Part-text; part-sculpture; part-architecture; part-junk heap; Thomas Hirschhorns often monumental but precarious works offer a commentary on the spectacle of late-capitalist consumerism and the global proliferation of commodities. Made from ephemeral materials -- cardboard; foil; plastic bags; and packing tape -- that the artist describes as "universal; economic; inclusive; and [without] any plus-value;" these works also engage issues of justice; power; and moral responsibility. Hirschhorn (born in Switzerland in 1957) often chooses to place his work in non-art settings; saying that he wants it to "fight for its own existence." In this book; Anna Dezeuze offers a generously illustrated examination of Hirschhorns Deleuze Monument (2000); the second in his series of four Monuments. Deleuze Monument -- a sculpture; an altar; and a library dedicated to Gilles Deleuze -- was conceived as a work open to visitors twenty-four hours a day; seven days a week. Part of the exhibition "La Beauteacute;" in Avignon; Deleuze Monument was controversial from the start; and it was dismantled two months before the end of the exhibition after being vandalized. Dezeuze describes the chronology of the project; including negotiations with local residents; the dynamic between affirmation and vulnerability in Hirschhorns work; failure and "scatter art" in the 1990s; participatory practices; and problems of presence; maintenance; and appearance; raised by Hirschhorns acknowledgement of "error" in his discontinuous presence on site following the installation of Deleuze Monument.
#2234530 in eBooks 2014-09-29 2014-09-29File Name: B00MYVJGKS
Review
0 of 0 people found the following review helpful. Very Disappointing ChapterBy RWEI was very disappointed with the chapter on "Colonial Williamsburg and the Abby Aldrich Rockefeller Museum of American Folk Art". The author gives the restoration of Williamsburg only a very cursory mention and devoted almost the entire chapter to the folk art museum. Granted; the folk art museum is important and the background provided was much needed; but Colonial Williamsburg was one of Juniors most significant projects; coming in at over 60 million dollars. The cultural significance of the restoration far outstrips the folk art museum in almost every way from museum studies and historical research to decorative arts. The restoration has played a huge role in taste making since it opened from home decor to exterior paint schemes. Perhaps the author felt that the restoration story had been told elsewhere; but she should have acknowledged the many books about it but didnt. Considering the whole premise of her book I am mightily surprised at how she treated this chapter. If there is ever a revised edition perhaps she can give Colonial Williamsburg its own chapter and the folk art museum (which now only exists as gallery space within the decorative arts museum. The original museum is now a luxury day spa. What does THAT tell you about the attitude toward the collection?) could have its own chapter. Finally; the authors very scant description of the Rockefellers and Colonial Williamsburg is confirmed in her "Acknowledgements"; where she doesnt mention a single person from either the Colonial Williamsburg Foundation or even the Abby Aldrich Rockefeller Folk Art Museum. She also doesnt acknowledge anyone from the National Trust for Historic Preservation. Considering the terseness of the chapter in question and that last bit she obviously didnt want to "waste her time".0 of 0 people found the following review helpful. could have been a 5 star with more color imagesBy Howard SchulmanAlthough I enjoyed reading this book about the Rockefellers contribution to the art world; a major problem with it is the lack of images. I supposed copyright issues may have limited the number of images the author could have used; but still; this is a book on art !?!?Nevertheless; the book is well written and researched and gives the reader a flavor for the first four generations of Rockefellers in addition to their contribution to American culture. It was a pleasure to read; and I benefitted by filling in gaps in my knowledge as well as deepening my understanding (especially Nelson and John 3 rd); as this has been my fifth book I read on the family. I plan on visiting Kykuit this coming spring. Visiting the MOMA will never be the same.1 of 1 people found the following review helpful. Reads like a history bookBy Julie KingVery interesting history of the Rockefellers art legacy. Reads like a history book. I had no idea how many projects; both nationally andinternationally; that Mr. and Mrs. John Rockefeller; junior contributed to the art world. I want to visit some of their legacies!
