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  1. Contemporary sculpture and the critique of display cultures : tainted goods

    Adler, Dan (Daniel Allan)
    New York : Routledge, Taylor & Francis Group, 2019.

    In this book, Dan Adler addresses recent tendencies in contemporary art toward assemblage sculpture and how these works incorporate tainted materials - often things left on the side of the road, according to the logic and progress of the capitalist machine - and combine them in ways that allow each element to retain a degree of empirical specificity. Adler develops a range of aesthetic models through which these practices can be understood to function critically. Each chapter focuses on a single exhibition: Isa Genzken's "OIL" (German Pavilion, Venice Biennale, 2007), Geoffrey Farmer's midcareer survey (Musee d'art contemporain, Montreal, 2008), Rachel Harrison's "Consider the Lobster" (CCS Bard Hessel Museum of Art, 2009), and Liz Magor's "The Mouth and Other Storage Facilities" (Henry Art Gallery, Seattle, 2008).

  2. German art history and scientific thought : beyond formalism

    Farnham, England ; Burlington, VT : Ashgate, c2012.

    A fresh contribution to the ongoing debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Prominent North American and European scholars provide new insights into how a mixing of diverse methodologies took place, in order to gain a more subtle and comprehensive understanding of how art history became institutionalized and legitimized in Germany. One common assumption about early art-historical writing in Germany is that it depended upon a simplistic and narrowly-defined formalism. This book helps to correct this stereotype by demonstrating the complexity of discussion surrounding formalist concerns, and by examining how German-speaking art historians borrowed, incorporated, stole, and made analogies with concepts from the sciences in formulating their methods. In focusing on the work of some of the well-known 'fathers' of the discipline - such as Alois Riegl and Heinrich Wolfflin - as well as on lesser-known figures, the essays in this volume provide illuminating, and sometimes surprising, treatments of art history's prior and understudied interactions with a wide range of scientific orientations, from psychology, sociology, and physiognomics to evolutionism and comparative anatomy.

  3. Liz Magor

    Magor, Liz, 1948-
    Montréal : Musée d'art contemporain de Montréal ; Zurich : Migros Museum für Gegenwartskunst ; Hamburg : Kunstverein in Hamburg, [2016]

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