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Résumé : The Essential Mailrer contains Norman Mailer's new selection of short fiction pieces taken from the American collection The Short Fiction of Norman Mailer and a non-fiction selection from Existential Errands, never before published in the U.K.

Résumé : Peintures, installations, sculptures et photographies d'une cinquantaine d'artistes composent un parcours chronologique des différents courants de l’art "non-conformiste" en U.R.S.S, puis en Russie. Cette collection a été constituée entre 1983 et 2008 à l'initiative de l'historien de l'art russe Andreï Erofeev en vue de créer un musée d'art contemporain à Moscou, alors qu’aucune institution soviétique ne s’intéressait à l'avant-garde. Composée à l'origine de plus de 5000 pièces, une sélection de cette collection a finalement intégré la Galerie Nationale Tretiakov, faisant de cette dernière la première institution abritant un département d’art contemporain russe.L’exposition permet ainsi une plongée inédite dans cet « underground » des années 1960-2000.

Résumé : L'artiste coréen Lee U-Fan a fait donation de sa collection : 100 peintures, 27 paravents, sur soie ou papier, dont la qualité montre la cohérence de l'art décoratif de la fin de Choson. Inventivité et unité d'une culture marquée par le confucianisme, et mêlant la tradition coréenne et la perspective orientale aux premières influences occidentales.

Résumé : "Ursula Schultze-Bluhm, who is known sim­p­ly as Ur­su­la, was one of the most im­por­tant Ger­man artists of the se­cond half of the twen­ti­eth cen­tu­ry. She was born in Mit­ten­walde, Ger­many, in 1921 and died in Cologne in 1999. Mu­se­um Lud­wig's ex­hi­bi­tion Ur­su­la--That's Me. So What?, which is the first com­pre­hen­sive mu­se­um show on the artist in over thir­ty years, of­fers a fresh look at her oeu­vre. The show con­tains 236 works, of which 44 are from the col­lec­tion of the Mu­se­um Lud­wig.Ur­su­la's life and work of­fer an un­con­ven­tio­n­al nar­ra­tive of artis­tic in­de­pen­dence. Her art ex­em­pli­fies the idea that Sur­re­al­ism is not a style, but an at­ti­tude. Ur­su­la sub­vert­ed re­al­i­ty and found the un­can­ny in the ev­ery­day, challenging the au­thor­i­ties of so­ci­e­ty and art by imagin­ing new worlds in which old hi­erarchies are thrown over­board and new ways of life are con­ceiv­able. Ur­su­la shared this utopian imag­i­na­tion with artists such as Leono­ra Car­ring­ton, Leonor Fi­ni, Dorothea Tan­n­ing, and Uni­ca Zürn.It is im­pos­si­ble to un­am­bigu­ous­ly cat­e­go­rize the essence of Ur­su­la's works. Terms such as naive paint­ing, Sur­re­al­ism, or in­di­vi­d­u­al mythol­o­gy on­ly touch on in­di­vi­d­u­al as­pects of her un­ortho­dox vi­su­al ideas, which al­ways con­vey an in­tense­ly sen­su­al ex­pe­ri­ence. As ear­ly as 1954, Jean Dubuf­fet in­te­grat­ed works by her in­to his Musée de l'Art Brut. Like An­dré Bre­ton, Dubuf­fet ap­pre­ci­at­ed the unconven­tio­n­al nar­ra­tive style of her texts and pic­tures, which--at least on first glance--seem to stand out­side of time. While they of­ten re­fer to mythol­o­gy, they usu­al­ly re­flect the artist's own emotional states, fears, and ob­ses­sions. 'I im­pose my vi­sions on re­al­i­ty--I am com­plete­ly ar­ti­fi­cial,' Ur­su­la de­clared, charac­ter­iz­ing her unu­su­al par­al­lel worlds in which ex­tra­v­a­gant char­ac­ters exist and the familiar and the un­can­ny are per­cepti­ble. Beau­ty and tran­sience, the fairy-like and the mon­strous, thrive side by side. One of Ur­su­la's char­ac­teris­tic sub­jects was Pan­do­ra, the woman who was cre­at­ed from clay in Greek mythol­o­gy, in whose sto­ry the most ter­ri­ble evils and the most ex­cel­lent gifts are inse­para­b­ly in­ter­twined. Ur­su­la's scenes are frequently in­habit­ed by fantas­ti­cal hy­brid crea­tures, and the al­lure of trans­for­ma­tion is tan­gi­ble ev­ery­where, challenging time-worn du­alisms such as wo­m­an/man and hu­man/na­ture.This overview ex­hi­bi­tion at the Mu­se­um Lud­wig aims to pre­sent Ur­su­la's cap­ti­vat­ing and self-as­sured work to a new gen­er­a­tion of mu­se­um vis­i­tors. The show re­veals that it is the indi­vi­d­u­al­i­ty of Ur­su­la's work that al­lows it to touch on so many fun­da­men­tal and top­i­cal is­sues, in­clud­ing fe­male self-de­ter­mi­na­tion and the chal­leng­ing of estab­lished gen­der identities, with a world­view in which ev­ery­thing is in­ter­con­nect­ed and mu­tu­al­ly de­pen­dent."--

Résumé : Accompanying the landmark exhibition by renowned Hudson Valley–based artist Martin Puryear (born 1941), who is representing the United States at the 58th Venice Biennale, this book captures a high point in the career of one of today’s most acclaimed artists.In addition to extensive illustrations of new sculptures made for the Biennale, including a significant site-specific work, the book features major texts by Brooke Kamin Rapaport, Darby English and Anne Wagner. The works and essays demonstrate Puryear’s powerful, original and influential engagement with art history and social history on both a personal level, as an African American artist, and universally. With a definitive illustrated chronology of the artist’s career over the last fifty years, 'Martin Puryear: Liberty / Libertà' is an essential look at one of the most important artists today, who continues to work at the height of his powers.

Résumé : An inspiring and surprising celebration of U.S. women's history told through Smithsonian artifacts illustrating women's participation in science, art, music, sports, fashion, business, religion, entertainment, military, politics, activism, and more. This book offers a unique, panoramic look at women's history in the United States through the lens of ordinary objects from, by, and for extraordinary women. Featuring more than 280 artifacts from 16 Smithsonian museums and archives, and more than 135 essays from 95 Smithsonian authors, this book tells women's history as only the Smithsonian can. Featured objects range from fine art to computer code, from First Ladies memorabilia to Black Lives Matter placards, and from Hopi pottery to a couch from the Oprah Winfrey show. There are familiar objects--such as the suffrage wagon used to advocate passage of the 19th Amendment and the Pussy Hat from the 2016 Women's March in DC--as well as lesser known pieces revealing untold stories. Portraits, photographs, paintings, political materials, signs, musical instruments, sports equipment, clothes, letters, ads, personal posessions, and other objects reveal the incredible stories of such amazing women as Phillis Wheatley, Julia Child, Sojourner Truth, Mary Cassat, Madame CJ Walker, Amelia Earhart, Eleanor Roosevelt, Mamie Till Mobley, Dolores Clara Fernandez Huerta, Phyllis Diller, Celia Cruz, Sandra Day O'Connor, Billie Jean King, Silvia Rivera, and so many more. Together with illuminating text, these objects elevate the importance of American women in the home, workplace, government, and beyond. Published to commemorate the centennial of the 19th Amendment granting women the right to vote, Smithsonian American Women is a deeply satisfying read and a must-have reflection on how generations of women have defined what it means to be recognized in both the nation and the world. - Note de l'éditeur

Résumé : Une analyse de la jurisprudence de la Cour de justice de l'Union européenne identifiant d'importantes lacunes en matière de protection des droits fondamentaux. Des solutions pragmatiques et argumentées sont proposées aux juridictions compétentes pour y pallier. Un code permet d'accéder à la version numérique gratuite. ©Electre 2019

Résumé : "Art et Architecture" interroge la manière avec laquelle la production artistique des années 1960 à aujourd’hui s’est nourrie de l’architecture. La collection du FRAC Centre comprend également des réalisations exemplaires d’espace public, ainsi "Les deux Plateaux" de Daniel Buren ; des projets de James Turrell, Vito Acconci ou Kawamata.. Sommaire : Les essais (12)// • "Modèles, Répliques et cristaux : la maquette entre art et architecture", Marie-Ange Brayer • "L'architecture espace-temps", Elie During • "Vers une généalogie des dispositifs d'images - les "Demonstrationsräume" et le paradigme de l'usine", Elke Mittmann et Jean-Christophe Royoux • Entretien avec Bernard Blistène • " "L'art c'est la vie" - L'art est-il une fin ou un moyen ?" , Béatrice Simonot • "Construire des Ruines", Thierry Davila • "L'architecture comme casa mentale", Pascal Rousseau • "Extensions du domaine de la hutte - Stratégies anthropiques dans la ville", Aurélien Vernant • "Les Monuments performatifs, à l’interface de l’architecture et de la sculpture", Philip Ursprung • "À perte de vue, la Ville. Visions photographiques", Nadine Labedade • "Sous les fleurs de Xanadu. L’image en mouvement comme appareil critique", Clara Schulmann • "Couper en biais : associer l’art et l’architecture par l’inter- et la transdisciplinarité", Jane Rendell // Les artistes (65)// • A/ Vito Acconci & Mangurian, Saâdane Afif, Kader Attia • B/ Gabriele Basilico, Bernd & Hilla Becher , Louidgi Beltrame, Berdaguer & Péjus , Pierre Bismuth, Marinus Boezem, Bodo Buhl, Betty Bui, Daniel Buren, Alec de Busschère • C/ Bernard Calet, Davide Cascio, James Casebere, Laurent Chambert, Delphine Coindet, Robin Collye, Jordi Colomer • D/ Guy Debord, Peter Downsbrough • E/ Electronic Shadow •F/ Fauguet & Cousinard , Aurélien Froment •G/ Dora Garcia , Ludger Gerdes, Dan Graham, Rodney Graham, Andreas Gursky • H/ Martin Honert, Axel Hütte • I/ Robert Irwin • K/ Marin Kasimir, Tadashi Kawamata, Jan Kempenaers, Aï Kitahara, John Knight, Aglaia Konrad • L/ Bertrand Lamarche, Ben Langlands & Nikki Bell, Frantisek Lesak • M/ Didier Marcel, Gordon Matta-Clark, Vincent Mauger, Mathieu Mercier, Liliana Moro, Charlotte Moth, Leonel Moura • N/ Stéphanie Nava, • P/ Miguel Palma, Hermann Pitz, Julien Prévieux, Bas Princen • R/ Hugues Reip, Bernhard Rüdiger, Allen Ruppersberg • S/ Alan Sekula, Charles Simonds, Kristina Solomouhka, Damien Sorrentino • T/ Stéphane Steiner, Mario Terzic, Koen Theys, James Turrell & Studio Works • U/ Sylvie Ungauer

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