Titre :	Art Monthly #341 : November 2010
Type de document :	texte imprimé
Auteurs :	Patricia BICKERS, Directeur de publication, rédacteur en chef
Editeur :	Londres [Angleterre] : Hali Publications Ltd.
Année de publication :	2010
Importance :	60 p.
Présentation :	ill. N&B et coul.
Format :	21 x 29,7 cm
ISBN/ISSN/EAN :	7120
Prix :	Don de artconnexion
Note générale :	Art Monthly, published by the Art Monthly Foundation registered charity, is the UK’s leading magazine of contemporary visual art. Published ten times a year in bold black and white, it keeps you in touch with the complex and ever-evolving art world through in-depth features, interviews with artists, profiles on emerging artists and coverage of major trends and developments by independent critics. In addition to the extensive reviews section covering exhibitions and books, Art Monthly is the only magazine with a regular column on Artlaw. Art Monthly also publishes regular reports from around the world in its ‘Letters from’ section.
Langues :	Anglais (eng)
Catégories :	3. Culture:3.50 Arts visuels:Arts visuels
Mots-clés :	revue,  magazine,  art,  art  contemporain,  arts  visuels
Note de contenu :	CONTENTS: * FEATURE: Time & Motion. The evolution of filmmaking into cinema was not inevitable argues Christopher Townsend Eadweard Muybridge, whose work is currently on show at Tate Britain, is often presented as the grandfather of modern cinema. But the concept of time itself was undergoing radical change when Muybridge, EJ Marey and, later, Marcel Duchamp were examining representations of motion. Isn't it time to remember the radical aspects of filmmaking as opposed to the commercial conventions of the cinematic? * FEATURE: Sounds of Silence David Briers on John Cage and Morton Feldman Recent exhibitions dedicated to composers have highlighted a specifically visual art-based understanding of late-modernist music. So what happens when composers' ideas - such as John Cage's maxim, 'chance operations applied rigorously' - are allowed to reign over exhibition making? * EDITORIAL: Condemned In the lead up to the government's Comprehensive Spending Review, the public sector was softened up with Lord Browne's proposals for the future of higher education funding. This painted a bleak picture for the next generation of art students: all funding for arts and humanities courses could cease, effectively privatising education. Is the deficit reduction plan really a wheeze to transfer government debt onto individuals? * PROFILE: Laure Prouvost Sally O'Reilly profiles the London-based artist Laure Prouvost works with a range of media, including painting and installation, but she is perhaps best known for her video work and her particularly fevered use of the cinematic. Sally O'Reilly tries to keep up. * BOOKS - The Murmuring of the Artistic Multitude - Hiroshima After Iraq: Three Studies in Art and War * SOUND : Be Glad For The Song Has No End David Ryan on Wysing's artists' music festival * CONTRACTS: Public Art Liabilities Henry Lydiate on the legal exposure when art goes public 'Ai Weiwei's Sunflower Seeds will not be the last public artwork to cause public health and safety concerns: they go with the territory. Which is why all public art commissioners and artists must do their very best to prepare and protect the public against potential hazards; and equip themselves to meet their very strict legal liabilities for public safety.' EXHIBITIONS Artists & Cinema / Cornerhouse, Manchester Julian Rosefeldt: American Night / BFI Gallery, London 29th São Paulo Bienal / various venues, São Paulo, Brazil Manifesta 8 / various venues, Murcia, Spain Liverpool Biennial: Touched / various venues, Liverpool Hydrarchy: Power and Resistance at Sea / Gasworks, London Rafael Lozano-Hemmer / Manchester City Art Gallery Nick Crowe and Ian Rawlinson / Ceri Hand Gallery, Liverpool Jason Rhoades: 1:12 Perfect World / Hauser & Wirth, London Siobhán Hapaska: Downfall / Ormeau Baths Gallery, Belfast Keith Farquhar: More Nudes in Colour / Studio Voltaire, London Paola Pivi: Sorry I Can't Tell You / Carlson Gallery, London Thomas Scheibitz: / A moving plan B - Chapter One, Drawing Room, London / A moving plan B - Chapter Two, Sprüth Magers, London
En ligne :	https://artmonthly.co.uk/magazine/site/issue/november-2010

Art Monthly #341 : November 2010 [texte imprimé] / Patricia BICKERS, Directeur de publication, rédacteur en chef . - Londres (Angleterre) : Hali Publications Ltd., 2010 . - 60 p. : ill. N&B et coul. ; 21 x 29,7 cm.
ISSN : 7120 : Don de artconnexion

Art Monthly, published by the Art Monthly Foundation registered charity, is the UK’s leading magazine of contemporary visual art. Published ten times a year in bold black and white, it keeps you in touch with the complex and ever-evolving art world through in-depth features, interviews with artists, profiles on emerging artists and coverage of major trends and developments by independent critics.

In addition to the extensive reviews section covering exhibitions and books, Art Monthly is the only magazine with a regular column on Artlaw. Art Monthly also publishes regular reports from around the world in its ‘Letters from’ section.

Langues : Anglais (eng)

Catégories :	3. Culture:3.50 Arts visuels:Arts visuels
Mots-clés :	revue,  magazine,  art,  art  contemporain,  arts  visuels
Note de contenu :	CONTENTS: * FEATURE: Time & Motion. The evolution of filmmaking into cinema was not inevitable argues Christopher Townsend Eadweard Muybridge, whose work is currently on show at Tate Britain, is often presented as the grandfather of modern cinema. But the concept of time itself was undergoing radical change when Muybridge, EJ Marey and, later, Marcel Duchamp were examining representations of motion. Isn't it time to remember the radical aspects of filmmaking as opposed to the commercial conventions of the cinematic? * FEATURE: Sounds of Silence David Briers on John Cage and Morton Feldman Recent exhibitions dedicated to composers have highlighted a specifically visual art-based understanding of late-modernist music. So what happens when composers' ideas - such as John Cage's maxim, 'chance operations applied rigorously' - are allowed to reign over exhibition making? * EDITORIAL: Condemned In the lead up to the government's Comprehensive Spending Review, the public sector was softened up with Lord Browne's proposals for the future of higher education funding. This painted a bleak picture for the next generation of art students: all funding for arts and humanities courses could cease, effectively privatising education. Is the deficit reduction plan really a wheeze to transfer government debt onto individuals? * PROFILE: Laure Prouvost Sally O'Reilly profiles the London-based artist Laure Prouvost works with a range of media, including painting and installation, but she is perhaps best known for her video work and her particularly fevered use of the cinematic. Sally O'Reilly tries to keep up. * BOOKS - The Murmuring of the Artistic Multitude - Hiroshima After Iraq: Three Studies in Art and War * SOUND : Be Glad For The Song Has No End David Ryan on Wysing's artists' music festival * CONTRACTS: Public Art Liabilities Henry Lydiate on the legal exposure when art goes public 'Ai Weiwei's Sunflower Seeds will not be the last public artwork to cause public health and safety concerns: they go with the territory. Which is why all public art commissioners and artists must do their very best to prepare and protect the public against potential hazards; and equip themselves to meet their very strict legal liabilities for public safety.' EXHIBITIONS Artists & Cinema / Cornerhouse, Manchester Julian Rosefeldt: American Night / BFI Gallery, London 29th São Paulo Bienal / various venues, São Paulo, Brazil Manifesta 8 / various venues, Murcia, Spain Liverpool Biennial: Touched / various venues, Liverpool Hydrarchy: Power and Resistance at Sea / Gasworks, London Rafael Lozano-Hemmer / Manchester City Art Gallery Nick Crowe and Ian Rawlinson / Ceri Hand Gallery, Liverpool Jason Rhoades: 1:12 Perfect World / Hauser & Wirth, London Siobhán Hapaska: Downfall / Ormeau Baths Gallery, Belfast Keith Farquhar: More Nudes in Colour / Studio Voltaire, London Paola Pivi: Sorry I Can't Tell You / Carlson Gallery, London Thomas Scheibitz: / A moving plan B - Chapter One, Drawing Room, London / A moving plan B - Chapter Two, Sprüth Magers, London
En ligne :	https://artmonthly.co.uk/magazine/site/issue/november-2010