This anthology provides the first art-historical reassessment of information-based art in relation to data structures and exhibition curation. It examines such landmark exhibitions as “Information” at The Museum of Modern Art, New York, in 1970, and the equally influential “Les Immatériaux,” initiated by the philosopher Jean-François Lyotard at the Centre Pompidou, Paris, in 1984. It reexamines work by artists of the 1960s to early 1980s, from Les Levine and N. E. Thing Co. to General Idea and Jenny Holzer, whose prescient grasp of information’s significance resonates today. It also reinscribes into the narrative of art history technologically critical artworks that for years have circulated within new media festivals rather than in galleries.
While information science draws distinctions between “information,” signals, and data, artists from the 1960s to the present have questioned the validity and value of such boundaries. Artists have investigated information’s materiality, in signs, records, and traces; its immateriality, in hidden codes, structures, and flows; its embodiment, in instructions, social interaction, and political agency; its overload, or uncontrollable excess, challenging utopian notions of networked society; its potential for misinformation and disinformation, subliminally altering our perceptions; and its post-digital unruliness, unsettling fixed notions of history and place.
Artists surveyed include
David Askevold, Iain Baxter, Guy Bleus, Heath Bunting, CAMP (Shaina Anand & Ashok Sukumaran), Ami Clarke, Richard Cochrane, Rod Dickinson, Hans Haacke, Graham Harwood, Jenny Holzer, Joseph Kosuth, Christine Kozlov, Steve Lambert and the Yes Men, Oliver Laric, Les Levine, László Moholy-Nagy, Muntadas, Erhan Muratoglu, Raqs Media Collective, Erica Scourti, Stelarc, Thomson & Craighead, Angie Waller, Stephen Willats, Young-Hae Chang Heavy Industries, Elizabeth Vander Zaag
James Bridle, Matthew Fuller, Francesca Gallo, Antony Hudek, Eduardo Kac, Friedrich Kittler, Arthur and Marielouise Kroker, Scott Lash, Alessandro Ludovico, Jean-François Lyotard, Charu Maithani, Suhail Malik, Armin Medosch, Srinivas Aditya Mopidevi, Craig Saper, Jorinde Seijdel, Tom Sherman, Felix Stalder, McKenzie Wark, Benjamin Weil
About the Editor
Sarah Cook is a curator and researcher working at the intersection of art, digital and electronic media, and science. She is the coauthor (with Beryl Graham) of Rethinking Curating: Art After New Media (MIT Press), and in 2004 cocurated the touring exhibition, “Database Imaginary.” She is Dundee Fellow at Duncan of Jordanstone College of Art and Design, University of Dundee.
- Information (Documents of Contemporary Art)
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Apocalypse and Utopia
A View of Art in Germany 1910-1939
Fantastic little catalogue produced on the occasion of the exhibition “Apocalypse and Utopia” at Fischer Fine Art Limited, London, March – May 1977.
Features the work of Karl Arnold, Ernst Barlach, Willi Baumeister, Herbert Bayer, Max Backmann, Heinrich Campendonck, Otto Dix, Lyonel Feininger, Georg Grosz, Erich Heckel, Hannah Höch, Adolf Hölzel, Johannes Itten, Alexei Von Jawlensky, Wassily Kandinsky, Ernst Ludwig Kirchner, Paul Klee, Oskar Kokoschka, Georg Kolbe, Käthe Kollwitz, August Macke, Franz Marc, Ludwig Meidner, Laszlo Moholy-Nagy, Otto Müller, Emil Nolde, Max Hermann Pechstein, Christian Rohlfs, Oskar Schlemmer, Karl Schmidt0Rottluff, Kurt Schwitters, Arthur Segal, Hans Walter.
“The idea for this exhibition arose when we were fortunate enough to be offered the famous Hess Guest Book. Around this nucleus we have planned a view of art in Germany between 1910 and 1939. With the generous help of many collectors and galleries we have been able to illustrate the varied aspects of this complex and important period of German art.”
The Guest Book was a two volume book-set that spanned the years 1907-1956. They were the guest books of the home of Industrialist Alfred Hess and Thekla Hess, who were great lovers and collectors of art. Their home in Erfurt regularly gathered together leading figures of the art, music and literature worlds, and their guest books collected the inscriptions, autographs, drawings and watercolours of these times.
“The Guest Book is a remarkable, unique document of the most innovative period of 20th-century German art and forms a reference source of the greatest importance.”
With an introduction by professor and author Norbert Lynton, the first part of this catalogue reproduces works from The Guest Book, and the second full-colour and black and white reproductions of works in the exhibition of 1977. Includes a full catalogue of the works.
* Condition: Very Good – All care is taken to provide accurate condition details of used books, photos available on request.
- Apocalypse and Utopia
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SD (Space Design) no. 203, 1981
Special Feature: SITE
SD (Space Design): A monthly journal on Art and Architecture.
“SD” (Space Design) was founded in Japan in 1965; a comprehensive monthly magazine on architecture, urban problems and fine arts which was unique in the world and quickly became a leading, highly-esteemed journal of international modern design.
SD no. 203, August 1981
SPECIAL FEATURE: SITE
Architecture as Environmental Architecture; “De-Architecture – Architecture as Art” by James Wines; “The Meaning and Context of SITE” by Kazumasa Yamashita; Works = BEST Products’ Showrooms Prototype Floor Plan, Indeterminate Facade (Houston). Parking Lot Showroom, Notch Showroom (Sacramento), Tilt Showroom (Towson), Terrarium Showroom, Hialeah Showroom (Miami), Cutler Ridge Showroom (Miami), Scale Reference Showroom, Forest Building (Henrico); Other Projects: Molino Stucky Project, Ghost Parking Lot (Hamden), Madison Avenue Project (New York), General Store, Perpetual Savings and Loan Association Bank. Highrise of Homes; Buildings for Best Products (The Exhibition at the Museum of Modern Art, New York), Stanley Tigerman, A.M. Stern, Charles Moore, Anthony Lumsden, Allan Greenberg, Michael Graves; BEST Products Corporate Headquarters, by H. H. P. A. (Hardy Holzman Pfeiffer Associates)
SPECIAL FEATURE: Another Form of Wooden Space by Yoshiyuki Suyama; Wood Constructing Dwellings of Eastern Europe – Principles of wood construction; Global Research on Residential Architecture—Conclusion to the series; SERIAL PHOTO ESSAY— PARIS: Ceci n’est pas Paris by Kazutoshi Morita and Keiichi Tahara; NICE SPACE – Piazza del Duomo, Pisa by Kouji Kusabuka and Masanobu Yuzawa; SERIAL PRESENTATION: (Vision in Motion) Third Chapter, by Laszlo Moholy-Nagy, , translated by Kimimasa Abe; BOOK REVIEW; EMINENT WORKS ABROAD – “The Geometry of the House” compiled from foreign architectural magazines by Shin’ichi Okada; DOMESTIC ARCHITECTURAL NOTES For Eternity and Liberty ”Shoel Yoh” by Gruppo Specchio and much more.
SD is one of the finest journals dedicated to new design (architecture, furniture, interior, environmental, industrial…), becoming a collector’s item and much sought-after archival resource.
* Condition: Very Good (Clean tight copy with general light shelf wear and age) – All care is taken to provide accurate condition details of used books, photos available on request.
- SD no. 203, 1981 (SITE)
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Laboratory Of Vision
This book is published in conjunction with the exhibition ‘Moholy-Nagy/In Motion’ introducing works spanning the full oeuvre of Moholy-Nagy (1895-1946), an artist who brought new vision to the art of the 20th century. As a prominent member of the avant-garde art movements between the two World Wars, he developed an artistic ideal of creating works of light and motion. The pursuit of his career as a creative artist and art educator took Moholy-Nagy from his native Hungary to Vienna, then on to Germany, the Netherlands and Great Britain and finally to the United States. Working in painting, photography, sculpture, film, graphic design, stage design and publishing, Moholy-Nagy’s career addressed many of the new issues confronting art in the 20th century, such as the relationship between art and industrial technology and the new media of information and communications. This exhibition marks Japan’s first full-scale retrospective of the art of Moholy-Nagy and spans the artist’s full career from its earliest years to its last in some 300 works and related materials and documents.
- Moholy-Nagy: Laboratory Of Vision
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