Книги про современное искусство

The fourth book in the Art of the Twentieth Century series, this volume explores the changes in art during the last decades of the 20th century. The events of 1968-1969 paved the way for profound social transformations and created a new feeling towards individuals behaviour and the relations between them, with a new consciousness of the body and of social and political dynamics. Artists experimented with languages that were as far as possible away from any tradition of painting, sculpture and assemblage that had reached the sixties, seeking new means of expression.

A kaleidoscopic overview of the influential artist and art director, cataloging thirty years of his work and his quest through the world of imagery.

Beginning in the early 1980s, artist Gianluigi Colin began to delve into the daily newspapers to extract words, images, and signs that caught his attention. With an eye on the world around him, Colin assembled a complex, varied, and layered vision, documenting daily life as it unfolded and became history. The mission he has set for himself is to “clothe” the news headlines and events, while systematically devising his own newspaper, creating an ongoing dialogue with the international press. This visual autobiography reveals the artist’s evolving confrontation between the two worlds of imagery and words, while offering a visual account of the graphic projects that Colin realized through his role as art director for the leading newspaper Corriere della Sera.

About the Author:

Gianluigi Colin is a multifaceted artist. During his years as art director of the Italian daily Corriere della Sera, he was also a lecturer and university professor, writing news items and essays on photography and on visual communication in general. He has exhibited around the world, and his artwork is in private collections, museums, and public institutions in Italy and abroad.

Tracey Emin has stirred controversy as well as acclaim since she rose to fame as the most highly publicized of the infamous Young British Artists.

Though denounced by conservative critics at the outset, Emin’s work has attracted serious critical attention since the early 1990s for being consistently engaging, original, and startlingly direct. Her work has succeeded over the years in many media - from films to appliqués, embroideries, and installations - but it is in her works on paper that the honesty and frankness that have come to characterize her work are most fully realized.

Edited by the artist herself from an archive of work stretching back before the beginnings of her career in the late 1980s, A Thousand Drawings is at once a collection of Emin’s works on paper, an exposé of her life as an artist, and a collectible artifact in itself. Many of these works on paper shed light on well-known multimedia pieces, previously studied in Works 1963–2006, published by Rizzoli in 2006. Stripped of the distractions of form and context, her bare and enigmatic drawings are presented on bible-thin paper in a uniquely beautiful slipcased volume, with an introduction by the artist.

From considered self-portraits to pen-and-ink drawings and informal studies on lined notebook paper, this remarkable collection is as much a catalogue of Emin’s preoccupations as it is a monument to her raw and evocative talents as an artist.

About the Author:

Tracey Emin was born in London in 1963. Nominated for the Turner Prize in 1999 and chosen to represent Britain at the 52nd Venice Biennale in 2007, Emin is also a member of the Royal Academy of Arts. The author of several books, including Strangeland, her memoir, she contributes regularly to The Independent newspaper and lives and works in London.

Outstanding creative work with paper.

Paper is arguably the most influential material in human civilization. In our digital age, paper has become less important as a medium for the immediate transmission of information. As this shift occurred, designers and artists increasingly discovered the creative possibilities of paper’s endurance. Today, designing with paper continues to be a trend.

In the last three years, a broad range of creative disciplines including scenography, fashion design, and advertising have discovered the versatility of this basic material. These new areas have contributed fresh ideas and perfected existing techniques. The areas of application and forms of expression for working with paper have now reached an unforeseen breadth and level of quality.

With an unparalleled collection of new and groundbreaking projects, Papercraft 2 presents current developments in contemporary design with paper and cardboard. The book documents how techniques such as cutting, folding, gluing, and collage help designers craft innovative communication design, products, and artwork from these materials that reach new creative heights. Recent examples include illustration, sculpture, and 3D graphic design as well as complex spatial installations, fashion, and objets d’art. Clearly advancing the handicraft used in earlier pieces, these are setting prevailing trends and inspiring the future evolution of work with paper in ever more creative disciplines.

Its more than 250 pages and additional bonus video material on the included DVD make Papercraft 2 a comprehensive documentation of the creative potential that can be realized with the traits of what was once our

This is a select overview of Paul Pfeiffer’s work over the last decade, including his most recently produced projects as well as his fundamental work which explores new technologies in a creative process that unfolds in diverse media of video, installation, sculpture and photography. For his most widely recognized work, the artist digitally alters old film footage or TV sports events to erase the main characters of the scenes, dissecting the role played by the mass media in the contemporary cult of celebrity. The book also examines Pfeiffer’s creative process with original essays by Lawrence Chua (writer and professor at the Architecture Department of Cornell University, New York), Jessica Hagedorn (writer, Philippines), Niklas Maak (critic and columnist for the Frankfurter Allgemeine Zeitung) and Katy Siegel (Professor of Art History at Hunter College, and critic for Artforum), and other writings selected by the artist, including the works of Don Delillo, Ellias Canetti, Gary Indiana and Roger Caillois. 
Edited by:
Octavio Zaya  
Contributors:
Lawrence Chua , Jessica Hagedorn , Niklas Maak , Katy Siegel  
Biography:
Born in 1966 in Honolulu, Hawaii (U.S.A.), Paul Pfeiffer spent most of his childhood in the Philippines, until he settled in New York in 1990. There, he studied at Hunter College, and later participated in the Whitney Independent Study Program. Since the beginning of his art career, Pfeiffer has won numerous awards, including the first Bucksbuam Award (2000) at the Whitney Biennial, and scholarships at Massachusetts Institute of Technology and ArtPace. His work has been shown in numerous solo shows, including the MIT List Visual Arts Center of Cambridge, Massachusetts; the Museum of Contemporary Art of Chicago; Artangel of London; K21 of Dьsseldorf and the Kunst-Werke of Berlin. Pfeiffer was selected for the 49th Venice Biennale and most recently for the Sydney Biennial, 2008.

Artists are increasingly using doll-like human effigies to explore politics and gender in contemporary culture, ranging from radical statement to sophisticated critique. Play with Me showcases this appeal of animating the inanimate as well as the multifarious and fascinating ideas that dolls bring to life – from the way female forms have been objectified to the way dolls generate ethical and political debate to the way they represent the self. Unlike sculptures, dolls offer a living and open construct of the human figure. And artists are reacting to this human form in a manner thatʼs never been seen before, constituting an exciting new direction in contemporary art.

About the Author:

Grace Banks is a writer and editor on the many facets of popular culture. She is particularly interested in issues affecting women and the intersection between politics, women and culture. Among the magazines and newspapers to which she contributes are Time Out, Interview Magazine, New York Times, The Guardian, Vice News and InStyle.

Ray Johnson (1927-1995) had an ambivalent relationship with the art world. From famous precursor to impenetrable marginal figure, from critic to artist who yearned for fame at all costs, Johnson intuited his own vital art somewhere between collage and the communicative potential of an immense postal network.

Like the MACBA’s current monographic exhibition – the first in Spain dedicated to his work -- this book mostly focuses on the New York collages from Ray Johnson's first period and his Mail Art. Essays by Alex Sainsbury, the curator of the exhibition, and Ina Blom, as well as an introduction by Chus Martínez, enrich a lavishly illustrated book.

If one aspect has identified the Museu d’Art Contemporani de Barcelona (MACBA) over these years, it is its political position and its desire to question institutional discursive mechanisms. This objective has been the guiding light in our work. Along general lines, the museum operates in four spheres: the Collection, public activities, the museum’s organizational structure and the creation of mediating spaces with social movements and actors.

The MACBA Collection has maintained constant growth. Once more, our effort has been collective, forged from the complicity between the museum and artists.

The structure of this volume is concordant with the museum’s logic. In one direction, the text by Manuel J. Borja-Villel, director of the MACBA from 1998 to 2007, reflects on the fundaments of what at some stage became defined as the MACBA model. Meanwhile Kaira M. Cabañas describes and details the works that make up the most significant core of art acquired from 2002 to 2007. Lastly, Jorge Ribalta analyzes how the area of public programs, education and political action has evolved over these years. 

Roy Lichtenstein (born 1923) became famous in the early 1960s for his deadpan recreations of popular imagery, particularly paintings based on war and romance comics. As this book demonstrates, Lichtensteins interest in quoting subjects form both high and low art has continued throughout his career, producing a fascinating and varied body of work.

Adored by celebrity patrons and admired by his peers in the industry, Scott Campbell is known not only for his amazing technique and vision as a tattoo artist, but also as a respected fine artist on the contemporary scene. Both Campbell’s artwork and tattoo work are informed by timeless trends of “new antiquarian” style, nineteenth-century hand-lettering, kitsch, and classic tattoo “flash.”

Campbell is considered the tattoo artist of both the trendsetter and the daring celebrity. However, though Campbell has tattooed celebrities from the late Heath Ledger to visionaries like Marc Jacobs, it is through his distinctive aesthetic that he has become a celebrity in his own right.

Campbell renders fleeting trends into timeless masterpieces not only on canvas and in sculpture, but also on skin. This book captures both, exemplifying how his tattoo work informs his artwork and vice versa.

This exhibition, organized by the Museo Nacional Centro de Arte Reina Sofía, presented in the Crystal Palace of the Retiro Park proposes a reflection on the interrelationship and analogies that exist between sculpture and architecture. The show, for which the Department of Collections made a selection from the Museum's art funds, picks up four sculpture projects by Per Barclay, Cristina Iglesias, Mario Merz and Susana Solano whose nexus is their relation with the idea of habitat. With this exhibition the Museum takes a pledge, which is undertaken with the show La visión impura (The Impure Vision), to stand out the artworks belonged to the institution's funds, some of which never exhibited before.

A fabulous archive of wearable art, this collection features more than 40 cool and witty images that will add a fashionable flair to clothes and other fabric items. Suitable for embellishing jackets, corsets, handbags, pillows, and other cloth surfaces, the easy-to-apply transfers feature stylized robots, blimps, clock faces, and a host of other mash-up motifs.

Originally coined to describe fantasy and science fiction in steam-powered settings, the term "steampunk" has come to identify an aesthetic movement. Its campy redefinition of Victorian style blends elements of technology and romance, and its influence extends from literature and art to music and fashion.

This book and CD-ROM compilation offers artists and crafters a wealth of authentic Victorian graphics for creating steampunk imagery. More than 500 illustrations range from dirigibles and sea vessels to corsets and pocket watches. In keeping with the movement's inventive spirit, a gallery of original collages features inspiring examples of the illustrations' potential combinations.

This book includes a CD-ROM containing 539 royalty-free images saved in JPEG format.

200 illustrations

Graffiti and street art have been at the heart of many groundbreaking visual subcultures in the past few decades. However, a new wave of artists is moving in fresh directions. Frustrated by wholesale corporate theft of street creativity, these artists are employing different techniques in their work, different materials, different means of dissemination and different ways of getting their work noticed. Often using new materials - fly-tipped rubbish, street signs, children's toys, chalk, vinyl, perspex - they are subverting the three-dimensional streetscape to shock, educate and entertain. What makes their work so interesting is the dynamic way in which it blurs the division between fine art and street art to form something revolutionary. They are changing the way people experience city life. This book documents the new art, with photographs of the work and interviews with major players from around the world.

Concepts in space

The experimental art of Olafur Eliasson

Studio Olafur Eliasson is an experimental laboratory located in Berlin. Led by renowned Danish-Icelandic artist Olafur Eliasson, it functions as an interdisciplinary space, generating fresh dialogues between art and its surroundings. This rich sourcebook enables the reader to delve into the corners and crevices of the Studio’s diverse projects. The key concepts behind the works are presented alphabetically, and unfold in the course of short conversations with the artist. The majority of Eliasson’s thought-provoking installations, photographs, sculptures, and architectural projects to date is included, with additional material focusing on the research processes at Studio Olafur Eliasson. The introduction is provided by the noted art historian Philip Ursprung, who also participates in the enlightening conversations.

The artist:
Olafur Eliasson, born 1967 in Copenhagen, of Icelandic parentage, studied at The Royal Danish Academy of Fine Arts, Copenhagen, from 1989 to 1995. Early in his career he moved to Germany, establishing Studio Olafur Eliasson in Berlin. Internationally acclaimed, Eliasson lives and works in Copenhagen and Berlin