The commemorative signs of the centenary of Jean Dubuffet’s birth are somewhat surprising. An impressive and eagerly awaited retrospective was put on at the Georges Pompidou Centre, an event whose scope was the dominant point of a series of exhibitions held, in particular, in the city of Le Havre, where Dubuffet was born, and at the Dubuffet Foundation. It would nevertheless seem that the current state of museography is in contrast with publishing production, hallmarked, for its part, by a ra..
Jean Dupuy did not want any monograph written about him. He had (he still has) other projects, and h...
Eric Troncy and Nicolas Bourriaud have had a decisive influence on curatorship and art criticism in ...
When we are preparing a new issue of Critique d’art, we still have only quite a vague idea about whi...
In 1991, the Archives de la critique d’art brought together various publishersand the contemporary a...
Jean Dubuffet thought of museums as «morgues for embalming» or «citadels of official culture», and d...
It is noteworthy that, in the past few years, one or two publications have attempted to take stock o...
It is in the nature of histories of modern and contemporary art to be regularly rewritten, and their...
This publication goes hand-in-hand with the inaugural exhibition celebrating the re-opening of the V...
The “re-reading” of Picabia’s œuvre proposed by the City of Paris Museum of Modern Art, 27 years aft...
If Baptiste Brun didn’t exist, Jean Dubuffet and Art brut scholars probably would have invented him....
Twenty-four years after Explosante-fixe: photographie et Surréalisme, brainchild of Rosalind Krauss,...
The simultaneous publication of a history of photography by the publishers Citadelles & Mazenod, and...
International audienceIn 1947, while Malraux had the first essay in the Psychologie de l’art series,...
In the preceding issue of Critique d’art, Glòria Picazo took a caustic look at the copious productio...
The monographic exhibition organized by the museum of modern and contemporary art in Nice would seem...
Jean Dupuy did not want any monograph written about him. He had (he still has) other projects, and h...
Eric Troncy and Nicolas Bourriaud have had a decisive influence on curatorship and art criticism in ...
When we are preparing a new issue of Critique d’art, we still have only quite a vague idea about whi...
In 1991, the Archives de la critique d’art brought together various publishersand the contemporary a...
Jean Dubuffet thought of museums as «morgues for embalming» or «citadels of official culture», and d...
It is noteworthy that, in the past few years, one or two publications have attempted to take stock o...
It is in the nature of histories of modern and contemporary art to be regularly rewritten, and their...
This publication goes hand-in-hand with the inaugural exhibition celebrating the re-opening of the V...
The “re-reading” of Picabia’s œuvre proposed by the City of Paris Museum of Modern Art, 27 years aft...
If Baptiste Brun didn’t exist, Jean Dubuffet and Art brut scholars probably would have invented him....
Twenty-four years after Explosante-fixe: photographie et Surréalisme, brainchild of Rosalind Krauss,...
The simultaneous publication of a history of photography by the publishers Citadelles & Mazenod, and...
International audienceIn 1947, while Malraux had the first essay in the Psychologie de l’art series,...
In the preceding issue of Critique d’art, Glòria Picazo took a caustic look at the copious productio...
The monographic exhibition organized by the museum of modern and contemporary art in Nice would seem...
Jean Dupuy did not want any monograph written about him. He had (he still has) other projects, and h...
Eric Troncy and Nicolas Bourriaud have had a decisive influence on curatorship and art criticism in ...
When we are preparing a new issue of Critique d’art, we still have only quite a vague idea about whi...