Light, considered the purest embodiment of the divine, is the basis of all art to one degree or another, so why not make art out of light? Dan Flavin (1933-96), an innovative and prolific American sculptor who can be considered an abstract, minimalist, and installation artist, chose as his medium commercial fluorescent tubes, and with these everyday lights created works of radiant and evocative beauty. Flavin had many major shows and created a number of permanent public installations; now his work is being celebrated in a magnificent retrospective exhibition that will travel across the country. This handsomely produced volume by Govan, director of the Dia Art Foundation, and Bell, who worked with Flavin, presents exquisite photographs of Flavin's seminal light compositions and expert biographical and critical assessments. Citing Byzantine icons, William Ockham, and Barnett Newman as influences, Flavin created ravishingly beautiful colors and profoundly nuanced constructions with seemingly banal industrial materials, transforming ordinary spaces into places of wonder. For a definitive catalog see Dan Flavin: The Complete Lights, 1961-1996
Item contains cartoons, letters, articles, essays, etc resulting from the debate (or outcry) following the purchase of Barnett Newman's "Voice of fire" by National Gallery of Canada. Also includes papers from a symposium organised by the National Gallery of Canada.
Author: Hedda. Consortium European Centres and Institutes to Research on Higher Education
Publisher: Springer Science & Business Media
Category: Business & Economics
Hedda, founded on 1 January 2001, is a consortium of nine European centres and institutes devoted to research on higher education (see web site: www. uv. uio. nolhedda). Theconsortium·saims are to strengthen the relationship between higher education research and practice, organise and support available academic expertise, and further knowledge on higher education in Europe in such a way that it becomes more accessible and visible at the supranational and international levels. To contribute to the consortium's objectives CIPES, one of its member institutes, and Hedda have taken a new initiative in the field of research on higher education, that is, an annual seminar focused on one specific topic of research. The topic is determined by the Hedda Board from among the most burning issues of present day higher education policies. The tirst seminar was a four-day scientific event on Governance Structures in Higher Education Institutions. The seminar was held along the banks of the Douro River, Portugal, on 13-17 October 2001. The second seminar focused on the Emergence of Managerialism in Higher Education Institutions and took place at the same location on 4-9 October 2002. The theme of the third seminar is Markets in Higher Education to be held 2-6 October 2003. Participation in the seminars is limited to select Hedda researchers and invited researchers of international standing, all of whom are active in the research theme of each particular seminar.
How do architects use color? Do they adopt a different strategy or starting point for every project? Do they gradually cultivate individual color palettes, which develop alongside their body of built work? Do they utilize, or are they aware of, the body of theoretical work that underpins the use of color in the past, and forms the basis of most of the color systems commercially available today? Informed by the author’s thirty years in architectural practice and academia, this book investigates, documents and analyzes the work of a number of contemporary architects in order to respond to these questions and provide a clear reference of contemporary color use. The book suggests a holistic approach to the integration of color in architecture; through a series of thematic essays, the text explores and reveals underlying principles in color design and application. Case studies include: AHMM Caruso St John Erich Wiesner and Otto Steidle Gigon/Guyer O’Donnell + Tuomey Sauerbruch Hutton Steven Holl UN Studio. The book provides clear insights into how particular contemporary architects use color confidently and intelligently as an integral part of their design philosophy, in conjunction with their choices of materials and finishes. Offering a stimulating view of the history of color theory, and pragmatic advice to practicing architects, this book will be inspiring to both design professionals and students.
"The central works of Barnett Newman's oeuvre - many of which are reproduced here as full-page color plates - are the subject of an analytical study by Armin Zweite. This study not only gives a comprehensive appraisal of Newman's paintings, from his beginnings through his later works - predominantly large-format, monochromatic paintings - but also deals in detail with all of Newman's sculptures - "Here I", "Here II", and "Here III", "Broken Obelisk", "Lace Curtain for Mayor Daley", and "Zim Zum I" and "Zim Zum II"--As well as with Newman's Model for a Synagogue. The book affords a more differentiated insight into Newman's hermetic oeuvre than would ever be possible in separate treatises on individual parts or periods of Newman's work."--Jacket.
In the face of a great work of art, we so often stand mute, struck dumb. Countering contemporary assumptions that art is valued only according to taste or ideology, Peter De Bolla gives a voice - and vocabulary - to the wonder art can inspire.
Drawing on a multidisciplinary team of experts, The Lyotard Dictionary provides a clear and accessible introduction to all of his main concepts, contextualising these within his work as a whole and relating him to his contemporaries.
'Conservation: Principles, Dilemmas, and Uncomfortable Truths' presents multi-perspective critical analyses of the ethics and principles that guide the conservation of works of art and design, archaeological artefacts, buildings, monuments, and heritage sites on behalf of society. Contributors from the fields of philosophy, sociology, history, art and design history, museology, conservation, architecture, and planning and public policy address a wide range of conservation principles, practices, and theories from the US, Canada, Europe, Australia and New Zealand, encouraging the reader to make comparisons across subjects and disciplines. By wrestling with and offering ways of disentangling the ethical dilemmas confronting those who maintain and sustain cultural heritage for today and tomorrow, 'Conservation: Principles, Dilemmas, and Uncomfortable Truths' provides an essential reference text for conservation professionals, museum and heritage professionals, art and cultural historians, lecturers and students, and all others invested in cultural heritage theories and practices. Alison Richmond, as a Senior Conservator in the Victoria and Albert Museum and Deputy Head of the Conservation Department at the Royal College of Art, maintains teaching and research roles in conservation theory, principles and ethics, and has developed decision-making tools for conservators. She is an Accredited Conservator-Restorer (ACR), a Fellow of the International Institute for Conservation (FIIC), and a Trustee of the UK’s Institute of Conservation (Icon) since 2005. Alison Bracker received her PhD in the History of Art from the University of Leeds, and manages the Events & Lectures programme at the Royal Academy of Arts in London. As co-founder of Bracker Fiske Consultants, she advises on the presentation, description, documentation, and care of artworks comprising modern media, and lectures and publishes widely on the theoretical and practical issues arising from the conservation of non-traditional and impermanent materials in contemporary works of art.
A distinguished American art critic's interpretive essay on the spiritual and metaphysical aspects of Newman's art and the factors that molded his artistic personality is supplemented by reproductions of Newman's paintings, drawings, mixed-media works, et