Conceptual Art Peter Osborne (20 results)

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Paperback. Condition: new. Paperback. Boredom in modern and contemporary art- as something to be struggled against, embraced as an experience, or explored as a potential site of resistance.Without boredom, arguably there is no modernity. The current sense of the word emerged simultaneously with industrialization, mass politics, and consumerism. From Manet onwards, when art represents the everyday within modern life, encounters with tedium are inevitable. And starting with modernism's retreat into abstraction through subsequent demands placed on audiences, from the late 1960s to the present, the viewer's endurance of repetition, slowness or other forms of monotony has become an anticipated feature of gallery-going.In contemporary art, boredom is no longer viewed as a singular experience; rather, it is contingent on diverse social identifications and cultural positions, and exists along a spectrum stretching from a malign condition to be struggled against to an something to be embraced or explored as a site of resistance. This anthology contextualizes the range of boredoms associated with our neoliberal moment, taking a long view that encompasses the political critique of boredom in 1960s France; the simultaneous aesthetic embrace in the United States of silence, repetition, or indifference in Fluxus, Pop, Minimalism and conceptual art; the development of feminist diagnoses of malaise in art, performance, and film; punk's social critique and its influence on theories of the postmodern; and the recognition, beginning at the end of the 1980s, of a specific form of ennui experienced in former communist states. Today, with the emergence of new forms of labor alienation and personal intrusion, deadening forces extend even further into subjective experience, making the divide between a critical and an aesthetic use of boredom ever more tenuous.Artists surveyed includeChantal Akerman, Francis Al s, John Baldessari, Vanessa Beecroft, Bernadette Corporation, John Cage, Critical Art Ensemble, Merce Cunningham, Marcel Duchamp, Fischli & Weiss, Claire Fontaine, Dick Higgins, Jasper Johns, Donald Judd, Ilya Kabakov, Boris Mikhailov, Robert Morris, John Pilson, Sigmar Polke, Yvonne Rainer, Robert Rauschenberg, Ad Reinhardt, Gerhard Richter, Situationist International, Mierle Laderman Ukeles, Andy Warhol, Faith Wilding, Janet ZweigWriters includeIna Blom, Nicolas Bourriaud, Jennifer Doyle, Alla Efimova, Jonathan Flatley, Julian Jason Haladyn, The Invisible Committee, Jonathan D. Katz, Chris Kraus, Tan Lin, Sven L tticken, John Miller, Agne Narusyte, Sianne Ngai, Peter Osborne, Patrice Petro, Christine Ross, Moira Roth, David Foster Wallace, Aleksandr Zinovyev Boredom in modern and contemporary art: as something to be struggled against, embraced as an experience, or explored as a potential site of resistance. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: Very Good. Winner of the 2014 Annual Book Prize of the Association for the Study of the Arts of the Present (USA). Contemporary art is the object of inflated and widely divergent claims. But what kind of discourse can open it up effectively to critical analysis? Anywhere or Not at All is a major philosophical intervention in art theory that challenges the terms of established positions through a new approach at once philosophical, historical, social and art-critical. Developing the position that "contemporary art is postconceptual art," the book progresses through a dual series of conceptual constructions and interpretations of particular works to assess the art from a number of perspectives: contemporaneity and its global context; art against aesthetic; the Romantic pre-history of conceptual art; the multiplicity of modernisms; transcategoriality; conceptual abstraction; photographic ontology; digitalization; and the institutional and existential complexities of art-space and art-time. Anywhere or Not at All maps out the conceptual space for an art that is both critical and contemporary in the era of global capitalism. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

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Hard cover. Condition: Very good. Dust Jacket Condition: Very good. Jacket has light creasing on edges, but otherwise in excellent condition, with text and images clear and bright. Cover is in excellent condition. Binding is tight. Last page is creased on top outer corner. Inside is clean and unmarked.

Paperback. Condition: new. Paperback. Without boredom, arguably there is no modernity: the current sense of the word emerged simultaneously with industrialisation, mass politics and consumerism. From Manet onwards, when art represents the everyday within modern life, encounters with tedium are inevitable. And from modernism's retreat into abstraction to subsequent demands placed on audiences, from the late 1960s to the present, the viewer's endurance of repetition, slowness or other forms of monotony has become an anticipated feature of gallery-going. In contemporary art, boredom is no longer viewed as a singular experience; rather, it is contingent on diverse social identifications and cultural positions, and extends from a malign condition to be struggled against, to an experience to be embraced, or explored as a site of resistance.In this anthology, the range of boredoms associated with our neoliberal moment is contextualized in a long view which encompasses the political critique of boredom in 1960s France; the simultaneous aesthetic embrace in the USA of silence, repetition or indifference in Fluxus, Pop, Minimalism and conceptual art; the development of feminist diagnoses of malaise in art, performance and film; Punk's social critique and its influence on theories of the postmodern; and the recognition from the end of the 1980s of a specific form of ennui experienced in former communist states.Today, with the emergence of new forms of labour alienation and personal intrusion, deadening forces extend even further into subjective experience, making the divide between a critical and an aesthetic use of boredom ever more tenuous.Artists surveyed include Chantal Akerman, Francis Alys, John Baldessari, Vanessa Beecroft, Bernadette Corporation, John Cage, Critical Art Ensemble, Merce Cunningham, Marcel Duchamp, Fischli & Weiss, Claire Fontaine, Dick Higgins, Jasper Johns, Donald Judd, Ilya Kabakov, Boris Mikhailov, Robert Morris, John Pilson, Sigmar Polke, Yvonne Rainer, Robert Rauschenberg, Ad Reinhardt, Gerhard Richter, Situationist International, Mierle Laderman Ukeles, Andy Warhol, Faith Wilding, Janet Zweig.Writers include Ina Blom, Nicolas Bourriaud, Jennifer Doyle, Alla Efimova, Jonathan Flatley, Julian Jason Haladyn, The Invisible Committee, Jonathan D. Katz, Chris Kraus, Tan Lin, Sven Lutticken, John Miller, Agne Narusyte, Sianne Ngai, Peter Osborne, Patrice Petro, Christine Ross, Moira Roth, David Foster Wallace, Aleksandr Zinovyev. Part of the acclaimed series of anthologies which document major themes and ideas in contemporary art. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

TRIGGER WARNING: SOME MAY FIND IMAGES & SUBJECT MATTERS IN THIS BOOK CONFRONTING Lg quarto, black heavy card boards, black lettering to spine & boards, illus prelims, 304pp, illus, Near FINE (prev. owner's name in ink to fep) in d/w, VG (light to moderate fading to spine & front cover, light creasing to edges, prev. bookseller's adhesive price label to front cover).

Kartoniert / Broschiert. Condition: New. Tracking the postconceptual dimensions of contemporary artTracking the postconceptual dimensions of contemporary artIf, as Walter Benjamin claimed, it is the function of artistic form . to make historical content into a philosophical trut.

Soft cover. Condition: Fine. Book is in fine condition. 304pp with colour and b/w photographs.

Couverture souple. Condition: Neuf. Dust Jacket Condition: Neuf. Edition originale. Studies in Classical Archaeology (SCA 4) Visual Histories of the Classical World Essays in Honour of R.R.R. Smith C. M. Draycott, R. Raja, K. Welch, W. T. Wootton (eds.) XLII+549 p., 94 b/w ill. + 271 colour ill., 216 x 280 mm, 2018 ISBN: 978-2-503-57632-9 Languages: English, French, German Paperback The publication is available. Retail price: EUR 180,00 Professor R.R.R. Smith is one of the foremost scholars in the study of Classical art, or more broadly, ?visual culture?, pioneering research that examines not only the details of images and objects themselves, but also their contexts and underlying conceptual frameworks. Key to his approach is a focus on social identity: by exploring the people who commissioned, produced, and consumed ancient art, he has offered important insights into what this can tell us about how people lived, and how they perceived themselves and were seen by others. This volume, produced on the occasion of R.R.R. Smith?s 65th birthday, draws together essays from a distinguished group of researchers who have been inspired by Smith?s work and its value for reconstructing ancient social and cultural history. The papers gathered here consider various aspects of art and architecture in the classical world, engaging directly with R.R.R. Smith?s own research, and at the same time celebrating his enormous contribution to scholarship. Table of Contents Table of Contents Acknowledgements Introduction Approaches, Methods and Materials Robin Osborne, A World of Choice: Taking Archaic Greek Diversity Seriously Catherine M. Draycott, Art History and Achaemenid History: Or, What You Can Get out of the Back End of a Bull Caspar Meyer, What is the Value of Images? On the Significance of Time Spent Looking at Classical Art Peter Stewart, Ancient Greek Artists and Texts: Loss and Re-Creation Thomas Mannack, Two New Lekythoi and Two ?Ghosts? Rune Frederiksen, A Short History of the Depiction of Plaster Casts in the Scholarly Literature on Ancient Sculpture Royal Representations Christoph Bachhuber, The Lion Pit and Other Ambiguous Violence against Statues at Iron-Age Zincirli Stephan Faust, Alexander's Hearse and the Alexander Sarcophagus: Power Politics and Commemoration in a Changing World Emma Libonati, An Ambiguous Identification: The Diorite Statue in Diaphanous Drapery from Canopus Milena Melfi, A Cast, a Bird, and a Queen (?) Reconstructing Hellenistic Imagery Sheila Dillon, Portrait Statues in the City Eleusinion in Athens Olympia Bobou, Apollo?s Children: Five Statues from Delphi John Ma, Seeing the Invisible Kenneth Lapatin, A Puzzling Pachyderm Roman Imperial Representations Katharina Lorenz, Writing Histories from Roman Imperial Portraiture: The Case of the Julio-Claudian Princes Chris Hallett, Terracotta, Antiquarianism, and the ?Archaic Revival? of Early Augustan Rome Klaus Fittschen, Zum Bildnis des Kaisers Claudius in Braunschweig Katherine Welch, Neropolis Paul Zanker, Zu einer neuen Bildnisbüste des Kaisers Domitian in Toledo Social and Cultural Identities in Sculpture Bjorn Ewald, Minding the Gap: Issues of Transmission and Cultural Translation in Graeco-Roman Art Mantha Zarmakoupi, The Statue Monument of C. Billienus in the Stoa of Antigonos Gonatas on Delos Ben Russell, SimulacraGentium[Africanarum] Rubina Raja, Stacking Aesthetics in the Syrian Desert. Displaying Palmyrene Sculpture in the Public and Funerary Sphere Constructed Cities Andrew Stewart, Notes on the Origins and Early Development of the ?Agora of the Kerameikos? Margareta Steinby, The Resgestae of Q. Haterius Q. L. Tychicus, Redemptor Barbara Borg - codice articolo 012306 - Language : German english and french text.

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