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Books : Arts & Photography : Artists, A-Z : ( A-C ) : Broodthaers, Marcel
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In 1964, at age forty, Marcel Broodthaers (1924-1976) proclaimed that his years of writing poetry--of being "good for nothing," in his words--were over, and a brief but dazzling artistic career began. Considered a founding father of institutional critique, Broodthaers created hundreds of objects, books, films, photographs and exhibitions, including a "fictive" museum of modern art that evolved from an installation in his own home to a massive exhibition of over three hundred works representing eagles. In The Absence of Work, Rachel Haidu argues that all of Broodthaers's art is defined by its relationship to language. His perception of his poetry's "failure to communicate" led him to explore in his art the noncommunicative, nontransparent uses of language. By showing us the ways in which language is instrumentalized across society--used for its efficiency despite the complexities it introduces into communication--Broodthaers shows us how we imagine language to work and points us to its hidden operations.Haidu's characterization of Broodthaers's contribution to institutional critique represents a major departure from the usual approach to this movement. Considering t
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"I, too, asked myself if I could not sell something and succeed in life... Finally the idea of inventing something insincere came to me and I got to work immediately." With this statement, penned for his first solo show in April, 1964, Marcel Broodthaers (1924-1976) announced his death as a poet and birth as an artist. In fact, he was to transform the category of artist completely, purging the vocation of its medium-specific implications to pursue a unified conceptualism across media such as artist's books, prints, film, installation, sculpture and writings--" where the world of plastic arts and the world of poetry might possibly, I wouldn't say meet, but at the very frontier where they part." Broodthaers' Museum of Modern Art, Eagles Department (1968-1972) inaugurated the practice now known as institutional critique, and the linguistic foundations of his art--as well as his emphasis on printed multiples--also proved prescient for subsequent strains of Conceptual art. Edited by Gloria Moure in collaboration with the artist's estate, this momentous publication eclipses in its scope all previous Broodthaers monographs and writings collections. It gathers his early poetry, statements, critical essays both published and unpublished, open letters, interviews, preparatory notes and scripts alongside nearly 200 color images in a massive and decisive presentation of the artists' postmediu
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His talent for reinventing the language of art made Marcel Broodthaers (Brussels, 1924 - Cologne, 1976) one of the most creative artists of the second half of the 20th century. His work is a symbiosis of all the artistic disciplines: "I am not a filmmaker. For me, film is the extension of language. I begin with poetry, then visual art, and finally cinema which brings together several different elements of art. Which is to say: writing (poetry), the object (visual art), and the image (film). The difficult thing, of course, is the harmony between these elements." For Broodthaers, catalogues, books and exhibitions are films which in turn become part of subsequent exhibitions and publications.
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This stunning volume catalogues the graphic pints and books fo the revolutionary Belgian artist Marcel Broodthaers. Exquisite full-plate color photos represent each piece.
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The ongoing influence of Marcel Broodthaers (1924-1976) has extended itself to video art, Relational Aesthetics and text art of all kinds. This volume assesses that multifarious influence, in works by Tacita Dean, Olivier Foulon, Andreas Hofer, Henrik Olesen, Kirsten Pieroth, Stephen Prina, Rirkrit Tiravanija, Joëlle Tuerlincks, Susanne M. Winterling and Cerith Wyn Evans.
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The work of the late Belgian artist and poet, Marcel Broodthaers, analyzes the institutional conditions of art production at the end of the modernist period and is central to current debates on postmodernism. This book presents a selection of Broodthaers' own writings, interviews with the artist, 90 illustrations of his work, a complete bibliography, and critical essays.This important review and analysis of Broodthaers's work begins with examples of writings front the time of his involvement with the Belgian Surrealist group of the late 1940s to the mid-1970s, when he introduced into his work theories of signification developed by structuralist, linguistics and the critique of institutions formulated by Michel Foucault. The critical essays consider the widely varied mediums of the artist's work, including poetry, books, films, and installations.Benjamin H. D. Buchloh is Assistant Professor of Art History at SUNY, Old Westbury. An "October Book.
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Description: "This pipe stands at the beginning of my adventure. . ." --Marcel Broodthaers. This unpublished Marcel Broodthaers project was conceived in 1970 in reaction to the 1968 publication of the now famous Michel Foucault essay "This is not a pipe." The Magritte painting "Ceci n'est pas une pipe," which sparked this particular semiotic run-around, was of paramount importance to Broodthaers. Reconstituted through fragments recovered from the original project, which Broodthaers aborted in 1972, this book returns to the core of Broodthaers' complex artistic questioning and its entanglements with post-structuralist discourse.
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This cataloge has been published on the occasion of the exhibition: SECTIOM PUBLICITE, Musee d'Art Moderne, Department des Aigles. Held at the marian Goodman Gallery, New York from October 6 through November 25th, 1995
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