Inside The White Cube
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|Author||: Brian O'Doherty|
|Editor||: Univ of California Press|
These essays explicitly confront a particular crisis in postwar art, seeking to examine the assumptions on which the modern commercial and museum gallery was based.
|Author||: Yann Sérandour|
|Editor||: Jrp Ringier Kunstverlag Ag|
This publication functions as a palimpsest: constructed on the reprint of the first French translation of Brian O'Doherty's influential book Inside the White Cube, it superimposes reproductions and commentaries of Yann Sérandour's work. Yann Sérandour's interstitial and mimetic proposals stem from pre-existing works or publications, whose meaning and problematics are thus reactivated. Inscribing himself in a conceptual heritage, The artist is prolongating historical gestures or manifestations by infiltrating and parasiting them. This practice of détournement is a way of reviving the (sometimes latent) stakes and significations of appropriated elements, As well as a way to interrogate their historical, political, and aesthetic dimensions. Published in the Christoph Keller Editions series. English text.
|Author||: Christiane Paul|
""New Media in the White Cube and Beyond" perceptively addresses the challenges inherent in the digital arts. The book will be a great asset to the study and practice of presenting media art for many years to come."--Barbara London, curator, Museum of Modern Art, New York "Provocative and original, "New Media in the White Cube and Beyond" represents an important contribution to the fields of new media, museum studies, and contemporary art."--Alexander Alberro, author of "Conceptual Art and the Politics of Publicity"
|Author||: Andrew V. Uroskie|
|Editor||: University of Chicago Press|
Today, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art. Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a post-cinematic age and helped to develop a novel space between the “black box” of the movie theater and the “white cube” of the art gallery. Packed with over one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.
|Author||: Brecht Vandenbroucke|
|Editor||: Drawn and Quarterly|
With few words and gorgeous style, a cartoonist takes aim at the hypocrisies of the art world White Cube is the Belgian cartoonist and illustrator Brecht Vandenbroucke’s debut book, a collection of mostly wordless strips that follow a pair of pink-faced twins as they attempt to understand contemporary art and the gallery world. Their reactions to the art they encounter are frequently comedic, as they paint over Pablo Picasso’s famous mural Guernica, and re-create a pixelated version of Edvard Munch’s The Scream after receiving one too many e-mails. Lushly painted, these irreverent strips poke fun at the staid, often smug art world, offering an absurdist view on the institutions of that world—questioning what constitutes art and what doesn’t, as well as how we decide what goes on the walls of the gallery and what doesn’t. Vandenbroucke’s distinctive work blends the highbrow with the low, drawing equally from Gordon Matta-Clark’s site-specific artwork and the Three Stooges’ slapstick timing. With a knowing wink at the reader, Vandenbroucke continuously uncovers something to laugh about in the stuffiness and pretentiousness of the art world.
|Author||: Adriano Pedrosa|
White Cube Mason's Yard presented 'Open Cube', an international group exhibition organised by Sao Paulo-based curator Adriano Pedrosa. Invited by the gallery to curate an exhibition, Pedrosa launched a process of open submission via Art Agenda in January 2013, under the title 'Call for entries: 'Open Cube' at White Cube Mason's Yard'. The only requirement was that the artist needed to be available for an interview in London with the curator, in March 2013. 'Open Cube' received over 2,900 applicants, of which Pedrosa interviewed 38 and selected a final group of 17 artists."
|Author||: K. B. Knight|
Travis Maurice Walker or otherwise known as Travis Grizzly is an American ex-Green Beret sniper who fought in the Afghanistan war. The six-foot-five, three-hundred-pound soldier was trained exceptionally well in hand-to-hand combat. In all his years he has never experienced defeat, even in the most extreme circumstances. In short, Travis Walker was born to be the perfect soldier-the perfect killing machine.On his final tour to Afghanistan, a week before coming home, Travis was struck in the head by an enemy's sniper bullet; it left him clinging to life. By miracle he survived, but would never be the same. Afterwards he moved to Lake City, Colorado along with his beautiful wife to not only continue the healing process, but to start a new life. With less than four hundred living souls in this historically rich city, it made for a perfect secluded area to keep a man that was programmed to kill safely within his isolated cage. No one knew they had a walking time bomb living next door until the day the cage was left open. A record-breaking winter storm takes the city hostage, isolating the residents from the rest of the world in a blizzard-like prison. A perfect mixture of adultery, mistrust, and murder will unleash a terrible evil upon the city, hell-bent on wiping out an entire family, along with anyone who dares get in the way. But another force, a seemingly darker one, will simply be-hell-bent.
|Author||: Christopher Hopper|
|Editor||: Createspace Independent Pub|
Support the author more by purchasing direct from his CreateSpace Store: RISE OF THE DIBOR https: //www.createspace.com/3618531 THE LION VRIE https: //www.createspace.com/3649857 ATHERA'S DAWN https: //www.createspace.com/3723285 This newly edited 2nd edition of the 2006 debut, brought to you by Spearhead Books, includes a revised map, page layout, and first ever "From the Author" section. Visit spearheadbooks.com and christopherhopper.com today! DESCRIPTION: Read the story that turned children into warriors, and warriors into legends. The Dairne-Reih haven't been seen in Dionia for generations-their kind and their king, Morgui, banished long ago from haunting paradise. But when creation shows signs of deterioration, the kings of the seven realms converge in the sacred Gvindollion gathering to arrive at one inexplicable conclusion: Morgui has returned. In the hopes of entrusting Dionia's brave history and perilous future to a generation that has never known war, the kings decide to raise up their young sons as an elite group of warriors, known only as the Dibor. Gorn, legendary hero of the First Battle, is commissioned to teach the Dibor the art of war, leading them on a four-year adventure on the Isle of Kirstell. It is Luik, son of Lair, who soon emerges as the warband's spirited front man. But he is not the only one of his peers to grow in power; his dear friend Fane discovers hidden abilities among the Mosfar under the mentorship of Li-Saide of Ot, while Princess Anorra finds that her lifelong tutor knows as much about combat as he does about etiquette. There is little time for the Dibor to enjoy the satisfaction of graduation, however, as a sinister plot is discovered to dethrone Dionia's kings and flatten the capital city of Adriel. The Dibor are summoned to war, along with the rest of Dionia's fighting men. It is before the gates of Adriel Palace that Luik and his army face Morgui's prince, Valdenil, as well as the unending ranks of the Dairne-Reih.
|Author||: Christa-Maria Lerm Hayes|
"This collection of essays assembles investigations of Brian O'Doherty's/Patrick Ireland's seminal work: his visual art practice, art criticism, institutional leadership and critique, media work, and literary writing. The international authors provide fresh perspective on an oeuvre that has resonance on both sides of the Atlantic."--Back cover.
|Author||: Theaster Gates,White Cube (Gallery)|
Gates is an artist, curator and urban activist whose work aims to galvanise communities and act as a catalyst for social change. For this exhibition, Gates created a multi-faceted installation that investigated themes of race and history through sculpture, installation, performance and two-dimensional works exhibited both inside and outside of the Bermondsey site. The exhibition furthered the artist's interest in a critique of social practice, shared economies and the question of objects in relation to political and cultural thought.
|Author||: A. S. Berman|
Cube: Inside the Making of a Cult Film Classic reveals the complete story of how childhood friends brought a convincing, futuristic vision of hell to the big screen for less than $1 million in Canada, far from the Hollywood studio system.
|Author||: J. G. McKenney|
***A Reader Views Award winner and Eric Hoffer Award finalist*** The Dark Forest is moving and a horde of bloodthirsty monsters is on the hunt. For the peaceful denizens of Erla, time is running out. Two thousand years have passed since the three clans fled the world of humans through Eon's Door to find sanctuary in a realm called Erla, and now a prophecy left to them by the ancient race that created the tree portal is coming true. A trusted sage has stolen the portal's key and is using the awesome power that separated the worlds to tear apart the very soul of Nature. The key must be taken back and Eon's Door closed--before it's too late. Hope lies with a "child of doubt" from the world the clans left behind and the courageous young Erlan who's been sent to find him. Together they must retrieve the key and close Eon's Door. It won't be easy. Abominations of beasts and trees stand between them and their goal. Even worse, the sage knows the prophecy and is expecting them. "Avatar meets The Lord of the Rings." "A captivating storyline with a lovely surprise at the end...beautiful imagery, and a great read." Sift Book Reviews
|Author||: Bernard Akoi-Jackson,Ibrahim Mahama,Robin Riskin|
White Cube presents ?Fragments?, an exhibition by Ibrahim Mahama. One of the most prominent artists to emerge from Ghana in recent years, Mahama is known for large-scale installations incorporating jute sacks previously used to transport cocoa beans and charcoal, which are stitched together and draped over architectural structures. For this exhibition, his first solo presentation in the UK, Mahama has created a new series of works including Non-Orientable Nkansa (2016), a monumental sculpture formed from stained wooden fragments.00Exhibition: White Cube Gallery, London, UK (01.03.-13.04.2017).
|Author||: Julie Ault,Social Text Collective,Drawing Center (New York, N.Y.)|
|Editor||: U of Minnesota Press|
A sweeping history of the New York art scene during the 1960s, 1970s, and 1980s reveals a powerful "alternative" art culture that profoundly influenced the mainstream. Simultaneous. (Fine Arts)