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Journal Article
Qui Parle (2014) 22 (2): 57–68.
Published: 01 December 2014
...Claire Fontaine Copyright © 2014 Qui Parle 2014 Ready- Made Artist The Genealogy of a Concept claire fontaine Claire Fontaine is a Paris-based collective artist founded in 2004. After lifting her name from a popular brand of French notebooks, she declared herself a “ready-made...
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Published: 01 June 2019
Fig. 10. Alexandra Wanderer, Untitled . Courtesy of the artist. Fig. 10. Alexandra Wanderer, Untitled. Courtesy of the artist. More
Journal Article
Qui Parle (2017) 26 (1): 101–142.
Published: 01 June 2017
...John Paul Ricco Centered on The Andrew Project (2010–13) by artist Shaan Syed, this article is a theoretical meditation on the politics and ethics of the name, drawing, the portrait, anonymity, and the signature, as these bear on a shared sense of loss and its impossible commemoration. I invoke...
Journal Article
Qui Parle (2017) 26 (2): 491–512.
Published: 01 December 2017
..., allowing them to explore the contours of their own artistic ambition, using their mothers as focal points. Embedded in this retrieval is the acknowledgment of suppressed agony both writers recognize as belonging to their mothers. “Furia” positions this acknowledgment at the center of the framework...
FIGURES
Journal Article
Qui Parle (2018) 27 (1): 21–46.
Published: 01 June 2018
... for an inclusion. Since his “diaspora aesthetics” is based on black British films, photography, and visual art, this reassessment of his work concludes with a consideration of the Beninese artist Romuald Hazoumè’s La Bouche du Roi . This room-size multimedia slave ship installation brings a history...
FIGURES
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Published: 01 June 2019
Fig. 1. Alexandra Wanderer, Untitled (Botanical Garden) , 2016. Courtesy of the artist. Fig. 1. Alexandra Wanderer, Untitled (Botanical Garden), 2016. Courtesy of the artist. More
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Published: 01 June 2019
Fig. 6. Käthe Hager von Strobele, Hohlformen, Nr. 1 , 2014. Photograph c-print. Courtesy of the artist. Fig. 6. Käthe Hager von Strobele, Hohlformen, Nr. 1, 2014. Photograph c-print. Courtesy of the artist. More
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Published: 01 June 2019
Fig. 2. Alexi Kukuljevic, Something Is Awry with Kuk’s Kopf , 2014. Ink-jet print, 10 × 14 in. Courtesy of the artist. Fig. 2. Alexi Kukuljevic, Something Is Awry with Kuk’s Kopf, 2014. Ink-jet print, 10 × 14 in. Courtesy of the artist. More
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Published: 01 June 2019
Fig. 5. Käthe Hager von Strobele, interior/exterior, Nr. 4 , 2015. Photograph c-print in glass case. Image courtesy of the artist. Fig. 5. Käthe Hager von Strobele, interior/exterior, Nr. 4, 2015. Photograph c-print in glass case. Image courtesy of the artist. More
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Published: 01 June 2019
Fig. 3. Seth Weiner, Territories for Three: Cuba Model — 6.9kg , 2016. Monobloc chairs, polypropylene webbing, dimensions variable. Photograph by Alexandra Wanderer. Image courtesy of the artist. Fig. 3. Seth Weiner, Territories for Three: Cuba Model—6.9kg, 2016. Monobloc chairs, polypropylene More
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Published: 01 June 2019
Fig. 4. Seth Weiner, Territories for Two: Cuba Model—4.6kg , 2016. Monobloc chairs, polypropylene webbing, dimensions variable. Photograph by Alexandra Wanderer. Image courtesy of the artist. Fig. 4. Seth Weiner, Territories for Two: Cuba Model—4.6kg, 2016. Monobloc chairs, polypropylene More
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Published: 01 June 2019
Fig. 9. Alexi Kukuljevic, The Limits of Grammar # II , 2015 (photographic detail). Plaster, ink, plastic, Styrofoam, spray paint, wood, 43 × 11 × 7 in. Courtesy of the artist. Fig. 9. Alexi Kukuljevic, The Limits of Grammar # II, 2015 (photographic detail). Plaster, ink, plastic, Styrofoam More
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Published: 01 June 2019
Fig. 8. Seth Weiner, Territories for Two and Three: Cuba/Memphis Models Grid , 2016. Monobloc chairs, polypropylene webbing, dimensions variable. Photographs by Alexandra Wanderer. Courtesy of the artist. Fig. 8. Seth Weiner, Territories for Two and Three: Cuba/Memphis Models Grid, 2016 More
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Published: 01 June 2019
Fig. 7. Seth Weiner, (Broken Legs 1/2, 2/2) Territories for Two: Altea Model — 4.9kg , 2016. Monobloc chairs, polypropylene webbing, dimensions variable. Courtesy of the artist. Fig. 7. Seth Weiner, (Broken Legs 1/2, 2/2) Territories for Two: Altea Model—4.9kg, 2016. Monobloc chairs More
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Published: 01 June 2018
Fig. 2. Trevor Paglen and Jacob Appelbaum, Autonomy Cube . Installation view at Frankfurter Kunstverein, Frankfurt am Main, June–August 2015. Courtesy of the artist and Metro Pictures New York Fig. 2. Trevor Paglen and Jacob Appelbaum, Autonomy Cube. Installation view at Frankfurter More
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Published: 01 June 2018
Fig. 1. Trevor Paglen and Jacob Appelbaum, Autonomy Cube . Installation view at Witte de With, Rotterdam, September 2015–January 2016. Courtesy of the artist, Metro Pictures New York, Altman Siegel San Francisco Fig. 1. Trevor Paglen and Jacob Appelbaum, Autonomy Cube. Installation view More
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Published: 01 June 2018
Fig. 3. Trevor Paglen and Jacob Appelbaum, Autonomy Cube . Installation view at the Edith-Russ-Haus, Oldenburg, October 2015–January 2016. Courtesy of the artist, Metro Pictures New York, Altman Siegel San Francisco Fig. 3. Trevor Paglen and Jacob Appelbaum, Autonomy Cube. Installation view More
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Published: 01 December 2017
Fig. 1. Throughout the essay I use images from the series Tabula Rasa (2001–16) by the Minsk photographer and artist Sergei Zhdanovich, who accompanied his series with the following description: “An empty billboard may become an esthetic construct when we care to reflect on its significance More
Journal Article
Qui Parle (2008) 17 (1): 199–221.
Published: 01 June 2008
... for symbols. These six instinctual drives are not concerned with survival and socialization, but with expression and creativity, which are, he concluded, innate to human nature. And they are the very drives at work in professional artists. Prinzhorn gave pre- dominant place in his book to ten masters...
Journal Article
Qui Parle (2014) 23 (1): 239–255.
Published: 01 June 2014
... into the possibil- ity of knowledge and morality. This doubt about the philosophical understandability of the possibility of art is the source of Socrates’ famous critique of the artists, whom he famously desired to expel from the city despite (or perhaps because of) the enjoyment...