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A carregar... Stop Painting (edição 2021)por Peter Fischli; Diedrich Diederichsen; Eva Fabbris; Arthur Fink; Peter Fischli; Mark Godfrey; Boris Groys; John Kelsey; Sarah Lehrer-Graiwer; Hanna Magauer
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Peter Fischli's creatively conceived history of the crises of painting over the past 150 years Conceived by artist Peter Fischli for Fondazione Prada's Venice premises, Stop Paintinginvestigates the persistence of painting in the 21st century. Described by Fischli as "a kaleidoscope of repudiated gestures," the project explores five ruptures within the history of painting over the last 150 years. Painting's first rupture was produced by photography, which led painter Paul Delaroche to exclaim in 1840: "from today, painting is dead." The second crisis is represented by Duchamp's invention of the readymade and collages by the likes of Kurt Schwitters. The third rupture was produced by the interrogations of authorship made famous by Roland Barthes' "death of the author" in 1968; simultaneously, the fourth crisis was the critique of painting as a commodity. The fifth rupture focuses on the crisis of criticism under late capitalism as formulated by Luc Boltanski and Eve Chiapello. Não foram encontradas descrições de bibliotecas. |
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Google Books — A carregar... GénerosSistema Decimal de Melvil (DDC)700.411The arts Modified subdivisions of the arts Standard subdivisions of the arts Special topics in the arts Arts displaying specific qualities of style, mood, viewpoint Nontraditional viewpointsClassificação da Biblioteca do Congresso dos EUA (LCC)AvaliaçãoMédia: Sem avaliações.É você?Torne-se num Autor LibraryThing. |
Conceived by artist Peter Fischli for Fondazione Prada’s Venice premises, Stop Painting investigates the persistence of painting in the 21st century. Described by Fischli as “a kaleidoscope of repudiated gestures,” the project explores five ruptures within the history of painting over the last 150 years.
Painting’s first rupture was produced by photography, which led painter Paul Delaroche to exclaim in 1840: “from today, painting is dead.” The second crisis is represented by Duchamp’s invention of the readymade and collages by the likes of Kurt Schwitters. The third rupture was produced by the interrogations of authorship made famous by Roland Barthes’ “death of the author” in 1968; simultaneously, the fourth crisis was the critique of painting as a commodity. The fifth rupture focuses on the crisis of criticism under late capitalism as formulated by Luc Boltanski and Eve Chiapello.