Dissolve into ComprehensionWritings and Interviews, 1964-2004 OverviewJack Burnham is one of the few critics and theorists alive today who can claim to have radically altered the way we think about works of art. Burnham’s use of the term “system” (borrowed from theoretical biology) in his 1968 essay “System Aesthetics” announced the relational character of conceptual art and newer research-based projects. Trained as an art historian, Burnham was also a sculptor. His first book,Beyond Modern Sculpture (1968), established him as a leading commentator on art and technology. A postformalist pioneer, an influential figure in new media art history, an early champion of conceptual and ecological art, and the curator of the first exhibition of digital art, Burnham is long overdue for reevaluation. This book offers that opportunity by collecting a substantial and varied selection of his hard-to-find texts, some published here for the first time.
Although Burnham left the art world abruptly in the 1990s, his visionary theoretical ideas have only become more relevant in recent years. This collection seeks to restore Burnham to his rightful place in art criticism and theory, reestablishing his voice as crucial to critical conversations of the period. It gathers his early writing on sculpture, his essays on systems art and conceptualism, his views of the New York art world, and his later occult work—including an unorthodox interpretation of Marcel Duchamp’s work that draws on the Kabbalah. About the AuthorJack Burnham is an artist, art critic, and theorist known for his application of systems theory to art history and theory. On the faculty of Northwestern University from 1962 to 1982 and later at the University of Maryland and an inaugural fellow at MIT’s Center for Advanced Visual Studies in 1968–1969, Burnham is the author of three books of criticism. About the EditorMelissa Ragain is Assistant Professor of Art History at Montana State University. Endorsements“This valuable collection of Jack Burnham’s writing presents a long-overdue opportunity to reconsider the breadth and significance of his work. Here we encounter the ambition and energy of Burnham’s syncretic intellectual approach alongside its uneven and mercurial aspects. Burnham was the first to attempt a substantive theoretical critique of formalist orthodoxy in the US context, and his pioneering project to account for post-object art in the expanded field repays renewed consideration.”
—Luke Skrebowski, University Lecturer, Department of History of Art, University of Cambridge “In recent years, Burnham’s star has risen among scholars and art professionals who have come of age with the Internet. This timely and fascinating collection of essays collates Burnham’s prescient articulations of how art can be created and explored outside of entrenched modernist categories and media, whether it is dispersed in systems, converges with machines, or is mystically intuited.”
—Lars Bang Larsen, art historian and international curator; editor of Networks “Burnham was a fighter on the front lines of massive shifts in art and life in the postwar period. By bringing together both his famed and esoteric writings, this volume reveals the startling range and diversity of Burnham’s thought. His watershed introduction of the concept of ‘systems’ into the sphere of aesthetics—an attempt to understand the transformation of the discrete art object in a universe of vast new interconnections between people, machines, and capital—still reads like a salvo. And yet Burnham’s texts are not naïve paeans to technology. They are filled with doubt—anxious meditations on subjects and objects, networks and artworks, functionalism and formalism, synergy and breakdown. He saw not only the flexibility and intelligence of systems but their fragility, our ‘technological house of cards.’ In heralding the rise of information technologies in an art world preternaturally suspicious of such epochal changes, Burnham’s investigations of materiality, anthropomorphism, catastrophe, and critique in another historical moment are so prescient as to continue to shape our own.”
—Michelle Kuo, Editor in Chief, Artforum International
The Real of RealityInternational Conference on Philosophy and FilmRegistration - Description
Photography and film in particular paved the way for complex philosophical questions regarding the nature of reality and its mechanical reproduction. Despite their image-based character, photography and film are not simply copies of reality but have the ability to shape reality itself. This shaping happens through pictures as well as through narrations. By means of their presence, these apparatus-based images of reality tend to replace reality. This is an inconspicuous process that already affects our everyday life profoundly. What does film show? Do we have access to reality that is not based on images or narrations? And what can film and its analysis contribute to philosophical debates on the real? These are questions we are asking to engage in a dialogue between philosophy and film. For five days, more than one hundred philosophers, media scholars, and filmmakers will connect philosophical theory with cinematic practice and open up new ideas and concepts. To accompany the program, there will be film screenings of documentaries of the invited filmmakers. Participation in the Conference is also possible without the presentation of a paper. The conference will be held in English. Invited Keynotes - Credits
- Project team
Christine Reeh, Stefan Schmidt - Organization / Institution
- ZKM | Karlsruhe
- Partners
HfG | ZKM Filminstitut
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This page shows the recommended books or articles worth to read. Anyone who has MAAT account can post his/her own recommendation. If can not see the post button, go to the bottom of this page and sign in with the "sign-in" link.
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Coincidence Engine One: Universal People's Republic Time
http://www.undefine.ca/en/projects/coincidence-engines/coincidence-engine-one-universal-people%e2%80%99s-republic-time/
Installation for 1200 battery-powered alarm clocks and CNC-cut Styrofoam structure.
Coincidence Engines is a series of works conceived in homage to the Poème Symphonique for 100 Metronomes, a work by 20th-century Hungarian composer György Ligeti who used metronomes not simply to keep musical time, but as generators of sonic events.
Coincidence Engine One consists of a precisely fabricated expanded polystyrene foam construction whose form evokes an amphitheatre. Within this structure, twelve hundred clocks of identical design are arrayed in concentric arcs. These battery-powered timekeeping devices are among the most generic mass-produced analog clocks available, purchased in wholesale ...
Posted Apr 21, 2010, 10:14 PM by 아앜으앜
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Up There; a short documentary film on hand-painted wall pictures
A short documentary film on city wall paintings in NYC.You can watch the film in hi-res. or http://uptherefilm.com/
Posted Apr 30, 2010, 9:22 PM by Yonggeun Kim
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The Pop Art Era [New York Times]
Today, I have read an interesting article related the Pop Art and America.source URL : http://www.nytimes.com/2009/12/13/books/review/Solomon-t.html?_r=1[My underlines]Is it possible for an artist to make a painting that is not informed by his own life? The Pop artists were initially both reviled and celebrated for refusing to make art about their "feelings."Pop Art was initially described as ironic, impersonal, emotionally cool ─ pick your favorite synonym for "refrigerated."The Pop artists were prophetic because they saw a new kind of America coming, a country where you are what you buy.[Related Book]
Posted Dec 16, 2009, 1:08 AM by kh7777@maat.kr
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Vermeer's Family Secrets [MAAT has this book]
Vermeer's Family Secrets: Genius, Discovery, and the Unknown ApprenticeBy Benjamin BinstockBook overviewJohannes
Vermeer, one of the greatest Dutch painters and for some the single
greatest painter of all, produced a remarkably small corpus of work. In
Vermeer's Family Secrets, Benjamin Binstock revolutionizes how we think
about Vermeer's work and life. Vermeer, The Sphinx of Delft, is
famously a mystery in art: despite the common claim that little is
known of his biography, there is actually an abundance of fascinating
information about Vermeer's life that Binstock brings to bear on
Vermeer's art for the first time; he also offers new interpretations of
several key documents pertaining to Vermeer that have been
misunderstood. Lavishly ...
Posted Dec 15, 2009, 11:40 PM by maat admin
The Latest Recommendations
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posted Apr 21, 2010, 9:20 PM by 아앜으앜
[
updated Apr 21, 2010, 10:14 PM
]
Installation for 1200 battery-powered alarm clocks and CNC-cut Styrofoam structure.
Coincidence Engines is a series of works conceived in homage to the Poème Symphonique for 100 Metronomes, a work by 20th-century Hungarian composer György Ligeti who used metronomes not simply to keep musical time, but as generators of sonic events.
Coincidence Engine One consists of a precisely fabricated expanded polystyrene foam construction whose form evokes an amphitheatre. Within this structure, twelve hundred clocks of identical design are arrayed in concentric arcs. These battery-powered timekeeping devices are among the most generic mass-produced analog clocks available, purchased in wholesale quantity from their manufacturer in Fuzhou, China. A single spectator/auditor participates most fully in the work by standing at its centre, entirely surrounded by the clocks and immersed in their sound.
Installation for 1200 battery-powered alarm clocks and CNC-cut Styrofoam structure.
Coincidence Engines is a series of works conceived in homage to the Poème Symphonique for 100 Metronomes, a work by 20th-century Hungarian composer György Ligeti who used metronomes not simply to keep musical time, but as generators of sonic events.
Coincidence Engine One consists of a precisely fabricated expanded polystyrene foam construction whose form evokes an amphitheatre. Within this structure, twelve hundred clocks of identical design are arrayed in concentric arcs. These battery-powered timekeeping devices are among the most generic mass-produced analog clocks available, purchased in wholesale quantity from their manufacturer in Fuzhou, China. A single spectator/auditor participates most fully in the work by standing at its centre, entirely surrounded by the clocks and immersed in their sound. |
posted Jan 3, 2010, 5:01 PM by Yonggeun Kim
A short documentary film on city wall paintings in NYC. |
posted Dec 15, 2009, 11:50 PM by kh7777@maat.kr
[
updated Dec 16, 2009, 1:08 AM
]
Today, I have read an interesting article related the Pop Art and America. source URL : http://www.nytimes.com/2009/12/13/books/review/Solomon-t.html?_r=1[My underlines]Is it possible for an artist to make a painting that is not informed by his own life? The Pop artists were initially both reviled and celebrated for refusing to make art about their "feelings." Pop Art was initially described as ironic, impersonal, emotionally cool ─ pick your favorite synonym for "refrigerated." The Pop artists were prophetic because they saw a new kind of America coming, a country where you are what you buy. [Related Book] |
posted Aug 28, 2009, 5:28 AM by maat admin
[
updated Dec 15, 2009, 11:40 PM
]
Vermeer's Family Secrets: Genius, Discovery, and the Unknown ApprenticeBy Benjamin Binstock Book overviewJohannes
Vermeer, one of the greatest Dutch painters and for some the single
greatest painter of all, produced a remarkably small corpus of work. In
Vermeer's Family Secrets, Benjamin Binstock revolutionizes how we think
about Vermeer's work and life. Vermeer, The Sphinx of Delft, is
famously a mystery in art: despite the common claim that little is
known of his biography, there is actually an abundance of fascinating
information about Vermeer's life that Binstock brings to bear on
Vermeer's art for the first time; he also offers new interpretations of
several key documents pertaining to Vermeer that have been
misunderstood. Lavishly illustrated with more than 180 black and white
images and more than sixty color plates, the book also includes a
remarkable color two-page spread that presents the entirety of
Vermeer's oeuvre arranged in chronological order in 1/20 scale,
demonstrating his gradual formal and conceptual development. No book on
Vermeer has ever done this kind of visual comparison of his complete
output. Like Poe's purloined letter, Vermeer's secrets are sometimes
out in the open where everyone can see them. Benjamin Binstock shows us
where to look. Piecing together evidence, the tools of art history, and
his own intuitive skills, he gives us for the first time a history of
Vermeer's work in light of Vermeer's life. On almost every page
of Vermeer's Family Secrets, there is a perception or an adjustment
that rethinks what we know about Vermeer, his oeuvre, Dutch painting,
and Western Art. Perhaps the most arresting revelation of Vermeer's
Family Secrets is the final one: In response to inconsistencies in
technique, materials, and artistic level, Binstock posits that several
of the paintings accepted as canonical works by Vermeer, are in fact
not by Vermeer at all but by his eldest daughter, Maria. How he argues
this is one of the book's many pleasures.
No preview available - 2008 - 428 pages
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ReviewsWe haven't found any reviews in the usual places. Write review References from web pagesEssential Vermeer
A complete overview of the life, work and artitic milieu of the 17th century Dutch Paining Master Johannes Vermeer
www.essentialvermeer.com/ |
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