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Blue lighting illuminated these plinths, making them the exhibition's focus; some were arranged in rows, while others were upended so as to show the date and the artists' names on the back. Through these labels, Lawler and McCollum isolated these forms as their products, providing the essential artistic attribution. By privileging the base over its conventionally superimposed object, Lawler and McColIum pointed to display as the valorizing force in art; it is through display that material products become objects of contemplation and enter the cycle of consumption. Moreover, the rhetorical devices employed in this installation - lighting, color, and "staged" presentation accentuated the gallery's glamorization of goods. For it is only their context - that of commerce or exchange - that confers on these neutral and undifferentiated objects a meaning not inherent in themselves. |
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One can re-design the museum, as Robert -- the first official curator of the Louvre -- proposed to do in another painting, but that leaves the idea of the museum intact and confirms its physical necessity. Do museums not justify their extravagant cost by sheltering precious objects. Does not their material grandeur testify to the spiritual grandeur of art. Are they not, like ancient temples, sacred precincts, for is not art a sign of eternity. Museums are not wasteful luxuries, but confirm the glorious necessity of art. |
Mit freundlicher Unterstuetzung der Mercedes Benz Niederlassung Stuttgart 013. Westerwinter wurde 1960 in Stuttgart geboren und lebt hier. - ist die nachdrueckliche Thematisierung der Betrachterrolle und die konkrete Einbeziehung des Betrachters in die Material- und Zeitstruktur ihrer Werke. Der Betrachter wird aus der passiven Konsumentenrolle heraus- und in die Position des waehlenden, urteilenden und verurteilenden, handelnden Individuums hineinkatapultiert. 00 Uhr Lesung Hans Zischler aus "Verre d'eau" von Francis Ponge Ausschnitte aus dem Film "Vers Francis Ponge" von Jean Casaril T.
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