Sherrie Levine Diary 2019

Diaries and journals have a long, complex history within visual culture. American artist Sherrie Levine continues the tradition with Diary 2019 by making the private public. Inspired by Polish writer Witold Gombrowicz’s Diary and its famed opening entries, written in 1953— “Monday: Me. Tuesday: Me. Wednesday: Me. Thursday: Me.”—Levine prints the word “ME.” on each calendar page in Diary 2019. Levine’s diary is a playful riff on autobiography amidst our narcissistic culture.

Erased de Kooning Drawing ist ein Kunstwerk, das auf radikale Weise die Definition von Kunst und das Verständnis von Autorschaft herausfordert. Drei amerikanische Künstler waren 1953 an seiner Erschaffung beteiligt: Robert Rauschenberg radierte eine Zeichnung Willem de Koonings aus, der mit einem gewissen Widerwillen sein Einverständnis gegeben hatte. Jasper Johns versah es anlässlich seiner ersten Präsentation mit einem Label, das maßgeblich zu seiner Wahrnehmung als eigenständigem Werk beitrug. Das zu etwas Neuem transformierte Blatt wurde in den 1950er-Jahren als Neo-Dada aufgefasst, in den 1960ern als Beginn der Konzeptkunst und in den 1980er-Jahren als Aufbruch in die Postmoderne. Zahlreiche Künstler*innen bezogen sich auf das Werk und Rauschenberg selbst griff es immer wieder auf. Es erwies sich als Testfall für Bestimmungen von Modernismus, Literalismus und Postmodernismus. Gregor Stemmrichs kenntnisreiche kunsttheoretische Betrachtung arbeitet die anhaltende Relevanz des Werks für die Theorie des Bildes, des Index, der Spur, des Allegorischen und der Frage nach Appropriation heraus.

For thousands of years humans have experimented with various methods of waste disposal—from burning and burying to simply packing up and moving in search of an unscathed environment. Habits of disposal are deeply ingrained in our daily lives, so casual and continual that we rarely ever stop to ponder the big-picture effects on social, spatial and ecological orders. Rethinking the ways in which we produce, collect, discard and reuse our waste, whether it’s materials, spaces or places, is essential to ensure a more feasible future. Waste Matters: Adaptive Reuse for Productive Landscapes presents a series of historical and contemporary design ideas that reimagine a range of repurposed materials at diverse scales and in various contexts by exploring methods of hacking, disassembly, reassembly, recycling, adaptive reuse and preservation of the built environment. Waste Matters will inspire designers to sample and rearrange bits of artifacts from the past and present to produce culturally relevant and ecologically sensitive materials, objects, architecture and environments.

This book presents a series of pedagogical experiments translating climate science, environmental humanities, material research, ecological practices into the architectural curriculum. Balancing the science and humanities, it exposes recent pedagogical experiments from renown educators, while also interrogating a designer’s agency between science and speculation in the face of climate uncertainty. The teaching experiments are presented across four sections: Abstraction, Organization, Building, and Narrative, exposing core parts of an architect’s education and how educators can simultaneously provide fundamental skills and constructive literacy while instigating environmental sensibilities. Chapters cover issues such as an unstable hydrosphere, water infrastructure, remediating materials, methods of disassembly and adaptive reuse, as well as constructing new aesthetic categories of climate change, and implementing oral histories of construction, among many others. Written and edited by expert design educators actively engaged in experimenting in new forms of pedagogy, this book will be of great use to architecture instructors at all levels looking to renew their teaching practices to more directly address the climate emergency. It will also appeal to those academics across the built environment interested in the ways design can affect and adapt to climate change.

'Learn the rules like a pro so you can break them like an artist' - Picasso Whether it's through disrupting a routine, turning an idea on its head or challenging the norm, Brief Lessons in Rule Breaking will give you the confidence to take creative risks and experiment, free from self-doubt. Be inspired by the artistic avant garde with wise words from Abramovic, Duchamp and more.

Intersections of Value investigates the universal human need for aesthetic experience. It examines three appreciative contexts where aesthetic value plays a central role: art, nature, and the everyday. However, no important appreciative context or practice is completely centered on a single value. Hence, the book explores the way the aesthetic interacts with moral, cognitive, and functional values in these contexts. The account of aesthetic appreciation is complemented by analyses of the cognitive and ethical value of art, the connection between environmental ethics and aesthetics, and the degree to which the aesthetic value of everyday artefacts derives from their basic practical functions. Robert Stecker devotes special attention to art as an appreciative context because it is an especially rich arena where different values interact. There is an important connection between artistic value and aesthetic value, but it is a mistake to reduce the former to the latter. Rather, artistic value should be seen as complex and pluralistic, composed not only of aesthetic but also ethical, cognitive, and art-historical values.

Archaeological remains are ‘fragmented by definition’: apart from exceptional cases, the study of the human past takes into account mainly traces, ruins, discards, and debris of past civilizations. It is rare that things have been preserved as they were originally made and conceived in the past. However, not all the ancient fragmentary objects were the ‘leftovers’ from the past. A noticeable portion of them was part and parcel of the ancient materiality already in the form of a fragment or damaged item. In 2000, John Chapman, with his volume Fragmentation in Archaeology, attracted the attention of scholars on the need to reconsider broken artifacts as the result of the deliberate anthropic process of physical fragmentation. The phenomenon of fragmentation can be thus explored with more outcomes for a category of objects that played an important role inside the society: the figurines. Due to their portability and size, figurines are particularly entangled and engaged in social, spatial, temporal, and material relations, and – more than other artifacts – can easily accommodate acts of embodiment and dismemberment. The act of creation symmetrically also involves the act of destruction, which in turn is another act of creation, since from the fragmentation comes a new entity with a different ontology. Breaking contains the paradigms of life: creation and reparation, destruction and regeneration. The scope of this volume is to search for traces of any voluntary and intentional fragmentation of ancient artifacts, creating, improving, and sharpening the methods and principles for a scientific investigation that goes beyond single author impression or sensitivity. The comparative lens adopted in this volume can allow the reader to explore different fields taken from ancient societies of how we can address, assess, detect, and even discuss the action of breaking and mutilation of ancient figurines.

Iconoclasm and the Museum addresses the museum’s historic tendency to be silent about destruction through an exploration of institutional attitudes to iconoclasm, or image breaking, and the concept’s place in public display. Presenting a selection of focused case studies, Boldrick examines long-standing desires to deface, dismantle, obscure or destroy works of art and historic artefacts, as well as motivations to protect and display broken objects. Considering the effects of iconoclastic practices on artworks and cultural artefacts and how those practices are addressed in institutions, the book examines changing attitudes to the intentional destruction of powerful artworks in the past and present. It ends with an analysis of creative destruction in contemporary art making and proposes that we are entering a new phase for museums, in which they acknowledge the critical roles destruction and loss play in the lives of objects and in contemporary political life. Iconoclasm and the Museum will be important reading for academics and students in fields such as museum and gallery studies, archaeology, art history, arts management, curatorial studies, cultural studies, history, heritage and religious studies. The book should also be of great interest to museum professionals, curators and collections management specialists, and artists.