17842 products were found matching your search for Museum of Contemporary Art in 2 shops:

Collecting the New is the first book on the questions and challenges that museums face in acquiring and preserving contemporary art. Because such art has not yet withstood the test of time, it defies the traditional understanding of the art museum as an institution that collects and displays works of long-established aesthetic and historical value. By acquiring such art, museums gamble on the future. In addition, new technologies and alternative conceptions of the artwork have created special problems of conservation, while social, political, and aesthetic changes have generated new categories of works to be collected. Following Bruce Altshuler's introduction on the European and American history of museum collecting of art by living artists, the book comprises newly commissioned essays by twelve distinguished curators representing a wide range of museums. First considered are general issues including the acquisition process, and collecting by universal survey museums and museums that focus on modern and contemporary art. Following are groups of essays that address collecting in particular media, including prints and drawings, new (digital) media, and film and video; and national- and ethnic-specific collecting (contemporary art from Asia, Africa, and Latin America, and African-American art). The closing essay examines the conservation problems created by contemporary works--for example, what is to be done when deterioration is the artist's intent? The contributors are Christophe Cherix, Vishakha N. Desai, Steve Dietz, Howard N. Fox, Chrissie Iles and Henriette Huldisch, Pamela McClusky, Gabriel Pérez-Barreiro, Lowery Stokes Sims, Robert Storr, Jeffrey Weiss, and Glenn Wharton.

Silk Scarf, Floral Scarf Featuring lush, radiant colors, the Museum's scarf is based on Louis Comfort Tiffany's (American, 1848-1933) Magnolias and Irises Favrile glass window depicting a picturesque landscape. The window features an embankment of irises beneath flowering magnolia trees. Magnificent purple hills with a central meandering stream, emblematic of the River of Life theme, are set in the background. To learn more about the artwork that inspired this Met Store product, read our blog here.

Unread book in perfect condition.

Collecting the New is the first book on the questions and challenges that museums face in acquiring and preserving contemporary art. Because such art has not yet withstood the test of time, it defies the traditional understanding of the art museum as an institution that collects and displays works of long-established aesthetic and historical value. By acquiring such art, museums gamble on the future. In addition, new technologies and alternative conceptions of the artwork have created special problems of conservation, while social, political, and aesthetic changes have generated new categories of works to be collected. Following Bruce Altshuler's introduction on the European and American history of museum collecting of art by living artists, the book comprises newly commissioned essays by twelve distinguished curators representing a wide range of museums. First considered are general issues including the acquisition process, and collecting by universal survey museums and museums that focus on modern and contemporary art. Following are groups of essays that address collecting in particular media, including prints and drawings, new (digital) media, and film and video; and national- and ethnic-specific collecting (contemporary art from Asia, Africa, and Latin America, and African-American art). The closing essay examines the conservation problems created by contemporary works--for example, what is to be done when deterioration is the artist's intent? The contributors are Christophe Cherix, Vishakha N. Desai, Steve Dietz, Howard N. Fox, Chrissie Iles and Henriette Huldisch, Pamela McClusky, Gabriel Pérez-Barreiro, Lowery Stokes Sims, Robert Storr, Jeffrey Weiss, and Glenn Wharton.

The work of Paul Sietsema (born 1968) might be described as a sequence of multimedia suites, each of which begins with a phase of intensive research into historical–political themes, and which results in a body of interrelated sculptures, photographs, drawings, collages and films that propose an “exploded” model of historical progress. In general, these suites, such as Empire (2003) and Figure 3 (2008), have been discussed and exhibited individually. This publication, by contrast, brings together major elements from projects of the past decade, along with new works, which are being facilitated by the support of a Wexner Center Artist Residency Award in visual arts. The publication, like the exhibition it accompanies, is the most comprehensive survey of Sietsema’s work to date. It includes his most recent sequence, Chinese Box, done through the support of the Wexner Artist Residency Award.

Featuring the work of more than 150 exemplary international artists, this first comprehensive catalogue of the permanent collection of the Museum of Contemporary Art, Los Angeles, is published to accompany the museum's major 2008 permanent collection exhibition Collecting Collections. With short texts on each artist, as well as essays by Chief Curator Paul Schimmel and Senior Curator Ann Goldstein, it is a major milestone in the museum's publishing history. Featured artists include historical figures like Ad Reinhardt, Arshile Gorky, Franz Kline, Diane Arbus, Alberto Giacometti, Morris Louis, Mark Rothko, Garry Winogrand, Barnett Newman, Andy Warhol, Willem de Kooning and Piet Mondrian; contemporary Los Angeles artists like Doug Aitken, John Baldessari, Chris Burden, Vija Celmins, Mike Kelley, Catherine Opie, Nancy Rubins, Paul McCarthy, Lari Pittman, Diana Thater, James Welling, Laura Owens, Bill Owens, Charles Ray, Raymond Pettibon, Jason Rhoades and Edward Ruscha; New York artists like Vito Acconci, Robert Gober, Nan Goldin, Brice Marden, David Salle, Claes Oldenburg, Julian Schnabel, Cady Noland, Richard Prince, Kara Walker, Robert Rauschenberg, Cindy Sherman and Kiki Smith; and international artists like Francis Alÿs, Maurizio Cattelan, Thomas Demand, Rineke Dijkstra, Peter Doig, Marlene Dumas, Olafur Eliasson, Rodney Graham, Andreas Gursky, Mona Hatoum, William Kentridge, Anselm Kiefer, Chris Ofili, Gabriel Orozco, Hiroshi Sugimoto and Rirkrit Tiravanija. The title This Is Not To Be Looked At is derived from a work in the collection by John Baldessari, dated 1966-68, which reproduces an Artforum cover that features a Frank Stella painting also owned by MOCA, titled "Union III" from the Irregular Polygon series (1966).

Book is in NEW condition. 4.89

Fairly worn, but readable and intact. If applicable: Dust jacket, disc or access code may not be included.

Like New condition. Great condition, but not exactly fully crisp. The book may have been opened and read, but there are no defects to the book, jacket or pages. 2.07

With austerity cuts to public funding, many contemporary art museums have been forced to scale down their budgets, staff and acquisitions. In Radical Museology, New York–based art historian Claire Bishop argues that the incommensurability of fiscal and cultural temporality--one fast, the other slower--points to an alternative world of values in which museums (and by extension, culture, education and democracy in general) are not subject to the banalities of a spreadsheet, but enable us to access a rich and diverse history, to question the present and to realize a different future. She discusses creative solutions implemented at the Van Abbemuseum in Eindhoven, the Museo Nacional de Reina Sofía in Madrid and MSUM in Ljubljana. This book is a manifesto for the importance of a politicized representation of the contemporary in today’s art.

Featuring the work of more than 150 exemplary international artists, this first comprehensive catalogue of the permanent collection of the Museum of Contemporary Art, Los Angeles, is published to accompany the museum's major 2008 permanent collection exhibition Collecting Collections. With short texts on each artist, as well as essays by Chief Curator Paul Schimmel and Senior Curator Ann Goldstein, it is a major milestone in the museum's publishing history. Featured artists include historical figures like Ad Reinhardt, Arshile Gorky, Franz Kline, Diane Arbus, Alberto Giacometti, Morris Louis, Mark Rothko, Garry Winogrand, Barnett Newman, Andy Warhol, Willem de Kooning and Piet Mondrian; contemporary Los Angeles artists like Doug Aitken, John Baldessari, Chris Burden, Vija Celmins, Mike Kelley, Catherine Opie, Nancy Rubins, Paul McCarthy, Lari Pittman, Diana Thater, James Welling, Laura Owens, Bill Owens, Charles Ray, Raymond Pettibon, Jason Rhoades and Edward Ruscha; New York artists like Vito Acconci, Robert Gober, Nan Goldin, Brice Marden, David Salle, Claes Oldenburg, Julian Schnabel, Cady Noland, Richard Prince, Kara Walker, Robert Rauschenberg, Cindy Sherman and Kiki Smith; and international artists like Francis Alÿs, Maurizio Cattelan, Thomas Demand, Rineke Dijkstra, Peter Doig, Marlene Dumas, Olafur Eliasson, Rodney Graham, Andreas Gursky, Mona Hatoum, William Kentridge, Anselm Kiefer, Chris Ofili, Gabriel Orozco, Hiroshi Sugimoto and Rirkrit Tiravanija. The title This Is Not To Be Looked At is derived from a work in the collection by John Baldessari, dated 1966-68, which reproduces an Artforum cover that features a Frank Stella painting also owned by MOCA, titled "Union III" from the Irregular Polygon series (1966).

With austerity cuts to public funding, many contemporary art museums have been forced to scale down their budgets, staff and acquisitions. In Radical Museology, New York–based art historian Claire Bishop argues that the incommensurability of fiscal and cultural temporality--one fast, the other slower--points to an alternative world of values in which museums (and by extension, culture, education and democracy in general) are not subject to the banalities of a spreadsheet, but enable us to access a rich and diverse history, to question the present and to realize a different future. She discusses creative solutions implemented at the Van Abbemuseum in Eindhoven, the Museo Nacional de Reina Sofía in Madrid and MSUM in Ljubljana. This book is a manifesto for the importance of a politicized representation of the contemporary in today’s art.

Cover and edges shows shelf wear. Pages are clean and intact.

Museum of Stones looks at the various ways artists from across the world, and from different civilizations and cultures, have used rock and stone in their work. This engrossing new volume is also an important contribution to the study of influential Japanese American artist Isamu Noguchi (1904-1988), whose revolutionary ideas and use of stone still resonate today. Much of his work aimed to restore to stone some of the liveliness, transience and impressionability it exhibits in nature. Noguchi believed that rock and stone have a lifecycle that they should be allowed to experience in full, but he also recognized that they are the raw materials of technology, and that they should be used for that purpose, an ambivalence that shaped his work throughout his career.As well as sculptures by Noguchi there are over fifty works by thirty major international artists, including Mel Bochner, Dove Bradshaw, Bruce Conner, Jimmie Durham, Ian Hamilton Finlay, Jochen Gerz, Janine Antoni, Gabriel Orozco, Bosco Sodi, Keith Sonnier, Stephanie Syjuco, Toshiko Takaezu, Lawrence Weiner, and Tarek Zaki. There are stones from the ancient fortifications of Jerusalem, rocks used by mathematicians (the Latin word calculus means a small pebble used for counting) and fifteen Chinese rock-related objects on loan from the Metropolitan Museum of Art, including scroll paintings dating from the thirteenth to the twentieth centuries.Dakin Hart is senior curator at the Noguchi Museum.Matt Kirsch is associate curator at the Noguchi Museum.Joseph Scheier-Dolhberg is assistant curator of Chinese Painting and Calligraphy at The Metropolitan Museum of Art.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1

An art calendar inspired by The Met collection. Enjoy The Met every week of the year with this inspiring engagement calendar featuring over 50 vividly reproduced masterpieces from New York City's biggest art museum. Selections from The Met collection include paintings, drawings, sculpture, musical instruments, photography, arms and armor, decorative arts, jewelry, and costumes by such renowned artists as Claude Monet (French, 1840-1926), Vincent van Gogh (Dutch, 1853-1890), Georgia O'Keeffe (American, 1887-1986), and Mary Cassatt (American, 1844-1926).

Acceptable/Fair condition. Book is worn, but the pages are complete, and the text is legible. Has wear to binding and pages, may be ex-library. 1

Museum of Stones looks at the various ways artists from across the world, and from different civilizations and cultures, have used rock and stone in their work. This engrossing new volume is also an important contribution to the study of influential Japanese American artist Isamu Noguchi (1904-1988), whose revolutionary ideas and use of stone still resonate today. Much of his work aimed to restore to stone some of the liveliness, transience and impressionability it exhibits in nature. Noguchi believed that rock and stone have a lifecycle that they should be allowed to experience in full, but he also recognized that they are the raw materials of technology, and that they should be used for that purpose, an ambivalence that shaped his work throughout his career.As well as sculptures by Noguchi there are over fifty works by thirty major international artists, including Mel Bochner, Dove Bradshaw, Bruce Conner, Jimmie Durham, Ian Hamilton Finlay, Jochen Gerz, Janine Antoni, Gabriel Orozco, Bosco Sodi, Keith Sonnier, Stephanie Syjuco, Toshiko Takaezu, Lawrence Weiner, and Tarek Zaki. There are stones from the ancient fortifications of Jerusalem, rocks used by mathematicians (the Latin word calculus means a small pebble used for counting) and fifteen Chinese rock-related objects on loan from the Metropolitan Museum of Art, including scroll paintings dating from the thirteenth to the twentieth centuries.Dakin Hart is senior curator at the Noguchi Museum.Matt Kirsch is associate curator at the Noguchi Museum.Joseph Scheier-Dolhberg is assistant curator of Chinese Painting and Calligraphy at The Metropolitan Museum of Art.

Unique gifts for her. These stylish hoops borrow the Herakles knot on a 2nd-century bracelet from Egypt in The Met collection. The ancient Greeks named this simple but strong knot in reference to the mythical hero Herakles, who used it to tie the skin of the slain Nemean lion around his neck upon fulfilling the first of his legendary 12 labors. Because of its affiliation with Herakles, celebrated for his strength and bravery, the knot was considered a protective amulet. It also assumed association with marriage and fertility. The Herakles knot remained a popular ornamental form into Roman times, as exemplified by the Museum's Roman-period bracelet.

An art tee inspired by The Met collection. Our soft tee presents a detail from Adolf Dehn's (American, 1895-1968) Spring in Central Park (1941), which depicts a verdant Sheep Meadow with midtown Manhattan landmarks-including the Hampshire House, Essex House, and the Empire State Building-rising in the distance. This bucolic watercolor in The Met collection is one of several seasonal vistas Dehn painted of Central Park and the New York skyline.