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| Author | : Ilʹi︠a︡ Iosifovich Kabakov |
| Publisher | : |
| Total Pages | : 288 |
| Release | : 2005 |
| Genre | : Architecture |
| ISBN | : |
This catalogue presents the artwork of three fictitious Russian artists, all inventions of Ilya Kabakov, and intervviews of Ilya Kabakov.
| Author | : Boris Groys |
| Publisher | : National Geographic Books |
| Total Pages | : 0 |
| Release | : 2006-05-05 |
| Genre | : Art |
| ISBN | : 1846380049 |
An illustrated study of one of Ilya Kabakov's most fantastic installations. The fictitious hero of this 1984 installation is a lonely dreamer who develops an impossible project: to fly alone in cosmic space. But this dream is also an individual appropriation of a collective Soviet project and the official Soviet propaganda connected to it. Having built a makeshift slingshot, the hero apparently flies through the ceiling of his shabby room and vanishes into space. The miserable room and the primitive slingshot suggest the reality behind the Soviet utopia, in which where cosmic vision and the political project of the Communist revolution are seen as indissoluble. The Man who Flew into Space from His Apartment also raises questions of authorship in modernity. All of Kabakov's work is made in the name of other, fictitious artists. This reveals a hidden rule of the modern art system: only an artist who doesn't want to be an artist or who doesn't even know that he is an artist is a real artist—just as only an artwork that does not look like an artwork is a real artwork. The installation is a narrative, the documentation of a fictitious event. Afterall Books are distributed by The MIT Press.
| Author | : Ilya Kabakov |
| Publisher | : University of Chicago Press |
| Total Pages | : 432 |
| Release | : 2018-12-21 |
| Genre | : Art |
| ISBN | : 022638487X |
During the 1960s and 1970s, the Russian conceptual artist Ilya Kabakov was a galvanizing figure in Moscow's underground art community, ultimately gaining international prominence as the “leader” of a band of artists known as the Moscow Conceptual Circle. Throughout this time, he created texts that he would distribute among his friends, and by the late 1990s his written production amounted to hundreds of pages. Devoted to themes that range from the “cosmism” of pre-Revolutionary Russian modernism to the philosophical implications of Moscow’s garbage, Kabakov’s handmade booklets were typed out on paper, then stapled or sewn together using rough butcher paper for their covers. Among these writings are faux Socialist Realist verses, theoretical explorations, art historical analyses, accompaniments to installation projects, and transcripts of dialogues between the artist and literary theorists, critics, journalists, and other artists. This volume offers for the first time in English the most significant texts written by Kabakov. The writings have been expressly selected for this English-language volume and there exists no equivalent work in any language.
| Author | : Ilʹi︠a︡ Iosifovich Kabakov |
| Publisher | : |
| Total Pages | : 110 |
| Release | : 2003 |
| Genre | : Art |
| ISBN | : |
Who is the greatest? Who today can define himself as the greatest? Ilya Kabakov, father of Russian Conceptualism, and his wife Emilia, ask these very questions in "Where is Our Place?" A project about the paradoxical contrast between contemporary and past art, this book meditates on the inner workings of the art system and artistic experience, identifying the importance of and need for a new critical and ethical awareness in our reception of art. Here different eras exist simultaneously in an incongruous art museum outside of time: contemporary, past, and perhaps also an imaginary projection into the future.
| Author | : Amei Wallach |
| Publisher | : ABRAMS |
| Total Pages | : 266 |
| Release | : 1996 |
| Genre | : Art |
| ISBN | : |
This is the first comprehensive monograph on an important contemporary artist, one who has come to represent the Russian avant-garde in the post-Stalinist era much in the way that Joseph Beuys was a stimulus for European art after World War II. In her fascinating text, Amei Wallach draws on extensive research and interviews with Kabakov and his circle over the past eight years, and puts the work in the context of the artist's life and the social, historical, cultural, and political forces that have shaped it - from his boyhood during Stalin's regime, to his obligatory career as a children's book illustrator in the official Artists' Union, to his involvement in Moscow's furtive and fertile underground avant-garde of artists and writers, to his more recent travels in the international art circuit. This groundbreaking volume also includes an introduction by Robert Storr, a curator in the Department of Painting and Sculpture at the Museum of Modern Art in New York, and commentaries by the artist himself that accompany the 290 illustrations, including paintings, drawings, albums, and sketches and photographs of installations.
| Author | : Matthew Jesse Jackson |
| Publisher | : University of Chicago Press |
| Total Pages | : 332 |
| Release | : 2010-07-15 |
| Genre | : Art |
| ISBN | : 0226389413 |
"Matthew Jesse Jackson's writing and quality of mind put him in the forefront of the next wave in modern art studies." Thomas E. Crow, Institute of Fine Arts --
| Author | : Ilʹi︠a︡ Iosifovich Kabakov |
| Publisher | : ICA (London) |
| Total Pages | : 70 |
| Release | : 1989 |
| Genre | : Art, Modern |
| ISBN | : |
| Author | : Ilʹi︠a︡ Iosifovich Kabakov |
| Publisher | : Center for Curatorial Studies/Bard College |
| Total Pages | : 112 |
| Release | : 2001 |
| Genre | : Art |
| ISBN | : |
Essay by Amei Wallach. Foreword by Amada Cruz.
| Author | : Richard Prince |
| Publisher | : |
| Total Pages | : 148 |
| Release | : 1989 |
| Genre | : Photography |
| ISBN | : |
"A distinction [Prince's] work brings out in particular is between pictures & what you do with pictures, between art & how art is used."-Stuart Morgan, Artscribe
| Author | : Emilia Kabakov |
| Publisher | : |
| Total Pages | : 130 |
| Release | : 2001 |
| Genre | : Art |
| ISBN | : |
The exhibition catalogue "Gina Osterloh: Mirror Shadow Shape" will accompany an exhibition of thesame name at the Columbus Museum of Art in Columbus, Ohio. This catalogue will be the first full monograph and survey of artist Gina Osterloh's work. Osterloh, a Filipino-American artist, uses photography to mine her own history to pose questions about identity that are both intellectually and aesthetically compelling to wider audiences. Both the exhibition and its catalogue focus on the cogent development of ideas set forth by Osterloh in photographic series that span a period of fifteen years (2005-2020). Osterloh's practice is unique for how it has seamlessly blended photography, film, performance, anddrawing-creating a sustained engagement with a rigorous set of questions across radically differentmanifestations. The series Osterloh has made throughout her career to date have unfolded like a series ofpropositions. Her early work with photographic tableaus quite literally set the stage for what would become a fixation with abstraction: figures flatten into silhouettes whose forms are covered by the same patternedbackdrops into which they are set; bodies are emptied of viscera and filled with paper; and heads are turneddown and away from the camera, becoming faceless portraits. While these works challenge photographicconventions, however, they also engage self-reflexively with the medium's history. The catalogue will be richly illustrated with full color plates and include a foreword by Tyler Cann,Director of Exhibitions and Pizzuti Family Curator of Contemporary Art of the Columbus Museum of Art; anintroductory essay by Anna Lee, the exhibition curator; an academic essay by art historian Ellen Tani; anartist conversation/interview between Osterloh and artist Sheilah ReStack; and chronology with key works,concepts, and events in Osterloh's career.
