The poet and artist Marcel Broodthaers (1924-76) is widely recognized as a key figure in 20th century art who questioned the nature of art, the role of the artist, the functioning of the museum and of the art market. This book sets out Broodthaers's strategy for artistic success and examines the dialogue into which he entered with his contemporaries and predecessors in 19th century French poetry, Pop and Conceptual Art, including Stéphane Mallarmé, Charles Baudelaire, Marcel Duchamp and René Magritte. It provides a broad overview of his objects, paintings, films, slides, books and installations, and his focus upon relationships, also central to Post-Structuralist and postmodern theories. The visual qualities of his works, combining the material with the poetic, his wit and irony, are examined in relation to his subtle method of questioning and contradicting, defying conventional systems and definitions. The author explores the wider framing contexts in which things are presented and the geographical context via maps, notions of the voyage and a sense of place. Institutional critique, the artist's political position and moral responsibilities in society are discussed by analyzing the responses of Broodthaers, Daniel Buren, Joseph Beuys and Hans Haacke to a series of museum events in the early 1970s.
Marcel Broodthaers's (Belgian, 1924-1976) extraordinary output across mediums placed him at the center of international activity during the transformative decades of the 1960s and 1970s. Throughout his career, from early objects variously made of mussels, eggshells, and books of his own poetry; to his most ambitious project, the Musée d'Art Moderne. Département des Aigles; and the Décors made at the end of his life, Broodthaers occupied a unique position, often operating as both innovator and commentator. Setting a precedent for what we call installation art today, his work has had a profound influence on a broad range of contemporary artists, and he remains vitally relevant to cultural discourse at large. Published to accompany the artist's first museum retrospective in New York, Marcel Broodthaers examines the artist's work across all mediums. Essays by the exhibition organizers Christophe Cherix and Manuel Borja-Villel, along with a host of major scholars, including Benjamin H. D. Buchloh, Jean François Chevrier, Thierry de Duve, and Doris Krystof provide historical and theoretical context for the artist's work. The book also features new translations of many of Broodthaers's texts.
Collected Writings and Works. Marcel Broodthaers Brussels, 1924-1976, a poet before becoming an artist in 1964, was a pioneer of intermedia and site-specific installation art but above all an in-depth theorist who ranged widely over the visual arts in his writings.
A box, produced in a limited edition, reunites five books stemming from a program of site-specific commissions for BSI Art Collection, Lugano in Italy. Four volumes are conceived as individual monographs on each artist's contribution. Gathering preparatory material, documentation on the works, and essays by critics or the artists themselves, these volumes contribute a discussion around commissioning, the notions of public vs. private collection, and the relationship between artists and patrons. the fifth book all Around all Background describes the agenda of the commissions of the site-specific works and the intensions of the BSI Art Collection program and includes a DVD with artists and commissioner's interviews. Contents (5 volumes):Robert Barry: Real...Personal; Liam Gillick: Woven / Intersected / Revised; John Armleder: PFCBCDRRSRGBMNF PCLSPSBMPFCBS; Daniel Buren: Prospettive; all Around all Background (+ DVD). English and Italian text.
On the Museum's Ruins presents Douglas Crimp's criticism of contemporary art, its institutions, and its politics alongside photographic works by the artist Louise Lawler to create a collaborative project that is itself an example of postmodern practice at its most provocative. Crimp elaborates the new paradigm of postmodernism through analyses of art practices broadly conceived, not only the practices of artists--Robert Rauschenberg, Cindy Sherman, Marcel Broodthaers, Richard Serra, Sherrie Levine, and Robert Mapplethorpe--but those of critics and curators, of international exhibitions, and of new or refurbished museums such as the Staatsgalerie in Stuttgart and the Martin-Gropius-Bau in Berlin. The essays: - Photographs at the End of Modernism. - On the Museum's Ruins. - The Museum's Old, the Library's New Subject. - The End of Painting. - The Photographic Activity of Postmodernism. - Appropriating Appropriation. - Redefining Site Specificity. - This is Not a Museum of Art. - The Art of Exhibition. - The Postmodern Museum.
His talent for reinventing the language of art made Marcel Broodthaers (Brussels, 1924 - Cologne, 1976) one of the most creative artists of the second half of the 20th century. His work is a symbiosis of all the artistic disciplines: "I am not a filmmaker. For me, film is the extension of language. I begin with poetry, then visual art, and finally cinema which brings together several different elements of art. Which is to say: writing (poetry), the object (visual art), and the image (film). The difficult thing, of course, is the harmony between these elements." For Broodthaers, catalogues, books and exhibitions are films which in turn become part of subsequent exhibitions and publications.
Literature and art have always depended on imitation, and in the past few decades quotation and appropriation have become dominant aesthetic practices. But critical methods have not kept pace with this development. Patrick Greaney reopens the debate about quotation and appropriation, shifting away from naïve claims about the death of the author. In interpretations of art and literature from the 1960s to the present, Quotational Practices shows how artists and writers use quotation not to undermine authorship and originality, but to answer questions at the heart of twentieth-century philosophies of history. Greaney argues that quotation is a technique employed by art and philosophy to build ties to the past and to possible futures. By exploring quotation’s links to gender, identity, and history, he offers new approaches to works by some of the most influential modern and contemporary artists, writers, and philosophers, including Walter Benjamin, Guy Debord, Michel Foucault, Marcel Broodthaers, Glenn Ligon, Sharon Hayes, and Vanessa Place. Ultimately, Quotational Practices reveals innovative perspectives on canonical philosophical texts as well as art and literature in a wide range of genres and mediums—from concrete poetry and the artist’s book to performance, painting, and video art.
"An international movement that developed along separate but parallel lines in Europe and America during the 1970s, Conceptual Art grew out of the legacy of Marcel Duchamp. Aiming to completely redefine the relationships between the production, definition and ownership of artworks and their various audiences, Conceptual artists rejected traditional formats, media and definitions. Instead they chose to address some of the key issues underlying modern life and art. Thse included the gulf between initial idea and finished work, the value assigned works of art in modern economies, the role of women and of feminine creativity in general, the politics of exhibition organization - in short, the ways art and the art world have been defined for centuries. Among the notable figures whose work is discussed in essays ranging from the evaluative to the theoretical are Judy Chicago, Robert Morris, Sol LeWitt, Marcel Broodthaers and Mary Kelly. The influence of Conceptual Art continues to be felt today in the work of such controversial young artists as Rachel Whiteread and Damien Hirst." - back cover.
In 1964, at age forty, Marcel Broodthaers (1924-1976) proclaimed that his years of writing poetry—of being "good for nothing," in his words—were over, and a brief but dazzling artistic career began. Considered a founding father of institutional critique, Broodthaers created hundreds of objects, books, films, photographs and exhibitions, including a "fictive" museum of modern art that evolved from an installation in his own home to a massive exhibition of over three hundred works representing eagles. In The Absence of Work, Rachel Haidu argues that all of Broodthaers's art is defined by its relationship to language. His perception of his poetry's "failure to communicate" led him to explore in his art the noncommunicative, nontransparent uses of language. By showing us the ways in which language is instrumentalized across society—used for its efficiency despite the complexities it introduces into communication—Broodthaers shows us how we imagine language to work and points us to its hidden operations. Haidu's characterization of Broodthaers's contribution to institutional critique represents a major departure from the usual approach to this movement. Considering the wider political implications of his work, including its reflections on national identity and democracy, she explores how they derive from historical references and examines his work's relationships to the works of other contemporary artists. With The Absence of Work, one of the first monographs on Broodthaers in English, Haidu demystifies a crucial and enigmatic figure in postwar and contemporary art.
The original edition of this ambitious reference was published in hardcover in 1998, in two oversize volumes (10x13"). This edition combines the two volumes into one; it's paperbound ("flexi-cover"--the paper has a plastic coating), smaller (8x10", and affordable for art book buyers with shallower pockets--none of whom should pass it by. The scope is encyclopedic: half the work (originally the first volume) is devoted to painting; the other half to sculpture, new media, and photography. Chapters are arranged thematically, and each page displays several examples (in color) of work under discussion. The final section, a lexicon of artists, includes a small bandw photo of each artist, as well as biographical information and details of work, writings, and exhibitions. Ruhrberg and the three other authors are veteran art historians, curators, and writers, as is editor Walther. c. Book News Inc.
Présente vingt-trois essais consacrés à l'art français et francophone depuis 1980, en proposant une analyse critique d'une cinquantaine d'artistes aussi divers que des écrivains, photographes, peintres.
In recent years, there has been increasing scholarly interest in the history of museums, academies and major exhibitions. There has been, however, little to no sustained interest in the histories of alternative exhibitions (single artwork, solo artist, artist-mounted, entrepreneurial, privately funded, ephemeral, etc.) with the notable exception of those publications that deal with situations involving major artists or those who would become so - for example J.L. David?s exhibition of Intervention of the Sabine Women (1799) and The First Impressionist Exhibition of 1874 - despite the fact that these sorts of exhibitions and critical scholarship about them have become commonplace (and no less important) in the contemporary art world. The present volume uses and contextualizes eleven case studies to advance some overarching themes and commonalities among alternative exhibitions in the long modern period from the late-eighteenth to the late-twentieth centuries and beyond. These include the issue of control in the interrelation and elision of the roles of artist and curator, and the relationship of such alternative exhibitions to the dominant modes, structures of display and cultural ideology.
Eindhoven - Expositions - 1992-1993 by Marcel Broodthaers