
Formless: A User's Guide
autor Rosalind E. Krauss, Yve-Alain Bois
O tej książce
Although it is more than sixty years since Georges Bataille undertook his philosophical development of the term informe, only in recent years has the idea of the "formless" been deployed in the theorizing and reconfiguring of twentieth-century art. In A User's Guide, Yve-Alain Bois and Rosalind Krauss present a rich and compelling panorama of the formless. They chart its persistence within a history of modernism that has always repressed it in the interest of privileging formal mastery, and they assess its destiny within current artistic production. In the domain of practice, they analyze it as an operational tool, the structural cunning of which has repeatedly been suppressed in the service of a thematics of art. Neither theme nor form, formless is, as Bataille himself expressed it, a "job." The job of A User's Guide is to explore the power of the informe. A stunning new map of twentieth-century art emerges from this reconceptualization and from the brilliantly original analyses of the work of Jackson Pollock, Andy Warhol, Cy Twombly, Lucio Fontana, Cindy Sherman, Claes Oldenburg, Jean Dubuffet, Robert Smithson, and Gordon Matta-Clark, among others.
Gdzie kupić
Brak dostępnych opcji zakupu.
Linki w tej sekcji są linkami afiliacyjnymi - jeśli po kliknięciu kupisz książkę, otrzymamy prowizję od sklepu. Cena dla Ciebie pozostaje taka sama.
Więcej od Rosalind E. Krauss

Art Since 1900: Modernism, Antimodernism, Postmodernism, Volume 2: 1945 to the Present
Hal Foster, Rosalind E. Krauss, Yve-Alain Bois

Passages in Modern Sculpture
Rosalind E. Krauss

The Optical Unconscious
Rosalind E. Krauss

Oryginalność awangardy i inne mity modernistyczne
Rosalind E. Krauss

“A Voyage on the North Sea”: Art in the Age of the Post-Medium Condition
Rosalind E. Krauss

Sztuka po 1900 roku. Modernizm. Antymodernizm. Postmodernizm
Hal Foster, Yve-Alain Bois, Benjamin H.D. Buchloh, Rosalind Krauss

Sophie Calle: Did You See Me?
Yve-Alain Bois, Olivier Rolin, Christine Macel