Eric Troncy and Nicolas Bourriaud have had a decisive influence on curatorship and art criticism in France since the late 1980s. The publication of their respective essays allows for an appreciation of their crucial contribution in favor of contemporary art, particularly through the journal Documents which they co-founded in 1992. The polemical tone of their texts and their defense of French and international artists has elicited rejection and admiration no less than suspicion. Yet no one can..
For a few years now, exhibitions and publications devoted exclusively to painting have been multiply...
An open letter from the hereafter, signed by Michel Parmentier, written with Daniel Buren’s ink, and...
A critique of relational aesthetics, as theorized by Nicolas Bourriaud, and exemplified in the work ...
In 1991, the Archives de la critique d’art brought together various publishersand the contemporary a...
Up until now we have been missing a comprehensive study of postwar French art criticism that has vie...
Criticism at work must provide itself with the wherewithal to think about new objects and make a re-...
Art critics and artists conduct an intensive search in defining the tasks of artistic creation. Cult...
Pierre Restany died in 2003, fifty years after he embarked on his career as an art critic, and fifty...
The text articulates approximations and distancing between the work of Spanish artist Santiago Sierr...
That many-facetted character Brian O’Doherty (critic, artist, arts administrator, writer, media pers...
In an earlier work titled Subversion et Subvention (1994), Rainer Rochlitz was embroiled in the deba...
When we are preparing a new issue of Critique d’art, we still have only quite a vague idea about whi...
Yve-Alain Bois, 2010 © d.r., with courtesy of Yve-Alain Bois Disgusted by the way art history was be...
First published in 1998, Relational Aesthetics is an extended essay by the French curator Nicolas Bo...
The commemorative signs of the centenary of Jean Dubuffet’s birth are somewhat surprising. An impres...
For a few years now, exhibitions and publications devoted exclusively to painting have been multiply...
An open letter from the hereafter, signed by Michel Parmentier, written with Daniel Buren’s ink, and...
A critique of relational aesthetics, as theorized by Nicolas Bourriaud, and exemplified in the work ...
In 1991, the Archives de la critique d’art brought together various publishersand the contemporary a...
Up until now we have been missing a comprehensive study of postwar French art criticism that has vie...
Criticism at work must provide itself with the wherewithal to think about new objects and make a re-...
Art critics and artists conduct an intensive search in defining the tasks of artistic creation. Cult...
Pierre Restany died in 2003, fifty years after he embarked on his career as an art critic, and fifty...
The text articulates approximations and distancing between the work of Spanish artist Santiago Sierr...
That many-facetted character Brian O’Doherty (critic, artist, arts administrator, writer, media pers...
In an earlier work titled Subversion et Subvention (1994), Rainer Rochlitz was embroiled in the deba...
When we are preparing a new issue of Critique d’art, we still have only quite a vague idea about whi...
Yve-Alain Bois, 2010 © d.r., with courtesy of Yve-Alain Bois Disgusted by the way art history was be...
First published in 1998, Relational Aesthetics is an extended essay by the French curator Nicolas Bo...
The commemorative signs of the centenary of Jean Dubuffet’s birth are somewhat surprising. An impres...
For a few years now, exhibitions and publications devoted exclusively to painting have been multiply...
An open letter from the hereafter, signed by Michel Parmentier, written with Daniel Buren’s ink, and...
A critique of relational aesthetics, as theorized by Nicolas Bourriaud, and exemplified in the work ...