Reflex: A Vik Muniz Primer is a privileged, guided tour of the contents of Muniz's pyrotechnic imagination, walking us through each of his major series.
Not so long ago, it was relatively easy to wake up overlooking Victoria Harbour in Hong Kong and go to sleep in the shadow of the Brooklyn Bridge; to travel from Venice to Istanbul in time for dinner. The international network of the art world, in particular, made it easy to slip through time and borders--with the right invitation and the right passport. You may never have been to Basel, Switzerland for the art fairs, but you might certainly feel as though you have, experiencing it exclusively through the spate of other people's images. Vik Muniz's series Postcards from Nowhere grapples with how, through photographs, we have come to "see" and understand distant yet iconic sites we may never actually view with our own eyes. "The images we hold in our heads are an assemblage," notes Muniz. "They are an amalgam of every image of those locations that we have ever seen." More critically, the series serves as an homage not just to the quasi-obsolete artifact of the picture postcard, but to a way of life that has now been put in sharp relief. Muniz's images--created out of collaged pieces of vintage postcards from the artist's personal collection--materialize the experience and longing of travel, triangulating between the traveler, a distant location, and the recipient who, increasingly, remains at home. Volume I presents thirty-two single postcards displaying each of the images in the series. Volume II presents a series of thirty-six postcards that, when assembled, can be viewed as a single, large-scale work of 30 x 40 inches. The process of assembling the larger, single image is akin to the original act of collage--or like that of assembling a mosaic crafted from disparate pieces that have traveled from afar, but when brought together, conjure something that is larger, more complete than any individual element could be on its own.
Vic Muniz's images and his playful approach to making art captivate children and adults alike. Muniz works with everyday materials--such as peanut butter and jelly, chocolate syrup, and even garbage--to make images that often reference masterpieces or popular icons. Jelly, Garbage + Toys, drawn from interviews with children, is an interactive first-person narrative that presents Muniz's personal story and his art, focusing on some of his many processes and mediums. The book emphasizes the importance of play in the creation of art while challenging children to think about how images are made and what they mean. The design--with graphic novel-inspired speech bubbles, liftable flaps, and a Turkish-map fold (all four sides open)--helps communicate Muniz's exuberant message.
'Living as Form' grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a 30-person curatorial advisory team; each project is documented by a selection of colour images.
Over the last three centuries the world has been modernized. From the first stirrings of industrialism to the definitive arrival of globalization, artists, craftspeople and designers have engaged with modernization in order to make sense of the transformations it continually imposes. They have been, by turns, brutally critical and profoundly idealistic about the ongoing state of things. The Modern Ideal explores the idea of modernity, returning it to its historical context and showing how theory and practice in the modern visual arts emerged over three centuries. Concepts which are central to the meaning of modernity are explained, including style, modernization, progress, ideology and universality, and movements across all disciplines are discussed, from neoclassicism to postmodernism. The rise of idealism in the modern visual arts is also explored- the attempt to create a definitive, positive style that was capable of transforming not only art but society as a whole, became the obsessive quest of succeeding generations of artists, architects and designers. By dealing with issues at large in the contemporary art and design scene, and by speculating about the next phase of modern practice, the book identifies the collapse of idealism in the modern arts as being of central concern today.
This book intends to translate into theoretical, methodological and practical language the principles of dialogical psychology. Throughout the 19th and 20th centuries, theoretical models in psychology have approached human mind and behavior from a monological point of view, a generalizing perspective which ignored the core role of social transactions in the construction of the person and sought to explain psychological functioning only looking inside individuals’ minds and brains, or in mechanist sets of reinforcement contingencies. However, for the last 40 years, critical perspectives within the fields of psychological and sociological theoretical thinking have produced an important epistemological shift towards a new dialogical paradigm within the behavioral and social sciences. The contributions in this volume intend to present both the theoretical framework and possible applications of dialogical psychology in different fields of research and practice, such as: Developmental psychology School and educational psychology Social and personality psychology Education Social work Anthropology Art Psychology as a Dialogical Science - Self and Culture Mutual Development will be an invaluable resource to both researchers and practitioners working in the different areas involved in the study and promotion of healthy human development by providing an alternative scientific framework to help overcome the traditional, reductionist, monological explanations of psychological phenomena.
Accompagne l'exposition La Mémoire du futur, dialogues photographiques entre passé, présent et futur ayant eu lieu au Musée de l'Elysée de Lausanne du 25 mai au 28 août 2016. Le catalogue de l'exposition présentée fait dialoguer les œuvres de pionniers des techniques photographiques avec des œuvres d'artistes contemporains ressucitant ces savoir-faire en les réinterprétant avec des technologies d'avant-garde qui remettent aau goût du jour ces procédés anciens parmi lesquels figurent les Daguerréotypes, ferrotypes, ambrotypes, calotypes, négatifs sur papier ciré sec, cyanotypes, hologrammes, procédés Lippmann, Camera obscura; avec une contribution de Martin Vetterli, Image du monde et mondes des images - p. 146
The Encyclopedia of Twentieth-Century Photography explores the vast international scope of twentieth-century photography and explains that history with a wide-ranging, interdisciplinary manner. This unique approach covers the aesthetic history of photography as an evolving art and documentary form, while also recognizing it as a developing technology and cultural force. This Encyclopedia presents the important developments, movements, photographers, photographic institutions, and theoretical aspects of the field along with information about equipment, techniques, and practical applications of photography. To bring this history alive for the reader, the set is illustrated in black and white throughout, and each volume contains a color plate section. A useful glossary of terms is also included.
Distributed by the University of Nebraska Press for Whale and Star Press Nomad, Enrique Martínez Celaya's exhibition at the Miami Art Museum, consists of five large-scale paintings commissioned by the museum. This companion volume combines images of the finished paintings with Martínez Celaya's notes, sketches, and photographs of the work in process to reveal the evolution and concept behind this body of work. An accompanying essay by Peter Boswell, senior curator of the Miami Art Museum, reflects on previous work by Martínez Celaya in relation to this new project cycle. The book also includes the artist's exhibition history and a bibliography.
Photography Is presents more than 3,000 phrases that define one of the most democratic and ubiquitous of all art forms. Mirroring the ambiguous and untrustworthy nature of photographs themselves, each phrase in this book has been torn from the context in which it originally appeared. The result is contradictory and chaotic, frustrating and insightful. In short, it is photography, without photographs.