Olivier Mosset


Book Description

When the young minimalist painter Olivier Mosset (b. 1944) bought his first motorcycle, a USArmy issued Harley-Davidson, in Paris in the late 1960s, he helped start up a subculture still wholly unknown in europe: the motorcycle club. The young painters Paris studio doubled as a hub of radical paintingconceptually reduced black circles on a white canvasand a hangout for the first Marxist-influenced motorcycle club. WHEELS is an in-depth survey that retraces Mossets career from his involvement with the minimalist art group BMPT to his interplay between motor vehicles and painting. In the mid 1970s, Mosset worked and lived in new York, where he became the founding member of the nY Radical Painting Group before eventually moving to Arizona. Art critic elisabeth Wetterwald interviews Mosset and American artist vincent Szarek, who often collaborates with Mosset, discussing the interface between art and motorcycles. Art historian Philip Ursprung analyzes the importance of technology, culture, and nature. Mosset is represented by Gagosian Gallery, and his work appears in the collections of MoMA, new York, and Centre Georges Pompidou, Paris, among others.




Olivier Mosset


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John Armleder and Olivier Mosset


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Introduction by Anthony Huberman. Conversation between John Armleder, Oliver Mosset.




Artists' Cocktails


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Voids


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Edited by Matthieu Copeland, Clive Phillpot, John Armleder, Mai-Thu Perret.




The No Texts, (1979-2003)


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Tiré du site Internet des Presses du réel: "Steven Parrino is born in 1958, New York City. He died on a motorcycle in Brooklyn in 2005."




FAX


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"Though the technology for transmitting printed images and texts over distance dates from the 19th century, it was the introduction of the modern fax through commercially available machines in the 1970s that turned facsimiles into a ubiquitous communications medium for international business. Artists readily exploited its immediate, graphic, and interactive character, making it an important part of the history of telecommunications art, nestled between the legacy of mail art and the nascent practices of new media." "Published on the occasion of the exhibition of the same name, FAX features the work of a multigenerational group of artists, architects, designers, scientists, and filmmakers who were invited to conceive of the fax machine as a tool for thinking and drawing. The book contains an essay by exhibition curator Joao Ribas and over 200 faxed pages, all transmitted via The Drawing Center's working fax line, including drawings, texts, and some seminal examples of early telecommunications art, as well as the inevitable errors of transmission, junk, and "fax lore." These works Form the core of a traveling exhibition circulated by iCI." --Book Jacket.




Black Noise


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Southwest Rising


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Elaine Horwitch was a feisty, larger-than-life gallerist who put contemporary Southwest art on the culture map. Prefaced by a historical survey of art in Arizona and New Mexico, Southwest Rising examines Horwitch's remarkable life and highlights many of the artists she promoted in the 1960s, 1970s, and 1980s, as well as some of her top rivals in the art business. This book looks at Southwest art through the lens of art markets and institutions, and the creative spirit of artists who contributed to the rise of a unique genre.




Bend in the Wash


Book Description

In 1968, ten families scraped up $1,000 each for the down payment on an old guest ranch in Oracle, Arizona. What began as a bunch of hippies with a 1960s vision of living in a place to "do their own thing" would eventually evolve into a magical aperture, a place through which a great many artists and poets would pass. The families and individuals that live in Rancho Linda Vista today are the descendants of the original idealists that followed RLV founder Charles Littler into the desert, north of Tucson, Arizona.Paul Gold has written an eclectically researched homage to the dreams of a community, people who shaped their own lives, broken away from their parents' lifestyles and conventions. The oneness of the Rancho Linda Vista community is reflected in its past and future, described by its people. Bend in the Wash sheds light on generations of nonconformists who created a sustained way of living, weaving art into life.