Erwin Wurm 59 Positions

  erwin wurm 59 positions: Work Ethic Helen Anne Molesworth, M. Darsie Alexander, Julia Bryan-Wilson, Baltimore Museum of Art, Des Moines Art Center, Wexner Center for the Arts, 2003 Examines the proliferation of new ways of making art in the 1960s by focusing on the changed organization of work in society at the time. Co-published with The Baltimore Museum of Art in conjunction with an exhibition of the same name.
  erwin wurm 59 positions: Erwin Wurm Erwin Wurm, Sophie Haaser, Rainer Fuchs, Kunstverein Freiburg, 1994 Text by Helmut Friedel, Franz Schuh, Stephan Berg, et al.
  erwin wurm 59 positions: Erwin Wurm Stella Rollig, Severin Dünser, Alfred Weidinger, 2017 Bei der Werkgruppe der Performativen Skulpturen attackiert Wurm Modelle oder rohe Blöcke aus Ton mit Körperkraft und teilweise auch mit Hilfsmitteln. Im Anschluss gießt er die deformierten Modelle häufig in Bronze, Alu- minium, Eisen oder Kunstharz ab, überzieht sie mit Farbe oder patiniert sie. Es entsteht ein spannungsgeladener Dialog zwischen der Urform des Materials und den Spuren des performativen Eingriffs. Der Körper wird dabei zum Material und Medium von Handlungsvollzügen.0Mit den Performativen Skulpturen begann Wurm bereits Anfang der 1990er-Jahre eine gänzlich neue Form des künstlerischen Ausdrucks zu entwickeln. Im 21er Haus wird dieser Werkblock nun erstmals umfassend präsentiert. Ein Großteil der 54 ausgestellten performativen Skulpturen und Plastiken ist eigens für diese Schau entstanden. Der Ausstellungskatalog ermöglicht einen umfassenden Einblick in Erwin Wurms Werkzyklus der Performativen Skulpturen und analysiert die Werke vor dem Hintergrund der künstlerischen Entwicklungslinie.00Exhibition: Belvedere - 21er Haus, Wien, Austria (02.06.-10.09.2017).
  erwin wurm 59 positions: Contemporary , 2006
  erwin wurm 59 positions: New Art Examiner , 1996 The independent voice of the visual arts.
  erwin wurm 59 positions: Erwin Wurm : exposition London, The Photographers' Gallery, 7. 12.2000-21.1.2001, Centre pour l'image contemporain, Saint-Gervais Genève, 27.1-25.3.2001 Erwin Wurm, Michael Newman, 2000
  erwin wurm 59 positions: Erwin Wurm Erwin Wurm, 2009 Erwin Wurm has worked for over 25 years on a multifaceted oeuvre that can be interpreted as a 'continuous research on the concept of sculpture'. For Wurm, who is now among the most successful contemporary artists, everything can become a sculpture: actions, written or drawn instructions and even thoughts. The artist examines the threshold between the diverse layers of actions, performances and sculpture, and translates into the contemporary media world. He has increasingly made videos in recent years that are being published and analysed for the first time in this book. Wurm became known to a wider audience through his One minute sculptures and his Fat sculptures. 'Humour is a weapon', he once said. Erwin Wurm knows how to make use of it peaceably, but also very pointedly. Published on the occasion of the touring exhibition at Städtische Galerie im Lenbachhaus Munich from September 2009, then on to Kunstmuseum Bonn, Essl Museum, Klosterneuburg Vienna. English text.
  erwin wurm 59 positions: ArtUS. , 2005
  erwin wurm 59 positions: Erwin Wurm Erwin Wurm, René De Guzman, Ralph Rugoff, Geraldine Barlow, 2004 This extensive volume presents a large variety of works from the past ten years.
  erwin wurm 59 positions: Figur Skulptur Sammlung Essl, 2005
  erwin wurm 59 positions: Parkett , 1996
  erwin wurm 59 positions: In extremis Thierry Davila, 2009 Le 4e de couverture indique : L’élargissement de la pratique artistique semble bien, et plus que jamais, caractériser l’état des choses dans l’univers aujourd’hui globalisé de l’industrie culturelle dont l’industrie de l’art n’est qu’un segment. On peut d’ailleurs parler à présent d’une déterritorialisation généralisée des pratiques qui amène à utiliser pour qualifier un artiste – en tout cas dans la langue française – le mot de plasticien, un terme suffisamment peu spécifié pour pouvoir réunir bien des gestes et artefacts qui donnent son contenu au travail de l’artiste, lequel, quand il est fécond, se situe à la pointe extrême de l’apparition du sens, au plus de son émergence et donc aussi au bord de sa dislocation possible, autrement dit et littéralement in extremis. Bien que souvent écrits au gré des circonstances – commissariat d’exposition, conférence, recherche effectuée pour elle-même, commande pour une publication – les textes réunis dans cet ouvrage prennent acte de cette situation. Nombre d’œuvres étudiées ici – dont celles de Gehrard Richter, Fred Sandback, On Kawara, Jessica Stockholder, Erwin Wurm, Pierre Bismuth, Francis Alÿs, Pierrick Sorin – développent, en effet, et pour elle-même cette déterritorialisation plasticienne voire la plasticité de la déterritorialisation.
  erwin wurm 59 positions: Tanzen, Sehen Peter Reeh, Stefanie Scheit-Koppitz, Museum für Gegenwartskunst Siegen, Centro Andaluz de Arte Contemporáneo, 2007 Die Ausstellung ?Tanzen, Sehen? betrachtet den Tanz aus der Sicht der Bildenen Kunst seit den sechziger Jahren bis heute. In welcher Weise werden aus dieser Richtung Perspektiven auf den Tanz entworfen? Welches `eigene` Interesse verfolgen die Bildenen Künstler und die Künstlerinnen in dieser Auseinandersetzung? Dabei werden auch wesentliche choreographische Positionen einbezogen. Die Ausstellung zeichnet die Geschichte der fruchtbaren Kooperation und der gegenseitigen Inspirationen nach, aber auch die Geschichte der parallelen Entwicklungen in den performativen und konzeptuellen Fragestellungen und des beiderseitigen Interesses an den allgemeineren anthropologischen, kulturellen und populären Begründszusammenhängen. hrsg. von Eva Schmidt, José Lebrero Stals, anlässlich der Ausstellung ?Tanzen, Sehen? vom 18. Februar bis 28. Mai 2007 im Museum für Gegenwartskunst Siegen und vom 28. Juni bis 16. September 2007 im Centro Andaluz de Arte Contemporáneo, Sevilla, mit Texten von Peter Reeh, Stefanie Scheit-Koppitz, Eva Schmidt mit den Künstlern Dave Allen, Douglas Gordon, Jonathan Monk, Eleanor Antin, Charles Atlas, Sven Augustijnen, Antonia Baehr, Samuel Beckett, Jérome Bel, Andrea Bowers, Ulla von Brandenburg, Trischa Brown, Helen Chadwick, Merce Cunningham, Rineke Dijkstra, Simone Forti, Dan Graham, Felix Gonzalez-Torres, Rebecca Horn, Jiri Kovanda, Mara Kurotschka, Yuri Leiderman, Auguste und Louis Lumiére, Babette Mangolte, Bruce McLean, Eva Meyer/Eran Schaerf, Peter Moore, Robert Morris, Bruce Nauman, Adrian Piper, Yvonne Rainer, Robert Rauschenberg, Ulrike Rosenbach, Boy & Eric Stappaerts, Stelarc, Chaterine Sullivan, Beate Terfloth, Peter Welz, Erwin Wurm.
  erwin wurm 59 positions: Flash Art , 2005
  erwin wurm 59 positions: Chic Clicks Institute of Contemporary Art (Boston, Mass.), 2002
  erwin wurm 59 positions: Kunst als Aufführungserfahrung Sandra Umathum, 2014-03-15 Zahlreiche Werke in der zeitgenössischen Ausstellungskunst kennzeichnet die Bemühung, die Besucher in intersubjektive Verhältnisse zu setzen: mit dem Museumspersonal, mit eigens engagierten Akteuren oder mit anderen Besuchern. Diese Studie nimmt ihren Ausgang bei der Frage, wie sich mit dieser Praxis auch die Kunsterfahrungen geändert haben. Mithilfe des Aufführungsbegriffs und theaterwissenschaftlichen Methoden der Analyse widmet sie sich verschiedenen Erfahrungen in der Begegnung mit Werken von Felix Gonzalez-Torres, Erwin Wurm und Tino Sehgal und erörtert, wie diese sich qualifizieren und in historischer Perspektive einordnen lassen.
  erwin wurm 59 positions: German Field Fortifications 1939–45 Gordon L. Rottman, 2012-09-20 The German Army of World War II considered itself an offensive, mobile force. The experiences in the trenches in World War I had done much to shape its concept of field fortification, and its mobile warfare ethos was intended to prevent the previous war's stalemate. This book addresses frontline defensive field fortifications, built by infantrymen using local materials, and includes rifle platoon positions, trenches, crew-served weapon positions, bunkers, dugouts, shelters and more. It also covers anti-tank and anti-personnel obstacles, as well as field camouflage methods and construction methods. The integration of these positions into permanent systems and theatre-specific defences are also discussed.
  erwin wurm 59 positions: Parachute , 2002
  erwin wurm 59 positions: Madrid en plata , 2021
  erwin wurm 59 positions: #Artselfie , 2014
  erwin wurm 59 positions: Stan Douglas: Abbott and Cordova, 7 August 1971 Stan Douglas, 2012-02-07 This is an art book on the politics of urban conflict based around artist Stan Douglas' stunning photo installation of the same name, depicting a violent confrontation in 1971 between police and Vancouver's counterculture known as the Gastown Riot. The book, which features essays by Alexander Alberro, Serge Guilbaut, and others, addresses various issues raised by Douglas' work, including the suppression and assimilation of the counterculture. It also includes other works from Douglas' Crowds and Riots series. Stan Douglas has exhibited widely, including at the Venice Biennale, Whitney Biennial, and documenta. He is the subject of numerous books, including Stan Douglas (Phaidon Press).
  erwin wurm 59 positions: Erwin Wurm : one minute sculptures, 1988-1998 : Werkverzeichnis, index of works, catalogue raisonné Erwin Wurm, 1999 Austrian artist Erwin Wurm worked in an encyclopaedic way to extend the concept of sculpture. Since 1988 he has developed his one minute sculptures. This catalogue raisonné presents all the artist's drawings from 1988 to 1998.
  erwin wurm 59 positions: Anti Glossy Patrick Remy, 2019-03-12 Capturing contemporary trends and forecasting the look of the future, this dazzling anthology collects the work of the most cutting-edge photographers working today, this volume is an essential compilation of the most important photographic trends of the age of social media and digital publication. The interaction between photography and fashion has always been compelling--how can artists balance commercial viability against their own creative vision? Anti-Glossy collects some of the most innovative photographers working in the field of fashion, exploring the way new media is influencing the direction of photography for print. As the notion of the fashion photographer becomes less distinct, the industry is benefitting from the talents of artists whose influence leads the genre into a multitude of surprising, often shocking, directions. In this collection of new fashion photography, full-page color and black-and-white photographs represent an incredible range of styles and techniques. From the evolving vision of masters of the form such as Juergen Teller and Glen Luchford, to the ironic work of Sebastian Kim, to the challenges posed by young female voices like Annemarieke Van Drimmelen, Charlotte Wales, Sarah Piantadosi, Joanna Piotrowska, and Karen Knorr, the photographers featured in this exciting collection represent a cutting-edge trend in all its diversity. Paris-based author and editor Patrick Remy has selected over twenty photographers from emerging talents that hold the prospect of creating enduring fashion images and influencing the cultural and style trends of tomorrow to established figures exploring new directions.
  erwin wurm 59 positions: Marxism in a Lost Century Gary Roth, 2014-12-22 Marxism in a Lost Century retells the history of the radical left during the twentieth century through the words and deeds of Paul Mattick. An adolescent during the German revolutions that followed World War I, he was also a recent émigré to the United States during the 1930s Great Depression, when the unemployed groups in which he participated were among the most dynamic manifestations of social unrest. Three biographical themes receive special attention -- the self-taught nature of left-wing activity, Mattick’s experiences with publishing, and the nexus of men, politics, and friendship. Mattick found a wide audience during the 1960s because of his emphasis on the economy’s dysfunctional aspects and his advocacy of workplace councils—a popularity mirrored in the cyclical nature of the global economy.
  erwin wurm 59 positions: 100 artistas contemporâneos Hans Werner Holzwarth, 2009 Questa edizione speciale in due volumi raccoglie i cento artisti più importanti tratti da Art at the turn of the Millennium e Art now offrendo al lettore un compendio completo di cosa sia l'arte agli inizi del secolo. La selezione fatta da Taschen va dagli artisti già universalmente noti e affermati quali Jean-Michel Basquiat, marlene Dumas, Damien Hirst, Mike Kelly, Jeff Koons, Albert Oehlen, Richard Prince, Charles ray, Cindy Sherman e Christopher Wool fino a nomi meno noti quali Glenn Brown, Natalie Djurberg, Tom Friedman, Mark Grotjahn o Terence Kohn.
  erwin wurm 59 positions: Erwin Wurm 21er Haus (Österreichische Galerie Belvedere), 2017 In the series of the Performative Sculptures, Wurm gets his hands dirty, attacking models or raw blocks of clay and deforming them by either physical exertion alone or other external means.Afterwards, the artist often casts the abused models in either bronze, aluminium, iron, or polyester resin, and then paints them either in colour or with an applied patina.Tension arises in the dialogue between the original form of objects and the traces left by the performative interventions, which turn the body into the material and the medium of action.In the early 1990s, Erwin Wurm began developing a completely new form of artistic expression with his Performative Sculptures, which will be comprehensively presented at the 21er Haus for the first time.A majority of the 54 performative sculptures and statues have been developed especially for this exhibition.The exhibition catalogue provides comprehensive insight into Erwin Wurm's cycle of works and analyses Wurm's works against the background of his artistic development.English and German text.Accompanies the exhibition, Erwin Wurm: Performative Sculptures at 21er Haus, Vienna, Austria (2 June - 10 September 2017).
  erwin wurm 59 positions: Chaos , 2008-03-31 A collection of dramatic panoramic landscapes by a leading Magnum photographer.
  erwin wurm 59 positions: Expanded Cinema Gene Youngblood, 2020-03-03 Fiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood’s influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood’s insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today’s hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include “the paleocybernetic age,” “intermedia,” the “artist as design scientist,” the “artist as ecologist,” “synaesthetics and kinesthetics,” and “the technosphere: man/machine symbiosis.” Outstanding works are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists of the period, such as Nam June Paik, Jordan Belson, Andy Warhol, Stan Brakhage, Carolee Schneemann, Stan VanDerBeek, Les Levine, and Frank Gillette. An inspiring Introduction by the celebrated polymath and designer R. Buckminster Fuller—a perfectly cut gem of countercultural thinking in itself—places Youngblood’s radical observations in comprehensive perspective. Providing an unparalleled historical documentation, Expanded Cinema clarifies a chapter of countercultural history that is still not fully represented in the arthistorical record half a century later. The book will also inspire the current generation of artists working in ever-newer expansions of the cinematic environment and will prove invaluable to all who are concerned with the technologies that are reshaping the nature of human communication.
  erwin wurm 59 positions: Art Index Retrospective , 1995
  erwin wurm 59 positions: Code-switching Between Structural and Sociolinguistic Perspectives Gerald Stell, Kofi Yakpo, 2015-02-17 The study of code-switching has been carried out from linguistic, psycholinguistic, and sociolinguistic perspectives, largely in isolation from each other. This volume attempts to unite these three research strands by placing at the centre of the enquiry the role played by social factors in the occurrence, forms, and outcomes of code-switching. The contributions in this volume are divided into three parts: “code-switching between cognition and socio-pragmatics”, “multilingual interaction and identity”, and “code-switching and social structure”. The case studies represent contact settings on five continents and feature languages with diverse linguistic affiliations. They are predictive and descriptive in their research goals and rely on experimental or naturalistic data. But they share the common goal of seeking to explain how social structures, ideologies, and identity impact on the grammatical and conversational features of code-switching and language mixing, and on the emergence of mixed languages. Given its scope, this volume is a significant addition to the empirical and theoretical foundations of the study of code-switching. It is also of relevance to the general debate on the inter-relationships between language and society.
  erwin wurm 59 positions: Art Index Alice Maria Dougan, Margaret Furlong, 1997
  erwin wurm 59 positions: An Alternative History of Art Ilʹi︠a︡ Iosifovich Kabakov, Emilia Kabakov, 2005 This catalogue presents the artwork of three fictitious Russian artists, all inventions of Ilya Kabakov, and intervviews of Ilya Kabakov.
  erwin wurm 59 positions: Envisioning Socialism Heather Gumbert, 2014-01-27 The first examination in English of East German television during the early Cold War
  erwin wurm 59 positions: Artbibliographies Modern , 1992 Abstracts of journal articles, books, essays, exhibition catalogs, dissertations, and exhibition reviews. The scope of ARTbibliographies Modern extends from artists and movements beginning with Impressionism in the late 19th century, up to the most recent works and trends in the late 20th century. Photography is covered from its invention in 1839 to the present. A particular emphasis is placed upon adding new and lesser-known artists and on the coverage of foreign-language literature. Approximately 13,000 new entries are added each year. Published with title LOMA from 1969-1971.
  erwin wurm 59 positions: If Looks Could Kill Marketa Uhlirova, 2008 Edited by Marketa Uhlirova, Elizabeth Wilson. Text by Caroline Evans, Roger K. Burton, Tom Gunning.
  erwin wurm 59 positions: Lady, Lisa Lyon Robert Mapplethorpe, Bruce Chatwin, 1983 A study of Lisa Lyon, bodybuilder, in a series of black and white portraits that showcase the photographer's sensitivity to form, light and texture
  erwin wurm 59 positions: The 48 Laws of Power Robert Greene, 2000-09-01 Amoral, cunning, ruthless, and instructive, this multi-million-copy New York Times bestseller is the definitive manual for anyone interested in gaining, observing, or defending against ultimate control – from the author of The Laws of Human Nature In the book that People magazine proclaimed “beguiling” and “fascinating,” Robert Greene and Joost Elffers have distilled three thousand years of the history of power into 48 essential laws by drawing from the philosophies of Machiavelli, Sun Tzu, and Carl Von Clausewitz and also from the lives of figures ranging from Henry Kissinger to P.T. Barnum. Some laws teach the need for prudence (“Law 1: Never Outshine the Master”), others teach the value of confidence (“Law 28: Enter Action with Boldness”), and many recommend absolute self-preservation (“Law 15: Crush Your Enemy Totally”). Every law, though, has one thing in common: an interest in total domination. In a bold and arresting two-color package, The 48 Laws of Power is ideal whether your aim is conquest, self-defense, or simply to understand the rules of the game.
  erwin wurm 59 positions: The Original Copy Roxana Marcoci, Geoffrey Batchen, Tobia Bezzola, 2010 Published in conjunction with the exhibition The original copy: photography of sculpture, 1839 to today, at the Museum of Modern Art, New York (August 1-November 1, 2010)--T.p. verso.
  erwin wurm 59 positions: Patalogo , 2002
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