Au cours de leur résidence au musée, l’artiste Isabelle Massu et l’historienne d’art américaine D... more Au cours de leur résidence au musée, l’artiste Isabelle Massu et l’historienne d’art américaine Dore Bowen ont entrepris une recherche dont elles présentent les résultats au Musée de Préhistoire, du 16 mai au 15 décembre 2009, avec la collaboration de la scénographe Isabelle Gressier
Il y a vingt ans, Publics & Musées consacrait un numéro aux dioramas. Ce dispositif, qui s’est en... more Il y a vingt ans, Publics & Musées consacrait un numéro aux dioramas. Ce dispositif, qui s’est entre temps réactualisé sous diverses formes, notamment dans l’art contemporain, fait l’objet d’une nouvelle livraison, qui problématise leur puissance narrative, ainsi que la tentation hyperréaliste et l’instauration d’un rapport spécifique à la réalité et aux savoirs qui les caractérisent. Il s’agit de remettre le diorama au centre d’une étude des institutions muséales, de la production à la réception, avec un accent mis sur la matérialité de ces dispositifs et certaines de leur formes-limites. Twenty years ago, Publics & Musées dedicated an issue to dioramas. This device, which has since been updated in various forms, particularly in contemporary art, is the subject of a new contribution. This reappraisal problematizes characteristic aspects of the dioramas, such as their narrative power, their hyperrealistic lure, as well as their specific relationship to reality and knowledge. The aim...
Аннотация Reviews several photography exhibitions.Rattling the Frame: The Photographic Space 1974... more Аннотация Reviews several photography exhibitions.Rattling the Frame: The Photographic Space 1974-1999'at San Francisco Camerawork in California;Tracey Moffatt, Photographie'at Galerie Laage-Salomon in Paris, France;Tracey Moffatt:L'Enfance de L'Art ...
Active primarily in the 1960s and '70s, Fluxus was an international network of artists whose memb... more Active primarily in the 1960s and '70s, Fluxus was an international network of artists whose members shared an interest in expanding the boundaries of art. Fluxus first emerged as a collective in 1962 when its self-appointed "chairman," Lithuanian-born George Maciunas, traveled from his adopted city of New York to organize a series of new music concerts in Europe, beginning in Weisbaden, Germany (Kellein, 1995, p. 10). This official account is complicated, however, by statements issued by the Fluxus artists involved in the Weisbaden concert. Emmett Williams claims, for instance, that Fluxus began with an earlier publication proposed by composer La Monte Young and that Weisbaden was "simply performance" (Hoffberg, 1998). On the other hand, Dick Higgins argues that Fluxus came about quite naturally four years earlier, when artists and composers "began to look at the world differently" (Higgins, 1997, p. 87). Ken Friedman, while not at the concert, contests the assertion that this event inaugurated Fluxus, arguing that Fluxus is not any single event but an ongoing "laboratory of ideas and social practice" (Friedman, 1998, pp. ix-x). That Fluxus cannot define itself may be its defining feature. To begin cautiously, then, Fluxus can be credited with introducing four influential practices into contemporary art: (1) the Event Score-a spare, instructional text intended to be distributed widely, interpreted by its readers, and result in a variety of objects and events; (2) the Event-the outcome of a reader's interpretation of an event score; (3) the Fluxconcert-conducted in the style of a classical concert and consisting of a series of events; and (4) the Fluxkit-multiples composed of a myriad of objects including texts, scores, films, and games distributed to a network of participants. All of these Fluxus activities were marked by a focused interest on the everyday, both in terms of the artists' choice of objects-a hammer or scissors, for instance-but also by calling attention to activities (such as dripping water) and distribution venues (such as the post office) that, in their ubiquity, democratize art. Alison Knowles's event score Identical Lunch (1968) is a case in point. The instruction reads, "a tunafish sandwich on wheat toast with lettuce and butter, no mayo, and a large glass of buttermilk or a cup of soup was and is eaten many days of each week at the same place and at about the same time" (Knowles, 1971). This score resulted in events, graphics, and a book that collated the participants' experiences, thereby demonstrating that no one instantiation of the score is like another, since chance, as well as the viewer's interpretation, enter into each seemingly identical lunch.
Aucun artiste n’a explore le diorama a travers le langage de l’art contemporain avec la meme rigu... more Aucun artiste n’a explore le diorama a travers le langage de l’art contemporain avec la meme rigueur experimentale que Dan Graham aux Etats-Unis. Ses performances et ses installations incorporent des materiaux qui relevent du domaine des dioramas, notamment le verre et les miroirs, dans le but d’exploiter l’espace entre l’observateur et la scene observee, tandis que ses pavillons eliminent cette mise en scene theâtrale au moyen de miroirs sans tain afin de confondre sujet et objet. A l’oppose...
"Otherwise: Imagining queer feminist art histories" is the first publication to address... more "Otherwise: Imagining queer feminist art histories" is the first publication to address queer feminist politics, methods and theories in relation to the visual arts, including new media, installation and performance art. Despite the crucial contribution of considerations of 'queer' to feminism in other disciplines of the humanities, and the strong impact of feminist art history on queer visual theory, a visible and influential queer feminist art history has remained elusive. This book fills the gap by offering a range of essays by key North American and European scholars, both emerging and renowned, who address the historiographic and political questions arising from the relationship between art history and queer theory in order to help map exclusions and to offer models of a new queer feminist art historical or curatorial approach
Although photography changes with the times, it carries its history With it. This history is not ... more Although photography changes with the times, it carries its history With it. This history is not innocent. "Power," writes Geoffrey Batchen, "inhabits the very grain of BY DORE BOWEN photography's exist ence."' The authority that photography wields is based on a Cartesian conceit, a mental distancing built into the primary establishing feature of the medium-perspective. Only such visual distancing allows for a "view"a visual point organized around the eye of a monocular observer looking out upon the world as if onto a flat surface. The camera is a site for such outward exploration and inward rumination. Yet , the inarticulate presence of nature haunts this ocularcentric teleology. As Akira Mizuta Lippit suggests , photography can be understood as a "mourning apparatus " for those life forms that it kills off.' While the history of photography involves documenting the disappearance of nature and animal life, it is , at the same time, the very condition that brings this death into being. For instance, the camera/lens apparatus is reported to have been realized when, in 1619, German scientist Christoph Scheiner scraped the sclera from the eye of an ox, which he then placed in a hole in a shutter.' This .story persists because it holds a mythical if not factual truth: photography is founded on the transformation of "nonhuman" elements-both flora and fauna-into the photographic. Quite literally, photographic print emulsion is ground from animal bones (and, in the early days, egg whites) , the paper base is derived from trees, and the metals , such as silver and palladium, are mined from the earth. While photography continues to be used extensively to picture wildlife, these elements lie latent, but negated, within the process itself.
L'édito du Musée Depuis 2002, le Musée de Préhistoire des Gorges du Verdon à Quinson offre une op... more L'édito du Musée Depuis 2002, le Musée de Préhistoire des Gorges du Verdon à Quinson offre une opportunité à des artistes de créer en toute liberté autour du thème de la Préhistoire, à l'occasion de l'Art de Mai et du Printemps des Musées, puis de la Nuit des Musées. C'est ainsi que se sont succédées de nombreuses créations d'art plastique, peintures, sculptures, projections … Les matériaux utilisés ont couvert une large gamme : métaux divers modelés, soudés, organisés, colorants naturels bruts, organiques ou minéraux, sur supports durs ou souples, céramiques, résines, … générant un univers insolite et original. Cette année 2009 est novatrice à bien des titres. D'abord, c'est l'entrée au musée de l'art conceptuel. Et la richesse de ce type de réflexion se retrouve pleinement dans les créations : utilisation des arts plastiques, du son, de l'image, des technologies modernes de communication muséographique. Ensuite, le thème qui en appelle pleinement au « concept » : la vision de notre époque par des archéologues du 22ème siècle ! quelle richesse : la préhistoire comme support de l'anticipation, l'art contemporain se mêlant de considérations métaphysiques. Pour tenter ce pari osé et réussi, deux continents se sont rejoints : l'Amérique et l'Europe. Sachant qu'art et préhistoire sont forcément apatrides et universels. L'aventure artistique fut amplifiée par la dimension humaine entre « l'équipe du musée » et « l'équipe artistique ». Merci à Dore et aux Isabelle(s) pour ces instants d'enthousiasme et d'évasion, pour ces captures éphémères du quotidien, pour ces discussions passionnantes … et désolé pour les petits bugs qui soulignent que le concret a parfois du mal à suivre le rythme de l'abstrait. Mais comme l'a dit et répété un homme à la pensée également apatride et universelle : Yes, we can !
The article reviews art exhibition "Slant Step Forward" held at Verge Center for the Ar... more The article reviews art exhibition "Slant Step Forward" held at Verge Center for the Arts in California in 2019 and featuring works of visual artist, Angela Willetts.
Farge employs imagination in order to embrace discontinuity, leaping over obstacles and lacunae i... more Farge employs imagination in order to embrace discontinuity, leaping over obstacles and lacunae in order to form a picture of the past in relation to seemingly marginal events and actors. 4 When history is written this way, the reader is encouraged to make mental associations rather ...
Au cours de leur résidence au musée, l’artiste Isabelle Massu et l’historienne d’art américaine D... more Au cours de leur résidence au musée, l’artiste Isabelle Massu et l’historienne d’art américaine Dore Bowen ont entrepris une recherche dont elles présentent les résultats au Musée de Préhistoire, du 16 mai au 15 décembre 2009, avec la collaboration de la scénographe Isabelle Gressier
Il y a vingt ans, Publics & Musées consacrait un numéro aux dioramas. Ce dispositif, qui s’est en... more Il y a vingt ans, Publics & Musées consacrait un numéro aux dioramas. Ce dispositif, qui s’est entre temps réactualisé sous diverses formes, notamment dans l’art contemporain, fait l’objet d’une nouvelle livraison, qui problématise leur puissance narrative, ainsi que la tentation hyperréaliste et l’instauration d’un rapport spécifique à la réalité et aux savoirs qui les caractérisent. Il s’agit de remettre le diorama au centre d’une étude des institutions muséales, de la production à la réception, avec un accent mis sur la matérialité de ces dispositifs et certaines de leur formes-limites. Twenty years ago, Publics & Musées dedicated an issue to dioramas. This device, which has since been updated in various forms, particularly in contemporary art, is the subject of a new contribution. This reappraisal problematizes characteristic aspects of the dioramas, such as their narrative power, their hyperrealistic lure, as well as their specific relationship to reality and knowledge. The aim...
Аннотация Reviews several photography exhibitions.Rattling the Frame: The Photographic Space 1974... more Аннотация Reviews several photography exhibitions.Rattling the Frame: The Photographic Space 1974-1999'at San Francisco Camerawork in California;Tracey Moffatt, Photographie'at Galerie Laage-Salomon in Paris, France;Tracey Moffatt:L'Enfance de L'Art ...
Active primarily in the 1960s and '70s, Fluxus was an international network of artists whose memb... more Active primarily in the 1960s and '70s, Fluxus was an international network of artists whose members shared an interest in expanding the boundaries of art. Fluxus first emerged as a collective in 1962 when its self-appointed "chairman," Lithuanian-born George Maciunas, traveled from his adopted city of New York to organize a series of new music concerts in Europe, beginning in Weisbaden, Germany (Kellein, 1995, p. 10). This official account is complicated, however, by statements issued by the Fluxus artists involved in the Weisbaden concert. Emmett Williams claims, for instance, that Fluxus began with an earlier publication proposed by composer La Monte Young and that Weisbaden was "simply performance" (Hoffberg, 1998). On the other hand, Dick Higgins argues that Fluxus came about quite naturally four years earlier, when artists and composers "began to look at the world differently" (Higgins, 1997, p. 87). Ken Friedman, while not at the concert, contests the assertion that this event inaugurated Fluxus, arguing that Fluxus is not any single event but an ongoing "laboratory of ideas and social practice" (Friedman, 1998, pp. ix-x). That Fluxus cannot define itself may be its defining feature. To begin cautiously, then, Fluxus can be credited with introducing four influential practices into contemporary art: (1) the Event Score-a spare, instructional text intended to be distributed widely, interpreted by its readers, and result in a variety of objects and events; (2) the Event-the outcome of a reader's interpretation of an event score; (3) the Fluxconcert-conducted in the style of a classical concert and consisting of a series of events; and (4) the Fluxkit-multiples composed of a myriad of objects including texts, scores, films, and games distributed to a network of participants. All of these Fluxus activities were marked by a focused interest on the everyday, both in terms of the artists' choice of objects-a hammer or scissors, for instance-but also by calling attention to activities (such as dripping water) and distribution venues (such as the post office) that, in their ubiquity, democratize art. Alison Knowles's event score Identical Lunch (1968) is a case in point. The instruction reads, "a tunafish sandwich on wheat toast with lettuce and butter, no mayo, and a large glass of buttermilk or a cup of soup was and is eaten many days of each week at the same place and at about the same time" (Knowles, 1971). This score resulted in events, graphics, and a book that collated the participants' experiences, thereby demonstrating that no one instantiation of the score is like another, since chance, as well as the viewer's interpretation, enter into each seemingly identical lunch.
Aucun artiste n’a explore le diorama a travers le langage de l’art contemporain avec la meme rigu... more Aucun artiste n’a explore le diorama a travers le langage de l’art contemporain avec la meme rigueur experimentale que Dan Graham aux Etats-Unis. Ses performances et ses installations incorporent des materiaux qui relevent du domaine des dioramas, notamment le verre et les miroirs, dans le but d’exploiter l’espace entre l’observateur et la scene observee, tandis que ses pavillons eliminent cette mise en scene theâtrale au moyen de miroirs sans tain afin de confondre sujet et objet. A l’oppose...
"Otherwise: Imagining queer feminist art histories" is the first publication to address... more "Otherwise: Imagining queer feminist art histories" is the first publication to address queer feminist politics, methods and theories in relation to the visual arts, including new media, installation and performance art. Despite the crucial contribution of considerations of 'queer' to feminism in other disciplines of the humanities, and the strong impact of feminist art history on queer visual theory, a visible and influential queer feminist art history has remained elusive. This book fills the gap by offering a range of essays by key North American and European scholars, both emerging and renowned, who address the historiographic and political questions arising from the relationship between art history and queer theory in order to help map exclusions and to offer models of a new queer feminist art historical or curatorial approach
Although photography changes with the times, it carries its history With it. This history is not ... more Although photography changes with the times, it carries its history With it. This history is not innocent. "Power," writes Geoffrey Batchen, "inhabits the very grain of BY DORE BOWEN photography's exist ence."' The authority that photography wields is based on a Cartesian conceit, a mental distancing built into the primary establishing feature of the medium-perspective. Only such visual distancing allows for a "view"a visual point organized around the eye of a monocular observer looking out upon the world as if onto a flat surface. The camera is a site for such outward exploration and inward rumination. Yet , the inarticulate presence of nature haunts this ocularcentric teleology. As Akira Mizuta Lippit suggests , photography can be understood as a "mourning apparatus " for those life forms that it kills off.' While the history of photography involves documenting the disappearance of nature and animal life, it is , at the same time, the very condition that brings this death into being. For instance, the camera/lens apparatus is reported to have been realized when, in 1619, German scientist Christoph Scheiner scraped the sclera from the eye of an ox, which he then placed in a hole in a shutter.' This .story persists because it holds a mythical if not factual truth: photography is founded on the transformation of "nonhuman" elements-both flora and fauna-into the photographic. Quite literally, photographic print emulsion is ground from animal bones (and, in the early days, egg whites) , the paper base is derived from trees, and the metals , such as silver and palladium, are mined from the earth. While photography continues to be used extensively to picture wildlife, these elements lie latent, but negated, within the process itself.
L'édito du Musée Depuis 2002, le Musée de Préhistoire des Gorges du Verdon à Quinson offre une op... more L'édito du Musée Depuis 2002, le Musée de Préhistoire des Gorges du Verdon à Quinson offre une opportunité à des artistes de créer en toute liberté autour du thème de la Préhistoire, à l'occasion de l'Art de Mai et du Printemps des Musées, puis de la Nuit des Musées. C'est ainsi que se sont succédées de nombreuses créations d'art plastique, peintures, sculptures, projections … Les matériaux utilisés ont couvert une large gamme : métaux divers modelés, soudés, organisés, colorants naturels bruts, organiques ou minéraux, sur supports durs ou souples, céramiques, résines, … générant un univers insolite et original. Cette année 2009 est novatrice à bien des titres. D'abord, c'est l'entrée au musée de l'art conceptuel. Et la richesse de ce type de réflexion se retrouve pleinement dans les créations : utilisation des arts plastiques, du son, de l'image, des technologies modernes de communication muséographique. Ensuite, le thème qui en appelle pleinement au « concept » : la vision de notre époque par des archéologues du 22ème siècle ! quelle richesse : la préhistoire comme support de l'anticipation, l'art contemporain se mêlant de considérations métaphysiques. Pour tenter ce pari osé et réussi, deux continents se sont rejoints : l'Amérique et l'Europe. Sachant qu'art et préhistoire sont forcément apatrides et universels. L'aventure artistique fut amplifiée par la dimension humaine entre « l'équipe du musée » et « l'équipe artistique ». Merci à Dore et aux Isabelle(s) pour ces instants d'enthousiasme et d'évasion, pour ces captures éphémères du quotidien, pour ces discussions passionnantes … et désolé pour les petits bugs qui soulignent que le concret a parfois du mal à suivre le rythme de l'abstrait. Mais comme l'a dit et répété un homme à la pensée également apatride et universelle : Yes, we can !
The article reviews art exhibition "Slant Step Forward" held at Verge Center for the Ar... more The article reviews art exhibition "Slant Step Forward" held at Verge Center for the Arts in California in 2019 and featuring works of visual artist, Angela Willetts.
Farge employs imagination in order to embrace discontinuity, leaping over obstacles and lacunae i... more Farge employs imagination in order to embrace discontinuity, leaping over obstacles and lacunae in order to form a picture of the past in relation to seemingly marginal events and actors. 4 When history is written this way, the reader is encouraged to make mental associations rather ...
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