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Documents en rayon : 27

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Résumé : Shigeko Kubota was one of the first artists to commit to video in the early 1970s, drawn to its freedom from precedent and its expressive potential. Treating recently introduced portable video equipment like a “new paintbrush,” she interwove conceptual concerns and formal experimentation to create hypersaturated, otherworldly explorations of identity, memory, technology, and the natural landscape. She proposed a life for video beyond the constraints of the television monitor with her pioneering video sculptures, which combine the “energy of electrons” with three-dimensional forms made from raw materials like plywood and sheet metal, and often incorporate mirrors and flowing water. Prismatic in their layering of images and meanings yet economical in form, Kubota’s poetic, hybrid works continue to resonate. Published in conjunction with the first solo exhibition of the artist’s work at a museum in the United States in twenty-five years, Shigeko Kubota: Liquid Reality provides fresh perspectives on a selection of key video sculptures made through the mid-1980s. In-depth readings, as well as drawings, documentary photographs, and archival ephemera, illuminate her creative process and situate her in the vibrant New York art scene of the day, to which she contributed not only with her own bold multidisciplinary language but with her tireless advocacy for her chosen medium and its diverse practitioners.

Résumé : In 1996 Adrian Piper wrote, “It seemed that the more clearly and abstractly I learned to think, the more clearly I was able to hear my gut telling me what I needed to do, and the more pressing it became to do it.” Since the 1960s, this uncompromising artist and philosopher has explored the potential of Conceptual art—work in which the concepts behind the art takes precedence over the physical object—to challenge our assumptions about the social structures that shape the world around us. Often drawing from her personal and professional experiences, Piper’s influential work has directly addressed gender, race, xenophobia, and, more recently, social engagement and self-transcendence. Bringing together over 290 works, including drawings, paintings, photographs, multimedia installations, videos, and performances, the exhibition offers a rare opportunity to experience her provocative and wide-ranging artwork. Occupying the Museum’s entire sixth floor and the Marron Atrium, Adrian Piper: A Synthesis of Intuitions 1965–2016 charts the artist’s five-decade career, including early paintings inspired by the use of LSD; key projects such as Mythic Being (1973), in which Piper has merged her male alter ego with entries from her teenage journals; My Calling (Card) #1 and My Calling (Card) #2 (1986), business card–sized, text-based works that confront the reader’s own racist or sexist tendencies; and What It’s Like, What It Is #3 (1991), a large-scale mixed-media installation addressing racist stereotypes, which will be shown in the Marron Atrium.

Résumé : La 4e de couverture indique : ""Louise Bourgeois : An Unfolding Portrait" explores this celebrated artist's prints and books, a little known but highly significant part of Bourgeois's larger practice. Her copious production in these mediums - addressing themes that perennially occupied her, including memory, trauma, and the body - is examined here within the context of related sculptures, drawings, and paintings. This investigation sheds light on Bourgeois's creative process, which is uniquely and vividly apparent through the evolving states and variants of her prints ; seeing these sequences unfold is akin to looking over the artist's shoulder as she worked. Published in conjunction with an exhibition at The Museum of modern art, this catalogue features an insightful essay by curator (and longtime friend of the artist) Deborah Wye, examining Bourgeois's involvement with these mediums alongside the developments of her long life and career. Interviews with three of the artist's close collaborators further illuminate her artistic practice and output, some three hundred examples of which are presented in this volume."

Résumé : Avec plus de 40 longs métrages, Fred Wiseman est aujourdhui une des icônes du cinéma documentaire américain. A côté de la présentation de ses films et de diverses contributions sur son oeuvre, le réalisateur évoque ses années de formation et son passage fortuit au cinéma en 1967.

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