Since the early 1960s, almost anything can and has been called art. Among other practices, contemporary artists have employed mass-produced elements, impermanent materials, and appropriated imagery, have incorporated performance and video, and have created works through instructions carried out by others. Paperback

Carlos Cruz-Diez

Born  Aug 17 1923,  Caracas,  Venezuela.

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carlos cruz-diez
About the artist
carlos cruz-diez
Venezuelan painter and kinetic artist. He studied in 1940 and 1941 at the Escuela de Artes Plásticas y Aplicadas in Caracas, producing Socialist Realist paintings while working as art director to the McCann Erickson advertising agency in Venezuela, where he became interested in the effect of colour in advertising. In 1955–6 he visited Paris and Barcelona, where his interest was aroused by theories of geometric abstraction, scientific colour theory and Bauhaus ideas on the integration of the arts and crafts. On returning to Caracas he opened the Estudio de Artes Visuales, where he began to investigate the role of colour in kinetic art. Cruz-Diez’s wide experience in advertising, industrial applications of colour, cinema and photographic and photo-mechanical processes, together with his study of work by Georges Seurat and Josef Albers and of Edwin Land’s (b 1909) scientific ideas on colour perception, led him to produce such constructions as the Physichromy series, which was initiated in 1959, immediately after a group of geometric works based on the repetition and serialization of flatly painted trapezoids. The Physichromies explored additive, subtractive and reflective colour relationships that could be altered by the relative positions of the light source and viewer.

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DOCUMENTS OF CONTEMPORARY ART


THEORY IN CONTEMPORARY ART (Documents of Contemporary Art) is a groundbreaking anthology that captures the essence and the edge of the contemporary art scene. Provides the first truly comprehensive and international anthology of theory in contemporary art of the last two decades.
Brings together a broad selection of important contributions to the fields of contemporary art, theory, and culture from established and emergent art voices, including scholars, curators, critics, and artists from around the globe.
Focuses on key theoretical and aesthetic issues in contemporary art, such as cultural/multicultural theory, identity politics, AIDS, post-colonialism, globalization, and spectatorship.
Includes editorial material and 44 illustrations.

THE ARTIST'S JOKE (Documents of Contemporary Art) The Artist's Joke surveys the rich and diverse uses of humor by avant-garde and contemporary artists. The texts collected in this new reader from London's Whitechapel Gallery examine what Andre Breton called the "lightning bolt" of the unsettlingly comic, as seen in the anarchic wordplay of Duchamp, Picasso, the Dadaists, and Surrealists; Pop's fetish for kitsch and the comic strip; Bruce Nauman's sinister clowns and twisted puns; Richard Prince's joke paintings; art ambushed by feminist wit, from the Dadaism of Hannah Hoch in the 1920s to the politicized conceptualism of Jenny Holzer and Barbara Kruger in the 1980s; the serenely uncanny in Mike Kelley's installations and the risibly grotesque in Paul McCarthy's; and the strangely comic scenarios of artists as various as Maurizio Cattelan, Andrea Fraser, Raymond Pettibon, and David Shrigley. Artists' writings are accompanied and contextualized by the work of critics and thinkers including Freud, Bergson, Helene Cixous, Slavoj Zizek, Carlos Cruz-Diez, Jorg Heiser, Jo Anna Isaak, and Ralph Rugoff.

THE CINEMATIC (Documents of Contemporary Art) The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism.


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