海外直订Cinema Mon Amour: Film in Art 电影之爱:艺术中的电影 azw3 极速 下载 snb txt pdf pdb 夸克云

Art and film have long held a mutual fascination, which is the subject of a recent exhibition at one of the leading Swiss art museums, Aargauer Kunsthaus, featuring works by internationally acclaimed artists who engaged with themes surrounding film in art.

Lavishly illustrated, Cinéma Mon Amour brings together works by Martin Arnold, John Baldessari, Fiona Banner, Marc Bauer, Pierre Bismuth, Candice Breitz, Janet Cardiff and George Bures Miller, collectif_fact, Tacita Dean, Stan Douglas, Thomas Galler, Christoph Girardet and Matthias Müller, Douglas Gordon, Teresa Hubbard and Alexander Birchler, Samson Kambalu, Daniela Keiser, Urs Lüthi, Philippe Parreno, Julian Rosefeldt, Hiroshi Sugimoto, Sam Taylor-Johnson, and Mark Wallinger, alongside essays that discuss topics such as the film industry, found footage, specific movies and genres, the mechanisms of film, cinema as space, and the filmmaker’s gaze. With copious full-color images, it is a captivating exploration of the productive spaces at the intersections of film and art that will have much to offer artists, filmmakers, or scholars working in either area.

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Madeleine Schuppli is the director of Aargauer Kunsthaus, one of the leading Swiss art museums with a comprehensive public collection of art dating from the eighteenth to the twenty-first century.

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书籍介绍

Art and film have long held a mutual fascination, which is the subject of a recent exhibition at one of the leading Swiss art museums, Aargauer Kunsthaus, featuring works by internationally acclaimed artists who engaged with themes surrounding film in art.

Lavishly illustrated, Cinéma Mon Amour brings together works by Martin Arnold, John Baldessari, Fiona Banner, Marc Bauer, Pierre Bismuth, Candice Breitz, Janet Cardiff and George Bures Miller, collectif_fact, Tacita Dean, Stan Douglas, Thomas Galler, Christoph Girardet and Matthias Müller, Douglas Gordon, Teresa Hubbard and Alexander Birchler, Samson Kambalu, Daniela Keiser, Urs Lüthi, Philippe Parreno, Julian Rosefeldt, Hiroshi Sugimoto, Sam Taylor-Johnson, and Mark Wallinger, alongside essays that discuss topics such as the film industry, found footage, specific movies and genres, the mechanisms of film, cinema as space, and the filmmaker’s gaze. With copious full-color images, it is a captivating exploration of the productive spaces at the intersections of film and art that will have much to offer artists, filmmakers, or scholars working in either area.