Italia Cinquanta moda e design. Nascita di uno stile
Gorizia, Palazzo Attems Petzenstein, March 21 - August 27, 2023.
Edited by Raffaella Sgubin, Carla Cerutti and Enrico Minio Capucci.
Cornuda, 2023; hardback, pp. 336, col. ill., cm 20x26.
cover price: € 33.00
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Books included in the offer:
Italia Cinquanta moda e design. Nascita di uno stile
Gorizia, Palazzo Attems Petzenstein, March 21 - August 27, 2023.
Edited by Raffaella Sgubin, Carla Cerutti and Enrico Minio Capucci.
Cornuda, 2023; hardback, pp. 336, col. ill., cm 20x26.
FREE (cover price: € 33.00)
Parodie del design. Scritti critici e polemici
Torino, 2008; paperback, pp. 94, 8 b/w ill., cm 12,5x19,5.
FREE (cover price: € 12.00)
Moda e modi. Stile e costume in Italia 1900-1960
Arezzo, Basilica di San Francesco, March 24 - November 4, 2018.
Roma, 2018; paperback, pp. 96, col. ill., cm 21,5x21,5.
FREE (cover price: € 25.00)
Gli italiani e la moda. 1860-1960
Stra, Museo Nazionale di Villa Pisani, April 8 - November 1, 2017.
Edited by Alberto Manodori Sagredo.
Roma, 2017; paperback, pp. 94, b/w ill., cm 16x23.
FREE (cover price: € 15.00)
Louise Lawler And Others
Hatje Cantz
Museum für Gegenwartskunst Basel, May 15 - August 29, 2004.
English Text.
Ostfildern, 2004; clothbound, pp. 160, ill., cm 16x24.
Other editions available: German Edition (ISBN: 3-7757-1420-0).
ISBN: 3-7757-1464-2 - EAN13: 9783775714648
Subject: Photography
Period: 1960- Contemporary Period
Languages:
Weight: 0.96 kg
The book offers the first retrospective overview of the artistic accomplishments of American conceptual artist Louise Lawler during the past twenty years. It also presents a number of very recent works. Lawler (born 1947 in Bronxville, New York) subjects the concept of art to critical analysis by photographing drawings, paintings, and sculptures and incorporating aspects of their immediate surroundings into these "copies." Viewed with a certain detachment, her demystified reproductions also reveal the contextual and situational connotations of the artworks, which recede to a certain extent into the background. In her own exhibitions Lawler restages and reflects on these institutionalizations and questions connotational shifts brought on by art industry. In the process, she makes it clear that the presentation - and thus the interpretation - of art can never be free of value judgments










