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y Arts - Philosophie et théorie

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Craft

Harrod, Tanya
Cambridge : The MIT Press, 2018

A secret history of craft told through lost and overlooked texts that illuminate our understanding of current art practice.

“Craft” is a contested concept in art history and a vital category through which to understand contemporary art. Through craft, materials, techniques, and tools are investigated and their histories explored in order to reflect on the politics of labor and on the extraordinary complexity of the made world around us. This anthology offers an ethnography of craft, surveying its shape-shifting identities in the context of progressive art and design through writings by artists and makers as well as poetry, fiction, anthropology, and sociology. It maps a secret history of craft through lost and overlooked texts that consider pedagogy, design, folk art, the factory, and new media in ways that illuminate our understanding of current art practice.

Recently, the idea of craft has been employed strategically: to confront issues of gender or global development, to make a stand against artistic academicism, or to engage with making processes—some distinctly archaic—employed to suggest the abject and the everyday. Craft activism, or craftivism, suggests a new political purpose for the handmade. Deep anxieties drive today's technophilia, and artists, designers, and makers turn such anxieties into a variety of dynamic engagements. The contributors' reflections on new technologies and materials, lost and found worlds of handwork, and the politics of work all throw light on craft as process, product, and ideology. Craft will serve as a vital resource for understanding technologies, materials, techniques, and tools through the lens of craft in contemporary art. [editor summary]
A secret history of craft told through lost and overlooked texts that illuminate our understanding of current art practice.

“Craft” is a contested concept in art history and a vital category through which to understand contemporary art. Through craft, materials, techniques, and tools are investigated and their histories explored in order to reflect on the politics of labor and on the extraordinary complexity of the made world around us. This ...


Cote : 745.5 H3234c 2018

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Création et engagement

Berthet, Dominique
Paris : L'Harmattan, 2018

L'engagement dans le domaine de la création renvoie à deux aspects. Le premier est inhérent à la création en tant que telle dans la mesure où le créateur s'investit, s'implique dans son projet et dans sa pratique. Créer, c'est donner naissance à quelque chose qui n'existait pas avant. Pour cela s'exerce une double action : de la pensée et du corps. La création est souvent présentée comme un combat dans lequel l'artiste se confronte au matériau, au support, aux composants, à l'espace, etc. L'inattendu, le hasard, l'accident perturbent parfois le projet et l'intention du créateur qui est alors amené à prendre en compte ce qu'il n'avait pas prévu. La création résulte d'un engagement total de celui qui donne forme à cette « chose » nouvelle.

Par ailleurs, l'engagement se retrouve également dans la forme et dans le contenu de l'oeuvre. Une oeuvre est généralement qualifiée d'engagée lorsqu'elle transmet un message, exprime une prise de position, possède une dimension critique, rompt avec une tradition, témoigne d'une prise de risque. Elle peut parfois exprimer un message social, politique, idéologique. Il convient toutefois de distinguer une oeuvre engagée d'une oeuvre politique. En effet, si une oeuvre politique est de fait considérée comme engagée, une oeuvre engagée ne véhicule pas nécessairement un message politique. [résumé de l'éditeur]
L'engagement dans le domaine de la création renvoie à deux aspects. Le premier est inhérent à la création en tant que telle dans la mesure où le créateur s'investit, s'implique dans son projet et dans sa pratique. Créer, c'est donner naissance à quelque chose qui n'existait pas avant. Pour cela s'exerce une double action : de la pensée et du corps. La création est souvent présentée comme un combat dans lequel l'artiste se confronte au matériau, ...

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Practice

Boon, Marcus ; Levine, Gabriel
Cambridge : The MIT Press, 2018

‘Practice’ is one of the key words of contemporary art, ranging from artists’ descriptions of their practice to curatorial practice, from social practice to practice-based research. Once used to denote ‘doing’, as distinct from thinking and making, today the term can convey associations of political action (praxis), professional activity, discipline or rehearsal, as well as a shift away from the self-enclosed artwork or medium to open-ended actions, series, processes and projects. This is the first anthology to investigate what contemporary notions of practice mean for art, to trace their development and speculate on where this leads. [editor summary]
‘Practice’ is one of the key words of contemporary art, ranging from artists’ descriptions of their practice to curatorial practice, from social practice to practice-based research. Once used to denote ‘doing’, as distinct from thinking and making, today the term can convey associations of political action (praxis), professional activity, discipline or rehearsal, as well as a shift away from the self-enclosed artwork or medium to open-ended ...


Cote : 700.1 B7248p 2018

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Le cercle invisible : environnements, systèmes, dispositifs

Quinz, Emanuele
Dijon, France : Les Presses du réel, 2017

Le public est dans le cercle parce que nous vivons en cercle. [?] L'art nous apprend a? vivre dans le cercle ? expliquait, en 1967, John Cage dans un entretien.0Et c'est bien la voie que l'art entreprend avec les expe?rimentations des avant-gardes du de?but du sie?cle dernier, avec les pratiques de l'installation, de la participation ou de la relation des anne?es 1960 et 1970, et plus re?cemment, avec les recherches technologiques des anne?es 1990.0Les artistes se de?tournent des objets pour explorer l'installation, la participation, la relation, l'interaction.0Analysant ces transformations dans une perspective interdisciplinaire, ou? les arts plastiques croisent la musique, les arts de la sce?ne ou la performance, les essais re?unis dans ce volume, e?crits ± sur le terrain ?, se de?ploient en parcours et convergent sur la de?finition d'un art sans objet, qui, comme un cercle invisible, entoure le public ? tout a? la fois environnement, syste?me, dispositif. [résumé de l'éditeur]
Le public est dans le cercle parce que nous vivons en cercle. [?] L'art nous apprend a? vivre dans le cercle ? expliquait, en 1967, John Cage dans un entretien.0Et c'est bien la voie que l'art entreprend avec les expe?rimentations des avant-gardes du de?but du sie?cle dernier, avec les pratiques de l'installation, de la participation ou de la relation des anne?es 1960 et 1970, et plus re?cemment, avec les recherches technologiques des anne?es ...


Cote : 700.48 Q79c 2017

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Boredom

McDonough, Tom
Cambridge : The MIT Press, 2017

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. This anthology explores this history: from the political critique of boredom in 1960s France; 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. [editor summary]
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. This anthology explores this history: from the political critique of boredom in 1960s France; silence, repetition or indifference in Fluxus, Pop, Minimalism and ...


Cote : 700.453
M1367b 2017

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Destruction

Spieker, Sven
Cambridge : The MIT Press, 2017

The effects and meanings of destruction are central in the work of many of our most influential artists. Since the early 1960s, artists have cut, sliced, burned, blurred, erased, daubed-over, pulled down, ripped, sawn, shot, acid-bombed, exploded, smashed, crushed, compressed or even masticated their material to explore the meaning of their artistic processes. Here destruction changes from a negative state or passive condition to a highly productive category. Artists focussed on in this unique anthology use destructive subversion of media imagery to release us from its controlling effects; destruction of artwork to extinguish its fixity; destruction to disrupt the perceived integrity of built structures; and destructional risk to the self to raise consciousness of oppression. [editor summary]
The effects and meanings of destruction are central in the work of many of our most influential artists. Since the early 1960s, artists have cut, sliced, burned, blurred, erased, daubed-over, pulled down, ripped, sawn, shot, acid-bombed, exploded, smashed, crushed, compressed or even masticated their material to explore the meaning of their artistic processes. Here destruction changes from a negative state or passive condition to a highly ...


Cote : 700.108 S7553d 2017

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Work

Sigler, Friederike
Cambridge : The MIT Press, 2017

Work's meaning both within art and in its wider economic and social context: the complexities of being an art worker in the new economy. [editor summary]


Cote : 701.03 S577w 2017

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Queer

Getsy, David J.
Londre ; Cambridge ( Massachusetts) : Whitechapel Gallery ; MIT Press, 2016

Rather than a book of queer theory for artists, this is a book of artists’ queer tactics and infectious concepts. In the first such anthology to be centred on artists’ writings, numerous conversations about queer practice are brought together from diverse individual, social and cultural contexts. Together these texts describe and examine the ways in which artists have used the concept of queer as a site of political and institutional critique, as a framework to develop new families and histories, as a spur to action, and as a basis from which to declare inassimilable difference.[editor summary]
Rather than a book of queer theory for artists, this is a book of artists’ queer tactics and infectious concepts. In the first such anthology to be centred on artists’ writings, numerous conversations about queer practice are brought together from diverse individual, social and cultural contexts. Together these texts describe and examine the ways in which artists have used the concept of queer as a site of political and institutional critique, ...


Cote : 700.453 G3943q 2016

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No new kind of duck : would i know how to say what to do?

Verwoert, Jan
Berlin, Allemagne : Diaphanes, 2016

What do we learn by making art? What do we discover by discussing our art with other people? These are the questions at the heart of No New Kind of Duck, which documents an exchange between Jan Verwoert and artists, critics, and other researchers at the Graduate School at the Berlin University of the Arts, including artists Alex Martinis Roe, Jeremiah Day, Azin Feizabadi, Lizza May David, and Ralf Baecker and composers Nuria Núñez Hierro and Björn Erlach.

Creating art and coining the terms to explain and define one’s artistic practice, the contributors find, are two closely related yet distinct practices. The book begins with an introduction by Verwoert that discusses the politics of art as a form of knowledge production. Verwoert’s introduction is followed by contributions that turn the focus on the stakes of an art practice today. The book also presents a careful selection of art, in which each piece is presented without accompanying explanations or justification, highlighting the possibilities for artists to coin their own terms to describe the concerns of their practice. Beautifully designed by artist Nienke Terpsma, the book will be an equally welcome companion for established or aspiring artists. [editor summary]
What do we learn by making art? What do we discover by discussing our art with other people? These are the questions at the heart of No New Kind of Duck, which documents an exchange between Jan Verwoert and artists, critics, and other researchers at the Graduate School at the Berlin University of the Arts, including artists Alex Martinis Roe, Jeremiah Day, Azin Feizabadi, Lizza May David, and Ralf Baecker and composers Nuria Núñez Hierro and ...


Cote : 700.103 V572w 2016

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Information

Cook, Sarah
Cambridge : The MIT Press, 2016

While information science draws distinctions between ‘information’, signals and data, artists from the 1960s to the present have questioned the validity and value of such boundaries. Artists have investigated information’s materiality, in signs, records and traces; its immateriality, in hidden codes, structures and flows; its embodiment, in instructions, social interaction and political agency; its overload, or uncontrollable excess, challenging utopian notions of networked society; its potential for misinformation and disinformation, subliminally altering our perceptions; and its post-digital unruliness, unsettling fixed notions of history and place.

This anthology provides the first art-historical reassessment of information-based art in relation to data structures and exhibition curation, examining landmark exhibitions and re examining work by artists of the 1960s to early 1980s, from Les Levine and N.E.Thing Co. to General Idea and Jenny Holzer. [editor summary]
While information science draws distinctions between ‘information’, signals and data, artists from the 1960s to the present have questioned the validity and value of such boundaries. Artists have investigated information’s materiality, in signs, records and traces; its immateriality, in hidden codes, structures and flows; its embodiment, in instructions, social interaction and political agency; its overload, or uncontrollable excess, challenging ...


Cote : 709.04 C7711i 2016

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Type
Sujets

Arts - Philosophie et théorie [54]

Arts - 20e siècle [17]

Arts - 21e siècle [14]

Arts du spectacle - Philosophie et théorie [7]

Histoire de l'art [7]

Art et société [6]

Art moderne - 20e siècle [6]

Art moderne - 21e siècle [6]

Création (Arts) - Philosophie et théorie [5]

Processus de création [5]

Arts - Recherche - Methodologie [4]

Arts et technologie [3]

Corps humain - Aspect symbolique [3]

Art [2]

Art - 21e siècle [2]

Arts - Analyse et appréciation [2]

Arts du cirque - Philosophie et théorie [2]

Arts du cirque et théâtre [2]

Dadaïsme et surréalisme [2]

Dubois, Kitsou [chorégraphe] [2]

Installations in situ (Art) [2]

Langage du corps [2]

Objets dans l'art [2]

Philosophie de l'éducation [2]

Processus de création - Recherche [2]

Représentation du corps sur scène [2]

Temps dans l'art [2]

Air - Aspect symbolique [1]

Animaux - Psychologie [1]

Animaux dans l'art [1]

Anthropologie philosophique [1]

Architecture - Philosophie [1]

Archives artistiques [1]

Art - Aspect de l'environnement [1]

Art abstrait [1]

Art d'écrire [1]

Art de conter [1]

Art de performance - Philosophie et théorie [1]

Art immersif - Philosophie et théorie [1]

Artistes - Conditions sociales [1]

Artistes - Entretiens [1]

Arts - Aspect économie [1]

Arts - Aspect politique [1]

Arts - Étude et enseignement [1]

Arts - Poésie [1]

Arts - Reproduction [1]

Arts du cirque - Aspect symbolique [1]

Arts du spectacle - Critiques et interprétations [1]

Arts du spectacle - Recherche - Méthodologie [1]

Arts numériques [1]

Avant-garde - Esthétique - Histoire - 20e siècle [1]

Beauté dans l'art [1]

Cage, John [compositeur] [1]

Cartographie conceptuelle [1]

Cirque et cinéma [1]

Cirque et littérature [1]

Corps (Philosophie) [1]

Couleurs dans l'art [1]

Créativité - Philosophie et théorie [1]

Critique d'art - France [1]

Cunningham, Merce [1]

Danse - Aspect anthropologique [1]

Danse - Philosophie et théorie [1]

Decroux, Étienne [mime] [1]

Destruction dans l'art [1]

Dramaturgie [1]

Échec - Aspect psychologique [1]

Échec dans l'art [1]

Émotions dans l'art [1]

Ennui [1]

Espace (Art) [1]

Espace et temps [1]

Esprit et corps [1]

Esthétique [1]

Esthétique de la réception [1]

Éthique et déontologie [1]

Ethnologie dans l'art [1]

Études sur le genre [1]

Expression corporelle [1]

Funambulisme - Philosophie et théorie [1]

Genet, Jean [écrivain] [1]

Histoire des arts du cirque [1]

Histoire du cirque [1]

Homosexualité et arts [1]

Humour - Philosophie et théorie [1]

Humour dans l'art [1]

Huysman, Christophe [artiste de cirque] [1]

Imagination [1]

Installations (Art) [1]

Intention artistique [1]

Interdisciplinarité en arts [1]

Intervention artistique dans l'espace public [1]

Kafka, Franz [écrivain] [1]

La chance dans l'art [1]

La Volière de Dromesko [1]

Land art [1]

Le Phénix scène nationale [salle de spectacle] [1]

Le sublime dans l'art [1]

Les Hommes penchés [compagnie de cirque] [1]

Liberté - Anthologies [1]

Liberté - Aspect religieux [1]

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