hrsg matthias michalka (5 Ergebnisse)

Broschiert. Quart. 216 S. Broschur. Mit zahlr. farb. und schw.-w. Abb. Einband geringf. berieben, gutes Exemplar.

Zustand: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Hardcover. Zustand: Gut. Gr. 8°. 125 u. einige weitere unpaginierte Seiten mit zahlreichen farbigen Abb. (Wiedergaben von Bildern aus den Installationen 'Auge / Maschine I - III', 2000 - 2003, u. 'Vergleich über ein Drittes', 2007), Papp-Bd. - Buchhandelsausgabe der Publikation. Alle Texte des Bandes in deutscher und englischer Sprache. - Mit einer Biographie des Künstlers und Verzeichnissen ausgewählter Einzelausstellungen und Ausstellungsbeteiligungen. - Der Einband leicht berieben, der Einbandrücken nachgedunkelt und an der unteren Kante etwas stauchspurig. Insgesamt ein ansprechendes Exemplar.

Gewebe 29 cm Sehr gut kein Schutzumschlag 157 S. / Sprache: deutsch / 1160 g / Weiter Info: zahlr. Ill. / Zustand: sehr gut.

Zustand: Wie neu. 139 paginierte Seiten, gegliedert in 8 rückengefeftete Broschüren und zahlreiche Bildbeigaben (mit Hilfe des Inhaltsverzeichnisses kolationiert und für komplett befunden) in Pappkassette, Sehr guter Zustand - wie neu. Diese Publikation erschien anlässlich der Ausstellung "Martin Beck. rumors and murmurs" von 5. Mai bis 3. September 2017 im mumok - Museum moderner Kunst Stiftung Ludwig Wien. Mit Beiträgen von Vince Aletti, Julie Ault, Christian Höler, Karola Kraus, Matthias Michalka, Felicity D. Scott und Jeannine Tang sowie Reprints von Martin Beck und Klaus Franck. Künstlerporträt: Martin Beck (born 1963) is a visual artist based in New York and Vienna. His artworks often derive from in-depth research into narratives from the fields of architecture, design and popular culture and are characterized by his usage of diverse media, including installation, photography, video, writing, sculpture, and drawing. Beck also works collaboratively and has, since the late 1990s, co-authored various exhibitions, publications, and exhibit design projects with artist Julie Ault. Martin Beck studied at the University of Applied Arts as well as at the Academy of Fine Arts, both in Vienna, Austria, where he graduated in 1988. Beck has been a visiting artist in the art and design programs at the California Institute of the Arts in Valencia, California (19992000); he has held a guest professorship in the CCCS program at the École Supérieure des Beaux-Arts, Geneva (20012005). Since 2004, he has worked as a professor at the Academy of Fine Arts Vienna where he teaches courses on exhibition and display issues as well as artistic and design methodology. Beck's artworks range from complex, mixed-media installations to subtle architectural interventions, and often explore the role of display in exhibition frameworks. He adapts many mediums and strategies in order to ".problematize the exhibition form, along with the social and aesthetic implications it wields on our perceptions." His exhibitions investigate the boundaries between artworks, exhibit and support structure, as well as the relationship between art and social conditions or popular culture. Artist and critic Yuki Higashino writes in the Avery Review: "[Beck's] true medium is exhibition making. It is the totality, the configuration of artifacts, the social context, the supplementary materials like a press release, and the architecture of the venue that together constitute the art exhibition and the work of art that Beck produces." Frequently Beck's projects and shows include artifacts or works by other artists, architects, designers, and historical objects. His practice elaborates and expands the conceptual tradition of redefining the role of the artist and of what constitutes an artistic practice. His main bodies of works from the 2000s investigated how the modern conception of display developed in the mid-20th century. For his solo exhibition an Exhibit viewed played populated at Grazer Kunstverein, Beck presented works that emerged from his research on Richard Hamilton's 1957 an Exhibit in which colored acrylic panels, suspended from the gallery ceiling, created an environment that turned the gallery space itself into an artwork. For Installation, his collaborative exhibition with Julie Ault at Vienna Secession, he reconstructed a modular exhibit system called Struc-Tube, designed by George Nelson in 1948. The system was presented both as a sculpture and a functional structure to display other works by Beck and Ault. Subsequently, he used the same tubular system as a protagonist for a video-work titled About the Relative Size of Things in the Universe (2007), first presented as part of his exhibition The details are not the details at the artist-run gallery Orchard in New York. Between 2000 and 2010, Beck frequently designed exhibitions for art institutions, mostly in collaboration with Ault. These include over two dozen shows for the International Center of Photography in New York between.