afterall publishing (219 risultati)

Condizione: Like New. Most items will be dispatched the same or the next working day. An apparently unread copy in perfect condition. Dust cover is intact with no nicks or tears. Spine has no signs of creasing. Pages are clean and not marred by notes or folds of any kind.

Paperback. Condizione: New.

Paperback. Condizione: New.

Paperback. Condizione: New.

Paperback. Condizione: New.

Paperback. Condizione: New.

Paperback. Condizione: New.

Paperback. Condizione: New.

Paperback. Condizione: New.

Paperback. Condizione: new. Paperback. An illustrated study of Hanne Darboven's masterwork, the massive Kulturgeschichte 1880-1983 (Cultural History 1880-1983).Hanne Darboven's Kulturgeschichte 1880-1983 (Cultural History 1880-1983) (1980-1983) is an overwhelming and encyclopedic installation consisting of 1,590 works on paper and 19 sculptural objects. The work weaves together cultural, social, and historical references with autobiographical documents, postcards, pinups of film and rock stars, documentary references to the first and second world wars, geometric diagrams for textile weaving, a sampling of New York doorways, illustrated covers from news magazines, the contents of an exhibition catalogue devoted to postwar European and American art, a kitschy literary calendar, and extracts from some of Darboven's earlier works. The panels are sequenced and grouped, with the groups then juxtaposed in arrangements that often seem little more than chance associations. In his illustrated walk through Darboven's massive work, Dan Adler explores its visual and aesthetic complexities and considers the work in relation to various projects undertaken by European artists in the 1960s-including Gerhard Richter's ongoing Atlas. The work is now permanently installed at Dia- Beacon. An illustrated study of Hanne Darboven's masterwork, the massive Kulturgeschichte 1880-1983 (Cultural History 1880-1983). Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: New.

Paperback. Condizione: new. Paperback. A nuanced reading of an artwork that explores a place, transitory and pastoral, where childhood might be lived and imagined differentlySharon Lockhart's Pine Flat (2006) takes its name from a small hamlet in the foothills of the western slope of the Sierra Nevadas, just inside the Giant Sequoia National Monument. The work itself comprises three distinct parts- a set of three photographs of landscapes; a larger set of posed studio portraits of children and young teenagers; and a 138-minute 16-millimeter film, which is itself assembled from twelve ten-minute scenes-each a single immobile take-divided in half by a ten-minute intermission. This volume in Afterall's One Work series offers a nuanced reading of Lockhart's work, with color illustrations from both series of photographs and the film.Art historian Howard Singerman sees in Pine Flat not a straightforward portrait of a community of children or ethnography of a place. Rather, the work explores the possibility of a space for childhood in which children have the right to intimacy, innocence, and interest outside adult narratives. The children in Pine Flat are posed formally and conventionally, but the space they occupy and the identities they construct are their own. Youth culture has long been exploited, to sell itself in order to be sold to; today, the rights of children to their own childhoods are constantly eroded. In Pine Flat, Singerman argues, Lockhart proposes a place, transitory and pastoral, "where childhood might be lived differently, imagined under a different order of power and possibility." A nuanced reading of an artwork that explores a place, transitory and pastoral, where childhood might be lived and imagined differently Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: New.

Paperback. Condizione: New.

Paperback. Condizione: New.

Paperback. Condizione: New.

Condizione: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Condizione: new. Paperback. Drawing on unpublished documents and oral histories, an illustrated examination of an iconic artwork of an artist who has made a lifework of tactical evasion.One wintry day in 1983, alongside other street sellers in the East Village, David Hammons peddled snowballs of various sizes. He had neatly laid them out in graduated rows and spent the day acting as obliging salesman. He called the evanescent and unannounced street actionBliz-aard Ball Sale, thus inscribing it into a body of work that, from the late 1960s to the present, has used a lexicon of ephemeral actions and self-consciously "black" materials to comment on the nature of the artwork, the art world, and race in America.And althoughBliz-aard Ball Salehas been frequently cited and is increasingly influential, it has long been known only through a mix of eyewitness rumors and a handful of photographs. Its details were as elusive as the artist himself; even its exact date was unrecorded.Like so much of the artist's work, it wasconceived, it seems, to slip between our fingers-to trouble the grasp of the market, as much as of history and knowability.In this engaging study, Elena Filipovic collects a vast oral history of the ephemeral action, uncovering rare images and documents, and giving us singular insight into an artist who made an art of making himself difficult to find. And through it, she reveals Bliz-aard Ball Saleto be the backbone of a radical artistic oeuvre that transforms such notions as "art," "commodity," "performance," and even "race" into categories that shift and dissolve, much like slowly melting snowballs. Drawing on unpublished documents and oral histories, an illustrated examination of an iconic artwork of an artist who has made a lifework of tactical evasion. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condizione: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condizione: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condizione: Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Condizione: New.

Condizione: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned.

Paperback. Condizione: new. Paperback. A richly illustrated exploration of Sung Hwan Kims complex record of migrant stories, displacement and belonging, border-crossings and translation.In A Record of Drifting Across the Sea (2017), Sung Hwan Kim turns to past histories of migration. The artist parses the tracesarchival and bodilyleft by undocumented Korean migrants who came to the US by way of Hawaii at the turn of the last century, and ponders over their impact on other migrant and indigenous communities. As an ongoing film and installation series, comprising two chapters and a third in progress, A Record unsettles the limits of the "one work" with its distributive, open-ended and collaborative nature. In this speculative inquiry, Janine Armin explores each chapter in Kims multilayered work as a mycelial network of feelers entangling and extending the wider work in process. Engaging history through the senses, folklore and myth, as much as through archival material, Kim navigates and crosses the boundaries between displacement and belonging. Focusing on the artists attempt to escape from representation, Armin illuminates and attends to the different stories and non-sovereign ways of being together towards which his work points us. This title is part of the One Work book series, which focuses on artworks that have significantly changed the way we understand art and its history. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. A close examination of Agnes Martin's grid painting in luminous blue and gold. Agnes Martin's Night Sea (1963) is a large canvas of hand-drawn rectangular grids painted in luminous blue and gold. In this illustrated study, Suzanne Hudson presents the painting as the work of an artist who was also a thinker, poet, and writer for whom self-presentation was a necessary part of making her works public. With Night Sea, Hudson argues, Martin (1912-2004) created a shimmering realization of control and loss that stands alone within her suite of classic grid paintings as an exemplary and exceptional achievement. Hudson offers a close examination of Night Sea and its position within Martin's long and prolific career, during which the artist destroyed many works as she sought forms of perfection within self-imposed restrictions of color and line. For Hudson, Night Sea stands as the last of Martin's process-based works before she turned from oil to acrylic and sought to express emotions of lightness and purity unburdened by evidence of human struggle. Drawing from a range of archival records, Hudson attempts to draw together the facts surrounding the work, which were at times obfuscated by the artist's desire for privacy. Critical responses of the time give a sense of the impact of the work and that which followed it. Texts by peers including Lenore Tawney, Donald Judd, and Lucy Lippard are presented alongside interviews with a number of Martin's friends and keepers of estates, such as the publisher Ronald Feldman and Kathleen Mangan of the Lenore Tawney archive, which holds correspondence between Martin and Tawney. A close examination of Agnes Martin's grid painting in luminous blue and gold. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. An extended illustrated account of the Hollis Frampton film that marks critical moment in art history when photography meets filmmaking.In his 1971 short film, (nostalgia), American artist and writer Hollis Frampton oveturned the conventional narrative roles of words and images. In his account of an artists's transformation from photographer to filmmaker, Frampton burns photographs he had taken and selected from his past along with one found photograph. A calm voice tells a story about an image, but the story is about the following image, not the one shown. Confounding comprehension still further, the narration begins and ends during the photograph's combustion; smoke and ashes get in our eyes while we are trying to make sense of the image and the narration-trying to remember the story that fits the image, trying to remember the image that fits the story. Frampton's (nostalgia) is a formal masterpiece, long overlooked and understudied. It emerges from a body of film work that is rarely screened, the prints damaged and difficult to locate. Frampton's work is valued in artist filmmaking and film theory circles, but it has never taken its rightful place at the heart of modern art theory. This study will introduce a new generation to a critical moment in art history-when (nostalgia) confirmed both the essence and fragility of cinema itself. Afterall Books are distributed by The MIT Press. An extended illustrated account of the Hollis Frampton film that marks critical moment in art history when photography meets filmmaking. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. An illustrated examination of Philip Guston's comic and complex painting The Studio. Throughout his career, Philip Guston's work metamorphosed from figural to abstract and back to figural. In the 1950s, Guston (1913-1980) produced a body of shimmering abstract paintings that made him-along with Willem de Kooning, Jackson Pollock, and Franz Kline-an influential abstract expressionist of the "gestural" tendency. In the late 1960s, with works like The Studio came his most radical shift. Drawing from the imagery of his early murals and from elements in his later drawings, ignoring the prevailing "coolness" of Minimalism and antiform abstraction, Guston invented for these late works a cast of cartoon-like characters to articulate a vision that was at once comic, crude, and complex. In The Studio, Guston offers a darkly comic portrait of the artist as a hooded Ku Klux Klansman, painting a self-portrait. In this concise and generously illustrated book, Craig Burnett examines The Studio in detail. He describes the historical and personal motivations for Guston's return to figuration and the (mostly negative) critical reaction to the work from Hilton Kramer and others. He looks closely at the structure of The Studio, and at the influence of Piero della Francesca, Manet, and Krazy Kat, among others; and he considers the importance of the column of smoke in the painting-as a compositional device and as a ghost of abstraction and metaphysics. The Studio signals not only Guston's own artistic evolution but a broader shift, from the medium-centric and teleological claim of modernism to the discursive, carnivalesque, and mucky world of postmodernism. An illustrated examination of Philip Guston's comic and complex painting The Studio. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. An illustrated exploration of Girlfriends (1965/66), one of Sigmar Polke's important early paintings.The artist Sigmar Polke (1941-2010) worked across a broad range of media-including photography, painting, printmaking, sculpture, and film-and in styles that varied from abstract expressionism to Pop. This volume in Afterall's One Work series offers an illustrated exploration of Freundinnen (Girlfriends 1965/66), one of Polke's important early paintings. Taken from a found image of two young women, and using the raster dots also found in mass media reproductions, Girlfriends offers a statement about the use and social function of images.Stefan Gronert approaches Girlfriends through its deliberate and elusive ambiguity, providing technical detail and historical background that allow some of the work's motivation and depth to become clearer. Gronert analyzes Polke's relationship to his tutors and peers, especially Gerhard Richter; describes the art historical context in which Polke worked; and discusses some of the social and political issues to which Girlfriends refers. Considering such topics as the distinction between Polke and Alain Jacquet in their use of photographed material, between Polke's use of the raster technique and that of Roy Lichtenstein, and the feminist discourse of the time, Gronert draws on a variety of critical interpretations of Polke's work, including some material that has not yet been translated into English. An illustrated exploration of Girlfriends (1965/66), one of Sigmar Polke's important early paintings. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. An illustrated study that casts a new light on Oiticica's most important work of "quasi-cinema" on its fortieth anniversary.Helio Oiticica (1937-1980) occupies a central position in the Latin American avant-garde of the postwar era. Associated with the Rio de Janeiro-based neo-concretist movement at the beginning of his career, Oiticica moved from object production to the creation of chromatically opulent and sensually engulfing large-scale installations or wearable garments. Building on the idea for a film by Brazilian underground filmmaker Neville D'Almeida, Oiticica developed the concept for Block-Experiments in Cosmococa-Program in Progress (1973-1974) as an "open program"- a series of nine proposals for environments, each consisting of slide projections, soundtracks, leisure facilities, drawings (with cocaine used as pigment), and instructions for visitors. It is the epitome of what the artist called his "quasi-cinema" work-his most controversial production, and perhaps his most direct effort to merge art and life. Presented publicly for the first time in 1992, these works have been included in major international exhibitions in Los Angeles, Chicago, London, and New York.Drawing on unpublished primary sources, letters, and writings by Oiticica himself, this illustrated examination of Oiticica's work considers the vast catalog of theoretical references the artist's work relies on, from anticolonial materialism to French phenomenology and postmodern media theory to the work of Jean-Luc Godard, Andy Warhol, and Brazilian avant-garde filmmakers. It discusses Oiticica's work in relation to the diaspora of Brazilian intellectuals during the military dictatorship, the politics of media circulation, the commercialization of New York's queer underground, the explicit use of cocaine as means of production, and possible future reappraisals of Oiticica's work. An illustrated study that casts a new light on Oiticica's most important work of quasi-cinema on its fortieth anniversary. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. An illustrated exploration of Helen Chadwick's erotic, playful, and fierce 1986 installation.An illustrated exploration of Helen Chadwick's erotic, playful, and fierce 1986 installation.In 1986 the Institute of Contemporary Arts in London showed a new commission by the artist Helen Chadwick (1954-1996). What Chadwick conceived for the ICA exhibition explored her characteristic themes-the female body (her own), the aesthetics of pleasure, the material variety and wonder of phenomena-but took them in a new, flamboyant direction. In this illustrated volume, Marina Warner examines one part of Chadwick's installation, The Oval Court. This work was erotic, playful, and fierce; it showed imaginative ambition on an exceptional scale and a unique, piquant sensibility, both raunchy and delicate.Despite the work's recognition as a feminist monument of rare intensity, it has rarely been shown or discussed since the author's catalogue essay for the original exhibition. Warner here reconsiders Chadwick's influence as an artist who helped to shift conventional aesthetics and transvalue despised, even abominated forms. Exploring the work's richly layered composition in light of intervening years, Warner shows how Chadwick's imagination has shaped many artists' ideas and ethics, and emboldened their adventures with materials. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.