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monografia
Exposição realizada de 31 de Março a 18 de Junho de 2006, na Casa de Serralves, Fundação de Serralves, Porto
monografia
Exposição realizada no Porto, Casa de Serralves, de 8 de Setembro a 1 de Outubro de 1989. Contém biografia e cronologia
Exposição realizada no Porto, Associação Industrial Portuense, de 24 de Maio a 2 de Junho de 1991. Contém dados biográficos
2º v.: CCA project 05.1997 - 03.2002. - 157 p.: il., color; 15 x 21 cm
Catálogo editado por ocasião da exposição comissariada por Philippe Vergne, realizada de 16 outubro 2005 a 15 janeiro 2006 no Walker Art Center, Minneapolis, USA; em Mass MoCa, North Adams, Massachusetts, USA, de 19 fevereiro 2006 a 8 janeiro 2007; em Vancouver Art Gallery, Canada; e em The Birth of Chinese Contemporary Art, UCCA, de 22 março a 8 junho 2008
A caixa contém uma obra do artista; trata-se de um arame colocado na parte lateral direita da caixa (ca 19 cm); Vol. I 22 p.; Vol. II 50 p. Tinta impressa sobre papel e cartão
Exemplar assinado
Starting at the edge of the Atlantic Ocean, on the Devon coast, and finishing on the edge of the North Sea in East Anglia, Richard Long has created a work of art out of an eleven-day walk across England. Recorded here in a series of lyrical photographs and short texts, his journey avoided large towns and urban areas, and concentrated on the landscape we think of as quintessentially English - summer cornfields, country pubs and churches, lanes running between hedgerows and little villages. Long is an artist who has helped to redefine the boundaries of art practice, making much of his art as he moves through the different land surfaces which cover the planet, or bringing the environment into the gallery itself, in the form of stone, wood, clay or water. Long brings to Land Art a poetic quality that asks us to re-examine our links with the world around us and look again at surroundings that we may feel that we know well. [Em inglês. Informação retirada de http://www.amazon.co.uk/Richard-Long-Across-England-Miles/dp/0500279764]
Catálogo da exposição do artista na Städtische Galerie im Städelschen Kunstinstitut Frankfurt am Main, realizada entre 21 de Fevereiro e 12 de Maio de 1991.
Catálogo da exposição do artista no ARC - Musée d'Art Moderne de la Ville de Paris, realizada entre 25 de Março e 29 de Maio de 1993
Tiragem de 2500 exemplares.
Side four: Laurie Anderson; Diego Cortez; Jacki Appel; Richard Nonas
"In 1978 George Maciunas, founder and chairman of Fluxus, died in New York at the age of 47. In invert of these numbers the duration the piano-duett, performed to his memory by Joseph Beuys and Nam June Paik was planned for 74 minutes. The end of this memorable evening at the Kunstakademie of Düsseldorf was determined by an alarm-clock, set for 9:14 pm."
Jeremy Adler; Carlfried Claus; Elke Erb; Bernard Heidsieck; Arrigo Lora-Torino; Franz Mon; Oskar Pastion; Josef Anton Riedl; Gerhard Rühm; Valeri Scherstjanoi; Larry Wendt
Side A composes three movements with magnetic tape. The concatenation of tapped, blown, plucked, and played sound produces a changing atomosphere and, as with any series of fragments, could go on sounding forever. The enclosed score of this Muzak for progressive idyllists, housewives, and cardrivers - all of whom are not annoyed by sporting airplanes - was written during the recording of the white colored record; its coverdesign mixpickles Stockhausen, Rams, typewritter-esthetic, and fashion. The other side of the record includes a speech by Bohmler about the new German design ("die kombi-nation steht Kopf!") By acoustic revision, the sequence of the recitation is made brittle, pointed, and - again through arrangement of simple elements - the message is decomposed and multilayered. Bohmler, who designs media-furniture, is a polygot: he speaks and write music for all. His living room lecture. Cover: two-color print of a drawing by Claus Bohmler. [texto em inglês retirado de: https://www.soundohm.com/product/materialien-zur-postmoder]
'Abschiedssymphonie (possibly a reference to Haydns Farewell Symphony) is a sublime work constructed from material recorded at the Friedenskonzert as performed at the Biennale des Friedens, Hamburg, November 29, 1985. Christiansen took the recordings of this concert away and where he added a variety of sounds: water, stones, hammering and bleating sheep. The concert itself was performed with Nam June Paik and Joseph Beuys (who, due to illness, made his contribution from his death bed). There were three pianos onstage, and a telephone was placed on top of the piano for Beuys to contribute, who also requested an oxygen tank be placed underneath the piano. The final recording assembled by Christiansen, Abschiedssymphonie, shifts from the tranquil to the frenzied, often within a single stroke. Paik plays Chopin and other classical phrases on one piano, and also some violin. A microphone is severely bumped before the voice of Beuys via the telephone appears, reciting a text, confirming his presence. The hiss of escaping air (the oxygen tank, as directed by Beuys) dominates the next passage as the piano refrain continues in the background. The text recited by Beuys also appears on the albums cover: BEI EINEM WESENSGEMÄSSEN BESCHREIBEN DES GESCHEHENS ZUR BEFREIUNG DER VON DER FÄHIGKEIT GETRAGENEN ARBEIT IS ES DOCH LOGISCH, DASS DAS TRAGENDE ZUERST BEFREIT WERDEN MUSS [texto em inglês retirado de: https://blankforms.org/publication/henning-christiansen-abschiedssymphonie-lp/]
Artistas: Vincenzo Agnetti, Eleanor Antin, Ida Applebroog, Conrad Atkinson, Joseph Beuys, Chris Burden, Douglas Davis, Jud Fine, Terry Fox, R. Buckminster Fuller, Helen Mayer Harrison & Newton Harrison, Margaret Harrison, Piotr Kowalski & William Burroughs, Les Levine, Edwin Schlossberg, Thomas Shannon, Todd Siler, SITE, Komar & Melamid, David Smyth, Hannah Wilke
Land artist Richard Long records and documents a series of works completed across the Americas and Europes. Black and white and color images, accompanied by diagrams and maps, work poetically with the text to describe works enacted across and on the ground pictured (texto em inglês retirado de: https://www.printedmatter.org/catalog/38252/)
Catálogo da exposição do artista na Hayward Gallery, Londres realizada entre 14 de Junho e 11 de Agosto de 1991.
Publicado por ocasião das exposições do artista na Frac Champagne-Ardenne realizada entre 19 de Junho e 31 de Agosto de 1998 e na Villa Steinbach, Mulhouse no OUtono de 1999.
Fotoillustrierte #7, March/April 2005
Catálogo editado por ocasião da exposição patente na Cristina Guerra - Contemporary Art, Lisboa, de 13 Julho a 23 Setembro 2006
Catálogo da colecção de Jaime Isidoro apresentada na Casa de Serralves em Fevereiro e Março de 1988
Exposição apresentada na Casa de Serralves em Janeiro de 1988
Entre 1962 e 1978, Ed Ruscha produziu dezoito pequenos livros de artista. Geralmente autopublicações e em tiragens pequenas, essas publicações se tornaram obras seminais na história da arte conceitual e no livro de fotografia. THEN & NOW é o primeiro livro de artista que Ruscha criou independentemente desde 1972. O material resultante de ambas as sessões - 4.500 imagens em preto e branco e 13.000 cores - foi digitalizado e digitalmente composto em quatro panorâmicas de 12 milhas completas. Em THEN & NOW, a vista lateral norte original de 1973 é mostrada ao longo da parte superior da página e justaposta com sua versão de 2004 abaixo. O resultado é o que Ruscha se refere como "um pedaço da história ... uma visão muito democrática e sem emoção do mundo". Embora seja um documento histórico significativo que confunde e processa sucintamente a passagem do tempo, é também um projeto que abrange a carreira de um dos artistas verdadeiramente originais do nosso tempo e completa o círculo de sua obra [texto retirado de: https://steidl.de/Books/Then-Now-0814233344.html]
Várias representações graficas das datas do ano de 1969
Inclui biografia, bibliografia, videografia e discografia do artista.
Contém biografias
Contém Biografias
Contém biografias
Contém dados biograficos
Contém dados biograficos
Contém biografias
Contém dados biograficos
Contém dados biograficos
Contém dados biograficos
"Mes jeux de main, Annette Messager truqueuse = Moje igre rukama, Annette Messager krivotvoriteljka"--P. [9]
Foi lançado em 1985 pela Recycled Records. O álbum foi vendido como um disco LP sem capa ou embalagem protetora, de forma que os danos causados pelo transporte, armazenamento e reprodução do disco se tornaram parte do trabalho [texto retirado de: https://en.wikipedia.org/wiki/Record_Without_a_Cover]
Artist magazine. "Cavalier Seul" n 26, Paris,France, February, 1976. (8) pages including "Mes clichés témoins",from the artist book published by Yellow Now, 1976 and "LesApproches", by Hossmann, 1974
Vol. 7: "Artic Circles", 1998, [136] p. ISBN 1-880146-21-5
Catálogo da exposição patente em Stedelijk Van Abbemuseum, Eindhoven, em 1980
Ian Wilson conceived Section 1 as early as 1971 and published these numbered artist books from the 1980s onwards. He described the production of these books as a research to see what he could do as an alternative to speech. Wilson first experimented with the concepts of the known and unknown, and subsequently reduced to using the same text throughout an entire book: unknowable, absolute knowledge and since 1993 perfect. These explorations helped him formulate the concept of pure awareness which became the central notion of his Discussions. In the beginning, the books were published in an edition of 500. From the 1990s Wilson started producing Sections as unique books composed in sets of between 5 and 26 books each. [informação retirada de: https://janmot.com/exhibitions/2020-ian-wilson-perfect-detail-page/]
The Lurky Place was an area of wasteland near Hayes, West London and Willats became interested in its function as a means of escape for people living around it, and noticed the way that people transported objects into this wasteland and in doing so often transformed the way that object was seen and used. The wasteland can be seen as symbolic of an area in which pursuits which do not normally take place within institutional, conformist society can take place. The mundane routines of the day are relieved by pursuits in The Lurky Place, the key to which lies in the transportation of items, from the world of normality outside into the entropic wilderness inside. The work is divided into a sequence of four interrelated areas, each of which centres on a point of transformation in the reality of an individual, symbolically represented. The sequence is as follows: education, home, work, culture. Each state is divided into two parts. The top relates the transported items back to institutional society, represented in the work by such manifestations as a school, tower block, factory and car dump, all located on the edge of The Lurky Place. The bottom part presents the viewer with a problem question in the form of a text relating to the different ways the symbolic individual is involved in various behaviours. Thus the viewer is presented with a puzzle which can only be solved by entering into the encoded structure of The Lurky Place and relating cues from both top and bottom together. [informação retirada de: https://www.lissongallery.com/shop/stephen-willats-the-lurky-place]
Stephen Willats has made work examining the function and meaning of art in society since the 1960s. His work has involved interdisciplinary processes and theory from sociology, systems analysis, cybernetics, semiotics and philosophy. This manifests in wall installations, project works, films & computer simulations, drawings & diagrams, bookworks and texts. [informação retirada de: https://www.booksatrib.com/tag/1990/]
Ian Wilson conceived Section 1 as early as 1971 and published these numbered artist books from the 1980s onwards. He described the production of these books as a research to see what he could do as an alternative to speech. Wilson first experimented with the concepts of the known and unknown, and subsequently reduced to using the same text throughout an entire book: unknowable, absolute knowledge and since 1993 perfect. These explorations helped him formulate the concept of pure awareness which became the central notion of his Discussions. In the beginning, the books were published in an edition of 500. From the 1990s Wilson started producing Sections as unique books composed in sets of between 5 and 26 books each. [informação retirada de: https://janmot.com/exhibitions/2020-ian-wilson-perfect-detail-page/]
Ian Wilson conceived Section 1 as early as 1971 and published these numbered artist books from the 1980s onwards. He described the production of these books as a research to see what he could do as an alternative to speech. Wilson first experimented with the concepts of the known and unknown, and subsequently reduced to using the same text throughout an entire book: unknowable, absolute knowledge and since 1993 perfect. These explorations helped him formulate the concept of pure awareness which became the central notion of his Discussions. In the beginning, the books were published in an edition of 500. From the 1990s Wilson started producing Sections as unique books composed in sets of between 5 and 26 books each. [informação retirada de: https://janmot.com/exhibitions/2020-ian-wilson-perfect-detail-page/]
Ian Wilson conceived Section 1 as early as 1971 and published these numbered artist books from the 1980s onwards. He described the production of these books as a research to see what he could do as an alternative to speech. Wilson first experimented with the concepts of the known and unknown, and subsequently reduced to using the same text throughout an entire book: unknowable, absolute knowledge and since 1993 perfect. These explorations helped him formulate the concept of pure awareness which became the central notion of his Discussions. In the beginning, the books were published in an edition of 500. From the 1990s Wilson started producing Sections as unique books composed in sets of between 5 and 26 books each. [informação retirada de: https://janmot.com/exhibitions/2020-ian-wilson-perfect-detail-page/]
Ian Wilson conceived Section 1 as early as 1971 and published these numbered artist books from the 1980s onwards. He described the production of these books as a research to see what he could do as an alternative to speech. Wilson first experimented with the concepts of the known and unknown, and subsequently reduced to using the same text throughout an entire book: unknowable, absolute knowledge and since 1993 perfect. These explorations helped him formulate the concept of pure awareness which became the central notion of his Discussions. In the beginning, the books were published in an edition of 500. From the 1990s Wilson started producing Sections as unique books composed in sets of between 5 and 26 books each. [informação retirada de: https://janmot.com/exhibitions/2020-ian-wilson-perfect-detail-page/]
First-time vinyl reissue is limited to 750 numbered copies. Comes with booklet
Ian Wilson conceived Section 1 as early as 1971 and published these numbered artist books from the 1980s onwards. He described the production of these books as a research to see what he could do as an alternative to speech. Wilson first experimented with the concepts of the known and unknown, and subsequently reduced to using the same text throughout an entire book: unknowable, absolute knowledge and since 1993 perfect. These explorations helped him formulate the concept of pure awareness which became the central notion of his Discussions. In the beginning, the books were published in an edition of 500. From the 1990s Wilson started producing Sections as unique books composed in sets of between 5 and 26 books each. [informação retirada de: https://janmot.com/exhibitions/2020-ian-wilson-perfect-detail-page/]
As Stephen Willats walked through the housing complex Jan Denucestraat III in South Antwerp, snippits of sound caught his attention. For Corridor he collaged verbal descriptions of these sounds with tightly cropped images of objects he came across while walking. The spare, incongruous pairings seem to have been made by the hand of a ghost haunting the hallways of other peoples lives. [informação retirada de: https://www.printedmatter.org/catalog/17677/]
18 folhas de papel, encontrando-se 11 destas dobradas
Colour screenprint on tracing paper, folded into an envelope - 21 x 27.8 cm (envelope) 54 x 40.7 cm (unfolded paper)
Caixa (21x17x3 cm) com dois compartimentos, o primeiro com uma rosa de plástico e foto p/b, e o segundo com três folhas de pergaminho enroladas. Título na capa interna do compartimento da rosa "Uma rosa é uma rosa é uma rosa é uma rosa". Os pergaminhos, impressos apenas de um lado, contêm respectivamente "Verzeichnis der ausgestellten Werke", ensaios de Johannes Cladders e Carlo Huber e reproduções de desenhos de Johns sobre o tema "Light bulb.".
Data da impressão. Exposição realizada na Galeria Almada Negreiros, Lisboa, em duas fases: Exp. I : 1910-1970', de 17 de Setembro a 3 de Outubro de 1985, e 'Exp. II : 1971-1980', de 7 a 23 de Outubro de 1985. Inclui breve informação biográfica dos artistas representados'
Catálogo editado por ocasião da exposição patente em Bonner Kunstverein, Alemanha, de 20 setembro a 21 novembro 1993 e em Stationen bis Kunstverein Freiburg, de setembro a outubro 1995
Inclui referencias bibliograficas
monografia
Published in conjunction with Barry's exhibition of the same name, at the Vanabbemuseum, Eindhoven, and Museum Folkwang Essen in 1977
Exemplar assinado pela autora.
This work is about the phenomena of appearance and disappearance. The book shows 36 head-shots of a clown. If mutability of appearance is integral to the phenomenon of the cloud since dissolution or erasure is inevitable the converse is proposed for the clown [texto em inglês retirado de: https://steidl.de/Books/Cabinet-of-0730394759.html]
Catálogo da exposição do artista no Internationaal Cultureel Centrum, realizada entre 27 de maio e 25 de Junho de 1978.
Título da capa: "Der Trumpf Pralinenmeister"
Livro de Artista editado por ocasião da exposição patente em Kunsthalle Bern, Suíça, de 4 agosto a 14 setembro 1986
Catálogo num formato pouco comum, com o retrato do artista por Rudy Molacek e desenhos ilustrados a carvão. Brandl expôs com Zitko no Jean Bernier's em Atenas nesse ano. Este catálogo, impresso em Graz, foi publicado para a exposição na Frankfurter Galerie von Bärbel (Graesslin)
Exposição realizada de 17 de Outubro de 2003 a 4 de Janeiro de 2004 no MAC Serralves, Porto. Inclui entrevista de Hans-Ulrich Obrist com Didier Fiúza Faustino
Tiragem de 3000 exemplares.
Publicado por ocasião da exposição Specific and General Works do artista no Le Nouveau Musée / Institut d'Art Contemporain, Villeurbainne, França, de 4 setembro 1993 a 15 janeiro 1994
monografia
Catálogo editado por ocasião da exposição patente em Deichtorhallen Hamburg, de 22 outubro a 24 novembro 1991
Inclui referências bibliográficas
monografia
Livro de Artista impresso em offset e encadernado com grampos foi projetado pelo próprio Lawrence Weiner para ser incluído em sua primeira exposição individual em Chicago na Renaissance Society na Universidade de Chicago, de 29 de janeiro a 4 de março de 1978. Embora curto, sobressalente, e aparentemente direta à primeira vista, a publicação logo se revela meticulosamente projetada: Weiner numerou, orientou e alinhou atentamente seu texto e imagens de modo a maximizar a desorientação e o engajamento, retrabalhando e ativando de maneira ousada, mas sutil, a experiência de leitura. [https://www.printedmatter.org/catalog]
Tiragem de 750 exemplares
Offset-printed Poster announcing a screening of "Altered to Suit" a film of Lawrence Weiner at Mudd Club, New York, April 23, 1979. Featuring Peter Gordon, David van Tieghem, and Love of Life Orchestra. Music by Peter Gordon with Teta Gorgoni, Rosmary Hochschild, Britta Le Va, Michael Shamberg, and Kirsten Vibeke Thueson
Livro de Artista impresso a azul. A fripon fripon & demi. With the text from Jean-Claude Lebensztejn, "Une Reverie emanee de mes loisirs" [informação retirada de: http://www.mottodistribution.com/shop/a-fripon-fripon-et-demi-une-reverie-emanee-de-mes-loisirs.html]
Catálogo da exposição do artista no Kunstverein St. Gallen, Suíça, de 20 de maio a 20 de Agosto de 1995
monografia
Exposição apresentada no Museu de Arte Contemporânea de Serralves de 30 de Abril a 4 de Julho de 2004
Volume seven in Rencontres series. Includes numerous full-color reproductions of notes and installations by Lawrence Weiner. Wrappers feature an extended interview between Weiner and Frank Perrin. [informação retirada de: https://specificobject.com/objects/info.cfm?object_id=12831#.YFxrsXRCdPY]
Publicado em conjunto com uma instalação no Openluchtmuseum voor Beeldhouwkunst, Middelheim, Antwerpen, Bélgica
In the 1970s Lawrence Weiner, started inscribing his works directly onto the walls of galleries and exhibition spaces. Before that he had already been sending out his work on invitations cards, publishing it in newspapers, or proliferating it on matchboxes. For the Kunstmuseum Wolfsburg Weiner conceived a work that deals with colours and the immateriality of light. He drew his inspiration from the play of the green, yellow, red and violet of the northern lights. Stripes in these colours were applied to each of the 40 x 16.5 metre walls. The white of the writing on these walls creates the effect of apertures, while the walls themselves seem almost transparent. This fine artist's book devoted to Weiner's work shows all the walls realised for this project as well as earlier works both inside and outside in the open air. [informação retirada de: https://en.artbooksonline.eu/art-07719]
Exemplar nº 74/120.
Sérigraphie sur papier pelure
Tiragem de 120 exemplares
Tiragem de 80 exemplares, assinado
Périodique n 4 - Photographie de Patrice Gaillet.
Exemplar nº 58/120
Exemplar nº 91/120