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 catalogue | Tags: · art, art history, avant-garde, collage, montage, photography, photomontage
This publication offers an overview of the birth of the photomontage process specifically in Germany and the Soviet Union. The extensive range of posters, collages, maquettes, postcards, magazines, and books attests to the large influence of photomontage in politics, social protest, and advertising, while also demonstrating the popularity of the technique among avant-garde members during these two decades.
The catalogue features an essay by Adrian Sudhalter, as well as a chronology of the era, a selection of period texts—several published in translation for the first time—by some of the represented artists, and facsimile reproduction and translation of the catalogue of one of the most important exhibition devoted to this artistic technique at the Kunstgewerbemuseum in Berlin in 1931 (with essays by Curt Glaser, César Domela-Nieuwenhuis, and Gustav Klutsis). The exhibition is drawn primarily from the Merrill C. Berman Collection in the United States.
Publisher Fundación Juan March, Madrid, 2012
Review: Paul Messaris (Advertising & Society Review, 2014).Comment (0)
Filed under book | Tags: · 1920s, 1930s, art, bauhaus, photography, typography
“These five hundred photographs are a record of Bauhaus activities and experiments during the 1920s and early 1930s. Most of the photographs were taken by artists-painters like Fritz Kuhr and Werner Siedhoff, designers Heinz Loew and Herbert Bayer, Bauhaus masters Hannes Meyer and Joosst Schmidt – who were not self-conscious photographers but who wanted to work with a new technology.
The book supplements visual material already published in Hans Wingler’s monumental Bauhaus and presents the school’s more human side. Some of these photographs have never been published before, while others have not been published since the period in which they were made.
Part I consists of over 100 ‘artistic’ images, a listing of Bauhaus photography exhibits, an example of a Dessau Bauhaus lesson plan, including photography, and essays on various aspects of photography by Peterhans, Moholy, Vordemberge-Gildewart, Ernst Kallai, Fritz Kuhr, Willi Baumeister, Adolf Behne, Max Burchartz, Will Grohmann, and Ludwig Kassack. There is also a section on the use of photography with typography.
Part II is a Bauhaus album – nearly 400 illustrations of applied photography documenting the Bauhaus buildings, classroom projects, or day-today activities of students and faculty.”
First published as Bauhaus Fotografie, Marzona, Düsseldorf, 1982
Edited by Egidio Marzona and Roswitha Fricke
Translated by Harvey Mendelsohn and Frederick Samson
Foreword by Eugene Prakapas
Publisher MIT Press, 1985
ISBN 0262132028, 9780262132022
Review: Clark V. Poling (Design Issues, 1986).
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