers a rare opportunity to glimpse China as it once was, and as it will soon no longer be.