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On art
Essays. Selections. English. 2018
- Author / Creator
- Available as
- Physical
- Summary
-
"This volume offers for the first time in English the most significant texts written by the Russian conceptual artist, performer, and painter Ilya Kabakov. The writings have been expressly selected...
"This volume offers for the first time in English the most significant texts written by the Russian conceptual artist, performer, and painter Ilya Kabakov. The writings have been expressly selected for this English-language volume; there exists no equivalent volume in any language."--Provided by publisher.
Details
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- Creator
- Ilya Kabakov ; edited with an introduction by Matthew Jesse Jackson ; translated by Antonina W. Bouis and Cynthia Martin with Matthew Jesse Jackson
- Format
- Books
- Language
- English
- Contributors
- Publication
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- Chicago ; London : The University of Chicago Press, 2018
- ©2018
- Physical Details
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- xii, 367 pages : illustrations ; 23 cm
- ISBNs
- 9780226384733, 022638473X, 9780226384566, 022638456X, 9780226384870
- OCLC
- on1028880194
- Translated from the Russian.
- Includes bibliographical references and index.
- Introduction / Matthew Jesse Jackson -- Culture, "I," "it," and Favorsky's light ("rhombus") -- Nozdrev and Pliushkin -- . . . Everything is in the turning of the pages -- On emptiness -- The creator looks at his work twice -- Dust, dirt, and garbage (dust as an object of contemplation) -- Discourse on the perception of the three layers, three levels, into which an ordinary, anonymous written product -- notices, slips, menus, bills, tickets, etc. -- may be broken down -- Epistemological thirst -- Not everyone will be taken into the future -- New rhombus -- Without culture -- Park of culture -- From the 1960s and the 1970s: notes on unofficial life in Moscow -- The artist-character -- From an apologia for personalism in the art of the 1960s: an impassioned monologue on 23 June 1986 -- Conceptualism in Russia -- Edge, border, crack -- Art has no unloved children -- How I became a character myself -- A story about a "culturally relocated" individual -- From on "total" installation -- Text as the foundation of visual expression -- On risk -- On Cézannism -- The spirit of music -- Public projects, or the spirit of a place -- Why was it necessary to use the "character" device for the exhibition rather than signing my own name? -- Nikolai Petrovich (commentary) -- From Catalog