Allan Sekula Ship Of Fools The Dockers Museum
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| Author | : Hilde Van Gelder |
| Publisher | : Leuven University Press |
| Total Pages | : 135 |
| Release | : 2015-02-27 |
| Genre | : Art |
| ISBN | : 9462700052 |
Sekula's final work dedicated to labor solidarity in and around the docks Ship of Fools / The Dockers’ Museum is the project on which the US artist and writer Allan Sekula worked during the last three years of his life (2010–2013). The work consists, first, of a corpus of thirty-three framed photographs and two slide projections of in total over one hundred images, all made by the artist (Ship of Fools); second, it contains a gigantic collection of various objects, graphic images, postcards, and prints which the artist purchased, mostly online (The Dockers’ Museum). Sekula dedicated this work to both historical and contemporary labor solidarity in and around the docks. At the time of his sad passing in the Summer of 2013, Allan Sekula was in the midst of collaborating on this publication with all four contributing authors: Gail Day, Steve Edwards, Alberto Toscano, and Hilde Van Gelder, each of whom he had asked to write essays. This volume, which includes a representative ensemble of images and objects that are part of Ship of Fools / The Dockers’ Museum, follows as closely as possible the instructions given by the artist and is the first substantial scholarly analysis of this impressive project. It contains a preface by Jürgen Bock and Bart De Baere, who both curated exhibited installations of the work during the artist's lifetime. The volume also includes draft text materials written by the artist himself, as well as selections from the multitude of unpublished interviews, public debates, and lectures that Allan Sekula delivered between 2010 and 2012. Finally, this publication includes a moving essay on the project by the artist's widow, Sally Stein.
| Author | : Hilde Van Gelder |
| Publisher | : Leuven University Press |
| Total Pages | : 739 |
| Release | : 2021-09-15 |
| Genre | : Photography |
| ISBN | : 9462702659 |
Imagine a world in which each individual has a fundamental right to be reborn. This idle dream haunts Hilde Van Gelder’s associative travelogue that takes Allan Sekula’s sequence Deep Six / Passer au bleu (1996/1998) as a touchstone for a dialogue with more recent artworks zooming in on the borderscape near the Channel Tunnel, such as those by Sylvain George and Bruno Serralongue. Combining ethnography, visual materials, political philosophy, cultural geography, and critical analysis, Ground Sea proceeds through an innovative methodological approach. Inspired by the meandering writings of W.G. Sebald, Javier Marías, and Roland Barthes, Van Gelder develops a style both interdisciplinary and personal. Resolutely opting for an aquatic perspective, Ground Sea offers a powerful meditation on the indifference of an increasingly divided European Union with regard to considerable numbers of persons on the move, who find themselves stranded close to Calais. The contested Strait of Dover becomes a microcosm where our present global challenges of migration, climate change, human rights, and neoliberal surveillance technology converge. Read more on the book's dedicated website: www.groundsea.be
| Author | : Alexander Streitberger |
| Publisher | : Leuven University Press |
| Total Pages | : 309 |
| Release | : 2019-05-31 |
| Genre | : Photography |
| ISBN | : 9462701717 |
The canonical legacy of Allan Sekula in contemporary visual art “Disassembled” Images takes as a point of departure Allan Sekula’s productive approach of disassembling elements in order to reassemble them in alternative constellations. Some of the most pressing issues of our time, such as human labor in a globalized economy or the claim for radical democracy, are recurrent themes in Sekula’s oeuvre and are investigated by a wide range of experts in this book. Addressing a variety of artworks, both by Sekula and other artists, the collected essays focus on three crucial aspects within recent politically engaged art: collecting as a tool for representing folly and madness, the confrontation of the maritime space of ecological disasters and geopolitical processes with alternative models of solidarity, and what Sekula named “critical realism” as a reflective method in search of new social agencies and creative freedom. A text–image portfolio by Marco Poloni completes this profound reflection on Sekula’s influential legacy within contemporary visual art. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content). Contributors Anthony Abiragi (University of Colorado), Barbara Baert (KU Leuven), Edwin Carels (School of Arts KASK/HoGent/M HKA), Ronnie Close (American University in Cairo), Bart De Baere (M HKA), Stefanie Diekmann (Hildesheim University), Carles Guerra (Fundació Antoni Tàpies), Clara Masnatta (ICI Berlin), W. J. T. Mitchell (University of Chicago), Marco Poloni (Berlin), Anja Isabel Schneider (KU Leuven/ M HKA), Stephanie Schwartz (University College London), Jonathan Stafford (Nottingham Trent University), Alexander Streitberger (UC Louvain), Hilde Van Gelder (KU Leuven), Benjamin Young (Parsons School of Design) Assistant editor Federica Mantoan
| Author | : Mark W. Rectanus |
| Publisher | : U of Minnesota Press |
| Total Pages | : 436 |
| Release | : 2020-01-28 |
| Genre | : Art |
| ISBN | : 1452962073 |
An ambitious study of what it means to be a museum in the twenty-first century In Museums Inside Out, Mark W. Rectanus investigates how museums are blurring the boundaries between their gallery walls and public spaces. He examines how artists are challenging and changing museums, taking readers deep into new experiments in exhibition making. Along the way, Rectanus offers insights about how museums currently exemplify the fusion of the creative and digital economies. Exploring contemporary museum practices, initiatives, and collaborations, Rectanus analyzes projects like the Collective Museum, which foster land-based museum ecologies by co-curating with local communities. The Schirn Kunsthalle, Petach Tikva Museum of Art, and Tate Modern reflect museums as cultural zones for performance, inside and outside the museum. In addition, he studies a joint project between the Van Gogh Museum and the investment firm Deloitte Luxembourg, extracting insights on the transfer of expertise from museums to the financial sector. Wide-ranging in its case studies, and boldly putting museum studies and art into conversation, Museums Inside Out delivers vital insights into the ideas and places that museums are creating in contemporary culture.
| Author | : |
| Publisher | : |
| Total Pages | : 240 |
| Release | : 2015-03-01 |
| Genre | : Photography, Artistic |
| ISBN | : 9782906890152 |
Ship of Fools / The Dockers' Museum est composé d'abord d'un corpus de trente-trois photographies encadrées et de deux diaporamas, tous réalisés par l'artiste (Ship of Fools), puis d'une collection d'objets divers, d'éléments visuels, de cartes postales, de gravures et de tirages, achetés par l'artiste, via Internet pour la plupart (The Dockers' Museum). Sekula a réalisé ce projet en hommage à la solidarité historique et contemporaine des dockers et de ceux qui travaillent avec eux. Cet ouvrage, qui comprend un ensemble représentatif d'images et d'objets faisant partie de Ship of Fools / The Dockers' Museum, suit aussi scrupuleusement que possible les instructions laissées par l'artiste avant sa disparition prématurée au cours de l'été 2013.
| Author | : Gabriel N. Gee |
| Publisher | : transcript Verlag |
| Total Pages | : 217 |
| Release | : 2021-04-30 |
| Genre | : Social Science |
| ISBN | : 3839450233 |
In the past fifty years, port cities around the world have experienced considerable changes to their morphologies and their identities. The increasing intensification of global networks and logistics, and the resulting pressure on human societies and earthly environments have been characteristic of the rise of a »planetary age«. This volume engages with contemporary artistic practices and critical poetics that trace an alternate construction of the imaginaries and aspirations of our present societies at the crossroads of sea and land - taking into account complex pasts and interconnected histories, transnational flux, as well as material and immaterial borders.
| Author | : Anne Chapman |
| Publisher | : Routledge |
| Total Pages | : 207 |
| Release | : 2021-05-10 |
| Genre | : History |
| ISBN | : 1000383652 |
An exploration of trends and cultures connected to electrical telegraphy and recent digital communications, this collection emerges from the research project Scrambled Messages: The Telegraphic Imaginary 1866–1900, which investigated cultural phenomena relating to the 1866 transatlantic telegraph. It interrogates the ways in which society, politics, literature and art are imbricated with changing communications technologies, from the mid-nineteenth century to the present. Contributors consider control, imperialism and capital, as well as utopianism and hope, grappling with the ways in which human connections (and their messages) continue to be shaped by communications infrastructures.
| Author | : Jacob W. Lewis |
| Publisher | : Leuven University Press |
| Total Pages | : 281 |
| Release | : 2021-12-15 |
| Genre | : Photography |
| ISBN | : 9462702896 |
From its invention to the internet age, photography has been considered universal, pervasive, and omnipresent. This anthology of essays posits how the question of when photography came to be everywhere shapes our understanding of all manner of photographic media. Whether looking at a portrait image on the polished silver surface of the daguerreotype, or a viral image on the reflective glass of the smartphone, the experience of looking at photographs and thinking with photography is inseparable from the idea of ubiquity—that is, the apparent ability to be everywhere at once. While photography’s distribution across cultures today is undeniable, the insidious logics and pervasive myths that have governed its spread demand our critical attention, now more than ever.
| Author | : Stéphane Symons |
| Publisher | : Leuven University Press |
| Total Pages | : 161 |
| Release | : 2017-05-22 |
| Genre | : Photography |
| ISBN | : 9462700990 |
In-depth analysis of Victor Burgin’s video installation Parzival (2013) In commemoration of the destruction of the University Library of Leuven (Belgium) in August 1914, the projection work Parzival, created by Victor Burgin (°UK, 1941) in 2013, was installed within the rebuilt Library. The installation uniquely marked the 100th anniversary of the beginning of World War I, which left its profound traces on both the consciousness and physiognomy of the city of Leuven. Burgin’s reflection on Richard Wagner’s opera Parsifal (premiere 1882) combines the artist’s computer modelled images (a bombed out street, a sunset meadow, a Venetian palazzo, …) with citations from Roberto Rossellini’s Germany Year Zero (1948) and references to works by Milan Kundera, W.G. Sebald and Philip K. Dick. This publication provides an in-depth analysis of Parzival, a work that is inspired by the period of seven months that Wagner spent in Venice (1858-1859). Burgin’s Parzival raises questions about some of the most fundamental elements in Wagner’s operatic work: the longing for a savior, the complex connection between violence and catharsis, and the presentiment that destruction awaits humanity in the future (Götterdämmerung). In an associative manner, Parzival brings together various artistic and political features to confront the romantic ideal of the ruin with the horrors that might result from such a myth. In addition, this book contains a reprint of Michel Foucault’s essay “The Imagination of the Nineteenth Century” (1980). GPRC label:
| Author | : Stephanie Schwartz |
| Publisher | : University of Texas Press |
| Total Pages | : 439 |
| Release | : 2023-10-15 |
| Genre | : Photography |
| ISBN | : 1477329854 |
“NO POLITICS whatever.” Walker Evans made this emphatic declaration in 1935, the year he began work for FDR’s Resettlement Administration. Evans insisted that his photographs of tenant farmers and their homes, breadlines, and the unemployed should be treated as “pure record.” The American photographer’s statements have often been dismissed. In Walker Evans: No Politics, Stephanie Schwartz challenges us to engage with what it might mean, in the 1930s and at the height of the Great Depression, to refuse to work politically. Offering close readings of Evans’s numerous commissions, including his contribution to Carleton Beals’s anti-imperialist tract, The Crime of Cuba (1933), this book is a major departure from the standard accounts of Evans’s work and American documentary. Documentary, Schwartz reveals, is not a means of being present—or being “political.” It is a practice of record making designed to distance its maker from the “scene of the crime.” That crime, Schwartz argues, is not just the Depression; it is the processes of Americanization reshaping both photography and politics in the 1930s. Historicizing documentary, this book reimagines Evans and his legacy—the complexities of claiming “no politics.”
