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Bøker i Whitechapel: Documents of Contemporary Art-serien

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  •  
    247,-

    The first comprehensive survey of the Gothic in contemporary visual culture explores the work of artists ranging from Andy Warhol to Cindy Sherman to Matthew Barney, with texts by Julia Kristeva, Marina Warner, Jeff Wall, and many others.

  • av Lars Bang Larsen
    247,-

  • av Marcus Boon
    287,-

    The first anthology to investigate what contemporary notions of practice mean for art, tracing their development and speculating on where this leads.

  • av Maria Lind
    247,-

  • av Julian Stallabrass
    247,-

  • av Tom McDonough
    247,-

    Boredom in modern and contemporary art: as something to be struggled against, embraced as an experience, or explored as a potential site of resistance.

  • av Sarah Cook
    247,-

    An art-historical reassessment of information-based art and exhibition curation, from 1960s conceptualism to current digital and network-based practices.

  • av Lucy Steeds
    247,-

  • av Andre Lepecki
    194,-

    Dance's galvanizing and transformative presence in art and theory over the last decade becomes part of a broader investigation of its dialogue with modernism's legacies.

  •  
    194,-

    A definitive guide to the rising status of sound in art, through original critical writings and artists' statements.

  • av Richard Noble
    247,-

    Utopian strategies in contemporary art seen in the context of the histories of utopian thinking and avant-garde art.

  • av J Hoffmann
    247,-

    The evolution of studio--and "post-studio"--practice over the last half century.

  • av Claire Doherty
    247,-

    Key texts on the notion of "situation" in art and theory that consider site, place, and context, temporary interventions, remedial actions, place-making, and public space.

  •  
    247,-

    Writings on color from modernism to the present, with contributions writers from Baudelaire to Baudrillard, surveying art from Paul Gauguin to Rachel Whiteread.

  •  
    247,-

    Key writings by artists and theorists chart the shifting relationship between film and photography and how the rise of cinema forced photography to make a virtue of its stillness.

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