Criticism/Theory Softcover 506 pages 20 x 17 cm Texts in French   New       EUR 35.5 out of stock

Pauline Chevalier, Une histoire des espaces alternatifs à New York – De SoHo au South Bronx (1969-1985), Les presses du réel, 2017

Les pratiques artistiques dans les « espaces alternatifs » à New York.

112 Greene Street, The Kitchen, Artists Space, The Clocktower, P.S.1, Franklin Furnace, ou Fashion Moda : ces lieux nés durant la décennie 1970, et parfois toujours en activité, ont laissé une empreinte durable sur la scène artistique new-yorkaise.
« Espaces alternatifs », d'abord installés dans ces quartiers industriels du sud de Manhattan qui deviendront SoHo et TriBeCa, puis dans l'East Village, le Queens, Brooklyn, ou encore le sud du Bronx, ces lieux d'exposition, de création et de sociabilité établis en marge des institutions muséales et des galeries commerciales ont favorisé l'épanouissement de nouvelles pratiques : art processuel, danse postmoderne, art vidéo, performance.

C'est une enquête historique et un parcours géographique que propose l'ouvrage, mettant en lumière l'articulation entre ces pratiques et les phénomènes institutionnels, sociaux, économiques et urbains dont elles ne peuvent être dissociées. Si les installations dans les espaces bruts du 112 Greene Street ou l'exposition inaugurale de P.S.1 révèlent un engouement pour le matériau urbain, c'est aussi la place des artistes dans la ville de New York qui est alors constamment interrogée, depuis la légalisation des premiers lofts jusqu'aux critiques virulentes de la gentrification qui émanent de la communauté artistique elle-même. Alors qu'au début des années 1970 ces lieux alternatifs profitent d'un contexte économique favorable et du soutien d'une nouvelle politique culturelle fédérale et locale, le milieu des années 1980 sonne le glas d'un mouvement. « The Fun is gone » arbore la Fun Gallery à sa fermeture dans l'East Village en 1985. La scène alternative s'essouffle sous la présidence Reagan, non sans avoir nourri sa propre histoire et contribué à la constitution d'une mythologie et d'un héritage dont l'ambivalence persiste aujourd'hui.


Pauline Chevalier est maître de conférences à l'université de Bourgogne – Franche-Comté où elle enseigne l'histoire de l'art et la muséologie. Sa recherche porte sur les convergences entre littérature, danse, sculpture et image en mouvement dans l'art américain depuis les années 1960, et sur les croisements entre espace d'exposition et espace scénique dans l'art contemporain.

Criticism/Theory Softcover 101 pages Texts in French   New       EUR 20 out of stock

Carla Lonzi, Crachons sur Hegel. Une révolte féministe, ETEROTOPIA, 2017

Carla Lonzi achève Crachons sur Hegel durant l’été 1970 et signe avec ce livre une rupture intellectuelle, artistique, politique et existentielle, qui s’accompagne d’un tournant décisif dans sa vie personnelle. L'auteure considère que l’oppression des femmes et le dualisme homme-femme sont constitutifs de la culture occidentale. La dialectique maître-esclave de Hegel, et à sa suite le marxisme, ne font que mettre en sourdine l’oppression encore plus radicale qui réside dans le rapport homme-femmes et qui « se cache dans les ténèbres des origines ». C’est la culture patriarcale qui est dialectique. Carla Lonzi oppose à cette vision un mouvement de sortie décisif, qui exige de passer de l’autocritique à l’imagination, de la domination culturelle à la déculturation active. Si la survie est une valeur, alors la femme doit se reconnaître comme immanence, là où l’homme est transcendance et abstraction et néglige la vie. Ce qui existe est le présent, non le but.

Le mouvement féministe des années 1970 trouve avec Carla Lonzi et son groupe Rivolta Femminile des femmes capables de renverser le sens des choses, et ce même à l’intérieur d’un mouvement historique de transformation des mœurs qui ne parvenait pas à briser le tabou ancestral de l’asservissement des femmes ; le sujet imprévu – relatif, aurait ajouté Simone de Beauvoir. Rendre la femme à elle-même est le parcours que Carla Lonzi dessine avec ce livre.

Criticism/Theory First Edition Softcover 212 pages Texts in French   New       EUR 17 out of stock

Coll., Éducation populaire et féminisme. Récits d'un combat (trop) ordinaire, La Grenaille, 2016

Cet ouvrage est le fruit d’un travail mené par onze femmes pendant plus de trois années au sein du réseau d’éducation populaire la Grenaille. Ce réseau se revendique en résistance contre toute forme de domination (sexisme, racisme, classisme), propose des formations afin de se réapproprier collectivement le politique, mais comme bien d'autres organisations n'a pas été capable de penser ces questions en internet. Un réseau qui se découvre traversé par le sexisme. Un réseau qui hiérarchise les luttes.

C’est suite à une agression sexuelle que nous avons collectivement pris conscience de l’ampleur de l’oppression patriarcale au sein même de nos organisations de travail. Nous avons souhaité publié cet ouvrage pour agir vers plus d’égalité. Il relate à la fois l’expérience vécu au sein de l’environnement de la Grenaille mais apporte aussi des témoignages d’autres structures. Par ailleurs, vous trouverez à la fois une vulgarisation des théories féministes et des apports méthodologiques permettant de mettre au travail les rapports sociaux de sexe au sein d’un groupe.

Artist's book 7/50, signed copy Softcover 728 pages 23 x 18 cm Texts in English   New       EUR 60 out of stock

Simon Popper, ULYSSES, auto-publié, 2006

A reinterpretation of James Joyce's Ulysses rearranging all the words in the original book in alphabetical order.

Criticism/Theory First Edition Softcover 304 pages Texts in English   New       EUR 16 out of stock

Sue Clayton, Kodwo Eshun, Green Gartside, Post Punk Then And Now, Repeater, 2016

What were the conditions of possibility for art and music-making before the era of neoliberal capitalism? What role did punk play in turning artists to experiment with popular music in the late 1970s and early 1980s? And why does the art and music of these times seem so newly pertinent to our political present, despite the seeming remoteness of its historical moment?

Focusing upon the production of post-punk art, film, music, and publishing, this book offers new perspectives on an overlooked period ofcultural activity, and probes the lessons that might be learnt from history for artists and musicians working under 21st century conditions of austerity.

Cinema, Exhibition catalogue First Edition Softcover 124 pages Texts in German & French   New       EUR 25 out of stock

Coll., Film Implosion! Experimental Cinema in Switzerland, Revolver Publishing, 2017

La création de films expérimentaux en Suisse est prolifique et riche en surprises. Nombreux sont les créateurs qui ont rompu avec les méthodes appliquées habituellement lors de la réalisation d’un film en expérimentant directement sur le film, en produisant des films documentaires non-conformistes, des œuvres politiques ou féministes, des fictions et des installations vidéo. Pour eux, dont Dieter Meier, Fredi M. Murer ou Pipilotti Rist, le film expérimental marqua souvent le début d’une carrière qui allait se retrouver dans d'autres catégories de films ou d'art.

Catalogue publié à l'occasion de l'exposition Film Implosion! à Fri Art, Fribourg (21 novembre 2015 - 21 février 2016) et à Museum für Gestaltung, Zürich (3 février - 9 avril, 2017) qui lève le voile sur un pan méconnu de l'histoire de l'art helvétique en proposant la première exposition entièrement consacrée au cinéma expérimental en Suisse. Celle-ci présente un large panorama des pratiques d'expérimentation dans les médiums du cinéma en particulier, mais également de la vidéo, depuis les années 1960.

Édité par François Bovier, Balthazar Lovay, Sylvain Menétrey et Dan Soblach.

Criticism/Theory Paperback 308 pages Texts in English   New       EUR 23 out of stock

Ursula K. Le Guin, Dancing at the Edge of the World. Thoughts on Words, Women, Places, Grove Press, 1997

“I have decided that the trouble with print is, it never changes its mind,” writes Ursula Le Guin in her introduction to Dancing at the Edge of the World. But she has, and here is the record of that change in the decade since the publication of her last nonfiction collection, The Language of the Night. And what a mind—strong, supple, disciplined, playful, ranging over the whole field of its concerns, from modern literature to menopause, from utopian thought to rodeos, with an eloquence, wit, and precision that makes for exhilarating reading.

Criticism/Theory First Edition Soft cover, perfect binding 314 pages 21 x 14 cm Texts in English   Sun-faded
o/w very good condition
      EUR 45 out of stock

Lucy Lippard, From the Center: Feminist Essays on Women's Art, E. P. Dutton, 1976

Introduction: Changing since changing.
 
General essays: Freelancing the dragon; Sexual politics: art style; Prefaces to catalogues of women's exhibitions; Household images in art; Fragments; What is female imagery?; Six; The L. A. Woman's Building; Making up: role-playing and transformation in women's art; Points of view: Stuart, De Mott, Jacquette, Graves; The pains and pleasures of rebirth: European and American women's body art; The women artists' movement - What next?
 
Monographs: Irene Siegel; Eva Hesse: The circle; Catalysis: an interview with Adrian Piper; Color at the edge: Jo Baer; Joan Mitchell; Hanne Darboven: Deep in numbers; Ree Morton: At the still point of the turning world; Jackie Winsor; Mary Miss: An extremely clear situation; Judy Chicago, talking to Lucy R. Lippard; Pandora; May Stevens' big daddies; Louise Bourgeois: From the inside out; Rosemarie Castoro: Working out; Faith Ringgold's Black, political, feminist art; Yvonne Rainer on feminism and her film; Distancing: the films of Nancy Graves; Camouflage: films by Holt and Horn
 
Fiction: Waterlay; Caveheart
 

Criticism/Theory Fourth corrected and enlarged edition Softcover 624 pages 24 x 16 cm Texts in French   New       EUR 49 out of stock

Margot Wittkower, Rudolf Wittkower, François-René Martin, Les Enfants de Saturne. Psychologie et comportement des artistes de l'Antiquité à la Révolution française, Éditions Macula, 2016

La mélancolie – la bile noire – serait-elle le propre du génie, comme on le pensait à la Renaissance, ce depuis les premières observations d’Aristote ? L’artiste, être sous influence astrale (de Saturne, la planète des mélancoliques), est-il fait comme les autres hommes ? D’une autre espèce, peut-être : mais alors, peut-il doubler son tempérament d’artiste d’une personnalité propre ? Célèbre ou marginal, comment s’inscrit-il dans l’imaginaire de ses contemporains ?

Dans la fresque foisonnante des Enfants de Saturne où se croisent les furieux (Cellini, Caravage) et les suicidaires (Rosso, Borromini), leurs torves compagnons pervers (Sodoma) et paranoïaques (Messerschmidt) agrémentés d’habiles intrigants (Titien) et de quelques amoureux (Fra Filipo Lippi, Raphaël), les peintres et les sculpteurs les plus illustres prennent vie à travers les témoignages de leurs contemporains (Vasari, Van Mander, Baldinucci…), cependant que se transforme progressivement la position sociale des artistes. De domestiques et artisans des débuts jusqu’au XVe siècle, les voici désormais sollicités, courtisés, certains (Michel-Ange, Rubens, Bernin, Vélasquez) seront même couverts d’or par les papes, les rois ou les empereurs.

L’érudition des époux Wittkower mobilise une grande diversité de sources. Lettres, carnets de commande, biographies, journaux intimes et mémoires, minutes de procès défilent pour nourrir cette vaste enquête jusqu’à sa dernière interrogation, effet inévitable des incursions répétées de la psychanalyse en histoire de l’art : qu’en est-il du statut de la biographie ? En quoi éclaire-t-elle la production des œuvres ? Cet ouvrage fondamental paru en 1963 – traduit en français pour la première fois en 1985 – est enfin réédité dans une version revue, corrigée et augmentée d’une postface de François-René Martin. Professeur aux Beaux-Arts de Paris, celui-ci revient sur l’importance de cette étude, mettant en lumière son actualité autant que son intemporalité.

Criticism/Theory First Edition Softcover 216 pages 22 x 15 cm Texts in French   New       EUR 37 out of stock

Douglas Crimp, PICTURES. S'approprier la photographie, New York, 1979-2014, Le Point du Jour, 2016

Figure des cultural studies, critique d'art, militant des premières années d'Act Up New York, Douglas Crimp a abordé la photographie dans différentes circonstances, sans prétendre au statut d'historien ou de spécialiste. Le présent recueil propose un ensemble inédit de textes publiés entre 1979 et 2014. Au sein de la revue October, Crimp a conceptualisé un postmodernisme offensif en soutenant des artistes comme Cindy Sherman, Louise Lawler ou Sherrie Levine. À la suite de l'exposition « Pictures » qu'il organisa en 1977 à New York, on qualifia cette nouvelle scène de « Pictures Generation ».
Plusieurs de ces artistes utilisaient la photographie. Ils jouaient de son instantanéité ou de ses capacités de reproduction pour s'approprier d'autres images. Crimp opposa leurs pratiques à la légitimation institutionnelle de la photographie comme art autonome.

L'époque tourna vite. Des générations de gays, de prostitués, de noirs et d'usagers de drogue disparaissaient. Les images photographiques catalysaient un peu partout les tensions qui gagnaient les États-Unis. Crimp rejoignit la lutte contre le sida où des militants s'appropriaient les stratégies visuelles du postmodernisme. Au cours des années 2000, Crimp est revenu aux artistes qu'il a contribué à faire connaître. On retrouve les photographies du tournant des années 1980, rapportées à leur contexte de production. À travers ces images, il évoque sa propre histoire et New York, la ville qu'il a arpentée pendant des décennies.

Exhibition catalogue First Edition Softcover 272 pages 28 x 22 cm Texts in English   New       EUR 36 out of stock

Julie Ault, Show & Tell: A Chronique of Group Material, Four Corners Books, 2010

This is the first monograph celebrating Group Material, the New York-based artists collaborative known for its socio-political art practice. Collated by former group members, the book charts the development, projects and contexts of the group’s activities, drawing heavily from the group's own archive and including original documents, photographs, drawings, correspondence, artefacts and texts. 45 projects from the group's lifetime (1979–1996) are represented through installation photography, original proposals, exhibition statements, press releases, and responses, while the emblematic exhibition project 'AIDS Timeline' is examined in detail, including in newly conducted interviews.

Poetry, Artist's book First Edition Soft cover, perfect binding 136 pages Texts in French / Italian   New       EUR 85 out of stock

Henri Chopin, Les Mirages des 27 / Visioni dei 27 Segni, Edizioni Morra, 1995

Henri Chopin (18 June 1922 – 3 January 2008) was a French avant-garde poet and musician: he is widely considered to be a pioneer in the recognition and distribution of sound-poetry. Besides poetry and music, his practice includes paining, graphic design, typography, independant publishing and filmmaking; Chopin's work is a barometer of the shifts in European media between the 1950s and the 1970s. 

In 1964 he created OU, one of the most notable reviews of the second half of the 20th century, and he ran it until 1974. OU's contributors included William S. Burroughs, Brion Gysin, Gil J Wolman, François Dufrêne, Bernard Heidsieck, John Furnival, Tom Phillips, and the Austrian sculptor, writer and Dada pioneer Raoul Hausmann. 

Chopin spent a lot of time in Naples from the beginning of the 1980s due to his collaborative projects with Peppe Morra, founder of Fondazione Morra, one of the most renowned spaces for contemporary art active within the city. Morra and Chopin worked closely together up until the final years of the French artist’s life. During this time they produced numerous publications, a large number of which were based on his stunning production of “typewriter poems”. Chopin found a new possibility for poetry both within sound and the written form; with a formal approach he constructed a new alphabetical narration that actually had no responsibility for communication.
His personal production — consisting of typewriter-poems and sound performances — is an inspired attempt to open the medium of poetry into a form described by Chopin as ‘a poetry of spaces’: demonstrating ‘the sensory superiority of sound as opposed to normal speech, and [...] free man from the straightjacket of words and letters and from his obedience to didactics.’

This book contains a text by Stelio Maria Martini.

Artist's book, Poetry First Edition Soft cover, perfect binding 149 pages Texts in Italian   New       EUR 85 out of stock

Henri Chopin, Le homard cosmographique 1965 / La crevette amoureuse 1967, Edizioni Morra, 1994

Henri Chopin (18 June 1922 – 3 January 2008) was a French avant-garde poet and musician: he is widely considered to be a pioneer in the recognition and distribution of sound-poetry. Besides poetry and music, his practice includes paining, graphic design, typography, independant publishing and filmmaking; Chopin's work is a barometer of the shifts in European media between the 1950s and the 1970s. 
In 1964 he created OU, one of the most notable reviews of the second half of the 20th century, and he ran it until 1974. OU's contributors included William S. Burroughs, Brion Gysin, Gil J Wolman, François Dufrêne, Bernard Heidsieck, John Furnival, Tom Phillips, and the Austrian sculptor, writer and Dada pioneer Raoul Hausmann. 
 
Chopin spent a lot of time in Naples from the beginning of the 1980s due to his collaborative projects with Peppe Morra, founder of Fondazione Morra, one of the most renowned spaces for contemporary art active within the city. Morra and Chopin worked closely together up until the final years of the French artist’s life. During this time they produced numerous publications, a large number of which were based on his stunning production of “typewriter poems”. Chopin found a new possibility for poetry both within sound and the written form; with a formal approach he constructed a new alphabetical narration that actually had no responsibility for communication.
His personal production — consisting of typewriter-poems and sound performances — is an inspired attempt to open the medium of poetry into a form described by Chopin as ‘a poetry of spaces’: demonstrating ‘the sensory superiority of sound as opposed to normal speech, and [...] free man from the straightjacket of words and letters and from his obedience to didactics.’
This book contains a text by Stelio Maria Martini.

Artist's book, Poetry First Edition Soft cover, perfect binding 221 pages Texts in Italian   New       EUR 120 out of stock

Henri Chopin, l'ultimo romanzo del mondo (1961), Edizioni Morra, 1993

Henri Chopin (18 June 1922 – 3 January 2008) was a French avant-garde poet and musician: he is widely considered to be a pioneer in the recognition and distribution of sound-poetry. Besides poetry and music, his practice includes paining, graphic design, typography, independant publishing and filmmaking; Chopin's work is a barometer of the shifts in European media between the 1950s and the 1970s. 

In 1964 he created OU, one of the most notable reviews of the second half of the 20th century, and he ran it until 1974. OU's contributors included William S. Burroughs, Brion Gysin, Gil J Wolman, François Dufrêne, Bernard Heidsieck, John Furnival, Tom Phillips, and the Austrian sculptor, writer and Dada pioneer Raoul Hausmann. 

Chopin spent a lot of time in Naples from the beginning of the 1980s due to his collaborative projects with Peppe Morra, founder of Fondazione Morra, one of the most renowned spaces for contemporary art active within the city. Morra and Chopin worked closely together up until the final years of the French artist’s life. During this time they produced numerous publications, a large number of which were based on his stunning production of “typewriter poems”. Chopin found a new possibility for poetry both within sound and the written form; with a formal approach he constructed a new alphabetical narration that actually had no responsibility for communication.
His personal production — consisting of typewriter-poems and sound performances — is an inspired attempt to open the medium of poetry into a form described by Chopin as ‘a poetry of spaces’: demonstrating ‘the sensory superiority of sound as opposed to normal speech, and [...] free man from the straightjacket of words and letters and from his obedience to didactics.’

Artist's book, Poetry First Edition Soft cover, perfect binding 32 pages Texts in Italian / French / English   New       EUR 88 out of stock

Henri Chopin, Enluminure, Edizioni Morra, 1984

Henri Chopin (18 June 1922 – 3 January 2008) was a French avant-garde poet and musician: he is widely considered to be a pioneer in the recognition and distribution of sound-poetry. Besides poetry and music, his practice includes paining, graphic design, typography, independant publishing and filmmaking; Chopin's work is a barometer of the shifts in European media between the 1950s and the 1970s. In 1964 he created OU, one of the most notable reviews of the second half of the 20th century, and he ran it until 1974. OU's contributors included William S. Burroughs, Brion Gysin, Gil J Wolman, François Dufrêne, Bernard Heidsieck, John Furnival, Tom Phillips, and the Austrian sculptor, writer and Dada pioneer Raoul Hausmann. 
 
Chopin spent a lot of time in Naples from the beginning of the 1980s due to his collaborative projects with Peppe Morra, founder of Fondazione Morra, one of the most renowned spaces for contemporary art active within the city. Morra and Chopin worked closely together up until the final years of the French artist’s life. During this time they produced numerous publications, a large number of which were based on his stunning production of “typewriter poems”. Chopin found a new possibility for poetry both within sound and the written form; with a formal approach he constructed a new alphabetical narration that actually had no responsibility for communication.
His personal production — consisting of typewriter-poems and sound performances — is an inspired attempt to open the medium of poetry into a form described by Chopin as ‘a poetry of spaces’: demonstrating ‘the sensory superiority of sound as opposed to normal speech, and [...] free man from the straightjacket of words and letters and from his obedience to didactics.’

Artist's book, Poetry First Edition Soft cover, perfect binding 108 pages Texts in French / Italian   New       EUR 68 out of stock

Henri Chopin, LES FILTRES de l'ALPHABET et de l'€ – ou la puissance de l'utopie –, Edizioni Morra, 2013

Henri Chopin (18 June 1922 – 3 January 2008) was a French avant-garde poet and musician: he is widely considered to be a pioneer in the recognition and distribution of sound-poetry. Besides poetry and music, his practice includes paining, graphic design, typography, independant publishing and filmmaking; Chopin's work is a barometer of the shifts in European media between the 1950s and the 1970s. In 1964 he created OU, one of the most notable reviews of the second half of the 20th century, and he ran it until 1974. OU's contributors included William S. Burroughs, Brion Gysin, Gil J Wolman, François Dufrêne, Bernard Heidsieck, John Furnival, Tom Phillips, and the Austrian sculptor, writer and Dada pioneer Raoul Hausmann. 
 
Chopin spent a lot of time in Naples from the beginning of the 1980s due to his collaborative projects with Peppe Morra, founder of Fondazione Morra, one of the most renowned spaces for contemporary art active within the city. Morra and Chopin worked closely together up until the final years of the French artist’s life. During this time they produced numerous publications, a large number of which were based on his stunning production of “typewriter poems”. Chopin found a new possibility for poetry both within sound and the written form; with a formal approach he constructed a new alphabetical narration that actually had no responsibility for communication.
His personal production — consisting of typewriter-poems and sound performances — is an inspired attempt to open the medium of poetry into a form described by Chopin as ‘a poetry of spaces’: demonstrating ‘the sensory superiority of sound as opposed to normal speech, and [...] free man from the straightjacket of words and letters and from his obedience to didactics.’
 
Contains colored illustrations.

Criticism/Theory First Edition Paperback 479 pages Texts in English   New       EUR 29 out of stock

Branden W. Joseph, Beyond the Dream Syndicate. Tony Conrad and the Arts after Cage, Zone Books, 2008

Tony Conrad has significantly influenced cultural developments from minimalism to underground film, “concept art,” postmodern appropriation, and the most sophisticated rock and roll. Creator of the “structural” film, The Flicker, collaborator on Jack Smith’s Flaming Creatures and Normal Love, follower of Henry Flynt’s radical anti-art, member of the Theatre of Eternal Music and the first incarnation of The Velvet Underground, and early associate of Mike Kelley, Tony Oursler, and Cindy Sherman, Conrad has eluded canonic histories. Yet Beyond the Dream Syndicate does not claim Conrad as a major but under-recognized figure. Neither monograph nor social history, the book takes Conrad’s collaborative interactions as a guiding thread by which to investigate the contiguous networks and discursive interconnections in 1960s art.

Criticism/Theory First Edition Paperback 499 pages Texts in English   New       EUR 28 out of stock

Thomas W. Laqueur, Solitary Sex. A Cultural History of Masturbation, Zone Books, 2004

"Around 19700, masturbation morphed from a minor sociospiritual transgression into a moral-medical horror. Laquer explains why–better and certainly more exhaustively than previous scholars. As centralized monarchs and the church lost power and the individual assumed new importance in civil society, masturbation was revisioned as the most selfish, antisocial, and dangerous perversion of individualism. Much later, Freud remade masturbation into a temporary, youthful way station for individual socialization. Then after the 1960s, feminism and gay liberation helped engineer a third makeover of masturbation as fundamental for socialized individuals of any age."

Bibliography First Edition Hardcover with dust jacket 415 pages 30 x 22 cm Texts in English   New       EUR 250 out of stock

Seth Siegelaub, Bibliographica Textilia Historiæ, International General, 1997

“The Bibliographica Textilia Historiæ is the first general bibliography attempting to outline and document all facets of the literature of the world history of textiles. The work contains over 5'000 titles – printed books and pamphlets, serials, articles and offprints, disserations, royal decrees and laws – published in all languages, since the late fifteenth century to date, treating all aspects of the history of handwoven textiles, including woven textiles, printed textiles, embroidery, lace, tapestry, dyeing, carpets, weaving and fiber technology, pattern books, and costume, among many other subjects. 
The bibliograpy covers the history of handwoven textiles as an art, a craft and its techniques of production, as well as its central role in early industrial and commercial history, from “primitive“ society, through antiquity, the middle ages, and the renaissance to early industrialization. To put all this material into perspective, it also contains a critical introduction on the history and character of the literature, and a selection of the most important books on textiles classified by subject and country.“


Published by the Center for Social Research on Old Textiles [CSROT] and International General.
 

Monograph First Edition Softcover 212 pages 30 x 23 cm Texts in English   New       EUR 48 out of stock

Mara Züst, Simone Koller, Doris Stauffer: A Monograph, Scheidegger & Spiess, 2015

In addition to her contributions to art criticism, Doris Stauffer has produced an impressive body of artistic work that consists of photography, sculpture, and collage. The subject of exhibitions in her native Switzerland, Stauffer is among the founders of the F + F School of Experimental Design, and her explorations of form and color have long been recognized for engaging with feminism and the existing conventions and hierarchies within society.

With more than three hundred illustrations, Doris Stauffer documents for the first time the life and work of this important twentieth-century artist with a focus on her political engagement. Essays place Stauffer’s work in historical and political context, including her involvement with the Swiss women’s liberation movement and an interview in which the artist imagines alternative forms of feminism and art education. Additional essays look at the influence of Stauffer on other female artists, as well as some of the recurring themes in her art, including fairy tales and other forms of narration.

Your cart contains 0 item. Check out here.
Item added to cart.