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California Studies in the History of Art #35: Theories & Documents of Contemporary Art: A Sourcebook

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California Studies in the History of Art #35: Theories & Documents of Contemporary Art: A Sourcebook Cover

 

Synopses & Reviews

Publisher Comments:

Ambitious and interdisciplinary, this long-awaited collaboration is a landmark presentation of the writings of contemporary artists. These influential essays, interviews, and critical and theoretical comments provide bold and fertile insights into the construction of visual knowledge. Featuring a wide range of leading and emerging artists since 1945, the collection—while comprehensive and authoritative—offers the reader some eclectic surprises as well.

Included here are texts that have become pivotal documents in contemporary art, along with writings that cover unfamiliar ground. Some are newly translated, others have never before been published. Together they address visual literacy, cultural studies, and the theoretical debates regarding modernism and postmodernism. The full panoply of visual media is represented, from painting and sculpture to environments, installations, performance, conceptual art, video, photography, and virtual reality. Thematic concerns range from figuration and process to popular culture, art and technology, and politics and the media. Contemporary issues of gender, race, class, and sexuality are also addressed.

Kristine Stiles's general introduction is a succinct overview of artists' theories in the evolution of contemporary discourse around art. Introductions to each chapter provide synopses of the cultural contexts in which the texts originated and brief biographies of individual artists. The text is augmented by outstanding photographs, many of artists in their studios, and vivid, contemporary art images.

Reflecting the editors' shared belief that artists' own theories provide unparalleled access to visual knowledge, this book, like its distinguished predecessors, Hershel Chipp's Theories of Modern Art (with Peter Selz and Joshua Taylor) and Joshua Taylor's Nineteenth-Century Theories of Art, will be an invaluable resource for anyone interested in contemporary art.

"In New York in 1915 I bought at a hardware store a snow shovel on which I wrote 'in advance of the broken arm.' It was around that time that the word 'readymade' came to mind to designate this form of manifestation."—Marcel Duchamp (1961)

"Women have always collected things and saved and recycled them because leftovers yielded nourishment in new forms. The decorative functional objects women made often spoke in a secret language, bore a covert imagery. When we read these images in needlework, in paintings, in quilts, rugs and scrapbooks, we sometimes find a cry for help, sometimes an allusion to a secret political alignment, sometimes a moving symbol about the relationships between men and women."—Miriam Schapiro and Melissa Meyer (1978)

"I want to create a fusion of art and life, Asia and America, Duchampiana modernism and Levi-Straussian savagism, cool form and hot video, dealing with all of those complex problems, spanning the tribal memory of the Nomadic Asians who crossed over the Bering Strait over 10,000 years ago."—Shigeko Kubota (1976)

"Black for me is a lot more peaceful and gentle than white. White marble may be very beautiful, but you can't read anything on it. I wanted something that would be soft on the eyes, and turn into a mirror if you polished it. The point is to see yourself reflected in the names. Also the mirror image doubles and triples the space."—Maya Lin (1983)

"Artists often depend on the manipulation of symbols to present ideas and associations not always apparent in such symbols. If all such ideas and associations were evident there would be little need for artists to give expression to them. In short, there would be no need to make art."—Andres Serrano (1989)

Synopsis:

A presentation of the writings of contemporary artists. These essays, interviews, critical and theoretical comments provide insights into the construction of visual knowledge.

Synopsis:

"The accomplishment of this book is astounding. This book will change the way scholars think about the totality of the world of contemporary art, and it will be the essential text for generations of students to come."—Richard Shiff, University of Texas, Austin

"An indispensable resource: compendious, diverse, and in some of its unfamiliar juxtapositions, startlingly fresh."—Lisa Tickner, Middlesex University, London

"Contrary to the popular myth of the "inarticulate" artist, the literature of contemporary art is rich and varied and, until now, widely scattered. This is the most comprehensive selection of such writings available. An essential resource for scholars, it also offers the lay reader generous doses of vivid and provocative writing."—Robert Storr, Museum of Modern Art, New York

"Theories and Documents not only fills an important gap in the field of modern and contemporary art but is also a major contribution in its own right. It rejects narrowly stylistic or medium-defined categories and instead organizes the artists' texts in relation to broader cultural, social, and technological concerns. It deepens and complicates our knowledge of the art of our time."—Abigail Solomon-Godeau, University of California, Santa Barbara

"A very useful anthology that performs two crucial functions: it brings artists of different generations and nationalities into conversation, and it comprehends art in its new mediums, practices, and problems."—Hal Foster, Editor, October

"Professors Stiles and Selz have presented us with a textbook that is as indispensable as it is authoritative. It will surely be seen as the standard reference for those seeking primary sources in the complex field of contemporary art studies."—David Ross, Whitney Museum of Art, New York

Description:

Includes bibliographical references (p. 897-956) and index.

About the Author

Kristine Stiles is Associate Professor of Art History, Duke University. She has written widely on contemporary art and is a practicing artist. Peter Selz is Professor Emeritus of Art History, University of California, Berkeley. Among his many books are German Expressionist Painting (California, 1957) and Art in Our Times (1981).

Table of Contents

Preface

General Introduction

1. Gestural Abstraction

Peter Selz

Jackson Pollock

Barnett Newman

Mark Rothko

Robert Motherwell

Helen Frankenthaler

Joan Mitchell

Cy Twombly

David Smith

Louise Bourgeois

Alfred H. Barr

Michel Tapié

Wols

Henri Michaux

Lucio Fontana

Emilio Vedova

Alberto Burri

Willi Baumeister

Antoni Tàpies

Tadeusz Kantor

Per Kirkeby

Anselm Kiefer

2. GEOMETIC ABSTRACTION

Introduction

Max Bill

Richard Paul Lhse

Piero Manzoni

Yves Klein

Charles Biederman

Ad Dekkers

Ad Reinhardt

Ellsworth Kelly

Kenneth Noland

Anne Truitt

Anthony Caro

Josef Albers

Victor Vasarely

Bridget Riley

Frank Stella

Donald Judd

Carl Andre

Dan Flavin

Tony Smith

Agnes Martin

Brice Marden

Daniel Buren

Alfred Jensen

Miriam Schapiro and Melissa Meyer

Valerie Jaudon and Joyce Kozloff

Peter Halley

3. FIGURATION

Introduction

Fernand Léger

Renato Guttuso

Max Beckmann

Paul Tillich

Jean-Paul Sartre

Alberto Giacometti

Jean Fautrier

Jean Dubuffet

Willem de Kooning

Francis Bacon

Constant Niewenhuys

Karel Appel

Willem Sandberg

Alice Neel

Romare Bearden

Lucian Freud

R.B. Kitaj

David Hockney and Larry Rivers

Michelangelo Pistoletto

Philip Pearlstein

Chuck Close

Richard Estes

Leon Golub

Nancy Spero

Arnulf Rainer

Philip Guston

Georg Baselitz

Jörg Immendorff

Magdalena Abakanowicz

Francesco Clemente

Susan Rothenberg

Eric Frischl

Julian Schnabel

John Pitnam Weber

Jesse Helms

Robert Mapplethorpe

Andres Serrano

4. MATERIAL CULTURE AND EVERYDAY LIFE

Introduction

Richard Hamilton

Dieter Roth

Öyvind Fahlström

Pierre Bestany

Daniel spoerri

Niki de Saint-Phalle

Pino Pascali

Gerhard Richter

Ion Grigorescu

Tony Cragg

Robert Rauschenberg

Jasper Johns

Bruce Conner

George Brecht

claes Oldenburg

Roy Lichtenstein

Andy Warhol

James Rosenquist

Lucas Samaras

Ray Johnson

Edward Ruscha

Judy Chicago

Faith Ringgold

Jeff Donaldson

Kieth Haring

Kenny Scharf

David Wojnarowicz

Barbara Kruger

Sherrie Levine

Jeff Koons

5. ART AND TECHNOLOGY

Introduction

Nicholas Schöffer

Gustav Metzger

Jean Tinguely

Takis

Otto Piene

Heinz Mack

Groupe de Recherche d'Art Visuel

Billy Klüver

Mark Pauline

Survival Research Laboratories

Laurie Anderson

Krzyszstof Wodiczko

Stelarc

Nam June Paik

Douglas Davis

Gerry Schum

Frank Gillette

Shigeko Kubota

Bill Viola

William Wegman

Pete D'agostino

Lynn Hershman

Martha Rosler

Myron W. Krueger

Peter Weibel

Jeffrey Shaw

Roy Ascott

6. INSTALLATIONS, ENVIRONMENTS, AND SITES

Introduction

Joseph Cornell

Frederick Kiesler

Louise Nevelson

Edward Kienholz

Christian Boltanski

ISamu Noguchi

Eduardo Chillida

Maya Lin

Walter de Maria

Robert Smithson

Michael Heizer, Dennis Oppenheim, Robert Smithson

Nancy Holt

Agnes Denes

Alan Sonfist

Christo

Gordon Matta-Clark

Alice Aycock

Charles Simonds

Richard Long

Helen Meyer Harrison and Newton Harrison

Robert Irwin

James Turrell

7. PROCESS

Introduction

Robert Morris

Eva Hesse

Nancy Graves

Richard Serra

Bruce Nauman

Robert Ryman

Richard Tuttle

Barry Le Va

Sam Gilliam, Jr.

Lynda Benglis

Mierle Lademan Ukeles

Ann Hamilton and Kathryn Clark

Martin Puryear

Mark Thompson

Joseph Beuys

Franz Erhard Walther

Rebecca Horn

Barry Flanagan

Jan Dibbets

Germano Celant

Jannis Kounellis

Mario Merz

Giuseppe Penone

Pinchas Cohen Gan

8. PERFORMANCE ART

Introduction

Jiro Yoshihara

Georges Mathieu

Situationist International

Guy Debord

John Cage

Allan Kaprow

Carolee Schneemann

Jean-Jacques Lebel

Raphael Montañez Ortiz

Wolf Vostell

George Maciunas

Dick Higgins

Ben Vautier

Robert Filliou

Yoko Ono

Milan Knízák

Jarzy Berés

Hermann Nitsch

Otto Mühl

Otto Mühl and the AA Commune

Günter Brus

Valie Export

Ulkricke Rosenbach

Marina Ambramovic and Ulay

Vito Acconci

Chris Burden

Eleanor Antin

tom Marioni

Linda Montano and Tehching Hsieh

Suzanne Lacy

Adrian Piper

Cindy Sherman

Karen Finely

James Luna

9. LANGUAGE AND CONCEPTS

Introduction

Marcel Duchamp

Henry Flynt

Sol Lewitt

Mel Bochner

Dan Graham

Seth Siegellaub

Robert Barry

Lawrence Weiner

Douglas Huebler

Joseph Kosuth

Zoran Popovic

Art and Language

Victor Burgin

Mary Kelly

Stanley Brouwn

Vincenzo Agnetti

John Latham

Marcel Broodthaers

Hans Haacke

Laus Staeke

Hervé Fischer

Jenny Holzer

John Baldessari

Group Material

NOTES

BIBLIOGRAPHY

INDEX

Product Details

ISBN:
9780520202535
Subtitle:
A Sourcebook of Artists' Writings
Author:
Stiles, Kristine
Author:
Selz, Peter
Author:
Selz, Peter H.
Publisher:
University of California Press
Location:
Berkeley :
Subject:
History - General
Subject:
History, modern
Subject:
Art
Subject:
20th century
Subject:
Sources
Subject:
Art, modern
Subject:
Art criticism
Subject:
Art, Modern -- 20th century -- Sources.
Subject:
History - Modern (Late 19th Century to 1945)
Subject:
Art, Modern -- 20th century.
Subject:
Art - General
Copyright:
Edition Description:
Trade paper
Series:
California Studies in the History of Art
Series Volume:
no. 94-535
Publication Date:
19960418
Binding:
Paperback
Grade Level:
General/trade
Language:
English
Illustrations:
Yes
Pages:
1003
Dimensions:
10 x 7 x 1.75 in 63 oz

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California Studies in the History of Art #35: Theories & Documents of Contemporary Art: A Sourcebook Used Trade Paper
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$11.95 In Stock
Product details 1003 pages University of California Press - English 9780520202535 Reviews:
"Synopsis" by , A presentation of the writings of contemporary artists. These essays, interviews, critical and theoretical comments provide insights into the construction of visual knowledge.
"Synopsis" by ,
"The accomplishment of this book is astounding. This book will change the way scholars think about the totality of the world of contemporary art, and it will be the essential text for generations of students to come."—Richard Shiff, University of Texas, Austin

"An indispensable resource: compendious, diverse, and in some of its unfamiliar juxtapositions, startlingly fresh."—Lisa Tickner, Middlesex University, London

"Contrary to the popular myth of the "inarticulate" artist, the literature of contemporary art is rich and varied and, until now, widely scattered. This is the most comprehensive selection of such writings available. An essential resource for scholars, it also offers the lay reader generous doses of vivid and provocative writing."—Robert Storr, Museum of Modern Art, New York

"Theories and Documents not only fills an important gap in the field of modern and contemporary art but is also a major contribution in its own right. It rejects narrowly stylistic or medium-defined categories and instead organizes the artists' texts in relation to broader cultural, social, and technological concerns. It deepens and complicates our knowledge of the art of our time."—Abigail Solomon-Godeau, University of California, Santa Barbara

"A very useful anthology that performs two crucial functions: it brings artists of different generations and nationalities into conversation, and it comprehends art in its new mediums, practices, and problems."—Hal Foster, Editor, October

"Professors Stiles and Selz have presented us with a textbook that is as indispensable as it is authoritative. It will surely be seen as the standard reference for those seeking primary sources in the complex field of contemporary art studies."—David Ross, Whitney Museum of Art, New York

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