Filed under book | Tags: · art, catalogue, collage, conceptual art, experimental film, painting, photography, punk
“Realist. Surrealist. Hippie. Punk. Bruce Conner (1933-2008) was all of these and more. A pioneer in experimental film, collage, photography, conceptual works, and paintings, he challenged the limitations of medium, genre, and style, constantly breaking new ground. Both of and ahead of his time, Conner continues to exert influence over artists working today. Bruce Conner: It’s All True was the first comprehensive retrospective of this pivotal American artist’s output, bringing together over 250 objects in various media, including film and video, works on paper, assemblages, photographs and photograms, performance, and more. Spanning his five-decade career, the exhibition presents aspects of Conner’s work that have rarely been seen before, from paintings he made in the 1950s to photos from the Bay Area punk scene in the 1970s to video work from the 2000s, as well as numerous works produced in the last decade of his life.”
With texts by Rachel Federman, Laura Hoptman, Kellie Jones, Michelle Barger, Roger Griffith and Megan Randall, Rachel Federman, Kristine Stiles, Rudolf Frieling, Gary Garrels, Diedrich Diederichsen, Stuart Comer, Johanna Gosse, a.o.
Edited by Rudolf Frieling and Gary Garrels
Publisher San Francisco Museum of Modern Art, in association with University of California Press, 2016
ISBN 9780520290563, 0520290569
Review: Hugo Daniel (Critique d’art, 2017, FR).
Exh. reviews: Roberta Smith (New York Times), Andrea K. Scott (New Yorker), J. Hoberman (New York Review of Books), Matthew Biro (Brooklyn Rail), Maika Pollack (Aperture), Kristin M. Jones (Wall Street Journal), Kimberly Connerton (Aesthetica), Thomas Gladysz (Huff Post).
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Filed under book | Tags: · art criticism, cinema, film, film criticism, painting
Peter Gidal’s early book “explores the relationship between the films and Warhol’s paintings. A major exponent of British structuralist/materialist film, the author emphasizes the connection between the serial nature of Warhol’s silkscreens and the fact that cinema consists of multiple frames. He also focuses on the temporal aspect of the films. According to Gidal, the anti-illusionism of Warhol’s cinema stems from his rejection of editing and montage in favor of continuous recording.”
Publisher Studio Vista, London, 1971
ISBN 0289700744, 9780289700747
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Filed under catalogue | Tags: · art, concrete poetry, painting, poetry, visual poetry
The catalogue for Between Poetry and Painting, an exhibition that was curated by Jasia Reichardt and held at the Institute of Contemporary Arts, London, from 22 October 1965 to 27 November 1965. The purview is work at the confluence of poetry and painting, with a particular emphasis on visual poetry and adjacent forms.
Exhibiting artists include: Pierre Albert-Birot, Nanni Balestrini, Thomas Bayrle/Bernhard Jäger, Claus Bremer, Henri Chopin, Bob Cobbing, Kenelm Cox, Klaus-Peter Dienst, Rolf-Gunter Dienst, Reinhard Döhl, Tom Edmonds, Ian Hamilton Finlay, Barry Flanagan, John Furnival, Heinz Gappmayr, Pierre Garnier, PA Gette, Eugen Gomringer, Raoul Hausmann, Bernard Heidsieck, Joseph Hirsal, Dom Sylvester Houédard, Ernst Jandl, Thomas Kabdebo, Jiří Kolář, Ferdinand Kriwet, John Latham, Roberto Altmann, Isidore Isou, Maurice Lemaître, Gio Minola, Roland Sabatier, Jacques Spacagna, Hansjörg Mayer, Franz Mon, Edwin Morgan, Ronaldo Azeredo, Augusto de Campos, Haroldo de Campos, Décio Pignatari, Pedro Xisto, Ladislav Novák, Antonio Porta/Romano Ragazzi, Josua Reichert, Dieter Rot, Gerhard Rühm, John Sharkey and Hans Staudacher.
Edited by Jasia Reichardt
Publisher Institute of Contemporary Arts, London, 1965
via James Ryan (xfoml)