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| yve alain bois painting as model: Painting as Model Yve-Alain Bois, 1993-05-04 Informed by both structuralism and poststructuralism, these essays by art critic and historian Yve Alain Bois seek to redefine the status of theory in modernist critical discourse. Warning against the uncritical adoption of theoretical fashions and equally against the a priori rejection of all theory, Bois argues that theory is best employed in response to the specific demands of a critical problem. The essays lucidly demonstrate the uses of various theoretical approaches in conjunction with close reading of both paintings and texts. |
| yve alain bois painting as model: Mondrian Carel Blotkamp, 2001 Piet Mondrian was one of the great pioneers of abstract art. This book looks at the relationship between his paintings and his theories on art. |
| yve alain bois painting as model: An Oblique Autobiography Yve-Alain Bois, 2022-12-06 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. |
| yve alain bois painting as model: Gabriel Orozco Ann Temkin, 2009 From the developer of |
| yve alain bois painting as model: Formless Yve-Alain Bois, Rosalind E. Krauss, Centre Georges Pompidou, 1997 Published to accompany exhibition held at the Centre Georges Pompidou, Paris 22/5 - 26/8 1996. |
| yve alain bois painting as model: The Return of the Real Hal Foster, 1996-09-25 In The Return of the Real Hal Foster discusses the development of art and theory since 1960, and reorders the relation between prewar and postwar avant-gardes. Opposed to the assumption that contemporary art is somehow belated, he argues that the avant-garde returns to us from the future, repositioned by innovative practice in the present. And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is pervasive today. After the models of art-as-text in the 1970s and art-as-simulacrum in the 1980s, Foster suggests that we are now witness to a return to the real—to art and theory grounded in the materiality of actual bodies and social sites. If The Return of the Real begins with a new narrative of the historical avant-gard, it concludes with an original reading of this contemporary situation—and what it portends for future practices of art and theory, culture and politics. |
| yve alain bois painting as model: Bachelors Rosalind E. Krauss, 2000-08-25 These essays on nine women artists are framed by the question, born of feminism, What evaluative criteria can be applied to women's art? Since the 1970s Rosalind Krauss has been exploring the art of painters, sculptors, and photographers, examining the intersection of these artists concerns with the major currents of postwar visual culture: the question of the commodity, the status of the subject, issues of representation and abstraction, and the viability of individual media. These essays on nine women artists are framed by the question, born of feminism, What evaluative criteria can be applied to women's art? In the case of surrealism, in particular, some have claimed that surrealist women artists must either redraw the lines of their practice or participate in the movement's misogyny. Krauss resists that claim, for these bachelors are artists whose expressive strategies challenge the very ideals of unity and mastery identified with masculinist aesthetics. Some of this work, such as the part object (Louise Bourgeois) or the formless (Cindy Sherman) could be said to find its power in strategies associated with such concepts as écriture feminine. In the work of Agnes Martin, Eva Hesse, or Sherrie Levine, one can make the case that the power of the work can be revealed only by recourse to another type of logic altogether. Bachelors attempts to do justice to these and other artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) in the terms their works demand. |
| yve alain bois painting as model: Retracing the Expanded Field Spyros Papapetros, Julian Rose, 2014-10-24 Scholars and artists revisit a hugely influential essay by Rosalind Krauss and map the interactions between art and architecture over the last thirty-five years. Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible “synthesis of the arts,” their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary art's transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss published an essay, “Sculpture in the Expanded Field,” that laid out in a precise diagram the structural parameters of sculpture, architecture, and landscape art. Krauss tried to clarify what these art practices were, what they were not, and what they could become if logically combined. The essay soon assumed a canonical status and affected subsequent developments in all three fields. Retracing the Expanded Field revisits Krauss's hugely influential text and maps the ensuing interactions between art and architecture. Responding to Krauss and revisiting the milieu from which her text emerged, artists, architects, and art historians of different generations offer their perspectives on the legacy of “Sculpture in the Expanded Field.” Krauss herself takes part in a roundtable discussion (moderated by Hal Foster). A selection of historical documents, including Krauss's essay, presented as it appeared in October, accompany the main text. Neither eulogy nor hagiography, Retracing the Expanded Field documents the groundbreaking nature of Krauss's authoritative text and reveals the complex interchanges between art and architecture that increasingly shape both fields. Contributors Stan Allen, George Baker, Yve-Alain Bois, Benjamin Buchloh, Beatriz Colomina, Penelope Curtis, Sam Durant, Edward Eigen, Kurt W. Forster, Hal Foster, Kenneth Frampton, Branden W. Joseph, Rosalind Krauss, Miwon Kwon, Sylvia Lavin, Sandro Marpillero, Josiah McElheny, Eve Meltzer, Michael Meredith, Mary Miss, Sarah Oppenheimer, Matthew Ritchie, Julia Robinson, Joe Scanlan, Emily Eliza Scott, Irene Small, Philip Ursprung, Anthony Vidler |
| yve alain bois painting as model: What Painting is James Elkins, 1999 Here, Elkins argues that alchemists and painters have similar relationships to the substances they work with. Both try to transform the substance, while seeking to transform their own experience. |
| yve alain bois painting as model: The Optical Unconscious Rosalind E. Krauss, 1994-07-25 The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of vision itself. And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about smart Jewish girls with their typewriters in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as Anti-Form. These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions. |
| yve alain bois painting as model: Endgame Yve-Alain Bois, Institute of Contemporary Art (Boston, Mass.), 1986 Endgame provides the first comprehensive discussion of two interrelated groups of artists who have recently emerged amidst brisk critical debate and who all, in various ways, represent a critique of the commodity, or the commodification of art objects. |
| yve alain bois painting as model: Inventing Abstraction, 1910-1925 Leah Dickerman, Matthew Affron, 2012 This book explores the development of abstraction from the moment of its declaration around 1912 to its establishment as the foundation of avant-garde practice in the mid-1920s. The book brings together many of the most influential works in abstractions early history to draw a cross-media portrait of this watershed moment in which traditional art was reinvented in a wholesale way. Works are presented in groups that serve as case studies, each engaging a key topic in abstractions first years: an artist, a movement, an exhibition or thematic concern. Key focal points include Vasily Kandinskys ambitious Compositions V, VI and VII; a selection of Piet Mondrians work that offers a distilled narrative of his trajectory to Neo-plasticism; and all the extant Suprematist pictures that Kazimir Malevich showed in the landmark 0.10 exhibition in 1915.0Exhibition: MoMA, New York, USA (23.12.2012-15.4.2013). |
| yve alain bois painting as model: Art Since 1900 Hal Foster, Rosalind E. Krauss, Yve-Alain Bois, B. H. D. Buchloh, David Joselit, 2016 Five of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth and twenty-first centuries |
| yve alain bois painting as model: In Defiance of Painting Christine Poggi, 1992-01-01 The invention of collage by Picasso and Braque in 1912 proved to be a dramatic turning point in the development of Cubism and Futurism and ultimately one of the most significant innovations in twentieth-century art. Collage has traditionally been viewed as a new expression of modernism, one allied with modernism's search for purity of means, anti-illusionism, unity, and autonomy of form. This book - the first comprehensive study of collage and its relation to modernism - challenges this view. Christine Poggi argues that collage did not become a new language of modernism but a new language with which to critique modernism. She focuses on the ways Cubist collage - and the Futurist multimedia work that was inspired by it - undermined prevailing notions of material and stylistic unity, subverted the role of the frame and pictorial ground, and brought the languages of high and low culture into a new relationship of exchange. |
| yve alain bois painting as model: Composing the Space László Moholy-Nagy, Naum Gabo, Katarzyna Kobro, Vladimir Tatlin, Barbara Hepworth, Carola Giedion-Welcker, Yve-Alain Bois, Georges Vantongerloo, Rosalind Krauss, 2019 This catalogue follows experimentation in avant-garde sculpture in its dialogue with space, movement and the human body, guided by the theory and practice of Katarzyna Kobro. For the first time, Kobro's work will be presented in the context of the work of her contemporaries, such as Naum Gabo, Barbara Hepworth, Gustaw Klucis, El Lissitzky, Antoine Pevsner, Friedrich Kiesler and Oskar Schlemmer. Text: Naum Gabo, Barbara Hepworth, Katarzyna Kobro, Laszlo Moholy-Nagy, Vladimir Tatlin, Georges Vantongerloo. Texts by researchers: Yve-Alain Bois, Carola Giedion-Welcker, Rosalind Krauss, Megan Luke, Alex Potts. Exhibition: Muzeum Sztuki, Lódz, Poland (04.10.2019 - 02.02.2020). |
| yve alain bois painting as model: Under Blue Cup Rosalind E. Krauss, 2011-11-10 A personal journey leads a celebrated critic to discover “knights of the medium,” contemporary artists who battle the aesthetic meaninglessness of the post-medium condition. In Under Blue Cup, Rosalind Krauss explores the relation of aesthetic mediums to memory—her own memory having been severely tested by a ruptured aneurysm that temporarily washed away much of her short-term memory. (The title, Under Blue Cup, comes from the legend on a flash card she used as a mnemonic tool during cognitive therapy.) Krauss emphasizes the medium as a form of remembering; contemporary artists in what she terms the “post-medium” condition reject that scaffolding. Krauss explains the historical emergence of the post-medium condition and describes alternatives to its aesthetic meaninglessness, examining works by “knights of the medium”—contemporary artists who extend the life of the specific medium. These artists—including Ed Ruscha, William Kentridge, Sophie Calle, Harun Farocki, Christian Marclay, and James Coleman—reinstate the recursive rules of a modernist medium by inventing what Krauss terms new technical supports, battling the aesthetic meaninglessness of the post-medium condition. The “technical support” is an underlying ground for aesthetic practice that supports the work of art as canvas supported oil paint. The technical support for Ruscha's fascination with gas stations and parking lots is the automobile; for Kentridge, the animated film; for Calle, photojournalism; for Coleman, a modification of PowerPoint; for Marclay, synchronous sound. Their work, Krauss argues, recuperates more than a century of modernist practice. The work of the post-medium condition—conceptual art, installation, and relational aesthetics—advances the idea that the “white cube” of the museum or gallery wall is over. Krauss argues that the technical support extends the life of the white cube, restoring autonomy and specificity to the work of art. |
| yve alain bois painting as model: What it Means to Write About Art Jarrett Earnest, 2018-11-27 The most comprehensive portrait of art criticism ever assembled, as told by the leading writers of our time. In the last fifty years, art criticism has flourished as never before. Moving from niche to mainstream, it is now widely taught at universities, practiced in newspapers, magazines, and online, and has become the subject of debate by readers, writers, and artists worldwide. Equal parts oral history and analysis of craft, What It Means to Write About Art offers an unprecedented overview of American art writing. These thirty in-depth conversations chart the role of the critic as it has evolved from the 1960s to today, providing an invaluable resource for aspiring artists and writers alike. John Ashbery recalls finding Rimbaud’s poetry through his first gay crush at sixteen; Rosalind Krauss remembers stealing the design of October from Massimo Vignelli; Paul Chaat Smith details his early days with Jimmy Durham in the American Indian Movement; Dave Hickey talks about writing country songs with Waylon Jennings; Michele Wallace relives her late-night and early-morning interviews with James Baldwin; Lucy Lippard describes confronting Clement Greenberg at a lecture; Eileen Myles asserts her belief that her negative review incited the Women’s Action Coalition; and Fred Moten recounts falling in love with Renoir while at Harvard. Jarrett Earnest’s wide-ranging conversations with critics, historians, journalists, novelists, poets, and theorists—each of whom approach the subject from unique positions—illustrate different ways of writing, thinking, and looking at art. Interviews with Hilton Als, John Ashbery, Bill Berkson, Yve-Alain Bois, Huey Copeland, Holland Cotter, Douglas Crimp, Darby English, Hal Foster, Michael Fried, Thyrza Nichols Goodeve, Dave Hickey, Siri Hustvedt, Kellie Jones, Chris Kraus, Rosalind Krauss, Lucy Lippard, Fred Moten, Eileen Myles, Molly Nesbit, Jed Perl, Barbara Rose, Jerry Saltz, Peter Schjeldahl, Barry Schwabsky, Paul Chaat Smith, Roberta Smith, Lynne Tillman, Michele Wallace, and John Yau. |
| yve alain bois painting as model: Revoliutsiia! Demonstratsiia! Matthew S. Witkovsky, Devin Fore, 2017-01-01 Groundbreaking new insight into a rich spectrum of early Soviet art and its spaces of display Published on the centenary of the Russian Revolution, this landmark book gathers information from the forefront of current research in early Soviet art, providing a new understanding of where art was presented, who saw it, and how the images incorporated and conveyed Soviet values. More than 350 works are grouped into areas of critical importance for the production, reception, and circulation of early Soviet art: battlegrounds, schools, the press, theaters, homes and storefronts, factories, festivals, and exhibitions. Paintings by El Lissitzky and Liubov Popova are joined by sculptures, costumes and textiles, decorative arts, architectural models, books, magazines, films, and more. Also included are rare and important artifacts, among them a selection of illustrated children's notes by Joseph Stalin's daughter, Svetlana Allilueva, as well as reproductions of key exhibition spaces such as the legendary Obmokhu (Constructivist) exhibition in 1921; Aleksandr Rodchenko's 'Workers' Club in 1925; and a Radio-Orator kiosk for live, projected, and printed propaganda designed by Gustav Klutsis in 1922. Bountifully illustrated, this book offers an unprecedented, cross-disciplinary analysis of two momentous decades of Soviet visual culture. |
| yve alain bois painting as model: The Origin of Perspective Hubert Damisch, 1994 The second part of the book brings the historical invention of perspective into focus, discussing the experiments with mirrors made by Brunelleschi, connecting it to the history of consciousness via Jacques Lacan's definition of the tableau as a configuration in which the subject as such gets its bearings.. |
| yve alain bois painting as model: Willem de Kooning Nonstop Rosalind E. Krauss, 2015 This image-rich essay offers a radical rethinking of the ab-ex painter Willem de Kooning by one of the greatest American art critics. Many have written about de Kooning s startling canvases of monstrous women, but none have approached them this way. In prose as energetic as her subject, Rosalind Krauss demonstrates how de Kooning could never stop reworking the same subject. Deploying one telling image after another, she shows that, from the early days of his career, de Kooning nearly always (1) worked with a tripartite vertical structure, (2) projected his own figure and point of view as the (male) artist into the painting, and (3) was compelled to produce the female figure, legs splayed obscenely or knees projected into the viewer s space in practically everything he made. Hidden in plain sight even in paintings of highways, boats, and landscapes, Woman is always there. How could we have missed this? |
| yve alain bois painting as model: Jutta Koether Jutta Koether, 2006 Jutta Koether's translucent color fields, expressive brushstrokes and female subjects--as well as her use of poetry, art history and Mylar--can make her seem like a feminist answer to the Cologne art scene, a counterpart to artists like Martin Kippenberger, Sigmar Polke and Albert Oehlen. In fact, she is a central contemporary painter in her own right, as well as a performance artist, a musician and a critic. She collaborates musically with Sonic Youth's Kim Gordon and Television's Tom Verlaine, contributes regularly to Artforum and the respected German culture magazine Spex, and teaches in Bard College's MFA program--and has recently shown her work at Reema Spaulings Fine Art and Thomas Erben Gallery in New York. Koether's work, which the New York Times has called vibrant and intriguing, was a standout in the 2006 Whitney Biennial. This look back documents the artist's oeuvre from the mid-80s forward, with an extensive selection of images. |
| yve alain bois painting as model: Pierre Bonnard Pierre Bonnard, Nicole R. Myers, Allison Stielau, Metropolitan Museum of Art (New York, N.Y.), 2009 The vibrant late paintings of Pierre Bonnard (1867-1947) are considered by many to be among his finest achievements. Working in a small converted bedroom of his villa in the south of France, Bonnard suffused his late canvases with radiant Mediterranean light and dazzling color. Although his subjects were close at hand-usually everyday scenes taken from his immediate surroundings, such as the dining room table being set for breakfast, or a jug of flowers perched on the mantelpiece - Bonnard rarely painted from life. Instead, he preferred to make pencil sketches in small diaries and then rely on these, along with his memory, once in the studio. This volume, which accompanies the first exhibition to focus on the interior and related still-life imagery from the last decades of Bonnard's long career, presents more than seventy-five paintings, drawings, and works on paper, many of them rarely seen in public and in some cases, little known. Although Bonnard's legacy may be removed from the succession of trends that today we consider the foundation of modernism, his contribution to French art in the early decades of the twentieth century is far more profound than history has generally acknowledged. In their insightful essays and catalogue entries the authors bring fresh critical perspectives to the ongoing reappraisal of Bonnard's reputation and to his place within the narrative of twentieth-century art.--Jacket |
| yve alain bois painting as model: Groundwork David Young Kim, 2022-10-18 An illuminating look at a fundamental yet understudied aspect of Italian Renaissance painting The Italian Renaissance picture is renowned for its depiction of the human figure, from the dramatic foreshortening of the body to create depth to the subtle blending of tones and colors to achieve greater naturalism. Yet these techniques rely on a powerful compositional element that often goes overlooked. Groundwork provides the first in-depth examination of the complex relationship between figure and ground in Renaissance painting. “Ground” can refer to the preparation of a work’s surface, the fictive floor or plane, or the background on which figuration occurs. In laying the material foundation, artists perform groundwork, opening the ground as a zone that can precede, penetrate, or fracture the figure. David Young Kim looks at the work of Gentile da Fabriano, Giovanni Bellini, Giovanni Battista Moroni, and Caravaggio, reconstructing each painter’s methods to demonstrate the intricacies involved in laying ground layers whose translucency and polychromy permeate the surface. He charts significant transitions from gold ground painting in the Trecento to the darkened grounds in Baroque tenebrism, and offers close readings of period texts to shed new light on the significance of ground forms such as rock face, wall, and cave. This beautifully illustrated book reconceives the Renaissance picture, revealing the passion and mystery of groundwork and discovering figuration beyond the human figure. |
| yve alain bois painting as model: Robert Ryman Vittorio Colaizzi, Karsten Schubert, 2009 The third volume in Ridinghouse's series of anthologies on the central figures of Minimalism, Robert Ryman: Critical Texts offers a crucial look at the artist through the voice of critics and art historians. The book charts the gradual evolution of the reception of and reaction to Ryman's art. Texts include critical responses from his very first solo exhibition to the present. The writings look at Ryman's work in the context of the challenge to painting in the 1960s as well as the importance of elements of 'support, colour, brushstroke' in his paintings over time. Furthermore, Ryman's art is considered in relation to other influential painters in the history of art. A comprehensive selection of over 60 essays and exhibition reviews have been collated into one volume, including texts by some of the most influential art historians and critics of our time. Looking at Robert Ryman's reception over time, Vittorio Colaizzi introduces this captivating group of texts. |
| yve alain bois painting as model: Architecture and Cubism Eve Blau, Nancy J. Troy, 2002 Together, these essays show that although there were many points of intersection—historical, metaphorical, theoretical, and ideological—between cubism and architecture, there was no simple, direct link between them. |
| yve alain bois painting as model: Art & Technology in the Nineteenth and Twentieth Centuries Pierre Francastel, 2000 A translation of work by art historian Pierre Francastel, this text explores his theory of the relationship between art and technology during the unprecedented industrialization of the late-19th to the mid-20th centuries. |
| yve alain bois painting as model: Minimalism James Meyer, James Sampson Meyer, 2004-01-01 Critic and art historian Meyer, a leading authority on Minimalism, examines the style from its inception to its broader cultural influence. This sourcebook features an excellent selection of nearly 300 color and b&w images to illustrate the surprising variety of the work. |
| yve alain bois painting as model: The Painting Factory Jeffrey Deitch, 2012 The first large-scale exhibition exploring contemporary abstract painting. In a major exhibition at the Museum of Contemporary Art, Los Angeles, director Jeffrey Deitch considers the reemergence of abstract painting among a broad range of artists whose work is as diverse conceptually as it is aesthetically. Looking back to Andy Warhol’s seminal Shadow, Oxidation, and Rorschach paintings as among the many touchstones that underwrite the contemporary impulse to abstraction, the show features artists such as Julie Mehretu, whose large-scale works densely layer maplike markings; Josh Smith, whose lush canvases often explore a single theme repeatedly, such as his signature; and Tauba Auerbach, whose highly formal explorations of materials challenge conventional modes of perception. Additional artists include Rudolf Stingel, Christopher Wool, Glenn Ligon, Urs Fischer, Mark Bradford, Wade Guyton, Kelley Walker, Seth Price, Kerstin Brätsch and Adele Röder, and Sterling Ruby. The exhibition catalogue features a roundtable discussion between Jeffrey Deitch, art historian Johanna Burton, and curators James Meyer and Scott Rothkopf. |
| yve alain bois painting as model: Oranges and Sardines Gary Garrels, 2008 Text by Gary Garrels. |
| yve alain bois painting as model: A Theory of Cloud Hubert Damisch, 2002 This is the first in a series of books in which one of the most influential of contemporary art theorists revised from within the conceptions underlying the history of art. The author’s basic idea is that the rigor of linear perspective cannot encompass all of visual experience and that it could be said to generate an oppositional factor with which it interacts dialectically: the cloud. On a literal level, this could be represented by the absence of the sky, as in Brunelleschi’s legendary first experiments with panels using perspective. Or it could be the vaporous swathes that Correggio uses to mediate between the viewer on earth and the heavenly prospect in his frescoed domes at Parma. Insofar as the cloud is a semiotic operator, interacting with the linear order of perspective, it also becomes a dynamic agent facilitating the creation of new types of pictorial space. (Damisch puts the signifer cloud between slashes to indicate that he deals with clouds as signs instead of realistic elements.) This way of looking at the history of painting is especially fruitful for the Renaissance and Baroque periods, but it is also valuable for looking at such junctures as the nineteenth century. For example, Damisch invokes Ruskin and Turner, who carry out both in theory and in practice a revision of the conditions of appearances of the cloud as a landscape feature. Even for the twentieth century, he has illuminating things to say about how his reading of cloud applies to the painters Leger and Batthus. In short, Damisch achieves a brilliant and systematic demonstration of a concept of semiotic interaction that touches some of the most crucial features of the Western art tradition. |
| yve alain bois painting as model: Allegories of Modernism Bernice Rose, 1992 |
| yve alain bois painting as model: The Unknown Matisse Hilary Spurling, 2001 |
| yve alain bois painting as model: Duchamp is My Lawyer Kenneth Goldsmith, 2020 In 1996, during the relatively early days of the web, Kenneth Goldsmith created UbuWeb to post hard-to-find works of concrete poetry. What started out as a site to share works from a relatively obscure literary movement grew into an essential archive of twentieth- and twenty-first-century avant-garde and experimental literature, film, and music. Visitors around the world now have access to both obscure and canonical works, from artists such as Kara Walker, Yoko Ono, Pauline Oliveros, Samuel Beckett, Marcel Duchamp, Cecil Taylor, Glenn Ligon, William Burroughs, and Jean-Luc Godard. In Duchamp Is My Lawyer, Goldsmith tells the history of UbuWeb, explaining the motivations behind its creation and how artistic works are archived, consumed, and distributed online. Based on his own experiences and interviews with a variety of experts, Goldsmith describes how the site navigates issues of copyright and the ways that UbuWeb challenges familiar configurations and histories of the avant-garde. The book also portrays the growth of other shadow libraries and includes a section on the artists whose works reflect the aims, aesthetics, and ethos of UbuWeb. Goldsmith concludes by contrasting UbuWeb's commitment to the free-culture movement and giving access to a wide range of artistic works with today's gatekeepers of algorithmic culture, such as Netflix, Amazon, and Spotify. |
| yve alain bois painting as model: Picasso Harlequin, 1917-1937 Pablo Picasso, 2009 A groundbreaking study of Pablo Picasso, this book documents all Picasso's major works from 1917 to 1937, including La Suite Voillard from the National Gallery of Canada. |
| yve alain bois painting as model: Design by Accident Alexandra Midal, 2019-09-17 A counterhistory and new historiography of design. In Design by Accident, Alexandra Midal declares the autonomy of design, in and on its own terms. This meticulously researched work proposes not only a counterhistory but a new historiography of design, shedding light on overlooked historical landmarks and figures while reevaluating the legacies of design's established luminaries from the nineteenth century to the present. Midal rejects both linear narratives of progress and the long-held perception of design as a footnote to the histories of fine art and architecture. By weaving critical analysis of the canon of design history and theory together, with special attention to the writings of designers themselves, she draws out the nuances and radical potentials of the discipline—from William Morris's ambivalence toward industry, to Catharine Beecher's proto-feminist household appliances, to the Bauhaus's Expressionist origins, and the influence of Herbert Marcuse on Joe Colombo. |
| yve alain bois painting as model: ريتشارد سيرا Richard Serra, 2014 |
| yve alain bois painting as model: Picasso Elizabeth Cowling, 2002-07-29 An award-winning study of Picasso by a prime authority on the artist. |
| yve alain bois painting as model: An Apprehensive Aesthetic Andrew McNamara, 2009 The book was awarded The Art Association of Australia and New Zealand Book Prize in 2010. Art continues to bemuse and confuse many people today. Yet, its critical analyses are saturated with daunting analyses of contemporary art's exhaustion, its predictability or its absorption into global commercial culture. In this book, the author seeks to clarify this apprehensive perception of art. He argues it is a consequence not only of confounding art-works, but also of the paradoxical impetus of a culture of modernity. By positively reassessing the perplexing or apprehensive features of cultural modernity as well as of aesthetic inquiry, this book redefines the ambitions of art in the wake of this legacy. In the process, it challenges many familiar approaches to art inquiry in order to offer a new understanding of the aesthetic, social and cultural aspirations of art in our time. |
| yve alain bois painting as model: Recodings Hal Foster, 1999 A Village Voice Best Book and a 'lucid and provocative work that allows us to glimpse stirrings and upheavals in the hothouse of modern art.' - Los Angeles Times |
| yve alain bois painting as model: The De Stijl Environment Nancy J. Troy, 1983-01 The Dutch magazine De Stijl, published from 1917 to 1931, was the focus of a remarkable group of advanced artists and architects who sought to combine their individual talents in collaborative projects that reflected their social and aesthetic ideals. The De Stijl Environment explores the group's approach to exterior and interior spaces and to furniture. It treats such themes as color, abstraction, and the corner, and describes the various collaborative efforts within the movement, in particular, the one that produced the De Stijl environment. Troy traces its evolution from an architecturally defined space to one determined by coloristic design. Among the painters discussed are Piet Mondrian, Theo van Doesburg, Vilmos Huszar, and Bart van der Liek; the architects include Gerrit Rietveld, Rob van't Hoff, Jan Wils, J. J. P Oud, and Cornelius van Eesteren. Nancy J. Troy is Associate Professor of Art History, Northwestern University. |
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Feb 16, 2021 · s3: Yve makes a huge box in front of him, then you tap on the grid for single-target damage, or swipe around it to create a damaging zone. Overall playstyle: Just hang back and …
Yve still the most broken mage : r/MobileLegendsGame - Reddit
Jun 27, 2022 · 22 votes, 38 comments. true. yeah idk maybe it's just me and my build pathing preferences, i tend to build defensively and offensively especially when up against dive …
YVE IS FINALLY BACK : r/MobileLegendsGame - Reddit
As a Yve user, she is really effective once she has 35% cd reduction as she can just poke and slow enemies gradually. With the recent buff, she only got more effective. Well deserved I …
How to Yve??? : r/MobileLegendsGame - Reddit
Apr 28, 2023 · I use Yve when the team has enough burst (Brody, Gusion, Chou) or hard CC (Khufra, Minsitthar, Ruby). Otherwise, I'll use mages like Kagura, Valentina, or Pharsa to take …
Can anyone enlighten me on why Yve is so highly aclaimed
Oct 11, 2022 · Yve’s zoning capability is what really makes her good, especially in coordinated teams. Walking into her ult is a no-no unless ur trying to cancel it (If it is still cancellable with …
The Eternal Battle, Zhask vs Yve. : r/MobileLegendsGame - Reddit
Apr 18, 2021 · Yve opened her arm as the ground started to shake, pieces of rubble started to float and the air was tingling with cosmic energy. "No you don't !", while the shards were hitting …
Why does Moonton hate Yve?? : r/MobileLegendsGame - Reddit
Yve was a hidden gem before, and when people started seeing potential in Yve, Moonton started nerfing her. Like, doesn't have range anymore, her slow is barely working, she doesn't deal …
Yve is the worst mage. And needs to be buff : …
Yes, I played Yve during her prime. In comparison, Yve now has lower ult area, worse waveclear (s1 double damage removed on minions), worse slow (s2 double nerf, ult nerf, IQW nerf), …
I Did it! : r/DegreesOfLewdity - Reddit
Download in this is the order: dol plus, beeeseee mod, the community compilation mod for beeesee, the yve side view and then the horns and wings and whatever else you want to add. …
A Guide To The Lone AstroWarden - Yve : r/MobileLegendsGame
May 7, 2021 · Yve is a a mid laner with high potential for off-lane play. Yve has high zoning capability, and coupled with her spammable skills makes her a demon in the rift. PROS AND …
[Guide] Yve 101 : r/MobileLegendsGame - Reddit
Feb 16, 2021 · s3: Yve makes a huge box in front of him, then you tap on the grid for single-target damage, or swipe around it to create a damaging zone. Overall playstyle: Just hang back and …
Yve still the most broken mage : r/MobileLegendsGame - Reddit
Jun 27, 2022 · 22 votes, 38 comments. true. yeah idk maybe it's just me and my build pathing preferences, i tend to build defensively and offensively especially when up against dive …
YVE IS FINALLY BACK : r/MobileLegendsGame - Reddit
As a Yve user, she is really effective once she has 35% cd reduction as she can just poke and slow enemies gradually. With the recent buff, she only got more effective. Well deserved I …
How to Yve??? : r/MobileLegendsGame - Reddit
Apr 28, 2023 · I use Yve when the team has enough burst (Brody, Gusion, Chou) or hard CC (Khufra, Minsitthar, Ruby). Otherwise, I'll use mages like Kagura, Valentina, or Pharsa to take …
Can anyone enlighten me on why Yve is so highly aclaimed
Oct 11, 2022 · Yve’s zoning capability is what really makes her good, especially in coordinated teams. Walking into her ult is a no-no unless ur trying to cancel it (If it is still cancellable with …
The Eternal Battle, Zhask vs Yve. : r/MobileLegendsGame - Reddit
Apr 18, 2021 · Yve opened her arm as the ground started to shake, pieces of rubble started to float and the air was tingling with cosmic energy. "No you don't !", while the shards were hitting …
Why does Moonton hate Yve?? : r/MobileLegendsGame - Reddit
Yve was a hidden gem before, and when people started seeing potential in Yve, Moonton started nerfing her. Like, doesn't have range anymore, her slow is barely working, she doesn't deal …
Yve is the worst mage. And needs to be buff : …
Yes, I played Yve during her prime. In comparison, Yve now has lower ult area, worse waveclear (s1 double damage removed on minions), worse slow (s2 double nerf, ult nerf, IQW nerf), …
I Did it! : r/DegreesOfLewdity - Reddit
Download in this is the order: dol plus, beeeseee mod, the community compilation mod for beeesee, the yve side view and then the horns and wings and whatever else you want to add. …
