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Titel och upphov Inside the white cube : the ideology of the gallery space
Utgivning, distribution etc. Univ. of California Press , Berkeley, Calif. : 1999
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*00000963nam a22003257 45
*00115604
*00520130108131656.1
*007a||||||||||||||||||||||
*008110824s1999 ||||e||||||00| 0|eng||
*020 $a0-520-22040-4 :$c£12.50 : CIP entry (Oct.)
*035 $a(SE-LIBR)20030000019384
*035 $a(Ko)17214
*040 $dG
*084 $aIaa
*084 $aIb.55
*1001 $aO'Doherty, Brian
*24510$aInside the white cube :$bthe ideology of the gallery space /$cby Brian O'Doherty
*250 $aExpanded ed.
*260 $aBerkeley, Calif. :$bUniv. of California Press ,$c1999
*300 $a113 s. :$bill.
*561 $aAurel Schiller (Ex. 4)
*653 $aUtställningsverksamhet
*653 $aUtställningsteknik
*653 $aUtställningslokaler
*653 $aGallerier
*653 $aKonstutställningar
*653 $aKonstteori
*697 $cKonst Teori Estetik
*697 $cKonst Konsthistoria Efterkrigstiden
*8520 $hKONST - Iit
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When these essays first appeared in Artforum in 1976, their impact was immediate. They were discussed, annotated, cited, collected, and translated--the three issues of Artforum in which they appeared have become nearly impossible to obtain. Having Brian O'Doherty's provocative essays available again is a signal event for the art world. This edition also includes "The Gallery as Gesture," a critically important piece published ten years after the others. O'Doherty was the first to explicitly confront a particular crisis in postwar art as he sought to examine the assumptions on which the modern commercial and museum gallery was based. Concerned with the complex and sophisticated relationship between economics, social context, and aesthetics as represented in the contested space of the art gallery, he raises the question of how artists must construe their work in relation to the gallery space and system. These essays are essential reading for anyone interested in the history and issues of postwar art in Europe and the United States. Teeming with ideas, relentless in their pursuit of contradiction and paradox, they exhibit both the understanding of the artist (Patrick Ireland) and the precision of the scholar. With an introduction by Thomas McEvilley and a brilliantly cogent afterword by its author, Brian O'Doherty once again leads us on the perilous journey to center to the art world: Inside the White Cube .
Acknowledgments p. 6 Introduction p. 7 Notes on the Gallery Space p. 13 A Fable of Horizontal and Vertical Modernism The Properties of the Ideal Gallery The Salon The Easel Picture The Frame as Editor Photography Impressionism The Myth of the Picture Plane Matisse Hanging The Picture Plane as Simile The Wall As Battleground and "Art" The Installation Shot The Eye and the Spectator p. 35 Another Fable Five Blank Canvasses Paint, Picture Plane, Objects Cubism and Collage Space The Spectator The Eye Schwitters's Merzbau Schwitters's Performances Happenings And Environments Kienholz, Segal, Kaprow Hanson, de Andrea Eye, Spectator, and Minimalism Paradoxes of Experience Conceptual and Body Art Context as Content p. 65 The Knock at the Door Duchamp's Knock Ceilings 1,200 Bags of Coal Gestures and Projects The Mile of String Duchamp's "Body" Hostility to the Audience The Artist and the Audience The Exclusive Space The Seventies The White Wall The White Cube Modernist Man The Utopian Artist Mondrian's Room Mondrian, Duchamp, Lissitzky The Gallery as a Gesture p. 87 Yves Klein's Le Vide Arman's Le Plein Warhol's Airborne Pillows Buren's Sealed Gallery Barry's Closed Gallery Les Levine's White Light The Christos' Wrapped Museum Afterword p. 109