Born in 1974, Danish artist Jeppe Hein soared to the top of the international art scene before the age of 35. His works were showcased at the world?s finest exhibitions and sold for sky-high prices. Then suddenly his body said stop. in 2009 Hein went down with stress.00In this book philosopher Finn Janning follows Jeppe Hein?s development from the time immediately after his diagnosis with burn out and onward ? a period where Hein underwent psychoanalysis and developed and interest in yoga, breathing exercises and spirituality. Janning shows how spirituality has become more present in Hein?s works, and in the book develops an existential philosophy in continuation of the artists spirituality and art.00Translated from Danish by Flemming Vordrup and Karen Steenhard.
Leading international artists and art educators consider the challenges of art education in today's dramatically changed art world. The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions about the education of today's artists. Art School (Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms. The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramovic, as well as questionnaire responses from a dozen important artists—among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat—about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls. And throughout the volume, attention is paid to new initiatives and proposals about what an art school can and should be in the twenty-first century—and what it shouldn't be. No other book on the subject covers more of the questions concerning art education today or offers more insight into the pressures, challenges, risks, and opportunities for artists and art educators in the years ahead. Contributors Marina Abramovic, Dennis Adams, John Baldessari, Ute Meta Bauer, Daniel Birnbaum, Saskia Bos, Tania Bruguera, Luis Camnitzer, Michael Craig-Martin, Thierry de Duve, Clémentine Deliss, Charles Esche, Liam Gillick, Boris Groys, Hans Haacke, Ann Lauterbach, Ken Lum, Steven Henry Madoff, Brendan D. Moran, Ernesto Pujol, Raqs Media Collective, Charles Renfro, Jeffrey T. Schnapp, Michael Shanks, Robert Storr, Anton Vidokle
Pipilotti Rist is among the world's best-known artists working with video. Her multi-screen installations have a dream-like quality as, for example, a beautiful young woman (the artist herself) cavorts in fantastic seascapes or surreal jungles. This monograph explores the artist and her work. It features: a discussion of Rist's work in relation to notions of Utopia; an examination of Rist's innovation in video technology in the creation of a new female image; an exploration of the psychoanalytical implications of one video work, Absolutions (Pipilotti's Mistakes) (1988); Artist's Choice, for which the artist has selected two selections from the poet Anne Sexton and novelist Richard Brautigan; and Artist's Writings - Rist's descriptions of her dreams, highly influential in the realization of her imagery, are set alongside a homage to video pioneer Nam June Paik.
How to make cakes that are as delicious to eat as they are beautiful to behold. Karen Krasne, the “Queen of Cakes” according to Gourmet magazine, brings a fresh and contemporary sensibility to special-occasion cakes. Instead of the conventional fondant and gum paste, she relies on natural frostings based on chocolate, cream, or butter (which are also easier to make). What makes these cakes showstoppers is their unexpected flavor combinations-take, for example, the Blood Orange Ricotta Torte, the Chocolate Tiramisu, or the Yuzu Tea Cake. These desserts take full advantage of layering-contrasting textures in each bite-as seen in the New York, New York (chocolate ganache, devil’s food cake, chocolate chantilly, and caramelized apples) or the Beau Soleil (mascarpone mousse, peaches, pralines, and honey-soaked pound cake). Krasne favors vibrant touches like fresh fruit and real flowers, which add flair without being fussy. The recipes include tips from her twenty years as a pastry chef, and a step-by-step introduction covers basic techniques. Extraordinary Cakes shows how to create amazing cakes that satisfy sophisticated palates-but are still achievable for the home baker. Some of the luscious cakes included are Toasted Macadamia Caramel Cheesecake, Shangrila (Guava Mousse, White Chocolate Mousse, Fresh Strawberries, Pound Cake), Vallarta (Key Lime Cream, Whipped Cream, Tequla-Infused Genoise), Marco Polo (Vanilla Mousse, Blackberry Gelee, Tea-Infused Cake), Chocolate Nirvana (Chocolate Mousse, Chocolate Cream, Chocolate Cake), King Kamehameha (Coffee Mousse, Chocolate, Mocha Pralines, Chocolate Cake), Beau Soleil (Marscapone Mousse, Peaches, Caramelized Pralines, Honey, Pound Cake), Blood Orange Ricotta Torte, Carnaval (White Chocolate Banana Truffle, Chocolate Mousse, Rum), Caribe (Banana, Mango, Passion Fruit, Chocolate Cake), Tortamisu (Marscapone Cream, Espresso-and-Rum-Soaked Cake).
Robert Irwin, who is one of the most important artists of this era, was a seminal figure in "Light and Space" art. He began as an Abstract Expressionist painter in the 1950s, and was for some time (but is no longer) an artist who produced no art obejcts. Irwin's philosophical and aesthetic theories are so far-reaching that only now, some twenty years after they were first posited, has the art world begun to recognize that his questions about perception come to bear upon the definition of art itself. In the 1960s, his disc paintings succeeded in "breaking the edge of the canvas," with the resultant effect that the space surrounding the work became equally important. In the 1970s, Irwin created room-environment pieces of a phenomenal or non-object nature across the United States. Comprised solely of light, string, or nylon scrim, these works placed the responsibility upon the viewer in order to bring him to a position where he could "perceive himself perceiving" - "The Mondrian was no longer on the wall - the viewer was in the Mondrian." In the last ten years, Irwin's sculptural aesthetic and his philosophical theories have merged to provide the impetus behind a major body of sculpture created in response to a specific site, situation, or locale. Irwin's importance as an artist lies not only in the beauty and clarity of his precendent-setting work, but in his theoretical contribtion, which provides a framework by which all phenomenal works can be examined. This book, written by the artist, lays out his theoretical position and documents the working processes behind seventeen major sculpture projects created over the past decade. -- from dust jacket.
Most talk of and writing on art is about its relationship to creation and creativity. This of course takes various forms, but ultimately the creative act in the making of art works is a key issue. What happens when we put together art and destruction? This has been referenced in some major areas, such as that of art and iconoclasm and auto-destructive art movements. Less evident are accounts of more intimate, smaller scale â ~destructiveâ (TM) interventions into the world of the made or exhibited art object, or more singular and particularised approaches to the representation of mass destruction. This volume addresses these lacunae by bringing together some distinct and very different areas for enquiry which, nevertheless, share a theme of destruction and share an emphasis upon the history of twentieth and twenty-first century art making. Scholars and makers have come together to produce accounts of artists whose making is driven by the breaking of, or breaking down of, matter and medium as part of the creative materialisation of the idea, such as Richard Wentworth, Bouke de Vries, Cornelia Parker, to name some of those artists represented here, and, indeed in one case, how our very attempts to write about such practices are challenged by this making process. Other perspectives have engaged in critical study of various destructive interventions in galleries. Some of these, whether as actual staged actions in real time, or filmic representations of precarious objects, are understood as artistic acts in and of themselves. At the same time, an account included in this volume of certain contemporary iconoclasts, defacing or otherwise effecting destructive attempts upon canonised exhibited artworks, reflects upon these destructive interventionists as self-styled artists claiming to add to the significance of works via acts of destruction. Yet other chapters provide a fresh outlook upon distinctive and unusual approaches to the representation of destruction, in terms of the larger scale and landscape of artistic responses to mass destruction in times of war. This book will be of interest to readers keen to encounter the range of nuance, complexity and ambiguity applicable to the bringing together of art and destruction.
Living in biofilms is the common way of life of microorganisms, transiently immobilized in their matrix of extracellular polymeric substances (EPS), interacting in many ways and using the matrix as an external digestion and protection system. This is how they have organized their life in the environment, in the medical context and in technical systems – and has helped make them the oldest, most successful and ubiquitous form of life. In this book, hot spots in current biofilm research are presented in critical and sometimes provocative chapters. This serves a twofold purpose: to provide an overview and to inspire further discussions. Above all, the book seeks to stimulate lateral thinking.
Which life is worth living? In A Philosophy of Mindfulness: A Journey with Deleuze, the writer and philosopher Finn Janning argues that we need a "new" philosophy because we-many of us, at least-are blind. We see rather little of that which surrounds us. For Janning, philosophy is not just an abstract discipline but also a mode of being in this world. By mixing mindfulness with the affirmative philosophy of Gilles Deleuze, he unfolds a philosophy of mindfulness. A philosophy that makes us less blind but also ethically responsible in relation to what we experience. Hereby, Janning moves mindfulness from the sphere of psychology into philosophy, or from being primarily an inward-turned practice to an out-turned one. A Philosophy of Mindfulness is a daring and enriching intervention in contemporary philosophy. It puts emphasis on experience, experiment, and actualization or affirmation. Each experience matters; life is the experience of making contact or being connected with what is in the midst of becoming-that is, life-and then passing it on to the next generations.
This beautifully designed book is a celebration of one of the world's most creative, dynamic and fascinating cities: Tokyo. It spans 400 years, with highlights including Kano school paintings; the iconic woodblock prints of Hiroshige; Tokyo Pop Art posters; the photography of Moriyama Daido and Ninagawa Mika; manga; film; and contemporary art by Murakami Takashi and Aida Makoto. Visually bold and richly detailed, this publication looks at a city which has undergone constant destruction and renewal and it tells the stories of the people who have made Tokyo so famous with their insatiable appetite for the new and innovative - from the samurai to avantgarde artists today. Co-edited by Japanese art specialists and curators Lena Fritsch and Clare Pollard from Oxford University, this accessible volume features 28 texts by international experts of Japanese culture, as well as original statements by influential artists.
