Ouvrage de référence et leçon de méthode, cette étude du modernisme depuis Picasso et Matisse jusqu'aux peintres abstraits a permis de renouveler la pensée picturale contemporaine en redéfinissant ses modèles théoriques. Un travail d'une grande importance pour l'historiographie de l'art, traduit pour la première fois en français.
Publié aux États-Unis en 1990, La Peinture comme modèle est vite devenu une référence pour tous ceux qui veulent comprendre l'histoire du modernisme. Qu'il s'agisse des « totems de la modernité » (Picasso et Matisse) ou des maîtres de l'abstraction (Mondrian et le mouvement De Stijl, Strzeminski et Kobro, Newman, Ryman), la force plus que jamais actuelle de ces pages, nourries par une connaissance intime des oeuvres et de la littérature qui leur est associée, est de proposer une approche formelle sans en passer par la doxa formaliste. À ce titre, nombre d'analyses publiées dans ce volume sont de véritables leçons de méthode pour les historiens de l'art et des outils indispensables à la compréhension de leur discipline. La pensée picturale s'y révèle un opérateur théorique, producteur de modèles.
Disponible pour la première fois en français, ce livre est donc aussi une ré?exion en acte, une réponse à deux questions essentielles et conjointes : qu'est-ce que regarder ? comment écrire l'histoire ?
Premier volume du catalogue raisonné des peintures et sculptures d'Ellsworth Kelly. Largement documenté, cet ouvrage présente les premiers travaux de l'artiste, alors élève aux Beaux Arts de Boston, ainsi que ses premiers travaux abstraits réalisés au retour d'un voyage à Paris.
An insider's look at art museums and how they shape the ways we view art, through the eyes of the architects who design them.
Architects and art lovers everywhere will enjoy this remarkable collection of interviews from sixteen of the world's most celebrated, thoughtful, and innovative architects who have designed many of the world's greatest museums. Spanning generations, geographies, and methods of architectural practice, these architects share the complex and fascinating process of creating spaces for art. Building Culture includes interviews with:??
Frank Gehry, who reveals how a half-century of dialogue with the visual arts influenced his revolutionary Guggenheim Bilbao?.
Kulapat Yantrasast, who describes his rethinking of exhibition design and how it expands the presentation of work in venerable institutions like the Metropolitan Museum of Art, where he is currently redesigning the galleries for the arts of Africa, Oceania, and the Americas?.
Walter Hood, whose long interest in improvisational techniques in music informed his design for outdoor performance spaces in the Oakland Museum?.
Elizabeth Diller, whose conception of the Shed in New York City's Hudson Yards was influenced by decades of work in conceptual and performance art.
Esteemed architects who have designed, renovated, or created galleries for MoMA, the New Museum, and the American Museum of Natural History in New York; the National Gallery and the Tate Modern in London; the Pérez Art Museum Miami; the Centre Pompidou in Paris, the 21st Century Museum of Contemporary Art, Kanazawa in Japan; the Museum of West African Art (currently under construction) in Nigeria; and many others. ?
This lively compendium reveals intensely varied architectural philosophies from a diverse group of established and up-and-coming professionals. Engaging personal recollections of relationships with artists and curators, along with 80 captivating images, provide further insight into the design process and timeless inspiration for architecture students, artists, museum professionals, and anyone fascinated by architectural design, public space, and museum culture.
This book comprises three sumptuous volumes, designed by Pentagram and housed in a luxurious slipcase. The Barnes Collection boasts fifty-seven paintings, a drawing and, notably, The Dance (1932-33), the mural that Barnes commissioned in 1930 for the great hall of his foundation in Merion, Pennsylvania.
Essays and reminiscences by one of the preeminent art historians of our time, spanning more than four decades.
An Oblique Autobiography assembles a new collection of essays and reminiscences by one of the preeminent art historians of our time. Spanning more than four decades of Yve-Alain Bois's work as a scholar, journal editor, and occasional curator, this volume traces a deeply personal itinerary through an important era of art history, in which the discipline--in part occasioned by Bois's own journey from France to the United States--was significantly reformulated by new methodologies.
Detailing Bois's early relationships with figures such as Roland Barthes, Hubert Damisch, Lygia Clark, and Jacques Derrida, as well as his extended engagements with Rosalind Krauss, Ellsworth Kelly, and Martin Barré, these essays track Bois's intellectual commitments against the backdrop of an evolving academic field. With texts that range from academic journal articles to obituaries, written from 1976 to 2021, An Oblique Autobiography reveals the range of Bois's authorial voice and offers a remarkable self-portrait of one of art history's primary protagonists.
