In this book, Dan Adler addresses recent tendencies in contemporary art toward assemblage sculpture and how these works incorporate tainted materials - often things left on the side of the road, according to the logic and progress of the capitalist machine - and combine them in ways that allow each element to retain a degree of empirical specificity. Adler develops a range of aesthetic models through which these practices can be understood to function critically. Each chapter focuses on a single exhibition: Isa Genzken's "OIL" (German Pavilion, Venice Biennale, 2007), Geoffrey Farmer's midcareer survey (Musée d'art contemporain, Montréal, 2008), Rachel Harrison's "Consider the Lobster" (CCS Bard Hessel Museum of Art, 2009), and Liz Magor's "The Mouth and Other Storage Facilities" (Henry Art Gallery, Seattle, 2008).

Contemporary Sculpture and the Critique of Display Cultures (Routledge Focus on Art History and Visual Studies)

Adler, Dan

Reference

Routledge

In this book, Dan Adler addresses recent tendencies in contemporary art toward assemblage sculpture and how these works incorporate tainted materials – often things left on the side of the road, according to the logic and progress of the capitalist machine – and combine them in ways that allow each element to retain a degree of empirical specificity. Adler develops a range of aesthetic models through which these practices can be understood to function critically. Each chapter focuses on a single exhibition: Isa Genzken’s "OIL" (German Pavilion, Venice Biennale, 2007), Geoffrey Farmer’s midcareer survey (Musée d’art contemporain, Montréal, 2008), Rachel Harrison’s "Consider the Lobster" (CCS Bard Hessel Museum of Art, 2009), and Liz Magor’s "The Mouth and Other Storage Facilities" (Henry Art Gallery, Seattle, 2008).

Contemporary Sculpture and the Critique of Display Cultures: Tainted Goods (Routledge Focus on Art History and Visual Studies)

An illustrated study of Hanne Darboven's masterwork, the massive Kulturgeschichte 1880-1983 (Cultural History 1880-1983).
Hanne Darboven's Kulturgeschichte 1880-1983 (Cultural History 1880-1983) (1980-1983) is an overwhelming and encyclopedic installation consisting of 1,590 works on paper and 19 sculptural objects. The work weaves together cultural, social, and historical references with autobiographical documents, postcards, pinups of film and rock stars, documentary references to the first and second world wars, geometric diagrams for textile weaving, a sampling of New York doorways, illustrated covers from news magazines, the contents of an exhibition catalogue devoted to postwar European and American art, a kitschy literary calendar, and extracts from some of Darboven's earlier works. The panels are sequenced and grouped, with the groups then juxtaposed in arrangements that often seem little more than chance associations. In his illustrated walk through Darboven's massive work, Dan Adler explores its visual and aesthetic complexities and considers the work in relation to various projects undertaken by European artists in the 1960s―including Gerhard Richter's ongoing Atlas. The work is now permanently installed at Dia: Beacon.

Hanne Darboven: Cultural History 1880-1983 (Afterall Books / One Work)

Arts & Photography

History & Criticism

Afterall Books

Hanne Darboven's Kulturgeschichte 1880-1983 (Cultural History 1880-1983) (1980-1983) is an overwhelming and encyclopedic installation consisting of 1,590 works on paper and 19 sculptural objects. The work weaves together cultural, social, and historical references with autobiographical documents, postcards, pinups of film and rock stars, documentary references to the first and second world wars, geometric diagrams for textile weaving, a sampling of New York doorways, illustrated covers from news magazines, the contents of an exhibition catalogue devoted to postwar European and American art, a kitschy literary calendar, and extracts from some of Darboven's earlier works. The panels are sequenced and grouped, with the groups then juxtaposed in arrangements that often seem little more than chance associations. In his illustrated walk through Darboven's massive work, Dan Adler explores its visual and aesthetic complexities and considers the work in relation to various projects undertaken by European artists in the 1960s -- including Gerhard Richter's ongoing Atlas. The work is now permanently installed at Dia: Beacon.

Hanne Darboven: Cultural History 1880-1983 (One Work)

The first comprehensive survey of the artist?s practice to date, including Horton's major works Doctor Strangelove, Oracle, Sligo Heads and Drawing of A History of World War One. A predominantly visual monograph, the book traces Horton?s multimedia practice, encompassing improvised sculpture, animation and set design?exploring, in Art Critic Matthew Higgs? words, ?the fundamental pleasures of making and unmaking?. Horton?s concern with issues of consumer culture?particularly in the field of film?has informed his experimentation with commonplace and everyday objects, and the limits of technology in relation to representation. He explores the conflicted relationship between high and low cultures, issues of translation, imitation and transformation, and his self-referential work reflects and draws on a dark personal sense of humour. The publication is supported by Jessica Bradley Gallery (Toronto), MacLaren Art Centre and The Southern Alberta Gallery.

Kristan Horton

Shaughnessy, Jonathan

Black Dog Press