73rd American Exhibition
Author | : Art Institute (Chicago, IL) |
Publisher | : |
Total Pages | : 51 |
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Author | : Art Institute (Chicago, IL) |
Publisher | : |
Total Pages | : 51 |
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Total Pages | : 0 |
Release | : 1979 |
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Author | : Art Institute of Chicago |
Publisher | : |
Total Pages | : 50 |
Release | : 1979 |
Genre | : Art, American |
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Total Pages | : 0 |
Release | : 1979 |
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Author | : Whitney Moeller |
Publisher | : |
Total Pages | : 106 |
Release | : 2006 |
Genre | : Art |
ISBN | : |
Published to accompany the exhibit, Focus: Michael Ashner, organized by and presented at the Art Institute of Chicago from September 29, 2005 to January 1, 2006.
Author | : Art Institute of Chicago |
Publisher | : |
Total Pages | : 56 |
Release | : 1979 |
Genre | : Art, American |
ISBN | : |
Author | : Art Institute of Chicago |
Publisher | : |
Total Pages | : 51 |
Release | : 1979 |
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Exposition collective regroupant: Asher, Michael, 1943- ; Barry, Robert, 1936- ; Graham, Dan, 1942- ; Heizer, Michael, 1944- ; Kawara, On, 1933- ; Lewitt, Sol, 1928-2007 ; Martin, Agnès, 1912-2004 ; Nauman, Bruce, 1941- ; Nordman, Maria ; Ruppersberg, Allen, 1944- ; Ruscha, Edward, 1937- ; Ryman, Robert, 1930- ; Sandback, Fred, 1943- ; Serra, Richard, 1939- ; Stella, Frank, 1936- ; Weiner, Lawrence, 1942-.
Author | : Jennifer King |
Publisher | : MIT Press |
Total Pages | : 195 |
Release | : 2016-02-05 |
Genre | : Art |
ISBN | : 0262034301 |
Essays and criticism that span Michael Asher's career, documenting site-specific installations and institutional interventions. During a career that spanned more than forty years, from the late 1960s until his death in 2012, Michael Asher created site-specific installations and institutional interventions that examined the conditions of art's production, display, and reception. At the Art Institute of Chicago, for example, he famously relocated a bronze replica of an eighteenth-century sculpture of George Washington from the museum's entrance to an interior gallery, thereby highlighting the disjunction between the statue's symbolic function as a public monument and its aesthetic origins as an artwork. Today, Asher is celebrated as one of the forerunners of institutional critique. Yet because of Asher's situation-based method of working, and his resistance to making objects that could circulate in the art market, few of his works survive in physical form. What does survive is writing by scholars and critics about his diverse practice. The essays in this volume document projects that range from Asher's environmental works and museum displacements to his research-based presentations and reflections on urban space. Contributors Michael Asher, Sandy Ballatore, Benjamin H. D. Buchloh, Jennifer King, Miwon Kwon, Barbara Munger, Stephan Pascher, Birgit Pelzer, Anne Rorimer, Allan Sekula
Author | : Art Institute of Chicago |
Publisher | : |
Total Pages | : 68 |
Release | : 1982 |
Genre | : Art, American |
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Author | : Anne Rorimer |
Publisher | : National Geographic Books |
Total Pages | : 0 |
Release | : 2012-10-05 |
Genre | : Art |
ISBN | : 1846380936 |
An examination of a major 1992 installation by a pioneer of site-specific experimentation. Michael Asher (born in 1943), one of the foremost installation artists of the Conceptual art period, is a founder of site-specific practice. Considered a progenitor of institutional critique, he spearheaded the creation of artworks imbued with a self-conscious awareness of their dependence on the conditions of their exhibition context. In the work Kunsthalle Bern 1992, Asher removed the radiators from all the museum's exhibition spaces and reassembled them in its entryway gallery. Metal pipes connected the relocated radiators to their original sockets; these tubular conduits, coursing in linear fashion along the Kunsthalle's walls, kept the steam heat flowing and endowed the installation with directional lines of force. This “displacement of givens” offers a perfect example of site-specific practice, one that took the gallery space and the institution itself as its subject. In this detailed examination of Kunsthalle Bern 1992, Anne Rorimer considers the work in the context of Asher's ongoing desire to fuse art with the material, economic, and social conditions of institutional presentation. Rorimer analyzes Kunsthalle Bern 1992 in relation to the earlier innovations of such minimalist artists as Donald Judd, Carl Andre, Robert Morris, Sol LeWitt, Bruce Nauman, and Dan Flavin as well as to such conceptualist contemporaries as Daniel Buren, Dan Graham, and Maria Nordman. She also considers the installation in the context of other works by Asher that have used non-art, functional elements, including walls, or that have investigated museological issues.