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Colour (Documents of Contemporary Art)
This is an interesting look at the history of color theories. It has writings by artists and theorists. It follows a historical progression. As an artist I was drawn to comments by other artists. Much of the writing is detailed and some color theory would be helpful but certainly not necessary. David Batchelors work is wonderful and thought provoking and this book is likewise. With Joseph Albers, Mel Bochner, Daniel Buren, Carlos Cruz-Diez, Robert Delaunay, Sonia Delaunay, Jimmie Durham, Helen Frankenthaler, Paul Gauguin, Donald Judd, Wassily Kandinsky, Paul Klee and many more...

. The Spiritual in Art
. Art can only be Erotic

 FRANCE
  Piero Dorazio

Piero Dorazio

Born  July 29 1927,  Rome,  Italy.
Died  May 17 2005.
Dorazio began painting shortly after World War II. His first works were influenced by Cubism and show a knowledge of the work of artists in Rome who were at that time engaged in the figurative renewal of Italian art. However, the influence of Futurist works and his acquaintance with the Russian avant-garde and De Stijl led Dorazio to adopt an abstract idiom.

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piero dorazio
In 1947, with Giulio Turcato, Pietro Consagra, Carla Accardi, Ugo Attardi (b 1923), Antonio Sanfilippo (1923–80), Mino Guerrini (b 1927) and Achille Perilli (b 1927), he founded the FORMA group, declaring himself to be a ‘formalist’ and to have the aim of creating ‘objective abstract forms’ in which ‘the form is both the means and the end’.
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Very Sharp
piero dorazio
Nato a Roma il 29 Giugno del 1927, compiuti gli studi classici si iscrive alla facoltà di Architettura...
piero dorazio
Untitled 1, 1976

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Lucian
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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, Piero Dorazio, 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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