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Contemporary Sculpture and the Critique of Display Cultures: by Dan Adler.

By: Material type: TextTextSeries: [Routledge focus on art history and visual studies]Publisher: New York : Routledge, 2019Description: 129 p. : 5.5 x 0.38 x 8.5 inchesContent type:
  • text
Media type:
  • unmediated
Carrier type:
  • volume
ISBN:
  • 9781138479623 (hardback)
  • 9780367516048 pbk
Subject(s): DDC classification:
  • 702.814 ADL 23 21176
LOC classification:
  • N6498.A8 A35 2018
Contents:
Rachel Harrison : Consider the lobster -- Isa Genzken : Oil -- Geoffrey Farmer : Me into many -- Liz Magor : The mouth and other storage facilities.
Summary: In this book, Dan Adler addresses recent tendencies in contemporary art toward assemblage sculpture and how these works incorporate tainted materials - often things left on the side of the road, according to the logic and progress of the capitalist machine - and combine them in ways that allow each element to retain a degree of empirical specificity. Adler develops a range of aesthetic models through which these practices can be understood to function critically. Each chapter focuses on a single exhibition: Isa Genzken's "OIL" (German Pavilion, Venice Biennale, 2007), Geoffrey Farmer's midcareer survey (Musée d'art contemporain, Montréal, 2008), Rachel Harrison's "Consider the Lobster" (CCS Bard Hessel Museum of Art, 2009), and Liz Magor's "The Mouth and Other Storage Facilities" (Henry Art Gallery, Seattle, 2008)
Item type: Book
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Holdings
Item type Current library Collection Call number Status Barcode
Book Marium Abdulla Library Non-Ref Fine Arts 702.814 ADL (Browse shelf(Opens below)) Available 21176

Includes bibliographical references and index.

Rachel Harrison : Consider the lobster -- Isa Genzken : Oil -- Geoffrey Farmer : Me into many -- Liz Magor : The mouth and other storage facilities.

In this book, Dan Adler addresses recent tendencies in contemporary art toward assemblage sculpture and how these works incorporate tainted materials - often things left on the side of the road, according to the logic and progress of the capitalist machine - and combine them in ways that allow each element to retain a degree of empirical specificity. Adler develops a range of aesthetic models through which these practices can be understood to function critically. Each chapter focuses on a single exhibition: Isa Genzken's "OIL" (German Pavilion, Venice Biennale, 2007), Geoffrey Farmer's midcareer survey (Musée d'art contemporain, Montréal, 2008), Rachel Harrison's "Consider the Lobster" (CCS Bard Hessel Museum of Art, 2009), and Liz Magor's "The Mouth and Other Storage Facilities" (Henry Art Gallery, Seattle, 2008)

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