Genealogies of art or The the history of art as visual art
著者
書誌事項
Genealogies of art or The the history of art as visual art
Fundación Juan March : Museo Picasso, [2019]
- タイトル別名
-
Genealogies of art
大学図書館所蔵 件 / 全1件
-
該当する所蔵館はありません
- すべての絞り込み条件を解除する
注記
Exhibition catalogue
Exhibition data: Fundación Juan March, Oct. 11, 2019 to Jan. 12, 2020, museo Picasso málaga, Feb. 26 to May 31, 2020
内容説明・目次
内容説明
How artists, historians and theorists have diagrammed art's lineages, from the Middle Ages to Fluxus
A New York Times critics' pick | Best Art Books 2020
Genealogies of Art analyzes the visual representations of art history made by artists, critics, designers, theorists and poets alike, from the genealogical trees of the 12th through the 15th centuries and the Renaissance to more recent information graphics, including paintings, sketches, maps, plans, prints, drawings and diagrams.
The conceptual core of the book is the famed chart that Alfred H. Barr, first director of the Museum of Modern Art, composed for the cover of his landmark exhibition Cubism and Abstract Art in 1936, which sought to trace the origins of abstract art from 1890 to 1936. Around this paradigmatic chart is gathered a tremendous pageant of works by great polymaths and thinkers, including Guy Debord's situationist maps; the Guerrilla Girls' "Guerrillas in the Midst of History"; Athanasius Kircher's baroque-era trees of knowledge; George Maciunas' Fluxus diagrams; Andre Malraux's Museum without Walls; Otto Neurath's charts and isotypes; Ad Reinhardt's collaged histories of art; Ward Shelley's Who Invented the Avant-Garde?; Maurice Stein, Larry Miller and Marshall Henrichs' Blueprint for Counter Education; Aby Warburg's legendary Mnemosyne Atlas; and many others.
Across 450 pages, Genealogies of Art reproduces more than 500 images. In addition to these, Astrit Schmidt-Burkhardt contributes an essay titled "The Diagrammatic Shift," following by Manuel Lima's "Trees of Knowledge: The Diagrammatic Traditions of the Middle Ages and the Renaissance," both of which contextualize the relevance of this form throughout history. Uwe Fleckner explores the use of diagrammatic visualization in curatorial and collecting activities, as in the cases of Carl Einstein or Aby Warburg; and the Picasso specialist Eugenio Carmona looks at Alfred H. Barr's conception of Picasso's work, in his text "Barr, Cubism and Picasso: Paradigm and 'Anti-paradigm.'"
「Nielsen BookData」 より