Free shipping on orders over 19,990 Ft via Packeta, Fox Post Box, and DPD Collection Point

Check order status

Become part of a community of book lovers from all over the world and get access to a whole bunch of benefits. Create an account for free

Free delivery for purchases over 19 990 Ft

DPD courier 1 190 Ft Hungarian Post 1 795 Ft Hungarian Post 1 690 Ft Hungarian Post 1 690 Ft FoxPost 1 190 Ft Packeta point 1 190 Ft DPD point 990 Ft GLS courier 1 690 Ft GLS point 1 190 Ft

Contact

How to shop

Help

My account

▸ Empty :-(

Free shipping on orders over 19,990 Ft via Packeta, Fox Post Box, and DPD Collection Point

Inside the White Cube

Brian O´Doherty

Language

English

Book Paperback

Libristo code: 04088571

Publishers University of California Press, January 2000

When these essays first appeared in "Artforum" in 1976, their impact was immediate. They were discus... Full description

Libristo code: 04088571

97 b

14 161 Ft

In stock at our supplier Shipping in 9-15 days

Up to 30 days for returns

Customers also purchased

Expanded Cinema Gene Youngblood

Paperback

10 379 Ft

For a Left Populism Chantal Mouffe

Paperback

4 310 Ft

The Wretched of the Earth Frantz Fanon

Paperback

4 104 Ft

Staying with the Trouble Donna J. Haraway

Paperback

10 245 Ft

Hans Ulrich Obrist: A Brief History of Curating Daniel Birnbaum

Paperback

5 866 Ft

Advanced Mouldmaking and Casting Nick Brooks

Hardback

13 390 Ft

Additions to Clay Bodies STANDEN KATHLEEN

Paperback

8 878 Ft

Wild Clay Takuro Shibata

Hardback

10 962 Ft

When these essays first appeared in "Artforum" in 1976, their impact was immediate. They were discussed, annotated, cited, collected, and translated - the three issues of "Artforum" in which they appeared have become nearly impossible to obtain. Having Brian O'Doherty's provocative essays available again is a signal event for the art world. This edition also includes "The Gallery as Gesture," a critically important piece published ten years after the others. O'Doherty was the first to explicitly confront a particular crisis in postwar art as he sought to examine the assumptions on which the modern commercial and museum gallery was based. Concerned with the complex and sophisticated relationship between economics, social context, and aesthetics as represented in the contested space of the art gallery, he raises the question of how artists must construe their work in relation to the gallery space and system. These essays are essential reading for anyone interested in the history and issues of postwar art in Europe and the United States. Teeming with ideas, relentless in their pursuit of contradiction and paradox, they exhibit both the understanding of the artist (Patrick Ireland) and the precision of the scholar.